Liujiazhai Folk Shadow Puppet Theater Club (photo by Meng Bin)
People's Daily Online, Tengchong, December 11 (Su Yingxiang and Zhou Yu) Tengchong City, Yunnan Province has been an important border guard town since ancient times. Immigrants from Jiangnan, Huguang, Sichuan and other places brought different cultural customs here, forming Tengchong's unique culture. fusion. As the epitome of the integration of folk culture, shadow puppets have always played an important role in the "first city on the edge of the edge" with rich land and beautiful water.
Development while sticking to it: shadow puppetry blends in all directions
Shadow play originated in Shaanxi in the Han Dynasty, flourished in Shanxi and Henan in the Tang Dynasty, and flourished in Hebei in the Qing Dynasty. Tengchong's shadow puppetry was passed down from Guangdong and Hunan during the Daoguang period of the Qing Dynasty. In the era when television was not popular, it was the "handmade movie" of the villagers.
Tengchong shadow puppetry not only has the shadow of Central Plains shadow puppetry, but also integrates local culture and art, combined with the culture of Southeast Asia and South Asia, making this art a bright pearl on the extreme edge.
As the only folk shadow puppet troupe in Tengchong that maintains uninterrupted performances, the Liujiazhai shadow puppet troupe is the representative of the shadow puppets in Gudong Town, Tengchong.
Liu Yongzhou is the fourth-generation inheritor of Liujiazhai shadow puppetry. Many people grew up watching his shadow puppetry. A pair of hands rolled up and down behind the curtain, interpreting the various states of the world, joys and sorrows, emperors and officials, and monsters in the Westward Journey. Liu Yongzhou became the well-deserved leader of Tengchong shadow puppetry with his "unique" shadow puppet performance.
In addition to the exquisite performance skills, Liu Yongzhou designed and produced the shadow puppet "Caizi", which has a more complete composition, more exquisite hollowing, and more delicate lines. .
Exquisite shadow puppet "Caizi" (photo by Meng Bin)
Like shadow puppetry in other places in China, Tengchong shadow puppetry has almost concentrated all Chinese plastic arts such as paper-cutting, window grilles, door paintings, arts and crafts, and sculpture, as well as traditional performing arts such as local opera, cross talk, and ventriloquist. Liu Chaokan, the sixth-generation inheritor of Liujiazhai shadow puppetry, said, "A complete shadow puppet performance requires the integration of music, art, and history, all of which are indispensable."
Staff drawing shadow puppets (Photo by Su Yingxiang)
Innovation in inheritance: art is a kind of reincarnation
From the black-and-white shadow puppets that were burned by candles at the beginning to the colorful new-style shadow puppets today, what has changed is the form, but the connotation of shadow puppets culture has not changed. Liujiazhai shadow puppetry has always maintained a simple artistic style, and has become the epitome of the collision and exchange between the culture of the Central Plains and the culture of western Yunnan.
Behind this microcosm, Liu Chaokan, the sixth-generation heir of Liujiazhai shadow puppetry born in the 90s, is trying to inherit the culture through new ideas and new elements, so that Tengchong shadow puppetry will shine.
Three generations of shadow puppet artists in Liujiazhai performing shadow puppets (photo by Meng Bin)
After graduating from university, Liu Chaokan is determined to revitalize the dwindling Liujiazhai shadow puppetry in order to restore the brilliance of the soon-to-be dry "skin" and "the feelings of generations".
At the beginning, Liu Chaokan's "shadow puppet enterprise dream" was not supported by his parents. "Later, I communicated my ideas with them and finally got the support of my family." Hope, in April 2016, Liu Chaokan established a shadow puppet company.
After several years of hard work and innovation, the young shadow puppet team headed by Liu Chaokan has also made some achievements. Among them, there are many college students majoring in art and music who are willing to join the shadow puppet family. Liu Chaokan persisted and welcomed a group of young people to follow. The previous "local movies" have gradually attracted the attention of more young audiences.
"In fact, art is a kind of reincarnation." Liu Chaokan said.
When referring to cultural inheritance and innovation, Liu Chaokan believes that in order to innovate traditional culture, one must first respect it. "It is very important to not only preserve the traditional roots, but also seek innovative development ideas."
Liu Chaokan was interviewed by People's Daily Online (photo by Zhou Yu)
In addition to the repertoire innovation, Liu Chaokan also set up an experience area in the shadow puppet hall, where visitors can experience the carving and coloring of the puppet. Relying on watching shadow puppetry, experiencing the process, and purchasing products, the operation of the shadow puppet hall has been done well, and it has become a "check-in" place for many tourists to Tengchong.
Tourists experience the shadow puppet show in the background (Photographed by Xiang Xingquan)
"Three feet of white cloth is used as a stage, and all ten fingers are used to show off humor." The inheritance of shadow play culture is inseparable from the labor and painstaking efforts of generations of shadow play artists. This persistence and innovation is writing the cultural diary of "the first city on the extreme edge".
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