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| − | ==Final Paper==
| + | #REDIRECT [[Main_Page]] |
| − | | + | ==期末论文== |
| − | ==Quanzhou Zanhua-- Hairpin Flower Adornment==
| + | ===Korean Janggu Dance=== |
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| − | ==Contents==
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| − | 1.1Quanzhou Zanhua
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| − | 1.1.1Introduction
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| − | 1.1.2Historical Origin
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| − | 1.1.3Production Process
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| − | 1.1.4Cultural Significance
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| − | 1.1.5Social Function
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| − | 1.1.6Intangible Cultural Heritage Protection
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| − | 1.2Reference
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| − | 1.3Terms
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| − | 1.4Questions
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| − | 1.5Answers
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| − | | |
| − | ====Introduction====
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| − | The hairpin flower adornment originated from Xianpu Village, Fengze District, Quanzhou City, Fujian Province, and belongs to China's intangible cultural heritage. As an important part of Quanzhou's folk costume culture, the custom of hairpin flowers in Xunpu showcases a quaint charm with its unique hairpin flower headdress and wide sleeved shirt, while carrying ocean memories and folk traditions. Hairpin flower headdress with rich layers of decoration, known as the "walking garden", in terms of form exhibiting unique regional characteristics and cultural connotations in decorative arts. As a unique component of cultural heritage, the hairpin style of the women of Xunpu exudes a unique charm and profound historical atmosphere, embodying local customs, historical memories, and cultural genes.
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| − | In 2008, the women's customs of Xunpu, represented by "Zanhua Wei", were included in the second batch of national intangible cultural heritage list, and their cultural value has been widely recognized by the government and society. This is not only a decorative custom, but also a vivid embodiment of Quanzhou's historical and cultural heritage. Through in-depth exploration, protection, and rational development, this ancient culture will be revitalized and shine with new brilliance in the new era, further enriching people's spiritual world, promoting the development of related industries such as culture and tourism, and contributing to the prosperity of local culture and economic growth.
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| − | ====Historical Origin====
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| − | Quanzhou Hairpin Flowers, one of the traditional and ancient head ornaments of the Chinese nation, originated in the Han Dynasty, flourished in the Tang Dynasty, and evolved during the Song Dynasty. The Tang Dynasty painting Court Ladies Adorning Their Hair with Flowers vividly captures the graceful posture of women adorned in splendid attire with flower hairpins. Within the clothing culture of Xunpu, the custom of wearing flower hairpins is distinctive, carrying unique cultural significance. Legend has it that as early as the Han Dynasty, people used fresh flowers, gold and silver, and silk to craft artificial blooms for hair decoration, serving both aesthetic and ceremonial purposes. The custom of flower hairpins among Xunpu women is rich in legend. One tale tells of a Xunpu woman, originally a palace beauty, who was bestowed with a flower hairpin by the emperor, passing down the tradition through generations and adding an aura of mystery and nobility. Another account links the practice to local maritime culture, where male fishermen presented flower hairpins to women as tokens of respect and blessing. Initially, hairpins were often meticulously crafted from materials like seashells and coral. Over time, the designs blended fresh and dried flowers, as well as single blossoms and garlands, with jasmine and other flowers being the most common. The style could also change with the seasons and personal preference. Moreover, flower hairpins serve as essential adornments in Xunpu attire, harmoniously integrating with local garments. They not only highlight the unique charm of Xunpu women but also showcase the distinctive clothing culture of the region.
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| − | ====Production Process==== | |
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| − | The main steps of the hairpin and flower enclosure technique in the women's custom of Xunpu include material preparation, hair styling, decoration, and shaping.
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| − | The hair styling tools include a comb, a moderately long red string, a bone comb, etc. If necessary, a wig can be prepared. Decorative components include flower strings, border flowers, small combs, tortoiseshell combs, hairpin needles, golden spear needles, golden flowers, golden swords, etc. It is advisable to choose different flower species for flower skewers, with a quantity of 1 to 5 skewers; Edge flowers can be selected and matched as needed, with a minimum quantity of 1 flower.
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| − | First, comb your hair straight, including all the bangs, back to keep your forehead smooth and neat. Starting from the earlobe as the distribution line, use a bone comb to divide your hair into front and back parts. First, comb the back of the hair straight and tie a half height ponytail with a red string; Sort out the front part of the hair, use a bone brace to support and fix the front part of the hair, then merge the front part of the hair into the back part of the hair. Tie the front and back parts of the hair together with a reserved red rope to form the same ponytail, and let the remaining red rope hang naturally on the top of the head. Twist the long ponytail into a slender rope shape, and then spiral the rope shaped ponytail around the hand in a loop by loop manner. The hair loop naturally starts from big to small, and then around the base of the ponytail, the hair loop is twisted into a flat spiral circular bun from small to big, from inside to outside, and then pulled out to fix the bun. A small section of hair at the end of the remaining ponytail is twisted and wrapped around the remaining red string, fixed and wrapped around the base of the ponytail, hidden between the flower clusters or between the flower clusters and the hair bun. Edge flowers are inserted to increase the layering and richness of the headwear, completing the edge flower wearing. The selection of color, shape, and quantity of border flowers should be coordinated with the flower clusters and form a harmonious aesthetic with them. It is advisable to choose edge flowers with bright colors and diverse shapes to reflect the overall colorful and rich floral decoration. Wear a tortoiseshell comb on the front side of the bun, and insert the pin hairpin of the tortoiseshell comb into the center of the bun to assist in fixing, so that the tortoiseshell comb and the overall hairpin flower blend together and complement each other. Insert hairpin needles at the top or side of the bun; Other gold jewelry such as gold flowers and swords can be worn as needed.
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| − | ====Cultural Significance==== | |
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| − | The crab hairpin flower is a distinctive part of the local clothing culture, with different flowers containing unique meanings. For example, peonies symbolize wealth and prosperity, plum blossoms symbolize proud and cool breeze, orchids showcase freshness, chrysanthemums represent integrity and perseverance, and wearers can use this to express their emotions and pursue a spirit of good quality. Hairpin flowers themselves are also auspicious symbols, symbolizing happiness and beauty, and are used as objects of prayer and celebration, wishing for good luck to come.
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| − | In addition, the hairpin flower, as a symbol of love and blessing, witnesses the happy and fulfilling marriage of the crab maiden. In the traditional wedding customs of the crab maiden, on the day of the wedding, the bride is dressed in traditional clothing such as a blue shirt and wide pants, and wears a beautiful flower wreath on her head. The hairpin flowers complement the clothing, showing off her beauty. This custom not only continues traditional marriage customs, but also represents the inheritance and display of crab culture, carrying people's expectations for a better life. Hairpins and flowers have multiple meanings in ancient times, serving as a symbol of status among the nobility, and jade jewelry hairpins and flowers further demonstrate status. In Crab Village, hairpin flowers have become a symbol of women's diligence, resilience, and beauty. The crab girl showcases her unique charm with hairpin flowers, winning social recognition. The symbolic significance of hairpin flowers varies in different contexts. In the Song Dynasty, hairpin flowers also had the function of distinguishing official ranks, with different colors, flowers, hairpin techniques, and material colors corresponding to different official ranks. Although the silk hairpin flower does not have the function of distinguishing official ranks like the Song Dynasty silk hairpin flower, it reflects the unique cultural connotation of silk hairpin women. Paired with the traditional clothing of silk hairpin women, silk hairpin flowers have become an indispensable part of silk hairpin clothing culture, showcasing the unique charm and value of silk hairpin women.
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| − | The hairpin flower, as a hairstyle, is an important element of the crab's clothing culture. The hairpin flower displays the elegant taste and vitality of the crab maiden from the very beginning | + | ◦ ====Origin and Development==== |
| − | With a lively atmosphere, the crab shaped woman carefully selects and matches the fresh and fake flowers on the hairpin, pursuing perfection in both color and shape. It is also a carrier for women to showcase their softness and beauty. In Crab Village, girls grow long hair from a young age. From the age of eleven or twelve, they carefully tuck their hair behind their heads and stuff it with fresh or fake flowers, forming a "thick toed" hairstyle. This hairstyle is beautiful and elegant, carrying the unique understanding and pursuit of beauty by the crab girl. The hairpin flower and traditional clothing such as the blue cloth shirt and wide pants of the crayfish women complement each other, jointly shaping the unique image of the crayfish women. Hairpin flower is not only a hairstyle, but also reflects the persistent pursuit of beauty by the women of the crab shaped dress, showcasing the charm of the crab shaped dress culture.
| + | The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) |
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| − | At the level of maritime beliefs, wearing flowers on the head has also become a cultural symbol for coastal ethnic groups. On the occasion of the birthday of Mazu, the sea god, on the 29th day of the first lunar month every year, a folk celebration called "Tianxiang" is widely held along the coast of Fujian Province. The custom of worshiping gods with flowers is quite influential in the Quanzhou area. Among them, the tradition of the women's hairpin flower parade in Xunpu continues to this day. This ceremony not only expresses reverence for the marine gods, but also strengthens the spiritual identity of coastal ethnic groups towards marine civilization through collective cultural practices, forming a unique landscape where nature worship and regional culture are intertwined.
| + | ◦ ====Introduction==== |
| | + | The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance) |
| | + | It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) |
| | + | During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance) |
| | + | In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance) |
| | + | The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) |
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| − | ====Social Function==== | + | ◦ ====Dance Characteristics==== |
| | + | Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays. |
| | + | Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps. |
| | + | Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) |
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| − | 1. Practical functions
| + | ◦ ====Cultural Value==== |
| − | The shape and structure of the hairpin flower enclosure are deeply in line with the geographical environment and production and living needs of Xunpu Village. In the early days, many men in Xunpu relied on going out to sea for a living. Diligent women in Xunpu not only took on household chores, but also had to go to the beach to harvest oysters. Due to the strong wind and sand in the natural environment by the seaside, and the frequent need for them to lower their heads to pick oysters, bend down to cast nets and fish, the women of Xunpu chose the habit of not leaving bangs and coiling their long hair around their heads. The hairpin flower enclosure is fixed to the bun structure with multiple hairpin hairpins, which has strong stability and can effectively help fishermen resist the invasion of sea breeze during work. It can also prevent hair from being soaked in seawater or tangled in fishing nets, fully reflecting the organic unity of practical function and regional culture.
| + | From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance) |
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| − | 2. Aesthetic function
| + | ◦ ====Inheritance and Protection==== |
| − | The women of Xunpu have a special love for flowers, and they consider them as important decorative elements. The hairpin materials mainly include two types: "raw flowers" and "ripe flowers": the former specifically refers to various natural flowers that bloom in season; The latter is decorative silk flower, commonly known as "plastic flower". They decorate the spiral bun with layers of flower garlands, fresh flowers, and silk flowers, and wear 1-2 strings of flower garlands on ordinary days. During festivals or festive occasions (such as Mazu's birthday), women in Xunpu Village usually spend several hours carefully decorating their hairstyle wearing 5 to 7 different colored flower garlands, and dressed in formal attire to express celebration and joy. In addition to flowers, she often wears various exquisite hair and inserting comb. The women of Xunpu create a colorful "miniature garden" with their unique aesthetic pursuit by decorating their heads. The dazzling flowers seem to be the finishing touch of their life, overshadowing the trivialities of daily work.
| + | Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance. |
| | + | Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) |
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| − | ====Intangible Cultural Heritage Protection==== | + | ===References=== |
| | + | ▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance. |
| | + | ▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance. |
| | + | ▪ China National Cultural Resource Network, Janggu Dance. |
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| − | Since the inclusion of the "Crab Pond Women's Customs" in the national intangible cultural heritage representative project list in 2008, with the dual promotion of the integration of "intangible cultural heritage" culture and tourism and the star effect, Zanhuawei has quickly become popular and developed a series of photo and makeup industries. From the perspective of semiotics, cultural consumption is a social and cultural activity that uses various symbols to showcase individual personalities, express self-worth judgments, and disseminate symbolic value cognition, achieving group symbolic value recognition. Moreover, "symbol" and "object" are closely related and inseparable, and non-material cultural products often require objects as carriers of symbols and visual forms of meaning. In this sense, the hairpin flower enclosure has gradually broken through the limitations of geographical and cultural circles, and its symbolic meaning and dissemination path have undergone significant reconstruction, transforming from a cultural identity within the community to a widely influential visual consumption symbol.
| + | ===Words and Expressions=== |
| − | | + | 朝鲜族长鼓Korean Janggu / Korean Hourglass Drum |
| − | In January 2024, the official Weibo account of UNESCO gave a thumbs up to Quanzhou Zanhua. On April 19th, "Quanzhou Sturgeon Pond: Head Garden Intangible Cultural Heritage Experience" was selected as one of the "Top 10 Innovative Cases of Intangible Cultural Heritage Tourism Experience in 2024" released by the China Tourism Research Institute. The unexpected popularity of Quanzhou hairpin flowers has brought the national intangible cultural heritage "Crab Pu Women's Customs", which is not well-known to outsiders, into the public eye. More and more tourists are experiencing the cultural spirit of "Crab Pu Women's Customs" and its aesthetic charm through Quanzhou police flower intangible cultural heritage tourism. This article attempts to analyze the stage construction of Quanzhou hairpin flower intangible cultural heritage tourism experience from the perspective of tourist experience (expected experience, on-site experience, reminiscence experience), sort out the innovative ideas of Quanzhou police flower intangible cultural heritage tourism in shaping tourist experience, and then explore the implementation path of innovative development of intangible cultural heritage tourism experience, providing useful reference for the development and operation of intangible cultural heritage tourism products.
| + | 独舞 solo dance |
| − | | + | 双人舞 duet dance |
| − | Realizing that beauty is the ultimate password for sustained profitability in cultural tourism, from pursuing beauty to creating beauty, we have formed an innovative ecological chain for intangible cultural heritage tourism experience, which runs through the three stages of tourists' expected experience, on-site experience, and reminiscence experience. One is to promote experiential design through the pursuit of beauty. Conduct research on the aesthetic needs and motivations of tourists participating in intangible cultural heritage experiences, guide the design of aesthetic carriers such as intangible cultural heritage products, activities, and scenes, create aesthetic objects, and stimulate tourists' interest in participating in experiences. The second is to promote the excavation of intangible cultural heritage through "creating beauty". Encourage tourists to participate in the creation of beauty during the process of experiencing it, explore the connotation of intangible cultural heritage together with tourists, integrate intangible cultural heritage elements into modern life, and create new forms of intangible cultural heritage experience. The third is to achieve the inheritance and protection of intangible cultural heritage through "sharing beauty". Make good use of online media and social platforms to stimulate tourists' potential willingness to "share beauty", understand tourists' experience, feelings, and evaluations, explore new directions for innovation in intangible cultural heritage experience through interactive communication with customers, promote tourists' understanding of the value of intangible cultural heritage through feedback and flexible positive guidance, and stimulate the initiative of the whole society to inherit and protect intangible cultural heritage.
| + | 群舞 group dance |
| − | | + | 对打起舞 dual-play dance with drum beats |
| − | ===Reference===
| + | 扭、弹、矮、稳 twisting, springing, squatting, steadying |
| − | | + | 闪转旋跃 dodging, turning, spinning and leaping |
| − | 1.Lin, Q., & Li, Y. (2025). 福建泉州蟳埔村簪花围头饰形制与装饰艺术特征研究 [A study on the form and decorative artistic characteristics of the Zanhua headdress in Xunpu Village, Quanzhou, Fujian]. 美与时代(上)[Beauty & Times], (09), 148–151. <https://doi.org/10.16129/j.cnki.mysds.2025.09.034>
| + | 鹊雀步 magpie step |
| − | 2.Song, S., Lü, Y., & Chen, F. (2025). 蟳埔簪花图案的内涵与创新运用研究 [A study on the connotation and innovative application of Xunpu Zanhua patterns]. 西部皮革[West Leather], 47(13), 136–139. <https://doi.org/10.20143/j.1671-1602.2025.13.136>
| + | 垫步 shuffle step |
| − | 3.Yan, R. (2025). 作为视觉符号的簪花围：拍照体验中的民俗主义与意义再建构 [The Zanhua headdress as a visual symbol: Folklorism and meaning reconstruction in the photo-taking experience]. 粤海风[Yuehai Style], (05), 30–37. <https://doi.org/10.16591/j.cnki.44-1332/i.2025.05.010>
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| − | ===Terms===
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| − | 1.Hairpin flower adornment 簪花
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| − | 2.Xunpu lady 蟳埔女
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| − | 3.Bone marrow 骨笄
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| − | 4.Mazu 妈祖
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| − | 5.“thick toed” hairstyle “粗脚头”发式
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| − | 6.Court Ladies Adorning Their Hair with Flowers 《簪花仕女图》
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| − | 7.hair bun 发髻
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| − | 8.official rank 官阶
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| − | 9.Bun 圆髻
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| | ===Questions=== | | ===Questions=== |
| − | | + | 1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance? |
| − | 1. As a national intangible cultural heritage, how do the form and decoration of the Zanhua Wei headdress reflect the maritime cultural characteristics of the Xunpu region in Quanzhou? | + | 2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China? |
| − | 2. Historically, how did the Xunpu Zanhua custom integrate traditions from the Han culture of the Central Plains with indigenous Min-Yue culture, ultimately forming its unique appearance? | + | 3.What are the two categories of performance styles of the Korean Janggu Dance? |
| − | 3. Briefly describe the technical essentials and cultural significance of the two core steps—“hair coiling” and “decoration”—in the crafting process of the floral hairpin headdress. | + | 4.Who was the first-generation inheritor of the Korean Janggu Dance skills? |
| − | 4. What social functions and cultural symbolic meanings beyond aesthetics does the floral hairpin bear in the social life of women in Xunpu? | + | 5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance? |
| − | 5. As contemporary “flower-adorned headdresses” transition from community cultural symbols to mass tourism consumption icons, what core issues concerning intangible cultural heritage (ICH) preservation and development does this process involve? | |
| − | 6. From the perspective of “innovative ICH tourism experiences”, what replicable pathways does the successful practice of Quanzhou flower-adorned headdresses offer?
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| | ===Answers=== | | ===Answers=== |
| | + | 1.Originated from the narrow-waisted drum of India. |
| | + | 2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. |
| | + | 3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements. |
| | + | 4.Jin Douchang. |
| | + | 5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County. |
| | + | ===朝鲜族长鼓舞=== |
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| − | 1.The design and ornamentation of the flower-adorned headdress profoundly reflect the survival environment and cultural adaptation of Quanzhou's Xunpu Village, where the sea serves as their field. In form, the core practice involves combing all long hair backward into a flat, round bun secured tightly. This not only facilitates coastal labor by preventing hair from being tangled by sea winds or caught in fishing nets, but also adapts to the windy, sandy maritime climate through the absence of bangs and a clean forehead—a manifestation of practical rationality. In terms of ornamentation, both materials and symbolism are intrinsically linked to the sea: early floral hairpins were often crafted directly from polished marine products like seashells and coral, establishing a distinctive aesthetic rooted in oceanic materials. Its spiritual core is deeply intertwined with maritime folk beliefs such as Mazu worship. For instance, during significant celebrations like the “Birthday of Mazu”, the floral hairpin headdress is essential attire for divine offerings and processions. Thus, the floral hairpin headdress transcends mere aesthetic ornamentation, embodying as a material carrier the “local knowledge” that synthesizes productive function, ecological adaptation, and maritime faith.
| + | ◦ ====朝鲜族长鼓舞的起源发展==== |
| − | 2. The origins of the flower-pinning custom in Xunpu trace back to the ancient ritual of adorning hair with flowers in Han Chinese culture. The practice of decorating hair with fresh flowers, gold, silver, and silk emerged during the Han Dynasty, reaching its peak during the Tang and Song periods, as vividly depicted in the “Ladies Adorning Their Hair with Flowers” painting. This tradition migrated southward to Fujian with the relocation of Central Plains gentry. In Quanzhou's Xunpu region, the custom underwent profound fusion with the indigenous marine culture of the Minyue people and the multicultural influences brought by Quanzhou's maritime trade during the Song and Yuan dynasties. This integration manifested as follows: while in form, it absorbed the ancient Minyue tradition of “shell ornamentation”, developing distinctive shell-carved hairpins and hair combs. Combined with exotic flowers (such as jasmine and gardenia) and aesthetic elements introduced via the Maritime Silk Road, this evolved into a complex and dazzling visual system symbolized by the “flower-adorned headdress”. Thus, it represents the long-term interaction within a specific geographical space of three cultural strands: the ritual customs of Central Plains agrarian civilization, the maritime tribal culture of Minyue, and the urban fashions of overseas trading cities.
| + | 长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） |
| − | 3. Hair-Styling Technique: Centered on bone hairpins for sectioning, red cord binding, and spiral coiling. The technical essence lies in using bone hairpins as a supporting framework. Through spiral coiling and red cord fixation, a stable, flat, and full circular base is formed. This base (the bun) is called the “coarse foot head”. Its sturdiness ensured practicality for labor in maritime environments, while its circular shape embodied traditional cultural concepts of “perfection” and “harmony”.
| + | ◦ ====介绍==== |
| − | Decorative Artistry: Follows a layered logic of “base-body-accent”. First, floral garlands encircle the bun to create a full foundation, with quantity (1-2 garlands for daily wear, 5-7 for celebrations) distinguishing routine from festive occasions. Second, a tortoiseshell comb secures the bun while serving as ornamentation. Derived from the sea, tortoiseshell symbolizes status and auspiciousness. Finally, three-dimensional accents like floral hairpins, hairpins, and gold-tipped pins create a “cluster of brocade” effect through contrasting colors and staggered shapes. This entire adornment process transforms the head into a “mobile garden”, embodying the aesthetic concept of “unity between heaven and humanity”—a microcosmic simulation of the relationship between humans and nature.
| + | 朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》） |
| − | 4. Age and Life Stage Markers: Girls begin styling their hair with floral pins around age 11 or 12, marking their entry into adolescence. Floral pins worn during weddings are particularly elaborate, forming a central element of marriage rituals. | + | 它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） |
| − | Social Identity and Virtue Symbol: The flower-adorned headdress serves as an ethnic identifier for the “Xunpu women”, symbolizing female diligence, resilience, and domestic competence. Its intricate yet orderly design visually embodies the community's expectation of women cultivating both inner and outer virtues.
| + | 宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》） |
| − | Vessel for Emotions and Spirituality: The choice of flowers conveys personal sentiments (such as love wishes), while collective flower-pinning activities (like Mazu processions) reinforce community identity and maritime faith.
| + | 明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》） |
| − | 5. Local communities (especially middle-aged and elderly women) serve as cultural custodians—from skill demonstrators and hairstylists to folklore interpreters. Confirming their central role and ensuring fair returns from tourism revenue are key to sustainable preservation. For tourists, the significance of hairpin-adorned headdresses has shifted from representing “the lifestyle of women in the coastal villages” to becoming a “classical aesthetic experience” and a “photo prop”. The deeper connotations it carries—such as maritime history and communal memory—may be diluted in superficial consumption. Effectively conveying its cultural depth through tourism experience design presents a major challenge. The tourism boom attracts younger generations to return home and engage in related industries, bringing new inheritors and dissemination methods to intangible cultural heritage. However, this may also make the motivation for inheritance more economically driven.
| + | 它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） |
| − | 6. Precisely addressing tourists’ dual demands for “visual spectacles” and “cultural immersion” in the social media era, the flower headdress has been reimagined as a “wearable cultural symbol” blending Eastern aesthetic charm with high interactivity. Leveraging celebrity influence and aestheticized dissemination through platforms like Xiaohongshu and Douyin, it has successfully ignited tourists' desire for photo opportunities and aesthetic aspirations.
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| − | ==期末论文== | + | ◦ ==== 舞蹈特色==== |
| | + | 表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。 |
| | + | 动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。 |
| | + | 音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） |
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| − | ==泉州簪花== | + | ◦ ====舞蹈特色==== |
| | + | 从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞） |
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| − | ==目录== | + | ◦ ====传承与保护==== |
| − | | + | 传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。 |
| − | 1.1泉州簪花
| + | 保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） |
| − | 1.1.1引言
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| − | 1.1.2历史渊源
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| − | 1.1.3制作工艺
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| − | 1.1.4文化意义
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| − | 1.1.5社会功能
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| − | 1.1.6非遗保护
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| − | 1.2参考文献
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| − | 1.3术语
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| − | 1.4问题
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| − | 1.5答案
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| − | ====引言====
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| − | 簪花围头饰发源于福建省泉州市丰泽区蟳埔村，属于我国非物质文化遗产。作为泉州民俗服饰文化的重要组成部分，蟳埔簪花习俗以其独特的簪花头饰与阔袖上衣展现出古朴韵味，同时承载着海洋记忆与民间传统。簪花围头饰装扮层次丰富，被誉为“行走的花园”，在形制
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| − | 与装饰艺术上展现出独特的地域特色和文化内涵。蟳埔女的簪花发式作为文化遗产的独特构成，散发着独特魅力与深厚历史气息，凝结着地方民俗、历史记忆与文化基因。
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| − | 2008年，以“簪花围”为代表的蟳埔女习俗被列入第二批国家级非物质文化遗产名录，其文化价值已获得官方与社会广泛认同。这不仅是装饰性的习俗，更是泉州历史文化的一种生动体现。对其进行深入挖掘、保护与合理开发，将使这一古老文化焕发新生机，在新时期绽放新光彩，进一步丰富人们的精神世界，推动文旅等相关产业发展，为地方文化繁荣与经济提升贡献力量。
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| − | ====历史渊源====
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| − | 簪花，作为中华民族传统而古老的头饰之一，始于汉代、兴于唐朝、发展于宋朝。唐朝的《簪花仕女图》清晰地展示了女子身着华丽服饰、头戴簪花时的优雅姿态。在蟳蜅服饰文化中，簪花习俗别具一格，承载着独特内涵。据传，汉朝时人们就会用鲜花、金银、绸绢等制成假花来装饰发髻，具美颜与礼仪之效。蟳蜅女的簪花习俗充满传奇色彩，一种说法是一位蟳蜅女原为宫中佳人，获皇帝御赐簪花，并将这种习俗代代传，增添神秘尊贵气息；另一种说法与当地海洋文化有关，即男性渔民以簪花赠与女性，表示敬仰祝福。最初簪花多采用海贝、珊瑚等材质进行匠心打造。随着时间推移，簪花融合生花与熟花、单支花卉与花串，其中以素馨、茉莉等花卉最为常见，并且可随四季与喜好变换。同时，簪花是蟳蜅服饰的重要装饰，与当地服饰完美融合，既展现了蟳蜅女独特魅力，也彰显出蟳蜅独特的服饰文化。
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| − | ====制作工艺====
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| − | 蟳埔女习俗簪花围技艺主要步骤包括材料准备、盘发、装饰、成型。
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| − | 盘发工具包括梳子、长度适中的红绳、骨笄等，必要时可准备假发。装饰部件包括花串、边花、小插梳、玳瑁梳、钗仔针、金铳针、金花、金剑等。花串宜选择不同花种，数量宜以1串～5串；边花可按需选择搭配，数量至少为1朵。
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| − | 先将头发梳理顺直，连同刘海全部往后梳，保持额头的光洁整齐，以约耳廓处为分发线起点，用骨笄将头发分为前后两部分。先将后部分头发梳理顺直，用红绳系起半高马尾；梳理前部分头发，用骨笄支撑固定住前部分头发，再将前部分头发合并至后部分头发，前后两部分头发用预留的红绳合扎成同一个马尾，剩余的红绳自然垂放于头顶中。将长马尾辫拧成一股细长绳状，再将绳状马尾一圈一圈螺旋式绕到手上，发圈自然由大及小，接着以马尾根部为中心，将发圈由小及大、由里及外，一圈圈盘按成扁平螺旋状圆形发髻，紧接着抽出骨笄固定圆髻。剩余马尾发尾一小截头发，与留存的红绳合拧缠绕、将其固定环绕于马尾根部隐藏在花串之间或花串与发髻之间的间隙中，插入边花，以增加头饰的层次感和丰富度，完成边花佩戴。边花的颜色、形状和数量的选择要与花串相协调，并与花串形成和谐美感。宜选用颜色明艳、形状各异的边花，以体现整体花饰的多彩、丰富。在发髻前侧面戴上玳瑁梳，玳瑁梳针脚簪插于发髻中心辅助固定，使玳瑁梳与整体簪花融为一体相得益彰。在发髻的顶部或侧面，插上钗仔针；金花、金剑等其他金饰可按需佩戴。
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| − | ====文化意义====
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| − | 蟳蜅簪花是当地服饰文化中极具特色的部分，不同花卉均蕴含独特寓意，如牡丹象征富贵，梅花寓意傲骨清风，兰花彰显清新，菊花代表节操与坚韧不拔，佩戴者可借此寄托情感，表达对美好品质精神的追求。簪花本身也是吉祥象征，寓意着幸福美好，被当作祈福庆祝之物，可祈愿好运降临。
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| − | 此外，簪花作为爱情的象征和祝福，见证着蟳蜅女婚姻的美满幸福。在蟳蜅女的传统婚俗里，新婚当天，新娘身着蓝布衫、宽裤等传统服饰，头戴精美花环，簪花与服饰相互映衬，尽显美丽。这种风俗不仅延续传统婚俗，更是蟳蜅文化的传承展现，承载着人们对美好生活的期许。簪花于古代兼具多重意义，在贵族中是身份象征，玉石珠宝簪花更是彰显地位。蟳蜅村中，簪花成为女性勤劳、坚韧和美丽的象征。蟳蜅女以簪花展示独特魅力，赢得社会认可。簪花的象征意义在不同情境下各有侧重，宋朝簪花还具有官阶区分功能，不同花色、花卉、簪法及材质颜色对应不同官阶。而蟳蜅簪花虽不像宋朝簪花有官阶区分功能，却体现着蟳蜅女的独特文化内涵，与蟳蜅女传统服饰相搭配，使得簪花成为蟳蜅服饰文化中不可或缺的一部分，展示着蟳蜅女的独特魅力与价值。
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| − | 簪花作为头饰，是蟳蜅服饰文化的重要元素。簪花一开始便展现出蟳蜅女的高雅品味与生
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| − | 活情调，蟳蜅女对簪花上的鲜花、假花会进行精心挑选搭配，从色彩到形状都追求完美，它同样也是女性展示柔美秀丽的载体。在蟳蜅村，女孩子从小留长发，自十一二岁起会将秀发精心盘于脑后，插满鲜花或假花，形成“粗脚头”发式。这种发式美观大方，承载着蟳蜅女对美的独特理解与追求。簪花与蟳蜅女蓝布衫、宽裤等传统服饰相得益彰，共同塑造出蟳蜅女独特的形象。簪花不仅是头饰，更体现出蟳蜅女对美的执着追求，彰显着蟳蜅服饰文化的魅力。
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| − | 在海洋信仰层面，头戴鲜花亦成为沿海族群的文化符号。每年农历正月廿九日海神妈祖寿诞之际，福建沿海广泛举行“天香”民间庆典，以鲜花敬奉神灵的习俗在泉州地区颇具影响力。其中，蟳埔女簪花巡游的传统延续至今，这一仪式不仅是对海洋神灵的敬畏表达，更通过集体性的文化实践，强化了沿海族群对海洋文明的精神认同，形成自然崇拜与地域文化交织的独特景观。
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| − | | |
| − | ====社会功能====
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| − | | |
| − | 1. 实用功能
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| − | 簪花围的形制构造深度贴合蟳埔村的地理环境及生产生活需求。早期蟳埔男性多以出海谋生为业，勤劳的蟳埔女性除承担家务劳作外，还需前往海边采收牡蛎。由于海边自然环境风沙较大，且她们需频繁进行低头捡拾牡蛎、弯腰撒网捕鱼等动作，于是蟳埔女选择了不留刘海、将长发整体盘绕于脑后的习惯。簪花围通过多根簪钗固定于发髻的结构，具备较强的稳固性，能有效帮助渔妇在劳作过程中抵御海风侵袭，又可避免头发被海水浸湿或缠绕于渔网，充分体现了实用功能与地域文化的有机统一。
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| − | | |
| − | 2. 审美功能
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| − | 蟳埔女对鲜花特别钟爱，她们将鲜花视为重要的装饰元素。其簪花素材主要包含“生花”与“熟花”两类：前者特指各类应季开放的自然花卉；后者则为装饰性绢花，俗称“塑料花”。她们将花环、鲜花与绢花围绕着螺旋髻进行层层装饰，平常日子戴上1-2串花环。在节庆或喜庆场合（如妈祖诞辰），蟳埔村女性通常会投入数小时精心妆扮头饰，要戴5到7串各种不同颜色的花环，并身着盛装，以表示欢庆和喜悦。除了鲜花外还经常佩戴各种精致的发
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| − | 簪与插梳。蟳埔女们以独特的审美追求，将头上的装饰打造成五彩斑斓的“微型花园”。绚烂的花朵仿佛成为她们生活画卷的点睛之笔，以盖过日常工作的琐碎。
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| − | | |
| − | ====非遗保护====
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| − | | |
| − | 自2008年“蟳埔女习俗”被列入国家级非物质文化遗产代表性项目名录后，在“非遗”文旅融合发展与明星效应的双重推动下，簪花围快速走红并发展出一系列写真妆造产业。从符号学的角度来看，文化消费是一种以各种符号彰显主体个性、表达自我价值判断，并且传播符号价值认知、实现群体符号价值认同的社会文化活动。并且，“符”与“物”紧密联系、不可分割，非物质形态的文化产品常常需要以物为符号的载体和视觉化的意义形式。在这个意义上，簪花围逐渐突破地域与文化圈层的限制，其符号意义与传播路径发生了显著重构，从蟳埔社区内部的文化标识转变为具有广泛影响力的视觉消费符号。
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| − | 2024年1月，联合国教科文组织官方微博发文点赞泉州簪花。4月19日，“泉州鱘埔:头上花园非遗体验”入选中国旅游研究院发布的“2024年非遗旅游体验创新十佳案例”。泉州簪花的“意外”走红，让外乡人不太熟知的国家级非遗“蟳埔女习俗”成功进入大众视野，越来越多的游客通过泉州警花非遗旅游感受“蟳埔女习俗”的文化精神，体验它的审美逸趣。本文试以游客体验的视角，通过分析泉州簪花非遗旅游体验在其历时过程（预期体验、在场体验、追忆体验）中的阶段建构，梳理泉州警花非遗旅游在塑造游客体验的创新思路，进而探析非遗旅游体验创新发展的实现路径，为非遗旅游产品的开发和运营提供有益借鉴。
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| − | 意识到美是文旅持续盈利的终极密码，从追求美到创造美，形成非遗旅游体验创新生态链，贯穿游客预期体验、在场体验及追忆体验三阶段。一是以“追求美”推动体验设计。调研游客参与非遗体验的审美需求动机，指导非遗产品、活动、场景等美的载体的设计，创造审美对象，激发游客参与体验的兴趣。二是以“创造美”推进非遗挖掘。鼓励游客在体验美的过程中参与美的创造，与游客共同深挖非遗内涵，将非遗元素融入现代生活，创造新的非遗体验形式。三是以“分享美”实现非遗传承与保护。善用网络媒体、社交平台激发游客“分享美”的潜在意愿，了解游客体验感受及评价，通过与顾客的互动交流探究非遗体验创新的新方向，通过反馈及柔性正向引导，促进游客对非遗价值的理解，激发全社会传承保护非遗的主动性。
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| − | | |
| − | ====参考文献====
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| − | | |
| − | [1]宋深江,吕亚持,陈飞峰.蟳埔簪花图案的内涵与创新运用研究[J].西部皮革,2025,47(13):136-139.DOI:10.20143/j.1671-1602.2025.13.136.
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| − | [2]林沁,李永轮.福建泉州蟳埔村簪花围头饰形制与装饰艺术特征研究[J].美与时代(上),2025,(09):148-151.DOI:10.16129/j.cnki.mysds.2025.09.034.
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| − | [3]闫睿欣.作为视觉符号的簪花围：拍照体验中的民俗主义与意义再建构[J].粤海风,2025,(05):30-37.DOI:10.16591/j.cnki.44-1332/i.2025.05.010.
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| − | [4]福建省泉州市地方标准 DB 3505/T 16—2024
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| | ===术语=== | | ===术语=== |
| − | | + | 朝鲜族长鼓Korean Janggu / Korean Hourglass Drum |
| − | 1.Hairpin flower adornment 簪花
| + | 独舞 solo dance |
| − | 2.Xunpu lady 蟳埔女
| + | 双人舞 duet dance |
| − | 3.Bone marrow 骨笄
| + | 群舞 group dance |
| − | 4.Mazu 妈祖
| + | 对打起舞 dual-play dance with drum beats |
| − | 5.“thick toed” hairstyle “粗脚头”发式
| + | 扭、弹、矮、稳 twisting, springing, squatting, steadying |
| − | 6.Court Ladies Adorning Their Hair with Flowers 《簪花仕女图》
| + | 闪转旋跃 dodging, turning, spinning and leaping |
| − | 7.hair bun 发髻
| + | 鹊雀步 magpie step |
| − | 8.official rank 官阶
| + | 垫步 shuffle step |
| − | 9.Bun 圆髻
| + | 三拍系统 triple-beat system |
| | + | 《阿里郎》 Arirang（朝鲜族经典民谣，音译） |
| | | | |
| | ===问题=== | | ===问题=== |
| − | | + | 1.朝鲜族长鼓舞的核心道具长鼓原型是什么？ |
| − | 1.簪花围作为国家级非物质文化遗产，其形制与装饰如何体现泉州蟳埔地域的海洋文化特征？ | + | 2.朝鲜族长鼓舞何时被列入国家级非遗名录？ |
| − | 2.从历史上看，蟳埔簪花习俗是如何融合中原汉文化传统与本土闽越文化，并最终形成独特样貌的？ | + | 3.朝鲜族长鼓舞的表演风格分为哪两类？ |
| − | 3.简述簪花围制作工艺中“盘发”与“装饰”两个核心步骤的技术要点与文化意涵。 | + | 4.朝鲜族长鼓舞的第一代技艺传承人是谁？ |
| − | 4.簪花在蟳埔女的社会生活中承载了哪些超越审美之外的社会功能与文化象征意义？ | + | 5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？ |
| − | 5.当代“簪花围”从社区文化标识转变为大众旅游消费符号，这一过程涉及哪些“非遗”保护与发展的核心议题？ | |
| − | 6.从“非遗旅游体验创新”的角度，泉州簪花的成功实践提供了哪些可借鉴的路径？
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| | ===答案=== | | ===答案=== |
| − | 1.簪花围的形制与装饰深刻反映了泉州蟳埔村“以海为田”的生存环境与文化适应。在形制上，其核心是将长发全部后梳，盘成扁圆发髻并牢固固定，这一方面便于海边劳作，避免头发被海风扰乱或卷入渔网，另一方面无刘海、光洁额头的处理也适应了多风沙的海洋性气候，体现了实用理性。在装饰上，其材料与意涵均与海洋紧密关联：早期簪花常采用海贝、珊瑚等海洋物产直接打磨制成，形成了独特的海洋材质美学；而其信仰内核则与妈祖崇拜等海洋民间信仰深度融合，例如在“妈祖生”等重要庆典中，簪花围是敬神与巡游的必要装束。因此，簪花围并非单纯的审美装饰，而是融合了生产功能、生态适应与海洋信仰的“地方性知识”的物化载体。 | + | 1.起源于印度的细腰鼓。 |
| − | 2.蟳埔簪花习俗的源头可追溯至中原汉文化的簪花古礼，汉代已出现以鲜花、金银、绸绢饰发的风尚，唐宋时期尤为鼎盛，《簪花仕女图》即为明证。这一传统随中原士族南迁入闽。在泉州蟳埔，这一习俗与闽越本土的海洋文化及宋元时期泉州海洋贸易带来的多元文化发生了深度交融。其表现为：在核心礼俗观念上继承了中原的“以花为饰”与礼仪美感；在具体形态上，则吸收了古闽越人“贝饰”传统，发展出独具特色的贝雕簪钗，并结合海上丝绸之路传入的异域花卉（如素馨、茉莉）与审美元素，形成了以“簪花围”为标志的、繁复灿烂的视觉体系。因此，它是中原农耕文明礼俗、闽越海洋部落文化、海外贸易城市风尚三重脉络在特定地理空间长期互动的产物。 | + | 2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。 |
| − | 3.盘发技术：以骨笄分区、红绳捆扎、螺旋盘髻为核心。其技术要点在于利用骨笄作为支撑骨架，通过螺旋盘绕与红绳固定，形成一个稳固、扁平、饱满的圆形基座。这一基座（发髻）被称为“粗脚头”，其牢固性确保了在海洋环境下劳作的实用性，其圆形则蕴含着“圆满”“和谐”的传统文化观念。 | + | 3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。 |
| − | 装饰艺术：遵循“衬底-主体-点缀”的层次逻辑。首先，以花串环绕发髻形成饱满的基底，以数量（日常1-2串，节庆5-7串）来区分日常与欢庆场景。其次，佩戴玳瑁梳，其功能兼具固定发髻与装饰，玳瑁材质本身源自海洋，是身份与吉祥的象征。最后，插戴边花、钗仔针、金铳针等进行立体点缀，追求色彩对比、形状错落的“锦簇”效果。整个装饰过程，是将头部转化为一个“移动花园”，体现了“天人合一”的审美观，即人与自然的微型生态模拟。
| + | 4.金斗昌。 |
| − | 4.年龄与生命阶段标志：女孩自十一二岁起开始盘发簪花，标志步入青春期；新婚时的簪花尤为盛大，是婚俗礼仪的核心环节。 | + | 5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。 |
| − | 社会身份与美德象征：簪花围是“蟳埔女”的族群标识，象征着女性的勤劳、坚韧与持家能力。其繁复而不失秩序的造型，视觉化了她们“内外兼修”的社群期许。
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| − | 情感与精神寄托载体：不同花卉的选择寄托个人情感（如爱情祈愿），集体性的簪花活动（如妈祖巡游）则强化了社群认同与海洋信仰。
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| − | 5.当地社区（尤其是中老年女性）作为文化持有者，从技艺展示者、盘发师到民俗讲解员，其主体角色如何确认，并在旅游收益中获得合理回报，是实现可持续保护的关键。对游客而言，簪花围的意义从“蟳埔女的生活样式”转变为“古典美学体验”和“出片神器”，其承载的海洋历史、社群记忆等深层内涵可能在浅层消费中被稀释。如何通过旅游体验设计有效传递其文化深度，是一大挑战。旅游热吸引年轻一代返乡从事相关行业，为非遗带来了新的传承人群与传播方式，但也可能使传承动机更趋经济化。 | |
| − | 6.精准把握社交媒体时代游客对“视觉奇观”与“文化沉浸”的复合需求，将簪花围塑造为兼具东方美学韵味与高互动性的“可穿戴的文化符号”，通过明星效应、社交媒体（如小红书、抖音）的美学化传播，成功激发游客的打卡预期与审美向往。
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期末论文
Korean Janggu Dance
◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
References
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.
Words and Expressions
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
Questions
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?
Answers
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
朝鲜族长鼓舞
◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）
◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
术语
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）
问题
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？
答案
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。