An Examination of the Original Knowledge and Inheritance of Putu Xian Opera Among Putian Citizens
Abstract
original perception and transmission of Putu Xian opera. Putu Xian Opera, with its distinct art form and rich cultural legacy, holds a significant place in the history of Chinese opera as one of the first batch of national intangible cultural heritages in China. The original preservation and transmission of Putu Xian Opera are vital to Putian inhabitants, as Putian is the cradle of this traditional art form. According
to the findings of an extensive survey of Putian residents, the age group of 4655 has the largest proportion of citizens, followed by that of
3645. Regarding the awareness and transmission of Putu Xian opera, citizens between the ages of 26 and 35 and 18 and 25 have the most
positive opinions, whilst those under the age of 18 and those 56 and older have the lowest awareness. The survey population is somewhat
more male than female, with a more balanced ratio of male to female. The data does not indicate any discernible variations in opinions regarding the understanding and legacy of Putu Xian Opera. The respondents greatest degree of education was a bachelors degree (23.2%),
which was followed by secondary or high school (23%), specialty or college (22.2%), and high school (22%). The group places greater
value on preserving the unique qualities of Putu Xian opera and fostering a positive outlook on its dissemination the more educated they
are. Research indicates that individuals with higher levels of education have a stronger feeling of responsibility and initiative towards the
preservation of cultural heritage. They are also better able to strike a balance between tradition and modernity, which helps to effectively
preserve and advance Putu Xian Opera. In addition, this study highlights the critical role that people educational attainment plays in the
preservation of intangible cultural assets and offers insightful experience and theoretical references for the preservation and transmission
of traditional culture in other countries.
Keywords
Full Text:
PDFReferences
[1] L, P., & Wang, P. (Eds.), L, P., Cai, W., & Chi, G. (Annotators). (2008). Puxian Opera Traditional Repertoire Collection (Volume 1,
Scripts). China Drama Press, pp. 1-9.
[2] Inglehart, R., & Baker, W. E. (2000). Modernization, cultural change, and the persistence of traditional values. American Sociological
Review, 65(1), 19-51.
[3] Li, J. (2016). The historical development and preservation of Puxian Opera. The Drama House, (2), 57.
[4] Zhang, L., & Wang, X. (2024). On the innovation mechanism and significance of local opera transplantation and adaptation: A case
study of Fujian Puxian Opera. Drama Literature, (3), 11-20.
[5] Moore, K., & Campbell, R. (2010). Mastery with age: The appeal of the traditional arts to senior citizens in contemporary Japan. Japanstudien, 21(1), 223-251.
[6] Hayden, M. C., & Wong, C. S. D. (1997). The International Baccalaureate: International education and cultural preservation. Educational Studies, 23(3), 349-361.
[7] Lovtsova, I. V., Burovkina, L. A., & Sheshko, A. S. (2021). Preservation of the intangible cultural heritage through the implementation
of additional general education programs in the field of fine arts. Revista Tempos e Espaos em Educao, 14(33), 1-12.
[8] Liang, X., Lu, Y., & Martin, J. (2021). A review of the role of social media for the cultural heritage sustainability. Sustainability, 13(3),
1055.
[9] Sullivan, A. M. (2015). Cultural heritage & new media: a future for the past. J. Marshall Review of Intellectual Property Law, 15, 604.
[10] Liebenberg, L., Wall, D., Wood, M., et al. (2019). Spaces & places: Understanding sense of belonging and cultural engagement among
Indigenous youth. International Journal of Qualitative Methods, 18, 1609406919840547.
[11] Putian Statistics Bureau. (2023). Putian Statistical Yearbook 2023. Retrieved from https://www.zgtjnj.org/navibooklist-n3024011009-1.
html
[12] Krejcie, R. V., & Morgan, D. W. (1970). Determining sample size for research activities. Educational and Psychological Measurement,
30(3), 607-610.
[13] Cai, Z., Cai, K., Huang, T., et al. (2024). Spatial distribution characteristics and sustainable inheritance strategies of national traditional
fine arts intangible cultural heritage in China. Sustainability, 16(11), 4488.
[14] Hipolito, M. F. G. (2024). A systematic literature review of the significance of the School of Living Tradition in the preservation of cultural heritage of the Indigenous Peoples. International Journal of Multidisciplinary: Applied Business and Education Research, 5(2),
605-614.
[15] Kashima, Y., Laham, S. M., Dix, J., et al. (2015). Social transmission of cultural practices and implicit attitudes. Organizational Behavior and Human Decision Processes, 129, 113-125.
[16] Kretschmer, D. (2018). Explaining differences in gender role attitudes among migrant and native adolescents in Germany: intergenerational transmission, religiosity, and integration. Journal of Ethnic and Migration Studies, 44(13), 2197-2218.
[17] Falk, M., & Katz-Gerro, T. (2016). Cultural participation in Europe: Can we identify common determinants? Journal of Cultural Economics, 40, 127-162.
[18] Adie, B. A., & Hall, C. M. (2017). Who visits World Heritage? A comparative analysis of three cultural sites. Journal of Heritage Tourism, 12(1), 67-80.
[19] Willekens, M., & Lievens, J. (2014). Family (and) culture: The effect of cultural capital within the family on the cultural participation of
adolescents. Poetics, 42, 98-113.
[20] Rasoolimanesh, S. M., Jaafar, M., Ahmad, A. G., et al. (2017). Community participation in World Heritage Site conservation and tourism development. Tourism Management, 58, 142-153.
Refbacks
- There are currently no refbacks.
