Abstract
In 2006, Chaoyang Yingge was listed in the first batch of the national intangible cultural heritage list. Under the vision of "heritage", the protection methods of Ying Song and Dance have become more and more diverse, such as "Yingge into the Campus" and "Yingge Movie". The Yingge Dance, which is dubbed "intangible cultural heritage", accompanied by high-level choreography and directing techniques, high-skill camera images, etc., this kind of attention from the elite group has also become the direction of expectation of performance intangible cultural heritage. On the one hand, it is beneficial to promote the inheritance of Yingge Dance; However, on the other hand, building Yingge Dance into stage arts, tourism projects, and museum products will inevitably lead to different degrees of standardization, hollowing, and heterogeneity of Yingge Dance after heritage. Therefore, this paper will take Chaoyang Yingge Dance as a case study, and reflect on the inheritance and development of Chaoyang Yingge Dance from the perspective of heritage by analyzing the heritage performance and characteristics of Yingge Dance in contemporary times. It is imperative that cultural heritage holders and practitioners should examine the phenomenon of heritage from a dialectical standpoint and a critical perspective.
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How to cite this paper
Research on Chaoyang Yingge Dance from the Perspective of Critical Heritage
How to cite this paper: Sifan Wu. (2025) Research on Chaoyang Yingge Dance from the Perspective of Critical Heritage. Journal of Humanities, Arts and Social Science, 9(3), 577-581.
DOI: http://dx.doi.org/10.26855/jhass.2025.03.025