Inheritance And Re-creation: A Study On The Cultural Practice Of The Intangible Cultural Heritage Dance Jiuliandeng Of Juying Academ

The Nine Lotus Lantern,also known as the "Nine-Pins Lotus Lantern" and "Running Nine Lotus",is a folk ritual dance used for the deceased’s undead in the folk "San Yi Culture" that is spread in Putian,Xianyou and other places in Fujian.During the performance,the dancers kept rotating the lotus lantern in their hands,walking or hurrying,changing the scene map between the tables,and the view was like a lotus flower shining in the distance,indicating that under the leadership of the Trinity Sect Leader,the undead would eventually go to Elysium.Its unique forms of expression and religious connotations contain high artistic and cultural values.In the face of social and cultural changes,the Nine Lotus Lantern Dance did not die out in the long river of history,but integrated into modern social culture in a constantly regenerative form,colliding with new cultural connotations in the new era.In June 2009,Juying Shuyuan’s"Nine Lotus Lanterns" was successfully included in the third batch of intangible cultural heritage protection list of Fujian Province,and there are currently 2 provincial intangible cultural heritage inheritors(Yu Qiqiang and Yu Chunlin).From the perspective of synchronicity,the Nine Lotus Lantern Dance has since acquired a dual identity:first,the funeral ritual dance rooted in local traditional culture,with a certain religious color,with spontaneity,uniqueness and relative stability;Second,as an integral part of local intangible cultural heritage,it has risen to become a symbol of cultural inheritance in the Xianyou area,and has become a symbolic product of local cultural symbols,with official nature and absolute variability.There is no doubt that the Nine Lotus Lantern of Juying Shuyuan,as an intangible cultural heritage dance,is undergoing creative transformation and innovative development compared with the Nine Lotus Lantern as a traditional funeral ceremony.This paper is divided into three parts,combining anthropology,morphology,ecology,folklore,sociology and other methods for argumentation.The first part combines the author’s field investigation to sort out the origin and inheritance of the nine-pin lotus lantern,and refine its artistic form characteristics;The second part focuses on the analysis of the changes in the development of the Nine Lotus Lantern Dance after the application for the provincial intangible cultural heritage,and analyzes the morphological analysis of the Nine Lotus Lantern Dance in the three fields of rural clan activities,folk customs exhibition and performance,and socialist literature and art,and compares and studies the Nine Lotus Lantern Dance of traditional ceremonies.The third part summarizes the reproduction practice of the Nine Lotus Lantern Dance in the three fields,and concludes that the construction of the intangible cultural heritage identity of the Nine Lotus Lantern Dance cannot be separated from the re-portrayal of the stateoriented,inheritors,local social elites and local governments.