A Study On Soundscapes Representation Of Zhuang People’s Tianqin Art

In the context of globalization and modernization,how to creatively transform or develop small traditions in rural society through situational choices concerns the development and survival of ethnic traditional culture.Zhuang People’s Tianqin Art is an ethnic cultural symbol with profound details and distinctive features of Zhuang People,which Integrating music,song,and dance performances.With the development of national intangible cultural heritage protection work,participated by diverse forces such as local governments,cultural elites and culture bearers,Zhuang People’s Tianqin Art has changed from a sacred instrument that originally connected man and god in the rite to a national intangible cultural heritage with public cultural attributes.During the process of this traditional invention,its activity field,activity content and structural meaning have changed in varying degrees,thus forming a complex and diverse network of cultural identity."Soundscapes representation" are the most intuitive manifestation of Zhuang People’s Tianqin Art,being an important way for people to perceive and express the world and understand the relationship between man,society and nature.From folk sacred rites to major festival stages,the sound runs through the whole process of the art exhibition of Zhuang People’s Tianqin Art.According to its different field types,the soundscapes representation of Zhuang People’s Tianqin Art can be divided into three types—devotional soundscapes representation,secular soundscapes representation and mainstreamized soundscapes representation,all of which together constitute the soundscapes representation system of Zhuang People’s Tianqin Art.First of all,the devotional soundscapes of Zhuang People’s Tianqin Art reflect the sorcery worship and the worship concept of “heaven” and “god” of the ethnic group members.The soundscapes and the contents of the rite are of the same type and the same structure.The “music-song-dance” unity jointly induces and maintains the effectiveness of the ritual function.Secondly,driven by urbanization and tourism,the soundscapes representation of Zhuang People’s Tianqin Art have evolved from devotionalization to secularization,with a new local knowledge constructed.While holding together the ethnic memory,the intertwined mixture of secularized soundscapes and local festival activities provides new narrative space for the interaction,contemplation,and memory of the on-site “performers and viewers”.Thirdly,the intangible cultural heritage protection and the mainstreamizad practice guided by the will of the nation have prompted a number of mainstreamized soundscapes of Zhuang People’s Tianqin Art catering to the mainstream values of the times.In the cultural practice led by the governments,the mainstreamized soundscapes of Zhuang People’s Tianqin Art has transformed from cultural heritage to cultural capital,and then entered a virtuous circle of cultural development ecology.The cultural identity of Zhuang People’s Tianqin Art has clear and visible orderability characteristics,including ethnic cultural identity mainly aiming at alleviating sorcery anxiety and expressing fundamental emotional beliefs,local cultural identity mainly aiming at shaping locality and reconstructing local cultural symbols and ethnic cultural identity mainly aiming at serving the national strategy and clarifying the “Chinese identity”.The soundscapes representation and cultural identity of Zhuang People’s Tianqin Art correspond well to each other and explain well each other: the soundscapes representation interpret cultural identity,and the cultural identity deduces the soundscapes representation.Based on the study of the relationship between soundscapes representation and cultural identity,this dissertation can not only provide academic support for the protection and inheritance of Zhuang People’s Tianqin Art,but also maintain the diversity and security of the national culture,deepen the interaction,communication and interparticipation among Minzu groups,and provide impetus for consolidating community consciousness of the Chinese nation.