| Folk art is derived from the practice of daily producing life and contains many forms such as music,dance and opera,with a tangy traditional cultural substrate and local characteristics.While in the present time that the degree of marketization continues to deepen and the style of entertainment continues to be diverse,the space of folk art development has shrunk immensely.In contrast,as a representative of folk art,and with homology to the mainland Hand Puppet Opera(Budaixi,BDX)in one vein,the Taiwan BDX nevertheless develop their own unique industrial form in harsh market environments.To what extent can the successful experience of Taiwan BDX be borrowed by the mainland BDX and extended to other folk art forms? In this paper,we attempt to examine the objects of mainland BDX and explore the tangible paths of folk arts in industrial development in the new era by combining the Taiwan experience and the results of theory and research.This study is mainly divided into four parts.The first part presents a simple teasing out of the history of BDX and elucidates the cognate relationships of the mainland BDX and Taiwan BDX;The second part concentrates the perspective on Taiwan and examines the successful experiences of Taiwan BDX in industries and episodes;The third part performs a comparative analysis,based on Jan Assmann’s theory of cultural memory,to develop an exploration of the cultural memory context in which Taiwan BDX and mainland BDX are performed for industrial development,and to combine the network ethnography findings,we draw several tangible paths for the industrial development of mainland BDX: to update on the performance forms of mainland BDX,to carry out multi-channel tiling of the mainland BDX industry landscape and to make effective use of the national wind consumption wave;The fourth part goes through a certain expansion and finds a broader folk art context behind the BDX,to explore the possibility that folk arts underwent Industrial Development in the new era. |
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