Intangible culture with Related Tags
The Legend of Cao Xueqin
The Cao Xueqin (Xishan) legend is a folk legend that is mainly spread in the area of Beijing's Xiangshan, Shou'an Mountain, and Jinshan, which is known as the "Little Xishan". It is based on Cao Xueqin and "Dream of the Red Chamber". It belongs to the category of "character legend". The Cao Xueqin (Xishan) legend is a collective oral creation of the people in the Xiangshan area and has been circulated for more than 200 years. The content involves Cao Xueqin's life experience, temperament, outstanding talent, as well as the prototypes of the characters in "Dream of the Red Chamber" and the creative environment. It expresses people's love for Cao Xueqin and "Dream of the Red Chamber" and reflects the influence of the writer and his works on society from one aspect. After Cao Xueqin's death, as time went by, the legend about him was further strengthened. Gradually, the local customs, mountains and rivers, historical stories and character allusions were also attached to the legend and attributed to Cao Xueqin, making Cao Xueqin, in addition to being a great writer, also have some colors of a "witty character" who is chivalrous and righteous. The legend has been constantly processed and refined in the process of oral transmission, and its color has become stronger and stronger, reflecting the people's ideological understanding, moral concepts, life attitudes, aesthetic tastes, and evaluations of various objective things in the Xishan area of Beijing, and has the characteristics of reflecting the breadth and depth of social life. The Cao Xueqin (Xishan) legend is a precious cultural heritage handed down through the collective inheritance of the people, but it is currently in an endangered state due to population mobility, the passing of the elderly, and the diversification of entertainment methods.
Shadow Play (Beijing Shadow Play)
In the early days, Beijing shadow puppetry was divided into two schools, the Eastern and Western schools. The Eastern school died out very early, and the existing Western school of shadow puppetry was formed during the Zhengde period of the Ming Dynasty. In 1842, Lu Decheng, a Manchu, inherited the Western school of Beijing shadow puppetry art and established the Beijing Xiangshun shadow puppetry troupe. Since then, the Western school of shadow puppetry has been passed down in the Lu family. Lu Fuyuan, the son of Lu Decheng, established the Fushun shadow puppetry troupe, and Lu Yaofeng, the son of Lu Fuyuan, established the Deshun shadow puppetry troupe. It has been passed down to Lu Yaofeng's son Lu Jingda for four generations, and it has lasted for more than a hundred years. Beijing shadow puppetry has a long formation period and unique expression techniques. Its performance, vocal tunes, and modeling have artistic characteristics different from those of shadow puppets in other regions. Its vocal tunes absorb the vocal tunes and tunes of northern Kunqu Opera, Peking Opera, and Quyi, and it has its own style. The performance is delicate and exaggerated. There are some unique artistic processing techniques, such as the details of the shadow figures looking in the mirror, shedding tears, and dressing up are very real. With the retirement and death of the older generation of artists, Beijing shadow puppetry has no successors. The main inheritor of Beijing Shadow Play, Beijing Shadow Play Troupe, has not had its own troupe for a long time since 1979, and lacks a fixed performance venue. It has been operating in debt for a long time, and the income of performers and staff is low, making it extremely difficult to survive. Under this situation, Beijing Shadow Play has gradually fallen into an endangered situation, lacking people to inherit it, and has gradually faded out of the audience's field of vision. It is urgent for relevant departments to formulate measures to protect it.
Single string brand song (including branch song)
Danxian Paiziqu is abbreviated as "Danxian", which is popular in Beijing, Tianjin and Northeast China. It originated in the Qianlong period of the Qing Dynasty and has a history of more than 200 years. It is a type of music developed on the basis of Beijing Chaqu and Bagua drum singing art. Danxian is the product of the fusion of Manchu and Han folk art, with a strong Beijing local characteristic. Danxian music belongs to the combination of qupai, and has preserved the style of Beijing Lianqutiqu singing since the Qing Dynasty in the long evolution. Danxian repertoires are of two types: lyrical and narrative. When performing, qupai are often selected according to the needs of content expression. Commonly used qupai include more than 60 such as [Taipingnian], [Yunsu Diao], [Qie Kuai Shu], [Nancheng Diao], etc. Its lyrics have two forms: long and short sentences and upper and lower sentences. Three-character heads, duo sentences, embedded words, and lining words are often added to the words to enhance the expressiveness. Danxian performances are diverse. One person can play and sing by himself, or one person can sing while playing the octagonal drum, and another person can play the three-string accompaniment. It can also be duet or group singing. The traditional repertoire of Danxian is very rich, mostly drawn from the vernacular novels since the Middle Ages. Fengyi Pavilion, Cuiping Mountain, Gao Laozhuang, Daiyu Burying Flowers and other works are its representative works. Chaqu was developed and evolved on the basis of Beijing dialect singing. It appeared around the Kangxi period of the Qing Dynasty and was mainly circulated in the Beijing area. The "Nishang Xupu" published in Beijing in the 60th year of Qianlong (1795) included 148 Chaqu. The lyrics of Chaqu are both elegant and vulgar, with a wide range of contents and pleasant tunes. There are three ways to perform it. Most of them are performed by one person playing the octagonal drum, or by two people playing the octagonal drum, or by a group singing. When one person sings, there can be another person playing the sanxian to accompany him. Nowadays, amateurs often sing Danxian and Chaqu in major quyi box offices in Beijing, such as "Nishang Xuyong", "Yongqing Shengping", "Golden Autumn Quyi Salon", "Old Rhyme Beijing Music", "Friends of the Qutan", and "Quyi Home". Since Danxian and Chaqu are relatively elegant and it is difficult to master their singing skills, there are fewer and fewer professional performers who can sing well, and many amateur performers who have reached a certain level of artistic ability have entered their 80s. In addition, there are few preserved scores, and many schools of music are on the verge of being lost. Danxian, Chaqu and other folk art styles with Beijing local characteristics have no successors and may disappear at any time. It is urgent for relevant parties to take practical measures to do a good job in rescue and protection.
Heritage with Related Tags
Nan Madol: Ceremonial Centre of Eastern Micronesia
Nan Madol is a chain of islands off the southeast coast of Pohnpei, consisting of more than 100 islets with walls made of basalt and coral boulders. The islets contain remains of stone palaces, temples, tombs and residential areas built between 1200 and 1500 AD. The ruins represent the ceremonial centre of the Sodler dynasty, a vibrant period of Pacific Island culture. The sheer size of the buildings, the technical sophistication and the concentration of megalithic structures attest to the complex social and religious practices of the island society of the time. The site is also on the List of World Heritage in Danger due to threats, particularly due to siltation of waterways, which has led to the rampant growth of mangroves and the destruction of existing buildings.
Humberstone and Santa Laura Saltpeter Works
The Humberstone and Santa Laura sites contain more than 200 former saltpeter plants, where workers from Chile, Peru and Bolivia lived in company towns and formed a unique Pampino community culture. This culture is reflected in their rich language, creativity, solidarity and, most importantly, in their groundbreaking struggle for social justice, which has had a profound impact on social history. Located in a remote area of the Pampas, one of the driest deserts on Earth, thousands of Pampinos lived and worked in this harsh environment for more than 60 years from 1880, processing the world's largest saltpeter deposits to produce sodium nitrate fertilizer, which transformed agricultural lands in North America, South America and Europe and brought great wealth to Chile. Due to the fragility of the buildings and the impact of recent earthquakes, the site has also been included in the List of World Heritage in Danger to help mobilize resources for its conservation.