傣族象脚鼓制作技艺 Elephant-foot Drum Making Craft of Dai Ethnic Minority

Historical Origin

• Origin and Development: The silver craftsmanship in Heqing County has a long history. As early as the Nanzhao period, craftsmen in Heqing began traveling from village to village to craft silver and copper utensils. According to the Heqing County Chronicles, since the Ming Dynasty, with the garrisoning of the central government in Heqing, a large number of Han and other ethnic craftsmen and advanced production techniques were introduced to Heqing and integrated with local craftsmanship, forming the unique silver craftsmanship of Heqing. Over time, this craft has continuously absorbed and borrowed features from other ethnic groups and regions, gradually developing its own distinctive style.
• Cultural Background: Heqing County is one of the main settlements of the Bai people. The Bai people have created a rich cultural heritage in their long history of production and life. Gilding craft, as part of the traditional handicraft of the Bai people, is closely connected with the folk culture, religious beliefs, and other aspects of the Bai people, reflecting their aesthetic concepts and cultural characteristics.

Craft Process

1. Material Selection: Typically, silver with a high purity is selected as the main material. Sometimes other metals, such as gold and copper, are also used to enhance the color and texture of the work.
2. Melting: The silver block is placed in a melting furnace to become liquid silver.
3. Hammering and Beating: The liquid silver is hammered to extend it into a sheet.
4. Mold Making: An initial mold is created, and the silver sheet is hammered on the initial mold to form a preliminary shape.
5. Filling the Mold: Rosin and other fillers are injected into the silver blank to facilitate subsequent processing.
6. Chiseling: Steel chisels and small hammers are used to create patterns and textures on the surface of the silver.
7. Drawing: The silver is processed into threads, which are then shaped into jewelry through techniques such as coiling, flower pinching, thread filling, and stacking.
8. Inlaying: Patterns are cast into the surface of the object, and gold and silver threads or sheets are embedded into the grooves, then polished with a polishing stone.
9. Melting: The rosin and other fillers are removed through high temperatures.
10. Combining and Welding: The patterns are assembled into complete jewelry or objects.
11. Cleaning: The silver blank is cleaned with plum vinegar, sour papaya juice, and other substances to remove impurities.
12. Polishing: The semi-finished product is immersed in detergent and brushed with a copper wire brush to make the surface shiny.
13. Gilding: A special adhesive is applied to the surface of the silver object, and gold foil is attached. The gold foil is gently hammered to ensure it adheres firmly to the silver surface, forming golden patterns or textures.

Artistic Style and Features

• Exquisite Patterns: The patterns of the gilding craft usually have a strong ethnic flavor, with common designs such as dragons and phoenixes, flowers and birds, fish and insects, and human figures, symbolizing good fortune and happiness.
• Strong Color Contrast: The contrast between gold and silver creates a striking visual effect, making the work more magnificent and noble.
• Fine Craftsmanship: The gilding craft requires extremely high skill and patience, with every detail meticulously crafted, giving the work high artistic and collection value.

Heritage and Protection

• Current Heritage Status: The silver craftsmanship of Heqing is mainly passed down in Xinhua Village, Heqing County, where there are many silver-making families who have passed down the craft from generation to generation. Currently, over 3,000 households in Heqing County are engaged in the production and sales of silverware, with about 18,000 employees, forming a complete industrial chain.
• Protection Measures: In 2014, the silver craftsmanship of Heqing was listed as a national intangible cultural heritage by the State Council, receiving better protection and传承. The local government and relevant departments have also taken a series of measures, such as establishing intangible cultural heritage inheritance bases, conducting training activities, and holding exhibitions, to promote the inheritance and development of Heqing silver craftsmanship.

Chinese Name:楚雄州元谋县彝族摔跤
English Name: Yi-style Wrestling in Yuanmou County, Chuxiong

Yi-style Wrestling was listed as Provincial Intangible Cultural Heritages in Yunnan.

Yi Wrestling, designated as a provincial-level intangible cultural heritage, is a traditional sports activity popular in Yuanmou County. It was officially recognized in September 2009 by the Yunnan Provincial People’s Government and listed in the second batch of provincial protection directories.

Introduction Yi Wrestling, known as “Ge” in the Yi language, represents the embodiment of strength and technique. It has been developed by the Yi people over an extended period of production and life. This traditional sports event is widely practiced, highly confrontational, and greatly favored by young men during festive competitions. It serves as a traditional activity for ideological exchange and emotional communication among young people from different villages. Yi Wrestling is a significant component of Yi ethnic traditional sports culture, primarily transmitted in the area of the Black Yi (Nuosu) people in the southern part of the Jinsha River in Yuanmou County.

Historical Origin The history of Yi Wrestling dates back a long time and originated as a means of resisting invasions and defending homelands. Wrestling became a form of martial arts and fitness exercise for the Yi people, characterized by unique forms. According to Yi folklore, the origin of the Torch Festival comes from a strongman in the sky who was defeated in a wrestling match on Earth. The enraged heavenly gods then sent locusts to devour crops, and people used fire to drive away the locusts. This narrative illustrates the ancient history of Yi-style wrestling. Historical records indicate that wrestling, known as “Jue Di” in ancient times, was documented in the Han Dynasty’s “Han Shu” (History of the Former Han Dynasty). The origin of this activity can be traced back to the Tang Dynasty, specifically the Tianbao era. The legends of Yi Wrestling feature heroes and legendary figures such as Alu Jure, Re Dinghaoxing, who were renowned wrestling masters. A Yi proverb states, “Guests are not entertained without wine, and joy is inseparable from wrestling,” emphasizing the importance of wrestling in Yi culture.

Basic Elements Yi Wrestling has no levels or specific costumes, and it exhibits great flexibility. Beyond being a physical contest, wrestling often serves as a means to resolve disputes between villages or settle territorial disputes. When conflicts arise, rather than resolving issues through rational discussions, both parties send wrestling representatives to compete. Wrestling matches are held at the borders between villages, and the outcome determines right from wrong. The winner is deemed correct, while the loser is considered incorrect. Wrestling becomes a way to settle disputes, and without formidable wrestling champions, reasoned arguments become irrelevant.

Key Characteristics Yi Wrestling is passed down through generations via oral and practical teachings, making it the most widespread and traditionally inherited mass sports activity among the Yi people (Nuosu). This traditional sports event embodies the Yi people’s spirit of love for their homeland, bravery in battle, and a cheerful and bold warrior ethos. It showcases the strength and wisdom of the Yi people through physical and intellectual competition.

Significance Yi Wrestling has been designated as a traditional sports event in the Chinese National Ethnic Games. Represented by the Nuosu people from Yuanmou’s Xiaoliangshan region, athletes have repeatedly won gold medals at national, provincial, and regional traditional ethnic sports competitions. This success has laid a solid foundation for promoting and preserving traditional ethnic competitive sports.

Origin

• The Manggu Dance has a long history, originating from the hunting and village defense activities of the Hani ancestors. In the ancient forests, wild beasts frequently appeared. To survive, the Hani people created leather drums from large trees with their wisdom and courage, and forged iron blocks into “mang” to scare away wild beasts and protect their homes.
• Judging from the dance movements, they are derived from field work, reflecting the ancient social life of the Hani people and the hardships of opening terraced fields.

Action Characteristics

• The Manggu Dance is a traditional folk dance performed by Hani men, using mang and drums as props. The movements are simple, rugged, and full of vitality, reflecting the Hani people’s enthusiasm for life and their love for it.
• When dancing, first, a respected elder presides over the opening ceremony of the drum. They offer wine on the mang and drum, walk around the table three times with the mang, pay respects to the four directions, and then knock three times on the mang to signal the start. Then, the dancers hold the mang and drum, beating and dancing while forming a circle, with the drummers on the outside and the mang dancers in the center. The body’s center of gravity shifts downward, the legs continuously bend and stretch, and the body moves up and down.

Inheritance Methods

• The Manggu Dance is an important part of the Hani people’s sacrifice to the village god “Angma.” Every year on the first day of the lunar new year that falls on the dragon day, in the Hani villages, the village head leads the young men to deeply worship the sacred “dragon tree,” and then holds a grand ceremony to honor the mang and drum in the village’s Manggu Dance field, starting three nights of mang drum Carnival.
• In daily life, the inheritance of the Manggu Dance mainly relies on respected elders in the village passing on their knowledge to the young, ensuring the charm of the Manggu Dance continues from generation to generation.

Protection and Inheritance Status

• In 2014, the Manggu Dance declared by Jianshui County was approved by the State Council and included in the fourth batch of national intangible cultural heritage list.
• Poyou Township National Middle School in Jianshui County has introduced the Hani Manggu Dance into the campus, specifically setting up Manggu Dance learning courses, and hiring Li Jianguang, a national intangible cultural heritage representative inheritor, as a guide, allowing more students to understand and learn this traditional dance and injecting new vitality into the inheritance of intangible cultural heritage.

Historical Origin

• Origin: The “Erzi Song” dance is a traditional dance art with Nu culture characteristics, preserved among the Bai people in Jiance Township, Yunlong County, Dali Bai Autonomous Prefecture, Yunnan Province. “Erzi Song” means “dance of the dumb” in Bai language. It originated from the Nu culture, which dates back over 3,000 years to the Shang and Zhou Dynasties. This dance was initially a ritual to drive away evil spirits and later evolved into a folk dance for exorcism, blessing, and celebration.
• Cultural Background: “Erzi Song” is deeply rooted in the Bai people’s folk culture and religious beliefs. It reflects their ancient agricultural culture, cultural psychology, and unique artistic traditions. The dance is considered a “living fossil” of dance art and is one of the few surviving examples of Bai Nu culture in Dali.

Dance Performance

• Performance Process: The “Erzi Song” performance is divided into three sections:
  • First Section: “Erzi Making a Feast”: Includes performances like “Jumping in Four Directions” and “Erzig rab Red Meat”.
  • Second Section: “Erzi Making a Wedding”: Includes performances like “Blocking the Color Door”, “Worshiping the God of Happiness”, “Spring Official Trial”, and “Naming the Dishes”.
  • Third Section: “Sending the Earth God”: Includes performances like “Worshiping the Earth God”, “Raising the Five Directions of Earth”, and “Sending the Earth God”.
• Role Division: The performance usually involves 10 people, each playing specific roles such as the old man, Erzi, Erzi’s wife, the Spring Official, the doctor, and the guide. All roles are played by men and are dressed according to their roles. For example, the Spring Official wears Ming Dynasty official clothing and paper glasses, while the old man wears local Bai clothing with a white paper beard and a cane.

Cultural Value

• Characteristics: “Erzi Song” is a primitive theatrical dance that combines dance and drama performance. It has characteristics of “primitiveness, ritualism, theatricality, and danceability”. It preserves ancient symbols of nature worship, fertility worship, and ancestor worship, reflecting the Bai people’s ancient farming culture and cultural psychology.
• Research Value: “Erzi Song” is an important resource for studying the history, ethnic relations, folk religions, and customs of the Bai people. It has high historical and ethnological research value.
• Inheritance Significance: As a precious part of the original culture in mountainous Bai areas, “Erzi Song” is an important carrier of Bai traditional farming culture, folk culture, and religious culture. It is a significant intangible cultural heritage that needs to be protected and passed down.

Heritage and Protection

• Heritage Status: In 2014, “Erzi Song” was listed as a national intangible cultural heritage by the State Council. Currently, there are only a few inheritance people who can perform “Erzi Song”, and the inheritance of this art form is facing challenges.
• Protection Measures: To protect and pass on this precious intangible cultural heritage, Yunlong County has increased publicity and protection efforts, conducted field investigations, and established project archives. In 2002, “Erzi Song” was invited to perform at the “Japan International Folk Art Festival”, bringing it to an international audience. In 2016, three protection and inheritance bases were established in Yunlong County, and a theme cultural square is being built in Jiance Township, the core area of “Erzi Song” transmission.

Representative Inheritors

• Yang Chunwen: As a representative inheritor of the national intangible cultural heritage project “Erzi Song”, Yang Chunwen has made significant contributions to the protection and传承of “Erzi Song”. Between 1998 and 2001, he led the training of local young actors and participated in international exchange activities, bringing “Erzi Song” to the world stage.

Introduction

Musical Features

Historical Origins

Musical Style

Instruments and Performance

Cultural Value

Cultural Heritage

Social Functions

Performance Experience

Performance Venues

Performance Times

Ticket Prices

楚雄州武定县发窝乡彝族民歌（酒歌） Folk Song (Toasting Song) of Yi Ethnic Minority in Wuding County, Chuxiong 

楚雄姚安县姚安坝子腔 Yao’an Baizi Qiang in Yao’an County, Chuxiong

Taige (Tonghai Gaotai): A Traditional Folk Custom in Tonghai County, Yunnan Province

Taige (抬阁), also known as Tonghai Gaotai (通海高台), is a traditional folk custom of Tonghai County in Yunnan Province, and one of China’s national intangible cultural heritage items.

Tonghai Gaotai is a preserved form of taige performance, practiced during traditional festivals in Tonghai County. During the Ming and Qing dynasties, military settlers from Guangdong and Fujian brought the performance arts of “Taige (抬阁)” and “Piaose (飘色)” to Yunnan.

According to the Gaotai Society Stele (《高台会碑》) erected on April 27, 1842 (the 22nd year of the Daoguang reign of the Qing Dynasty), the custom of welcoming Gaotai originated during the Qianlong era in the counties of Tonghai (通海) and Hexi (河西, now under the jurisdiction of Tonghai County). It began in Qijie (七街, now a town under Tonghai County) and later spread to Hexi Town (河西城), Tonghai Town (通海城), and surrounding villages.

During the Jiaqing and Daoguang reigns of the Qing Dynasty, towns such as Qijie (七街), Tonghai County Seat (通海县城), Hexi (河西县城), Sijie (四街), and Yangguang (杨广, now a town under Tonghai County) established their own Gaotai Societies (高台会), which have passed down the tradition to the present day.

The Gaotai parade is usually held annually on the 16th day of the first lunar month and is called “Welcoming the Gaotai (迎高台).” In regular years, twelve Gaotai platforms are displayed, while in leap years, there are thirteen.

One of the key challenges in crafting a Gaotai is to ensure that the structural support, known as the “muscles and bones (筋骨)”—referring to the iron rods holding up the stage—remain hidden. Achieving a natural and seamless appearance is the hallmark of skilled Gaotai artisans.

A Gaotai is essentially a mobile stage, with each platform representing a theatrical scene. Carefully selected and trained children aged four to five are dressed up to play various roles, usually drawn from traditional Chinese opera stories. The Gaotai parade is accompanied by traditional music and features other folk performances such as donkey lanterns (毛驴灯) and dragon dances (龙灯).

On May 20, 2011, Taige (Tonghai Gaotai) was officially listed in the third batch of National Intangible Cultural Heritage by the State Council of the People’s Republic of China, under project number X-87.

Historical Origins

There are various interpretations regarding the origin and development of Tonghai Gaotai.

1. The Early Qing Dynasty “Earthen Gaotai” in Tonghai

According to the Tonghai County Gazetteer, it is recorded:
“In the Hexi area, when a child was born, a wooden frame would be set up in front of the house to display the child. Later, several families gathered in temples to give thanks to the gods. When times were peaceful, lantern towers were erected at city gates for celebration, and the local community participated enthusiastically.”

This account describes the early Qing Dynasty practice in Tonghai County, where to encourage childbirth and production, families who gave birth to boys would place the child on a square table in front of their house on his first birthday. They would set up an incense altar and invite neighbors to celebrate. The boy would then be carried in a parade around the town. At the time, the county magistrate would personally offer congratulations and present a “Hundred-Family Lock” as a gesture of official goodwill.

As more families had boys, several would place their children on a single table for a group parade. Eventually, people began using curved tree branches fixed to wooden frames, with boys tied and seated on the structure, carried by four men. This became known as the “Earthen Gaotai” (土高台). It is said that this was the origin of the Tonghai Gaotai tradition.

2. The Mid-Qing Dynasty “Gaotai Societies” in Tonghai

According to the Supplement to the Hexi County Gazetteer,
“Gaotai in Hexi began in the early Ming Dynasty and flourished in the early and late Qing Dynasty.”

Tonghai Gaotai likely originated from the Jiangnan region during the Ming Dynasty. By the late Qing, nearly every village had its own Gaotai drama troupe. During festivals, these troupes would tour neighboring villages for performances, leading to a golden age for Gaotai opera.

The Gaotai Society Stele from the 24th year of Daoguang’s reign (1844) states:
“To dispel loneliness, a ‘Gaotai Society’ was established to enhance the spectacle.”

This suggests that during the Qing Dynasty, Tonghai Gaotai was a highly popular folk tradition eagerly awaited by the local people.

During the Qianlong reign, brothers Xiang Zongkun and Xiang Zongbin from Qijie in Tonghai passed the imperial examination and became magistrates in Yangchun County, Guangdong and Jianyang County, Fujian respectively. In these regions, spring festivals featured performances similar to the “Earthen Gaotai,” with decorative, story-based displays.

Upon returning to their hometown after their service, the brothers brought these artistic elements with them and improved upon the original Earthen Gaotai—especially in character design, costumes, and props. This led to a fusion of opera, novels, mythology, folktales, sculpture, painting, bamboo framing, iron and wood craftsmanship, and decorative arts. Eventually, the Tonghai Gaotai evolved into what could be called a “miniature theatrical landscape” or a “three-dimensional storytelling bonsai.”

During the Jiaqing and Daoguang periods, due to the public’s love for Gaotai, Gaotai Societies were established in Qijie, Tonghai County seat, Hexi, Sijie, and Yangguang. They collectively purchased farmland, and the annual rent collected in grain was used for organizing Gaotai events.

By the Republican era, Tonghai Gaotai had become a distinct folk art in the county. There were four Gaotai Societies in Tonghai: in the county seat, Hexi, Qijie, and Yangguang. Each year during the first lunar month, these societies would organize twelve Gaotai parades. In leap years, an additional thirteenth platform was included, adding to the festive atmosphere.

3. Late Qing Dynasty Gaotai Opera

Tonghai Gaotai Opera is a form of Huadeng (lantern) opera Gaotai that evolved by incorporating various theatrical elements based on Huadeng and folk mountain songs.

Most sources agree that Tonghai Gaotai Opera was influenced by coastal regions. According to the Tonghai County Gazetteer, it is a highly visual, representative, and technically demanding form of mobile stage art, essentially a condensed theatrical or storytelling performance.

While the art form was nurtured in the culturally rich region of Tonghai in Yunnan, it also borrowed significantly from the Gaotai traditions of coastal Guangdong. Each of the origin stories mentioned above may hold some truth and together represent different contributing factors in the evolution of Tonghai Gaotai Opera.

Historians estimate that Tonghai Gaotai has gone through cycles of prosperity, decline, and revival over the past 400 years within the long stream of traditional Chinese culture.

The development of Tonghai Gaotai Opera can be divided into several stages, with its final form taking shape in the late Qing Dynasty. According to the Ethnography of Tongren Region, Guizhou, the development of Gaotai Opera included three main stages:

1. Gong-and-Drum Lantern and Silk-and-Bamboo Lantern stage, based on Huadeng Opera.
2. Low Platform Opera stage, where early forms of Gaotai began to develop.
3. Gaotai Opera stage, where the full-fledged mobile theatrical art form emerged.

The developmental trajectory of Tonghai Gaotai Opera closely followed this three-stage pattern.

Folk Customs

Performance Style

Tonghai Gaotai (通海高台), represented by the Qijie Gaotai (七街高台), primarily features the local Huadeng Opera (花灯戏) as its foundation. However, during its development, it has extensively incorporated elements from local Nuo Opera (傩戏), Chenhe Opera (辰河戏) from Xiangju (湘剧), and Sichuan Opera (川戏), including vocal styles and performance techniques.

Therefore, Gaotai Opera (高台戏) can be considered a newly emerged form of folk theatrical performance that fuses and innovates both local and external opera traditions. It is the product of the integration between local cultural arts and outside influences, and its artistic expression is notably comprehensive.

During the Gaotai parade, children aged 6 to 8, who have been carefully selected and trained, are secured onto the platforms. With their coordinated gestures and expressions, each Gaotai becomes a mobile mini-stage. As the procession moves slowly, the young performers enact their roles with expressive movements—snapping cigarette boxes, swinging long sleeves, mimicking rowing, cracking horsewhips, and dancing with fans—interacting vividly with the colorful scenes on the platforms, creating a charming and lively visual display.

Story Content

The stories chosen for Gaotai performances are mostly related to deities, emperors and generals, talented scholars and beautiful ladies, and heroic figures. The themes cover both ancient legends and modern life, and also reflect ethnic customs. Representative story titles include:

• Zhang Yu Boiling the Sea (《张羽煮海》)
• Liu Yi Delivers a Letter (《柳毅传书》)
• Flooding the Jinshan Temple (《水漫金山》)
• Xu Xian Borrows an Umbrella (《许仙借伞》)
• The Crossroad Inn (《十字坡》)
• Three Battles with the White Bone Demon (《三打白骨精》)
• Romance of the Western Chamber (《西厢记》)
• The Butterfly Lovers (《梁祝》)
• The General and the Prime Minister Reconciled (《将相和》)
• Borrowing the East Wind (《借东风》)
• Journey to the West (《西游记》)
• Water Margin (《水浒传》)
• Fishing Songs of Lake Qi (《杞湖渔歌》)

Performance Music

One of the major differences between Tonghai Gaotai Opera (通海高台戏) and other folk platform performance arts (拾阁民俗表演艺术) across China is that each play is composed of spoken dialogue (recitative) and sung verses, which alternate throughout the performance.

The sung portions typically include several to over a dozen musical segments, each being an independent musical unit. These musical segments often follow structures such as paired lines, four-phrase or multi-phrase single segments. Each musical phrase is accompanied by equally long instrumental accompaniments at both the beginning and end, forming a symmetrical and well-structured unit, usually consisting of four measures. This symmetry is a hallmark of Gaotai music structure.

The paired-line format is commonly used, with each musical segment performed by different characters in the play. These segments often engage in melodic and lyrical call-and-response, enhancing the theatrical dynamism.

Musically, the opera shows innovation and evolution in its modal and melodic structure. The primary mode is the pentatonic Zhi mode (徵调式), followed by Yu mode (羽调式), Gong mode (宫调式), and Shang mode (商调式). The Zhi mode maintains a complete pentatonic scale, while the other modes often appear in incomplete forms; notably, the Shang mode sometimes features a six-tone scale.

Thus, Tonghai Gaotai is considered one of the more professional and sophisticated forms among China’s various folk platform performance traditions.

Inheritance and Protection

Cultural Value of Inheritance

The Tonghai Gaotai (通海高台) plays a significant role in preserving the fine traditions of the Chinese nation and enhancing community cohesion. It also holds research value in the fields of folklore, arts, and history.

Current Status of Inheritance

Many people, especially the younger generation, remain unfamiliar with this art form, raising concerns about the future of Gaotai (高台) inheritance. Due to the substantial manpower and material resources required for the Gaotai parade, performances in Tonghai County Town (通海县城) and Yangguang Gaotai (杨广高台) have been suspended. Only the Hexi (河西) and Qijie (七街) Gaotai groups have weathered the storms, persistently carrying on the tradition while continuously introducing new elements.

Key Inheritor

Gongsun Xin (公孙馨), male, born in October 1949, is of Han ethnicity and a native of Tonghai County, Yunnan Province (云南省通海县). He is a fourth-generation national-level representative inheritor of an intangible cultural heritage project. The project is titled “Taige (Tonghai Gaotai)” (抬阁〔通海高台〕), and the applying region is Tonghai County, Yunnan Province.

Protection Measures

In November 2019, the List of National Representative Project Protection Units for Intangible Cultural Heritage was released, and the Tonghai County Cultural Center (通海县文化馆) was granted protection unit status for the “Taige (Tonghai Gaotai)” project.

On October 31, 2023, the updated List of National Representative Project Protection Units for Intangible Cultural Heritage was announced. Due to significant changes in the nature and structure of the original protection unit, it was deemed no longer eligible. The Tonghai County Cultural Center (Tonghai County Intangible Cultural Heritage Protection Center) (通海县文化馆〔通海县非物质文化遗产保护中心〕) was re-designated as the new protection unit.

Social Impact

Major Events

On February 8, 2016, a Spring Festival parade was held in Tonghai County Town, Yunnan Province (云南省通海县城), during which the Tonghai Gaotai was performed.

From January 1 to February 29, 2020, the Tonghai New Year cultural and sports series included: a Spring Festival sports competition, opera performances in rural areas, the 18th Tonghai Spring Flower Street Fair, folk art exhibitions, Xiushan Park activities, and “Three Services to the Countryside” campaigns (culture, science, and healthcare). The Tonghai Gaotai was one of the featured performances during the celebrations.

昌宁县耈街乡苗族服饰制作技艺  Miao Ethnic Costume-making Skill in Changning County, Baoshan

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• Yulong County

Folk Song (Toasting Song) of Yi Ethnic Minority in Wuding County, Chuxiong

楚雄州武定县发窝乡彝族民歌（酒歌） Folk Song (Toasting Song) of Yi Ethnic Minority in Wuding County, Chuxiong ...

Culture    Veiw

• Chuxiong
• Intangible Cultural Heritages in Chuxiong
• Wuding County

Yao’an Baizi Qiang in Yao’an County, Chuxiong

楚雄姚安县姚安坝子腔 Yao’an Baizi Qiang in Yao’an County, Chuxiong...

Culture    Veiw

• Chuxiong
• Intangible Cultural Heritages in Chuxiong
• Yaoan County

“Hani Haba” – Folk Song of Hani Ethnic Minority in Yuanyang County, Honghe

Hani Ancient Songs: A Cultural Treasure of Yunnan Hani Ancient Songs, also known as “Hani Habo,” are a treasure of the Hani ethnic group’s oral tradition. These ancient songs...

Culture    Veiw

• Honghe
• Intangible Cultural Heritages in Honghe
• Yuanyang County

Gaotai Acrobatic Stage in Tonghai County, Yuxi 

Taige (Tonghai Gaotai): A Traditional Folk Custom in Tonghai County, Yunnan Province Taige (抬阁), also known as Tonghai Gaotai (通海高台), is a traditional folk custom of Tonghai County in...

Culture    Veiw

• Intangible Cultural Heritages in Yuxi
• Tonghai County
• Yuxi

Miao Ethnic Costume-making Skill in Changning County, Baoshan

昌宁县耈街乡苗族服饰制作技艺  Miao Ethnic Costume-making Skill in Changning County, Baoshan...

Costumes of Ethnic Minorities    Veiw

• Baoshan
• Changning County
• Intangible Cultural Heritages in Baoshan