Chaoshan Yingge Dance : Cultural Identity of Chinese Folk Dance in the Context of Modern China

Abstract

The 'Yingge dance' is prominent in Chaozhou, Shantou, and two cities in Guangdong Province: Puning and Chaoyang. Two sticks are held by "Yingge" performers. The performers' features are painted to seem like heroic characters from the tale Outlaws of the Marsh. In the Yingge dance, the drum is the most significant Chinese musical instrument, occasionally supplemented by a gong and cymbals. Yingge dancers appear in China for a variety of events, including Chinese festivals (such as the Spring Festival and Lantern Festival) and grand opening ceremonies (International, national, and state level, art affairs sports competitions). In this study, researchers have analyzed the cultural identity of Chinese folk dance in the context of modern China.

The research objective of this study is 1. To study the historical background of Yingge dance 2. To analytical study Yingge folk dance as a cultural identity of Chaoshan. 3. To analytical study the unit analysis of Yingge dance performed in (Spring Festival) in the Context of Modern China. This study adopted qualitative research as the research method. The instruments used were basic survey, observations, interviews, focus-group discussions, and documentary searches. In the research process, the research study adopted two information collection methods - fieldwork and literature Research to complete information collection. The research results are as follows.

According to the research, the Choshan people are closely linked to the Yingge. The Yingge provides various sacred purposes for the Chaoshan people that no transformation can replace. From ancient times to the present, it has been passed on from ancient past to the generations. Discovering and comprehending Yingge involves an understanding of the performances' symbolic meaning. Yingge in the minds of Chaoshan people is more than just an ordinary performance. It dances in this folk ceremony with strong symbols and significance, emphasizing the Chaoshan people's understanding of the concept of self-identity. With the inheritance of this custom, this culture and spirit will be handed down from generation to generation.

This study will serve as a model for understanding different types of folk dance in China and around the world as a cultural identity. This research also shows that, while the present Yingge dance continues to develop and adapt in the larger context, it has not veered from the Chinese traditional dance's original aesthetic essence.

In conclusion, the findings of this study will assist the local government of Guangdong Province in formulating policies to maintain and promote Yingge (Intangible cultural heritage).

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