From The Perspective Of Folklore, A Study Of The Era Of The Intangible Cultural Heritage Of The Chinese Korean Nationality's Elephant Hat Dance In Wangqing County

Sangmo dance of China’s Korean ethnic group is a dance derived from the Korean Farmer’s dance and is a traditional Korean art and culture with a long history.The predecessor of the Farmer’s dance of China’s Korean ethnic group is the Wangqing County Farming Dance in 1928.The artists in Wangqing County took the form of the Sangmo in the Farmer’s dance as the main body and upgraded the technique of turning to the Sangmo,forming a new art form-Sangmo dance.Wangqing County,as the birthplace of the Sangmo dance of China’s Korean ethnic group,is also the most widespread place of Sangmo dance.In 1988,it also won the reputation of "hometown of Sangmo dance".In 2006,the Sangmo Dance in Wangqing County and the Qigong Dance in Huanren Manchu Autonomous County merged into the Farmer’s Dance of China’s Korean ethnic group,which was included in the first batch of national intangible cultural heritage;in 2009,it was included in UNESCO·Humanity Intangible Cultural Heritage.This is the first culture in the Northeast of China that contains world-class intangible cultural heritage,and the first dance culture in China that is included in the UNESCO Intangible Cultural Heritage of Humanity.The Sangmo dance in Wangqing County not only participated in performances in various parts of the country,but was also invited to international stages such as Italy and South Korea.This traditional culture has been recognized by people at home and abroad.Although the Sangmo dance in Wangqing County is recognized by the public,the study of the object Sangmo dance in the academic world has not been very thorough.At present,there are many detailed studies on Farmer’s dance in China,but there are few targeted studies on Sangmo dance,and most of them are small paper studies,the main content is how to protect and inherit this culture.These studies have a certain significance for the inheritance of Sangmo dance,but these studies ignore the change of intangible culture,and assume that Sangmo dance is a constant entity from the past to the present,which directly affects the accuracy of the research results.Therefore,this article takes the Sangmo dance in Wangqing County as the subject of investigation,combined with the history of the China’s Korean ethnic group and China,discusses its changing process according to the changes of the times,and prompts the reasons for its change,the purpose is to better understand the Korean intangible cultural heritage And give some reference to the living inheritance of intangible culture.This paper mainly uses the research methods of literature method,interview method and field investigation method,and makes an in-depth analysis of the Sangmo dance in Wangqing County.This article is divided into four chapters and consists of three parts,namely introduction,body and conclusion.The first chapter is the introduction.It mainly puts forward the research purpose and significance of this article.It reviews the literature of China and South Korea,and introduces the research methods and research objects of this article.The body part is composed of Chapter 2 and Chapter 3.The second chapter is mainly background introduction.Introduced the origin and reason of Korean settlement in Wangqing County,and described the basic form of Sangmo and Sangmo dance in Wangqing County.The third chapter is based on the major historical events,the process of the transformation of the Sangmo dance in Wangqing County was established of China in 1949,the Cultural Revolution in 1966,the establishment of diplomatic relations between China and South Korea in 1992,and the adoption of the United Nations Convention on the Protection of Inheritance in 2004.The event is divided into six periods for the split point,and the characteristics of the Sangmo dance in each period are analyzed in depth.Since the flow of Sangmo dance from 1928 to China in 1949,it was mainly the influx and formation stage of Sangmo dance culture.In this stage,Sangmo has no fixed performance form,and has the characteristics of improvisation and self-entertainment.After 1949,turning the Sangmo gradually transformed into a staged form,officially becoming a form of dance with purpose.During the Cultural Revolution from 1966 to 1976,Sangmo dance was considered to be an old culture that pursued tradition.During this period,Sangmo dance was completely banned.After the Cultural Revolution,minority culture became the focus of government attention.Sangmo dance began to recover gradually,and integrated with Chinese elements,officially evolved into the unique dance culture of Chinese Korean.After the establishment of diplomatic relations between China and South Korea in 1992,due to the large number of Koreans working in South Korea,the performance of Sangmo dancers decreased sharply;and due to the development of digital media,traditional dances were gradually ignored by the public,and Sangmo dances ushered in a low ebb.However,in 2004,the country officially began to protect the intangible cultural heritage,traditional culture was once again valued,and Sangmo dance once again returned to the public’s attention,and was included in the national and world-class intangible cultural heritage list.At the same time,Wangqing County is also vigorously popularizing Sangmo dance.In addition to the dance form,for the protection and inheritance of Sangmo dance,Sangmo dance has also been applied to square dance.It has become a new square dance and ushered in Sangmo.But at this time,because of the excessive emphasis on traditional culture,people pay attention to the recovery of the past form of Sangmo dance,and ignore the cultural variability.The conclusion part of Chapter 4 mainly summarizes,and points out the shortcomings of the study.Because the whole society attaches importance to the atmosphere of non-legacy,the "traditional" discourse is constantly being portrayed,so people begin to pay attention to the tradition of Sangmo dance,and such deliberateness leads to excessive concentration on the restoration of this culture,but instead stagnates the intangible culture.Development is not conducive to the living inheritance of intangible culture.It is suggested that in view of the protection and inheritance of this kind of immaterial culture,relevant policies should be put forward on the premise of ensuring the vicissitude of culture.