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The Transformation and Safeguarding of Intangible Cultural Heritage of China a Case Study of Huanxian Daoqing Shadow Theatre

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The Transformation and Safeguarding of Intangible Cultural Heritage of China a Case Study of Huanxian Daoqing Shadow Theatre From “Feudal Rubbish” to “National Treasure”: The Transformation and Safeguarding of Intangible Cultural Heritage of China A Case Study of Huanxian Daoqing Shadow Theatre A thesis approved by the Faculty of Mechanical, Electrical and Industrial Engineering at the Brandenburg University of Technology in Cottbus in partial fulfilment of the requirement for the award of the academic degree of Doctor of Philosophy (Ph.D.) in Heritage Studies by Chang Liu, M.A. from Beijing, China First Examiner: Prof. Dr. Marie-Theres Albert Second Examiner: Prof. Dr. Klaus Mühlhahn Day of the oral examination: 09 May 2014 ABSTRACT This study examines the history of the transformation of the intangible cultural heritage of China and the efforts to safeguard it, using the case study of Huanxian Daoqing shadow theatre. A regional style of Chinese shadow theatre, Daoqing has undergone dramatic transformation from 1949 to 2013, from being labeled in socialist China as a form of “feudal rubbish” to be eradicated, to being safeguarded as “national treasure”. The changes in Daoqing’s social identity, function, value, interpretation, transmission and safeguarding efforts can be observed in the discourses of both the authorities and the practicing community. These changes may be understood as part of three different stages in the political and economic transformation of socialist China. The researcher has collected governmental archives and conducted semi-structured interviews with Daoqing inheritors in an interpretative phenomenological analysis approach. This thesis analyses how, following Hobsbawm’s argument, Daoqing as an intangible cultural heritage involves an “invention of tradition” through joint actions of the Chinese government and the Huanxian community. This research can help provide heritage policy makers, the community and other stakeholders with insights into challenges that may be faced in the safeguarding of the intangible cultural heritage. The theoretical framework, the methods and the research results from the government archives and interviews will hopefully serve to provide some new ideas as a prototypical approach to help future research on other forms of cultural heritage in China. 1 ZUSAMMENFASSUNG Die vorliegende Arbeit beleuchtet die Geschichte der Transformation und der Wahrung des immateriellen Kulturerbes in China am Beispiel des Huanxing Daoqing Schattentheaters. Daoqing, eine regionale Spielart des chinesischen Schattentheaters, unterlag im Zeitraum zwischen 1949 und 2013 einem dramatischen Wandel: Einst abgetan und als "feudaler Müll" fast vollständig aus der kulturellen Landkarte Chinas ausradiert, wandelte es sich in der Betrachtung zum "nationalen Kleinod". Die Veränderungen der sozialen Rolle und Funktion, des kulturellen Wertes, der Interpretation, der Weitergabe des Verständnisses des Daoqing von Generation zu Generation und die Bemühungen diese Form des Schattentheaters zu erhalten, können sowohl im Diskurs des Staates, als auch im Diskurs der das Daoqing-Theater realisierenden Gemeinschaft dargestellt werden. Diese Veränderungen können als Teil einer dreistufigen Transformation verstanden werden, der das politische und ökonomische China ausgesetzt ist. Die Autorin studierte staatliche Archive und führte im Rahmen eines interpretativ-phänomenologischen Analyseansatzes leitfadengesteuerte Interviews mit in der Tradition des Daoqing stehenden Personen durch. Eric Hobsbawms Argumentation folgend wird in der vorliegenden Arbeit dargelegt, wie Daoqing als immaterielles Kulturerbe eine "Findung der Tradition" durch gemeinschaftliches Wirken der chinesischen Regierung und der das Huanxian Daoqing pflegenden Gemeinschaft evoziert. Die Betrachtung immateriellen Kulturerbes als ein organisches Gefüge innerhalb einer Gesellschaft, deren soziales Leben ständigen Änderungen unterworfen ist, impliziert auch eine Veränderung und fortwährende Umgestaltung des Daoqing Schattentheaters 2 in Huanxing. Die vorliegende Forschungsarbeit bietet Erkenntnisse, die der gesetzgebenden Instanz und der Gesellschaft nützlich sein können, die bei der Erhaltung und dem Schutz von immateriellem Kulturerbe auftretenden Herausforderungen zu meistern. Der theoretische Rahmen, die der Arbeit zugrunde liegende Methodik und die Ergebnisse der Analyse der Archive und Interviews können helfen, neue prototypische Ideen und Herangehensweisen für zukünftige Forschungsprojekte und Studien anderer Formen des Kulturerbes in China zu etablieren. 3 PREFACE The people of Huanxian can never forget the events of early spring, before the traditional Chinese New Year of 1967. Their traditional rituals were banned and temples were torn down; the way of life that they knew just came to a halt. Towards the end of 1966, as the Cultural Revolution campaign was spreading in China, the new Communist government declared that certain rituals of the Daoqing shadow theatre in Huanxian community -- including praying for rain and celebrating the deities’ birthdays in the temple -- were ideas of the feudal classes standing in the way of socialist ideas. Hence in the run-up to Chinese Lunar New Year, the government commanded the people of Huanxian to burn all shadow puppets and props and to pull down the temple buildings that hosted shadow theatre ceremonies. This controversial move by the government was insensitive to the innocent cultural expression by the custodians of and participants in these collective rituals, which had been in existence for many centuries. Some local people expressed concern over the morality and authority of a government which had such low regard for cultural expressions. As Chinese New Year approached, the people of Huanxian were not deterred and went ahead with the preparation of their rituals. On the first day of the Chinese New Year festivities, while the community was celebrating the Jade Emperor, ruler of the spirit world and the tutelary deity of the Huanxian community, Red Guards and soldiers stormed the temples and the surrounding area, to disperse the participants in the ceremonies and their audience. Protests followed, but the soldiers prevailed, and they went on to demolish the supporting pillars of the shadow theatre stage, the ancestral temple and the arrangements of religious objects. 4 As dawn broke, the Red Guards ransacked people’s homes in Huanxian, destroying and burning any evidence of “feudal products” like shadow puppets and their production tools and musical instruments. Those who resisted handing in the items were imprisoned. In the dark of night, the frightened villagers began to look for places to hide their shadow puppets and instruments, since most families had some puppets in their houses. They dug secret holes in the ground, opened wells, and tried to find the most unlikely places to hide their props, even if this was in violation of the sanctity of shadow puppets. Some shadow puppetry masters were forced to flee their homes and hide in the mountains in order to escape the brutality of the Red Guards. By early 1968, the Communist regime had successfully wiped out all the traditional shadow performances in Huanxian. Ritual ceremonies and other local activities related to Daoism and Confucianism were forcibly replaced by Beijing-style operas with revolutionary themes. The destruction of their shadow theatre was a pivotal event in a long succession of tragedies for the community in Huanxian under the new Communist power. This situation spanned the last 10 years of the Mao era (1949-1976). Two decades after the destruction of shadow theatre, and with the gradual relaxation of political control, people in Huanxian remained in fear and were cautious about giving performances. However, the situation changed dramatically at the end of the 1990s. The Communist cadres came back to the families in Huanxian, persuading the people to practice Daoqing shadow theatre and produce the shadow puppets again, with the explanation that “Daoqing shadow theatre is the intangible cultural heritage of our nation”. Painful memories and the unexpected change of circumstances created mixed feelings and confusion in the local community. My interest in and quest for knowledge about Daoqing shadow theatre began 5 in 2009 when I visited Huanxian. I was fascinated by the art of shadow theatre and people’s dedication to it; subsequently I published a book detailing the puppets of traditional Daoqing shadow theatre. After interacting with the local community, hearing and sharing their story, not only about the Maoist era but also the situation of Daoqing in the post-Mao era, I decided to undertake the study of Daoqing shadow theatre as my long-term research topic. Following up on this interest and experience, the goal of my research was to investigate the transformation of the intangible cultural heritage and the effort to safeguard it in socialist China. Daoqing shadow theatre in Huanxian is an ideal case study for this kind of research. 6 ACKNOWLEDGEMENTS Writing a thesis can be a lonely journey and a stressful process. Some might say that doing a PhD is like persevering in the darkness of a tunnel, and I would have to agree. Completing this thesis has been one of the greatest challenges in my life. Looking back on the past few years, I have felt like someone being tested by walking in a dark tunnel, going from worry and despair to picking up the courage to go forward. I have stumbled, I have fallen, but I had to keep believing that I would find the way out. Even if I seemed to be going the wrong way, I could only sigh and start again, until I saw a little
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