Name: Hu Xuezong
Gender: Male
Ethnicity: Lisu
Date of Birth: 1965
Place of Birth: Sanchahe Village, Lushui County, Nujiang Lisu Autonomous Prefecture, Yunnan Province
Hu Xuezong is a representative inheritor of the Knife Pole Festival (刀杆节) of the Lisu ethnic group.(怒江州泸水市鲁掌镇三岔河村傈僳族刀杆节项目代表性传承人 – 胡学忠)
In 1980, Hu Xuezong became a disciple of the renowned master Li Xueqiang, known far and wide for his mastery of the Knife Pole Festival’s traditional rituals of ascending Knife Mountain and descending into the Sea of Fire. Over time, Hu Xuezong has surpassed his master in skill. Ascending Knife Mountain and descending into the Sea of Fire are the core activities of the Knife Pole Festival, involving rituals such as igniting fires, wielding knives, performing acrobatics with knives, and erecting knife poles. These are essential ceremonial procedures that Hu Xuezong has mastered.
According to Lisu tradition, during the Knife Pole Festival, the first person to ascend the Knife Pole is called the “Breaker of the Knife,” a title reserved for the most skilled individual. Hu Xuezong has consistently served as the “Breaker of the Knife” in every Knife Pole Festival event. He can flawlessly perform acts such as handstands, rotations, blessings with wine, and blessings with sugar on the sharp blades of the knives. During the descent into the Sea of Fire, Hu Xuezong not only navigates and treads through the flames but also holds and carries burning charcoal in his mouth and hands. Due to his exceptional skills, he has been interviewed by various news media outlets, including China Central Television (CCTV), and has performed during major festivals such as the 6th Yunnan Provincial Folk Games and the “Bathtub Meeting” in Nujiang Prefecture.
Hu Xuezong has taken on two apprentices, breaking the tradition that Lisu women do not participate in ascending the Knife Pole. His efforts contribute significantly to the preservation and development of this folk activity.
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Zhao Guangzong – Representative Inheritor of Bai Raosanling Ceremony Project in Xizhou Town, Dali
大理州大理市喜洲镇庆洞村绕三灵项目代表性传承人 – 赵光宗
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Yang Guizhen (杨桂珍), a female of the Dai nationality, was born in 1955 in Xiama Village, Longhe Village Committee, Mosha Town, Xinping Yi and Dai Autonomous County, Yuxi City. She is the representative inheritor of the Dai Nationality Costume Project. Yang Guizhen has been passionate about embroidery since her childhood and began learning it from her parents and elder women when she was very young. At the age of 12, she started to learn the traditional Dai embroidery skills. Her exquisite embroidery works are characterized by their delicate structure and harmonious color matching. In recent years, Yang Guizhen established her own Dai costume workshop. The Dai embroidery costumes she made are very popular and have gained a certain reputation and influence locally.
Contributions to Cultural Heritage
Yang Guizhen’s works have won awards in many embroidery competitions. In 2010, she was named a provincial-level representative inheritor of the intangible cultural heritage project in Yunnan Province. She actively participates in various cultural activities and exhibitions to promote Dai embroidery skills. Yang Guizhen also actively passes on her skills to younger generations. She hopes that they will carry forward the Dai costume culture and let more people understand it.
Cultural Significance of Dai Nationality Costume
The Dai nationality costume, especially the Hua Yao Dai (花腰傣) costume, is a traditional folk art with rich cultural connotations. It is not only a symbol of the Dai people’s history and culture but also a reflection of their aesthetic taste and regional characteristics. The costume is made of self-woven and self-dyed blue cloth, decorated with colorful tassels, silver bells, silver bubbles, and silver bracelets. It is called “the art worn on the body and the history written on the body”. The Dai costume is an important part of the Dai people’s life and an important carrier of their culture.
Future Prospects
Yang Guizhen continues to work tirelessly to preserve and promote the Dai embroidery skills. She believes that with the support of the government and the efforts of the community, the Dai costume culture will continue to thrive and attract more attention from people around the world.
Yang Guizhen (杨桂珍) faces several challenges in preserving Dai embroidery culture:
1. Decline in Interest Among Younger Generations
One of the most significant challenges is the decline in interest among younger generations. In today’s digital age, where instant gratification and convenience are prioritized, the patience and dedication required to master the art of Dai embroidery are often overlooked. As a result, fewer young people are pursuing careers in traditional crafts, leading to a scarcity of skilled artisans.
2. Globalization and Mass Production
Globalization and mass production have also contributed to the decline of handmade crafts like Dai embroidery. With the proliferation of fast fashion and mass-produced goods, there is less demand for artisanal products that require time and meticulous craftsmanship. As consumer preferences shift towards affordability and convenience, the market for high-quality handmade embroidery diminishes.
3. Technological Advancements
The rapid pace of technological advancement poses a threat to traditional artisanal techniques. With the advent of automated embroidery machines and digital design software, the need for manual labor and artistic skill is diminished, further marginalizing traditional artisans.
4. Economic Pressures
Many traditional artisans, including those involved in Dai embroidery, struggle with economic pressures. The lack of financial support and limited market opportunities can make it difficult to sustain their craft. This often leads to a decline in the quality of work and a reduced ability to invest in the training of new artisans.
5. Cultural Shifts
Cultural shifts and changes in societal values can also impact the preservation of traditional crafts. The younger generation may not see the value in traditional crafts, leading to a decline in interest and participation. This can result in a loss of cultural heritage and a reduced sense of identity among local communities.
6. Lack of Public Awareness
Another challenge is the lack of public awareness and support for traditional crafts. Many people are not aware of the cultural significance and value of Dai embroidery, leading to a lack of demand and support for the craft. This can make it difficult to attract new customers and maintain a viable market for the craft.
Solutions and Mitigation Strategies
To address these challenges, several strategies can be employed:
- Education and Outreach: Conducting workshops, exhibitions, and educational programs to raise awareness and interest among younger generations.
- Government Support: Providing financial and policy support to traditional artisans, including grants, subsidies, and training programs.
- Digital Preservation: Utilizing digital technologies to document and promote traditional crafts, making them more accessible to a wider audience.
- Innovative Marketing: Developing innovative marketing strategies to create demand for traditional crafts, such as integrating them into modern products and designs.
- Community Involvement: Encouraging community involvement and participation in traditional crafts, fostering a sense of cultural identity and pride.
By addressing these challenges through a combination of education, government support, and innovative marketing, Yang Guizhen and other artisans can help ensure the continued preservation and promotion of Dai embroidery culture.
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Luo Meiying (罗美英) is a distinguished representative inheritor of the Dai Nationality Costume Project in Yaojie Town, Xinping County, Yuxi City. She has dedicated her life to preserving and promoting the traditional Dai embroidery and costume-making skills, which are an integral part of the local cultural heritage.
Challenges in Preserving Dai Embroidery Culture
Luo Meiying faces several significant challenges in her efforts to preserve Dai embroidery culture:
1. Decline in Interest Among Younger Generations
One of the primary challenges is the waning interest among younger generations in traditional crafts. In an era dominated by digital technology and fast fashion, the patience and dedication required to master Dai embroidery are often lacking. This decline in interest results in fewer young people pursuing careers in traditional crafts, leading to a potential loss of skilled artisans.
2. Economic Pressures
Traditional artisans like Luo Meiying often struggle with economic pressures. The market for handmade, traditional crafts is shrinking due to the prevalence of mass-produced goods. This makes it difficult for artisans to sustain their craft financially and invest in training the next generation.
3. Lack of Public Awareness
There is a general lack of public awareness regarding the cultural significance and value of Dai embroidery. Without widespread recognition and support, it becomes challenging to attract new customers and maintain a viable market for traditional crafts.
4. Cultural Shifts
Cultural shifts and changes in societal values also impact the preservation of traditional crafts. The younger generation may not see the value in traditional crafts, leading to a decline in interest and participation. This can result in a loss of cultural heritage and a reduced sense of identity among local communities.
Efforts to Overcome Challenges
Despite these challenges, Luo Meiying continues to work tirelessly to preserve and promote Dai embroidery culture. She actively participates in various cultural activities and exhibitions to raise awareness and interest among younger generations. Additionally, she has been involved in educational programs and workshops to teach traditional embroidery skills to aspiring artisans.
Luo Meiying’s dedication to preserving Dai embroidery culture is a testament to her commitment to maintaining the rich cultural heritage of Xinping County. Through her efforts, she hopes to inspire a new generation of artisans and ensure that the art of Dai embroidery continues to thrive.
Strategies to Increase Awareness of Dai Embroidery
1. Education and Training Programs
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School-Based Education: Introducing traditional Dai embroidery into school curricula can help cultivate interest among younger generations. This can be done through specialized courses, extracurricular activities, and workshops.
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Community Workshops: Organizing regular workshops in local communities can attract both young and old, providing hands-on experience and fostering a sense of cultural pride.
2. Cultural Festivals and Exhibitions
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Festivals: Hosting cultural festivals that feature Dai embroidery can attract a wide audience. These events can include live demonstrations, exhibitions, and sales of traditional embroidery products.
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Exhibitions: Setting up exhibitions in museums, cultural centers, and other public spaces can showcase the history and techniques of Dai embroidery, educating the public about its cultural significance.
3. Media and Digital Platforms
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Social Media Campaigns: Utilizing social media platforms to share stories, videos, and images of Dai embroidery can reach a broader audience. Highlighting the work of local artisans and the cultural significance of their craft can spark interest and support.
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Online Tutorials and Courses: Offering online tutorials and courses can make learning Dai embroidery accessible to people who may not have the opportunity to attend in-person workshops.
4. Collaboration with Local Businesses and NGOs
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Partnerships: Partnering with local businesses, NGOs, and cultural organizations can provide additional resources and support for promoting Dai embroidery. These collaborations can lead to joint projects, funding opportunities, and increased visibility.
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Support Programs: Establishing support programs that provide financial assistance, training, and market access to artisans can help sustain the craft and encourage its development.
5. Government Support and Policy Initiatives
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Policy Development: Governments can play a crucial role by developing policies that support the preservation and promotion of traditional crafts. This can include funding for training programs, tax incentives for artisans, and support for cultural events.
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Public Awareness Campaigns: Launching public awareness campaigns through government channels can highlight the importance of traditional crafts and encourage public participation.
6. Incorporating Modern Design and Marketing
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Innovative Design: Combining traditional Dai embroidery techniques with modern design can create products that appeal to contemporary tastes while preserving cultural heritage.
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Marketing Strategies: Developing effective marketing strategies to promote Dai embroidery products can increase their marketability and reach a wider consumer base.
7. International Exposure
- Cultural Exchange Programs: Participating in international cultural exchange programs can showcase Dai embroidery on a global stage, attracting international interest and support.
- Export Opportunities: Exploring export opportunities for Dai embroidery products can not only provide economic benefits but also increase global awareness of this traditional craft.
By implementing these strategies, we can effectively raise public awareness about the importance of Dai embroidery, ensuring its continued survival and appreciation in the modern world.
For Chinese version please go to:
http://www.ynich.cn/view-ml-13111-3169.html
A Yunv – Representative Inheritor of Bulang Ethnic Costume-making Skill Project in Shidian County, Baoshan
保山市施甸县木老乡布朗族服饰项目代表性传承人 – 阿玉女
http://www.ynich.cn/view-ml-13111-3161.html
Cao Xianmei – Representative Inheritor of Deang Ethnic Costume-making Skill Project in Zhenkang County, Lincang
临沧市镇康县南伞镇德昂族服饰项目代表性传承人 – 曹仙梅
http://www.ynich.cn/view-ml-13111-3162.html
Yu Zhaodi – Representative Inheritor of Lisu Ethnic Costume-making Skill Project in Longling County, Baoshan
保山市龙陵县平达乡傈僳族服饰项目代表性传承人 – 余照娣
http://www.ynich.cn/view-ml-13111-3163.html
Pu Yuzhen – Representative Inheritor of Yi Ethnic Costume-making Skill Project in Wuding County, Chuxiong
楚雄州武定县猫街镇彝族服饰项目代表性传承人 – 普玉珍
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Shen Jie – Representative Inheritor of Hani Ethnic Costume-making Skill Project in Gasa Town, Jinghong
西双版纳州景洪市嘎洒镇哈尼族服饰项目代表性传承人- 申杰
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Li Heniu – Representative Inheritor of Hani Ethnic Costume-making Skill Project in Honghe County, Honghe
Li Heniu is recognized as a representative inheritor of the Hani ethnic costume project in Yangjie Village, Honghe County, Honghe Prefecture, Yunnan Province. He plays a vital role in preserving the traditional methods and aesthetic features of Hani clothing, ensuring that the cultural identity and artistic heritage of the Hani people are maintained and passed on to future generations.
Key Aspects and Cultural Significance
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Preservation of Tradition:
Li Heniu safeguards the unique techniques and intricate designs characteristic of Hani ethnic costumes. His work involves traditional embroidery, fabric dyeing, and tailoring practices that have been refined over generations, embodying the spirit and history of the Hani community. -
Cultural Innovation:
While firmly rooted in tradition, Li Heniu also explores creative adaptations that resonate with contemporary audiences. His efforts help bridge the gap between historical practices and modern cultural expressions, ensuring the relevance of Hani costumes in today’s society. -
Community Impact:
As a key figure in the Hani costume project, Li Heniu not only contributes to cultural preservation but also inspires local youth and artisans. His work promotes cultural tourism and education, drawing attention to the rich heritage of the Hani people and fostering pride within the community.
Li Heniu’s dedication to the craft of Hani costume making makes him an indispensable cultural ambassador for the Hani ethnic group. Through his skillful artistry and commitment to preserving traditional techniques, he continues to play an essential role in maintaining the cultural legacy of Yangjie Village and the broader Hani community in Honghe Prefecture.
http://www.ynich.cn/view-ml-13111-3167.html
Zhang Yueqiu – Representative Inheritor of Jianchuan Wood-carving Project in Jianchuan County, Dali
大理州剑川县甸南镇剑川木雕技艺项目代表性传承人 – 张月秋
http://www.ynich.cn/view-ml-13111-3157.html
The news was updated on June 3, 2019.
The 5th International Lacquerware Exhibition (Yunnan province, China) opened on May 29 in Kunming. It is jointly held by Yunnan Provincial Museum and Tianxue Lacquerware Art Academy of Yunnan.
Themed “coming from Hemudu,” the exhibition sees 100 lacquer art pieces from China, the US, the UK, France, Japan and Korea on display this year. The event will last until June 9, with free admission for Kunming citizens.
A number of “fusion lacquer artworks” hybridized with wood, cloth, porcelain, clay, feather, metal or even glass have come into sight. Most of them are made by artists with international fame, including the combing Dai girl by Qiao Shiguang, wishing boat by Onishi Nagatoshi, and the tray by Kim Sungsoo.
The exhibition calls for the use of natural lacquer material, as a means to promote the ideas of green life, health, and environmental protection.
Those lacquer artists from Japan, Korea, France and the US will arrive in Kunming on June 9 to attend a symposium, which covers topics such as the application of green lacquer material, fashion and lacquer, lacquer in modern art, and so forth.
The lacquer arts in Yunnan province, marked by some distinctive features, can be traced back to the Qin Dynasty (221-206 BC).
A group of lacquer works made by the Yi minority people hundreds of years ago are now collected by the Palace Museum of the Forbidden City in Beijing.
“Yunnan’s lacquer and textile craftsmanship are the best in China,” according to Shen Defu, a writer of the Ming Dynasty who lived about 400 years ago. Lacquer artisans also held a special position in the history of Yunnan.
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Hu Xuezhong – Representative Inheritor of Yi Knifeladder-Climbing Festival Project in Luzhang Town, Lushui
Name: Hu Xuezong Gender: Male Ethnicity: Lisu Date of Birth: 1965 Place of Birth: Sanchahe Village, Lushui County, Nujiang Lisu Autonomous Prefecture, Yunnan Province Hu Xuezong is a representative...
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Luo Meiying (罗美英) is a distinguished representative inheritor of the Dai Nationality Costume Project in Yaojie Town, Xinping County, Yuxi City. She has dedicated her life to preserving and...
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Int’l lacquer exhibition held in Kunming
The news was updated on June 3, 2019. The 5th International Lacquerware Exhibition (Yunnan province, China) opened on May 29 in Kunming. It is jointly held by Yunnan Provincial...
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