Diminish And Reconstruction "chama"

Many precious folk cultural traditions have been on the wane day by day or even withered away in the history rinse, in inexorable process of globalization, and in the prospect of modernity's wreck and reconstruction for a long time. Meanwhile, the national protection and rescue steps have followed discontinuously, especially in recent years, when The Intangible Cultural Heritage protection work has developed prosperously, many places started to excavate, sort and rescue the traditional cultural resources which were in imminent danger. Soon, the enthusiasm influenced various strata of society, which from nation to local government to local cultural elites to the folk, the revival work did dramatically, lots of folk cultural traditions endangered once started to brisk up in the modern stage again. However, in this prosperity behind, we can't help but ponder, many traditional activities renewed have a fundamentally changed, especially in some ancient religious activities, which have had the essential changes surprised us, they are changing from a traditional religious ceremony to a visual cultural performance manipulated by modern mass media.This paper takes Chama activity as an object of study, which is in Mongolchin area of Liaoning province. It attempts to discuss the following questions, through the analysis of three historical processes about Chama, which is from boom to loss, from loss to revival and the discontinuous revival.Firstly, the paper elaborates and explores disappearance, residues and reconstruction in the process of Mongolian Chama development.The development of Mongolian Chama has experienced two stages of roughly. In these stages, disappearance, residues and reconstruction are remarkable characteristics. The first stage is from 17th century to the late 1940s, which is an indigenous time. During this period, Chama experienced the historical facts about combat between Tibetan Buddhism and Shamanism, the transformation of economic structure in Mongolchin area. Therefore, the blend of religious hue and the hybridity of national culture became the main characteristics of Chama. The paper attempts to analyze the legend, roles, masks, dance movements and functional significance about Mongolian Chama, in order to discuss what disappeared, what left and what reconstructed; The second stage is from 1950s to the 21st century, it's a localization period, a discontinuous revival period. In this time, the props of Chama about masks, costume, Buddhist instruments and so on were remake. The dance movements and performance program are continuously re-arranged. The place of performance changed from temple to square, and then from square to theater. Different choreographers, different performers, different cultural elites, different government officials and different viewers in Mongolchin area manipulated and completed the revitalization of Chama together. Thus, in the modeling of these tangible or intangible hands, the performance of Mongolian Chama have increasingly business atmosphere, fewer and fewer religious sanctity and the characteristics of secularization becoming more and more clear, so the disappearance, residues and reconstruction in the revival process are the the main theses of this paper. What is more important is that, this revival process is also a stage from the "religious ceremony" to the "cultural performance".Secondly, the paper elaborates and explores how Mongolian Chama becomes the cultural performance from the religious ceremony. And thus to explore, as a pair of perfect harmony but diametrically opposed cultural patterns, what the different structure of program, functional significance and logical order they have, and how the two connect and transform.This process is a history of social drama, which has experienced the rupture, the transition, the adjustment behavior and the reintegration of four phases. In the process, as a religious ceremony firstly, Chama experienced a political and emotional sense decline, and then as a cultural performance in the modern renaissance. By discussing the props'artistic, symbol-oriented, and unceasing innovation of performance form, plot's fictionalizing, transformation of roles, the paper attempts to inquire the tension between content and form, intertwinement and confrontation in the conversion process, different "sacred space" constructed by two, and different order, logic, structure, agency involved.Thirdly, the paper elaborates and explores the historical and modern agent of Mongolian Chama's prosperity and decline evolution.In this process, there are many important factors intertwined, manipulation of power, cultural exchange and interactive, native identity and strengthening, the conspiracy of mass media and Consumerism in modern scene. However, the revival and change are in essence a "cultural reproduction" process in the name of tradition. The paper attempts to analyze problems about logical approach and legitimacy of the reproduction of tradition, capital contention implicit in and so on. Furthermore, it reconsiders The Intangible Cultural Heritage protection work itself and how the artistic form produced in the name of religion.Finally, the paper tries to draw the following conclusions. Mongolian Chama, a production of "social drama", is in essentially in the construction of the nation-state discourse. In this set of construction logic, the sanctity of religion has been digested by the state power continuously, however, the memory of history may leave us a little true image, Meanwhile, another kind of nation-state's sanctity is being established quietly in the significance of the tradition's continuing interpretation and remodeling.