중국 산동성(山東省) 교주앙가(膠州秧歌)의 현대적 전환 연구

초록

Purpose This study examines the ways in which Jiaozhou Yangge has been transformed in different contexts and how its traditional elements have been preserved, adjusted, and reorganized. Methods Based on the concept of recontextualization proposed by Bauman and Briggs (1990), this study identifies three pathways in the contemporary transformation of Jiaozhou Yangge: folk performance, institutionalized education, and stage creation. It employs literature analysis, content analysis, and case analysis, using 20 Shandong Yangge works from the 8th to the 15th editions of the China Dance Lotus Awards (2011–2025) that entered the final round of the Ethnic and Folk Dance category as the analytical sample. Results In folk performance, some traditional rituals and forms of on-site interaction have been simplified, while the function of public presentation has become more prominent. In institutionalized education, movements are decomposed and standardized, while roles and performance content are transmitted selectively. In professional stage creation, movements, characters, and themes are reorganized according to the requirements of competition and theatrical expression. The statistical results show that Jiaozhou Yangge works are fewer in number than other forms of Shandong Yangge, while works featuring folk culture and spiritual imagery are relatively more common. Conclusion The contemporary transformation of Jiaozhou Yangge is not a process of one-way replacement, but one of continuous adjustment among folk preservation, professional education, and stage performance. The three pathways coexist and together constitute its contemporary form.

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