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Beyond intangible cultural heritage designation: protecting Jidong shadow puppetry

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Beyond Intangible Cultural Heritage Designation:
Protecting Jidong Shadow Puppetry

by

Zongqi Li

A Thesis Presented to the
FACULTY OF THE USC SCHOOL OF ARCHITECTURE
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF HERITAGE CONSERVATION

May 2022

Copyright 2022 Zongqi Li
ii
Acknowledgements

First, I would like to acknowledge my committee chair, Professor Trudi Sandmeier. In
these difficult days, her patient guidance and advice filled me with confidence in my thesis. I
would also like to thank my committee members, Professor Jay Platt and Vinayak Bharne. Their
intelligent suggestions made my thesis more complete.
Second, I would like to thank Wei Liqun and Zhang Xiangdong, who provided me with
the valuable first-hand information about the shadow play. I could not have written my thesis
without their help. From them, I felt the pure insistence and pursuit of art.
Finally, I want to thank the person who has always been with me. Her company gives me
the courage to face challenges and makes my life more meaningful.

iii
Table of Contents
Acknowledgements ......................................................................................................................... ii

List of Table .....................................................................................................................................v

List of Figures ................................................................................................................................ vi

Abstract ......................................................................................................................................... vii

Introduction ......................................................................................................................................1

Chapter 1: Background of Chinese Shadow Play ............................................................................5
Different Theories on the Origin of Shadow Play ...................................................5
Chinese Shadow Play Spread Overseas ...................................................................8
The Pinnacle of the Shadow Play: the Qing Dynasty ............................................10
The Role of Shadow Play during the Chinese-Japanese War ................................11
The Shadow Play during the Cultural Revolution .................................................15
Overview of the Shadow Play’s Current Situation ................................................16

Chapter 2: A Regional Case Study: The Jidong Shadow Play ......................................................18
The Singing of a Shadow Play ...............................................................................18
The Creation and Significance of a Shadow Play Script .......................................24
Modeling and Character Features of Shadow Puppets ..........................................28
The Application of Colors in the Jidong Shadow Puppets ....................................41
Carving methods and skills of Shadow Puppets in the Jidong Style .....................42

Chapter 3: The Performance of a Jidong Shadow Play .................................................................54
The Stage of Shadow Play .....................................................................................54
Operation Skills of Shadow Puppets ......................................................................58
The Performance of the Jidong Shadow Play ........................................................63
Folk Customs of the Jidong Shadow Play .............................................................65
The Jidong Shadow Play Customs in Special Festivals: Returning God and
Worshipping Ancestors ..........................................................................................68

Chapter 4: Case Study: Beijing Opera ...........................................................................................70
The Origin and Characteristics of Beijing Opera ..................................................70
Transmission Value of Beijing Opera ....................................................................79
Difficulties and Solutions of Beijing Opera’s Overseas Dissemination ................81
iv
Protection Policies and Development Measures of Beijing Opera ........................84

Chapter 5: Protection, Development, and Future of the Shadow Play ..........................................88
Analysis of Shadow Play’s Dilemma from Various Aspects .................................88
Shortcomings of Existing Measures ......................................................................93
UNESCO’s Guidance on the Protection of Intangible Cultural Heritage ..............96
Protection, Transmission, and Development of Shadow Play ...............................99
Protection ...................................................................................................99
Transmission ............................................................................................104
Development ............................................................................................108

Conclusion ...................................................................................................................................113

Bibliography ................................................................................................................................117

v
List of Tables

Table 5.1: The Annual income of different classes of Chinese families .......................................90

vi
List of Figures

Figure 1.1: Japanese soldiers and traitors’ models of shadow puppets used by the Great Wall Film
Club ................................................................................................................................................14
Figure 2.1: Shadow play actor Ding Yaoyang sings with his throat pinched ................................21
Figure 2.2. Cymbals .......................................................................................................................22
Figure 2.3. Copper Nao ..................................................................................................................23
Figure 2.4. Cloud Gong .................................................................................................................23
Figure 2.5. Shadow Play Script ......................................................................................................27
Figure 2.6. Female shadow puppet character of Jidong style ........................................................30
Figure 2.7. Flag props puppetry modeling .....................................................................................31
Figure 2.8. Long sword weapon props in puppetry modeling .......................................................32
Figure 2.9. The eagle puppet ..........................................................................................................33
Figure 2.10. Shadow box ...............................................................................................................34
Figure 2.11. Facial makeup of different characters in Jidong shadow play ..................................36
Figure 2.12. The clothing of different characters in Jidong shadow play ......................................39
Figure 2.13. Scraped donkey skin ..................................................................................................45
Figure 2.14. Carving tools for shadow puppets .............................................................................49
Figure 2.15. A craftsman who carves shadow puppets ..................................................................49
Figure 2.16. Binding of shadow puppets .......................................................................................52
Figure 3.1. Folk Shadow Play stage ...............................................................................................55
Figure 3.2. Modern Indoor Shadow Play Stage .............................................................................56
Figure 3.3. Tin Square Pot Lamp used in the period of the Republic of China .............................57
Figure 3.4. Use the projector to put the fire scene on the props of the shadow screen ..................62
Figure 3.5. The picture of Guanyin Bodhisattva attached to the shadow play box .......................67
Figure 4.1. Jinghu ..........................................................................................................................75
Figure 4.2. Yueqin .........................................................................................................................76
Figure 4.3. Sanxian ........................................................................................................................77
Figure 5.1. Shadow Puppets Rescued after the German Flood ......................................................93

vii
Abstract
Intangible cultural heritage consists of traditional cultural forms passed down from
generations by people of different ethnic groups, and it is an essential part of cultural heritage.
Intangible cultural heritage is also a necessary symbol of a country or even a nation's historical
and cultural achievements. This is of great significance in displaying national culture and
heritage.
1

However, in modern society, many intangible cultural heritage traditions face difficult
inheritance and development problems. This is mainly because traditional culture cannot reflect
the rapid development of the times. Moreover, the new generation's lack of basic knowledge of
cultural history is also one of the reasons for the lack of attention to intangible cultural heritage.
This thesis takes Chinese shadow plays, one of the intangible cultural heritages in the
world, as the research object. By describing its background, development, performing skills, this
paper shows the whole picture of this art and its current situation and dilemma in modern
society. In addition, by investigating another intangible cultural heritage, Beijing Opera, learning
from its successful protection and development experience, and combined with the protection
guidance of UNESCO for the world intangible cultural heritage, this paper provides a feasible
method for the development of methods to protect the shadow play. These methods would also
offer valuable references to other intangible cultural heritage facing inheritance crises.

1
“Zhongguo de feiwuzhi wenhua yichan weishenmo shi shijie zuiduo de” [Why is China's intangible cultural heritage the largest
in the world], China News (March 2021), https://www.chinanews.com.cn/gn/2021/03-22/9437703.shtml.
1
Introduction
Compared with the protection of material heritage, the preservation of intangible cultural
heritage lies more in inheriting the skills, traditions, and customs, all precious intangible
products. Different regions have various intangible cultural heritage, representing their history
and development. For example, the traditional Ainu dance in Japan, the Vedic Chanting tradition
in India, the Nordic clinker boat traditions, etc.
2
This paper focuses on a unique performance
form of Chinese folk drama, the shadow play. It is said that the shadow play originated in the
Western Han Dynasty (202 BC to 8 AD) and has a history of more than 2000 years.
3
In the
thirteenth century, the shadow play was introduced to Asian and European countries and has
become an important link of cultural exchange between China and other countries.
4
It is one of
China’s essential folk customs and was listed on the Representative List of the Intangible
Cultural Heritage of Humanity by UNESCO in 2011.
5

A shadow play performance consists of two important parts, shadow puppet operation
and singing. Puppets are silhouettes made of animal skin or cardboard. The singing is a
combination of different dialects and traditional songs with local characteristics. In the
performance, silhouettes of characters are projected on cloth using light, and actors interpret the

2
“Traditional Ainu dance,” Intangible cultural heritage, UNESCO, accessed March 2, 2022,
https://ich.unesco.org/en/RL/traditional-ainu-dance-00278; “Tradition of Vedic chanting,” Intangible cultural heritage, UNESCO,
accessed March 2, 2022, https://ich.unesco.org/en/RL/tradition-of-vedic-chanting-00062; “Nordic clinker boat traditions,”
Intangible cultural heritage, UNESCO, accessed March 2, 2022, citationmachine.net/chicago/cite-a-website/new.
3
Ban Gu, Han Shu [Book of Han], (Hunan: Yuelu Shushe, 1994).
4
Wei Liqun, Zhongguo Piying Yishushi [The History of Chinese Shadow Puppet Art], ed. Jia Dongying (Beijing: Cultural Relics
Publishing House, 2007), 12.
5
“Chinese shadow puppetry,” Intangible cultural heritage, UNESCO, accessed May 20, 2021,
https://ich.unesco.org/en/RL/chinese-shadow-puppetry-00421.
2
plot using the silhouettes with unique local music and ballads.
6
Countless beautiful stories have
been staged on the small cloth this long time, portraying vivid heroes.
It is worth mentioning that there are many similarities between shadow play and movies,
and the rise of the film has been influenced by shadow play. Both stimulate the audience's senses
by transmitting images and sounds through the medium of the screen. Although the film industry
is developing rapidly and now has a more substantial influence on people, it cannot replace the
shadow play. Different from the replicability of film, the variable performance of a shadow play
has many influencing factors, such as the change of venue, the reaction of audience, the
operation of performers, etc. Therefore, each shadow play performance is unique and cannot be
copied.
However, although the shadow play has played an essential role in China and even in the
world civilization, it is also facing numerous threats and challenges. First, with the decline of
China's national strength during the late Qing Dynasty (1636 to 1912), many western countries
invaded, resulting in losing a large amount of property and territory in China. Moreover, under
the invasion of exotic cultures, the Chinese traditional culture has suffered a severe blow, and
folk art such as the shadow play faces a crisis.
7
Today, with the enhancement of China's powers,
foreign aggression is unlikely to happen again. With the development of society, people's
lifestyles, entertainment methods, and aesthetics have changed. Under such circumstances, the

6
Wei Liqun, Chinese Shadow Puppet Art.
7
Li Xiaobing, China at War: An Encyclopedia (Santa Barbara, CA: ABC-CLIO, 2012).
3
shadow play, like many folk arts, has lost its prominence. With the decrease of audience and
actors, the art of shadow play is dying out.
8
These challenges also threaten the other intangible
cultural heritage.
However, just as soldiers once took up arms to defend the country, many progressive
intellectuals have also struggled to save Chinese traditional cultures. These ancestors carefully
combed traditional culture, investigated folk customs and art, and devoted themselves to
protecting intangible cultural heritage.
9
Because the shadow play shows different performance
styles and characteristics depending on the region, this paper takes the Jidong style of the shadow
play as the primary research object and shows the whole picture of this art through the
investigation of its history, performance style, shadow puppets production, and singing. Jidong
style originated and popular in the Eastern Hebei Province, the author's hometown. The author
can find the local shadow play troupe to collect first-hand valuable information, which is the
main reason why the author chooses it as the case study.
The first chapter focuses on the history of the Chinese shadow play, including its origin,
development, and present situation. The second chapter focuses on its various components in
depth, including shadow puppet production, accompaniment instruments, singing styles, scripts,
roles, etc. The third chapter pays attention to the performance, introducing the stage performance
effect, the division of actors, related customs, etc. The fourth chapter examines the Beijing opera,

8
Wei Liqun, Chinese Shadow Puppet Art.
9
Ibid.
4
another intangible cultural heritage in China, as a comparative case study to explore its
background, performance, development, and protection policies. In the last chapter, the author
introduces the difficulties of conserving the art of the shadow play in relation to the successful
conservation efforts of the Beijing Opera and the guidance of UNESCO for intangible cultural
heritage, to explore the methods suitable for the conservation of the shadow play. In this process,
Wei Liqun, director of the shadow play art committee of the Chinese Folk Writers and Artists
Association, and Zhang Xiangdong, the head of Xiangdong shadow play troupe, provided
valuable first-hand resources and experience for the protection and development of this art form.

5
Chapter 1: The Background of the Chinese Shadow Play
As a performing art, shadow play has developed for thousands of years. It has played an
essential role in Chinese cultural heritage and occupies a place in world civilization. This chapter
will discuss the background of the shadow play, including its origin, development, early spread
abroad, and its different periods of development.

Different Theories on the Origin of Chinese Shadow Play
The primary factor in the formation of shadow play is the relationship between light and
shadow. In China, the earliest research on the principle of shadow science can be traced back to
the Warring States Period in 475 BC.
10
However, the theoretical research was not perfect and
could not be popularized by the masses at beginning.
11
The Chinese shadow play has a very long
history and lacks accurate historical records, so the origin of this art is still controversial. Here
are some common explanations of the origin of the Chinese shadow play.
According to the first theory, the shadow play originated in Shaanxi province in the
Western Han Dynasty (206BC to 24AD).
12
It is said that during the reign of the Chinese emperor
Liu Heng, the main task of the maids in the palace was to look after the little prince besides

10
Mark Cartwright, “Warring States Period,” World History Encyclopedia, accessed October 18, 2021,
https://www.worldhistory.org/Warring_States_Period/.
11
Mao Peiqi, forword to Zhongguo Piying yishushi [The History of Chinese Shadow Puppet Art], by Wei Liqun, ed. Jia
Dongying (Beijing: Cultural Relics Publishing House, 2007).
12
Michael Loewe, “The Former Han Dynasty,” chap. 2 in The Cambridge History of China. (Cambridge: Cambridge University
Press, 1986). https://doi.org/10.1017/chol9780521243278.004.
6
serving the emperor. At that time, to comfort the little prince crying, the servants thought of a
way to cut the Chinese parasol leaves into human shapes and show their shadows on the screen
window to amuse the prince. This kind of entertainment later spread to the folk communities,
leading to the emergence of the shadow play.
13

In the second theory, the shadow play began in Xiaoyi Village, Shanxi Province,
Northern Wei Dynasty (386 to 534 AD).
14
It is said that there was a stone tablet in the village
temple, which recorded in detail that Xia Zi, the educator at that time, imparted knowledge to
others in the form of shadow play. As a result, the local people inferred that Xia Zi invented this
performance, and the Xiaoyi village was the birthplace of the shadow play. However, the
historical stone tablet has disappeared, and there is no clear documentary record of its existence,
so the authenticity of this theory needs to be verified.
15

The third theory is that the shadow play began in Xi 'an in the Tang Dynasty (618 to
907).
16
This is the point put forward by Qi Baishi, a famous Chinese painter. He analyzed that
Xi'an has been the capital of China for hundreds of years. At that time, because the emperor
Xuanzong loved art and music very much, many innovations in these fields arose in Xi 'an.
17
In

13
Sima Qian, Shiji [Historical Records] (Beijing: Writers Publishing House, 2017).
14
Rene Grousset, The Empire of the Steppes; a History of Central Asia (New Brunswick, N.J: Rutgers University Press,
2010),60-65.
15
Wei Liqun, Zhongguo Piying Yishushi [The History of Chinese Shadow Puppet Art], ed. Jia Dongying (Beijing: Cultural Relics
Publishing House, 2007), 16. Mark Edward Lewis, China's Cosmopolitan Empire: The Tang Dynasty (Cambridge, MA: Belknap
Press of Harvard University Press, 2012).
16
Mark Edward Lewis, China's Cosmopolitan Empire: The Tang Dynasty (Cambridge, MA: Belknap Press of Harvard
University Press, 2012).
17
Li Longji, Emperor Xuanzong of the Tang Dynasty, was the longest-reigning emperor of the Tang Dynasty (712-756 CE).
Journal, ed. Xilin Li, “The Contributions and Historical Limitations of the Three Emperors of the Tang Dynasty to the Prosperity
of Music in the Prosperous Tang Dynasty,” Symphony 22, no. 2. (February 2003): 18-24, https://doi.org/10.3969/j.issn.1003-
1499.2003.02.003.
7
addition, the local famous shadow puppets were more refined than those in other regions, and the
actor’s performing and singing skills were more ingenious. Though there is no documentation,
many Chinese historians think this hypothesis is reasonable.
18

Although there are many different opinions about the origin of the Chinese shadow play,
it is recorded that the shadow play reached its peak in the Northern Song Dynasty (960 to
1127).
19
However, with the entry of Jurchen at the end of that period, shadow play artists were
forced to spread everywhere and gradually formed the performance of different styles throughout
the country.
20
The Jidong style of the shadow play was formed by the artists escaping from the
north. However, the constant wars and disputes in the north at that time, coupled with the
continuous droughts, floods, locusts, and other natural disasters, led to the stagnation of the
shadow play. This situation was not alleviated until the Ming Dynasty (1368-1644). At that time,
the Emperor, Chengzu, settled in the north and encouraged the southerners to move to the north
with Hebei as the center. This practice stimulated the north's economic development, brought the
south's drama to the north, and gave the northern art a chance to develop. Since then, the Jidong
School of shadow play has developed gradually.
21

18
Qi Rushan, “Yingxi – Gudu baixi zhisi” [Film and Drama – The Forth of the Hundred Plays in the Old Capital], Da Gong Bao.
Getan, no. 12 (August 1935).
19
Huang Jingfu, Zhongguo gudai zhuyao Chaodai mingcheng de laiyi [The origin of the names of the main dynasties in ancient
China], Zhongwen xueke cankao 9 (1995): 27-28.
20
Jurchen basically formed a national form in the Tang Dynasty and is now the Manchu nationality in China. Book, ed. Jin Yufu,
(Tai bei: Hong shi, n.d.).
21
Wei Liqun, “Jidong Piyingxi” [The Jidong Shadow Play], eds. Changhua, et al., (Beijing: Science Press, 2009), 16.
8
Chinese Shadow Play Spread Overseas
The shadow play has developed in many parts of the world, such as in India, Thailand,
Myanmar, Indonesia, and Japan. Its scripts, forms, and styles in different countries have their
typical features, but there is no doubt that shadow play originated from China in terms of time.
22

In the early thirteenth century, China was ruled by the Mongolian army led by Genghis
Khan. As one of the performances to boost morale at that time, the shadow play was widely
spread in the military. Later, with the western expedition of the Mongolian Army, the Chinese
shadow play spread to Persia, Arabia, Turkey, and other places. By the mid fourteenth century,
the shadow play had been introduced to Java, Siam, Myanmar, Japan, Malaya, Indonesia, Egypt,
and other places, which started the spread of Chinese culture overseas.
23

By the fifteenth century, the shadow play developed further overseas, especially in Egypt,
and became the most popular entertainment in the Saladin court of Sudan. Later, after the
Turkish conqueror Selim led his army to conquer Egypt, shadow play actors were brought from
Cairo to Constantinople. At that time, Turks used camel skin as the primary material for carving
shadow puppets.
24
In the second half of the eighteenth century, shadow puppetry gradually
entered Europe. In 1767, Du Holde, a French priest who preached in China, brought all the forms
and production methods of the shadow play back to France to perform and publicize this

22
Wei Liqun, Zhongguo Piying, 10.
23
Ibid., 12.
24
Qin Zhenan and Hong Chuantian, Zhongguo Piyingxi [Chinese Shadow Puppetry], (Taiwan: Taibei shuquan chubanshe, 2001).
9
performance in Paris and Marseille. In the following year, the shadow play was introduced to
London, England. In the time since, the Chinese shadow play has become a worldwide art.
25

It is worth noting that the shadow play was most popular in Germany among the
European countries. In 1774, German poet John Wolfgang Goethe brought this art to Germany
and personally presided over the performances. In addition, on his birthday of August 28, 1781,
he performed his works "The Life of Minawa" and "The Judgment of Midas" in the form of a
shadow play. Goethe’s esteem for the art of the shadow play resulted in German shadow play art
development. In addition, in 1957, Dr. Myanmar from Germany made a memorable trip to
Beijing, Xi'an, Chengdu, and other Chinese places to learn how to create a shadow play. The
German "Sanmeiban Shadow Play Troupe" has already performed in many countries in Europe
and Asia. Up to now, the music of German shadow play has still retained some Chinese
features.
26

Moreover, Germany also has the most extensive collection of shadow puppets in Europe.
In 1931, Carl Eger, an art dealer, bought these collections from a shadow play troupe in
Chengdu. With the death of Eger in 1933, his son Gottlieb Eger inherited these collections and
brought them back to Germany. Although some of the displays were destroyed or lost during
World War II, most were well preserved. Today, about 340 puppet bodies and 520 heads,
weapons, and scenes are kept in the puppetry Museum of the Munich Municipal Museum,

25
Zhou Yibai, Zhongguo Xijushi changbian [History of Chinese drama], (Beijing: People's Literature Publishing House, 1960).
26
“German Chinese Forum,” quoted in Wei Liqun: Zhongguo Piying, 11.
10
making it an essential collection of shadow play art outside China.
27
There are also collections
of Chinese shadow puppets in the Swedish Museum of National Anthropology, the French Film
Museum, the British Museum in London, the American Natural History Museum in New York,
the Boston Art Museum, and some university galleries. Because of the influence of the Chinese
shadow play in the world, some film historians even regard this art as the forerunner of film
invention.
28

The Pinnacle of the Shadow Play: The Qing Dynasty
At the beginning of the Qing Dynasty (1636-1912), the shadow play developed rapidly
and prospered. Government officials set up private shadow play teams and hired shadow actors
at that time. Even soldiers stationed in various provinces would take shadow play teams to the
battlefields to perform during wartime. During that period, the shadow play spread all over the
country, from palaces to villages. People always invited shadow play teams to perform at
festivals, sacrifices, weddings, and funerals. The well-known scholars also wrote plays for the
shadow play to enrich the content of the scripts and make the performance more diversified.
29

In the middle and late period of the Qing Dynasty, with the decline of the government
and foreign invasion, the shadow play in the palace stagnated. However, the art was still popular.
Wealthy patrons cultivated private shadow puppet troupes. The shadow play was very popular

27
“German Chinese Forum,” quoted in Wei Liqun: Zhongguo Piying, 11.
28
George Sadur, General History of Film, transl. Zhongpei (Beijing: China Film Press, 1983).
29
Wei Liqun, Zhongguo Piying, 57.
11
because this art is closely related to local culture, geography, and customs. For example, popular
folk songs could inspire shadow play songs. At this time, the popularity of the shadow play
reached its peak.
30

In the early years of the Republic of China, with the overthrow of the Qing government
and the establishment of the new national government, earth-shaking changes took place in
China's political system, which led to significant changes in the situation of the shadow play. Li
Dazhao was one of the revolutionary pioneers and a native of Laoting County in Eastern Hebei
Province.
31
He wrote a play against the Japanese aggressors, “an Zhonggen’s assassination of
ITO.” This method of propagating patriotism to the masses in the form of a shadow play further
expanded the influence of this art and turned it into an ideological and political propaganda
tool.
32

The Role of Shadow Play during the Chinese-Japanese War
When the "September 18th Incident" occurred in 1931, the Japanese army invaded
Northern Military Camp in Shenyang, China.
33
Because of the nonresistance policy issued by
Chiang Kai Shek, three northeast provinces were quickly occupied, and people fled for their

30
Ibid., 58.
31
Li Dazhao is a pioneer of the Communist movement in China, a Marxist, a proletarian revolutionary, and one of the main
founders of the Communist Party of China.
32
Wei Gexin, “Laoting Piying” [Laoting Shadow Play], Laoting Wenshi, no. 5 (December 1990).
33
The September 18th Incident was an incident in which the Japanese Kwantung Army suddenly attacked Shenyang and
occupied Northeast China by force.
12
lives.
34
During this period, most shadow play artists were unable to perform and fled to other
places.
35

With the "Lugouqiao Incident" on July 7, 1937, the Japanese army launched a larger-
scale war of aggression, and the North of China soon became a Japanese colony.
36
During the
Japanese occupation, the shadow play suffered an unprecedented blow. Countless props were
destroyed, many shadow play troupes were forced to disband, and actors were displaced. Only a
small number of people that fled to remote areas were able continue the art. Moreover, the
“pseudo-army” also restricted the play and prohibited all performances with the content of
resisting aggression or colonists.
37
In theaters, seats in the middle of the front row were
forbidden to be sold but reserved for Japanese troops or police. During the performance, the
theater staff had to prepare food for them, such as tea, melon seeds, fruit, etc.; otherwise, it was
very likely for them to damage the theater and arrest the workers. Even some famous shadow
play artists were in a very challenging situation.
38
For example, in 1941, when Gao Rongjie, a
famous shadow play actor, performed in Shenyang, a pseudo-policeman fought with people in

34
The leader of the Kuomintang and the supreme commander of the Chinese theater During World War II; Hei Longjiang, Ji Lin,
and Liao Ning Provinces.
35
Wang Yangqing, Shao Yuanchong riji [Shao yuanchong's Diary], (Shanghai: People's Publishing House, 1990).
36
Without informing the local authorities in China, the Japanese army forcibly entered Lugouqiao Town to search because a
Japanese soldier was missing. After being rejected by the Chinese garrison, they launched an attack on Lugouqiao, opening the
prelude to the Chinese Japanese war. “Lugouqiao Incident: The Beginning of Japan's All-Round War of Aggression against
China,” International, Northeast News Network, August 13, 2014, http://world.people.com.cn/n/2014/0813/c1002-
25460690.html; “Lugouqiao Shibian” [The Lugouqiao Incident], Renmin Wang [People's Daily], Zhongguo Gongchandang
Xinwen [News of the Communist Party of China], access May 5, 2021, http://cpc.people.com.cn/GB/33837/2534343.html.
37
The pseudo-army is an army composed of the people in the occupied areas organized by the aggressor countries. “Shenmo shi
Weijun” [What is Pseudo-Army] (Fenghuang Wang Phoenix Network, June 13, 2013),
http://phtv.ifeng.com/yuanchuang/detail_2013_06/10/26306488_0.shtml.
38
Wei Liqun, Jidong Shadow Play, 24.
13
the theater because there was no place reserved for his father. He detained Gao Rongjie and did
not release him until he paid 50 RMB in compensation.
39
Such events happened every month
during that time.
40

Due to the persecution of the Japanese and pseudo troops, many shadow artists turned to
the Eighth Route Army led by the Communist Party and joined the anti-Japanese literary and art
groups. With the victory of the Anti-Japanese riot in eastern Hebei in July 1938, the
revolutionary forces broke into parts and concentrated on the battlefield behind the enemy.
During this period, an Anti-Japanese personage, Chuai Zhenbang, organized a seven-member
shadow troupe to perform a shadow play as a cover to carry out Anti-Japanese activities secretly.
At the end of 1940, with the government's approval, the "Great Wall Film Club" was established
and continued to perform shadow plays during the war. At that time, the shadow club members
were armed. However, due to the large gap between them and the Japanese weapons, whenever
they found traces of Japanese troops, they had to use the terrain to fight guerrilla warfare with the
enemy. In addition to fighting, under the protection of the Chinese army, they would also
perform shadow play at the junction of the enemy area and the liberated zone to publicize the
Anti-Japanese belief to the masses.
41
[Fig. 1.1].

39
During the period of the Republic of China, the average monthly income of ordinary workers was less than 30 RMB. Yang
Xinglong, “Income Level and Living Conditions of All Classes in the Early Republic of China,” China Social Science Network
(Chinese Journal of Social Sciences, December 22, 2015), http://www.cssn.cn/kxk/201512/t20151222_2793458_2.shtml.
40
Wei Liqun, Jidong Shadow Play, 26.
41
Liqun Wei, Jidong Shadow Play, 27.
14

Figure 1.1: Japanese soldiers and traitors’ models of shadow puppets used by the Great Wall Film Club. Source: Changli
Wenlvwei [Changli Culture and Tourism Commission], November 6, 2019,
https://kuaibao.qq.com/s/20191106A0G9TP00?refer=spider.

For such resistance, the Japanese army was furious and sent many troops to eliminate the
shadow clubs, which gave the club a chance to lure the enemy.
42
On one occasion, the shadow
troupe performed “Shooting Traitor" in a village outside Qian ‘an city.
43
During the
performance, actors scolded the Japanese army and traitors to anger the enemy out of the city.
But when the enemy arrived, the soldiers of the Eighth Route Army ambushed the enemy, killed,
and captured more than 170 Japanese soldiers and pseudo-troops.
44
As a result, the shadow play
served as a powerful tool against the Japanese army.

42
Liqun Wei, Jidong Shadow Play, 29.
43
Qian'an City, a county-level city directly under the central government of Hebei Province, is in the northeast of Hebei
Province. It was one of the strongholds in the Japanese War of aggression against China.
44
Wei Liqun, Jidong Shadow Play, 30.
15
The Shadow Play during the Cultural Revolution
After Japan surrendered in 1945, the eight-year war between China and Japan was finally
over. The Communist Party established the People's Republic of China in 1949. Since then,
shadow artists all over the country have been actively reformed to adapt to the development of
the times.
45
However, in 1966, the Great Cultural Revolution occurred. During the ten-year
turmoil, "Breaking the Four Old" activity had dealt a devastating blow to almost all Chinese folk
culture and art.
46
Many shadow props, puppets, and scripts were burned, and many famous
shadow artists were publicly criticized, resulting in the long-term disappearance of this
performance art.
47

During that period, all shadow troupes stopped performing, and most were even forced to
disband. Even worse, countless famous shadow artists were persecuted. For example, at the end
of 1966, Gao Rongjie died of cerebral hemorrhage due to long-term public insult; In the same
year, Li Yunting, the head of a famous shadow play troupe, was beaten, leading to blindness. In
July 1969, many shadow puppet troupes were sent to Majiagou Coal Mine for compulsory labor.
Under cruel treatment, most shadow puppet club members were persecuted to death, and the
clubs were forced to dissolve.
48
It was not until the end of the Cultural Revolution in 1976 that

45
Wei Liqun, Chinese Shadow Puppet, 493.
46
"Breaking the Four Old" means breaking all the old ideas, culture, and customs before the founding of New China. Jonathan D,
Spence, The Search for Modern China. 2
nd
ed. (New York: W. W. Norton & Co., 1999). 575.
47
Wei Liqun, Chinese Shadow Puppet, 493.
48
Ibid., 494.
16
shadow puppetry gradually resumed performing. However, during this period, many scripts were
lost, the props of shadow play were destroyed, and shadow play artists were injured.
49

Overview of the Shadow Play’s Current Situation
After the Third Plenary Session of the 11th CPC Central Committee in December 1978,
the government shifted its focus to economic and cultural development and severely cracked
down on cultural disrespect.
50
Like other intangible cultural heritage projects, the shadow play is
gradually on the road to revival. Old shadow artists were committed to training apprentices to
impart their skills. In addition, the government lifted the ban on some traditional scripts and
encouraged shadow puppet troupes to create modern and children's plays to stimulate the
diversity and vitality of the audience.
51

However, with the development of high-tech imaging technology and the transformation
of social customs, people's cultural level and art appreciation habits are also constantly changing.
Although a shadow plays' local dialect can still attract a group of people, the aging trend of its
audience is apparent. The number of young people paying attention to the shadow play is also
rapidly decreasing.
52

49
Ibid.
50
Deng Xiaoping, Deng Xiaoping on the Third Plenary Session of the Eleventh Central Committee, ed. Literature Research
Office of the CPC Central Committee (Beijing: Central Literature Publishing House, 1998).
51
Wei Liqun, Chinese Shadow Puppet, 502.
52
Ibid.
17
At the beginning of the twenty-first century, scholars conducted a questionnaire survey
on nearly ten thousand shadow artists. The result shows that 90% of the artists are over 60 years
old, and most of them are too old to perform. Many famous shadow troupes no longer exist, and
many classic scripts and props were lost because of improper preservation. Only a few
professional troupes are left in China, and the proportion of middle-aged or young actors is tiny.
The performance frequency of shadow plays decreased rapidly; only some people in remote
areas continue to watch them.
53
From the analysis of the current situation, the shadow play is on
the verge of extinction.

53
Ibid.
18
Chapter 2: A Regional Case Study: The Jidong Shadow Play
The art of shadow play consists of different parts. This chapter will take the Jidong
shadow play as the representative to introduce its singing styles, scripts, characters, and the
shadow puppets production.

The Singing of a Shadow Play
The singing of the early shadow play is primarily simple, something like monks chanting
sutras. The modes of the shadow play’s singing can be divided into two categories: “Gong
mode” and “Shang mode.”
54
Shadow play artists also call them "singing with the small voice and
the big voice," which are used for the female and male roles respectively. In traditional Chinese
drama, roles are divided into Sheng, Dan, Jing, and Chou.
55
Commonly used tunes include “Ping,
Hua, Qiliang, Bei, Huan Yang, Yin Yang tones, etc."
56
These tones also correspond to their
respective roles.

"Ping" was created by Zhou Wenyou, an old shadow play artist. This singing style is
euphemistic, powerful, and beautiful; "Hua" belongs to Dan Roles' unique singing style.
Originated by the old opera artist Miao Youyi, this has added some cheerful singing
techniques to the traditional melody, suitable for dramas with compact rhythm, clever
plot, and joy; "Qiliang" is a unique tone created by Lao Feng, an artist in the Qing
Dynasty. This way of singing is suitable for the desolate Dan singing. Its performance

54
It's a kind of expression of mode in ancient Chinese music. In this system, the C Gong mode, D Shang mode, E-Jiao mode, G
Zheng mode, and a Yu mode form a group. “Shang Diao,” Baidu Encyclopedias, accessed May 20, 2021,
https://baike.baidu.com/item/商调/8848354?fr=aladdin.
55
The name of the opera role, Sheng refers to men; Dan refers to a woman; Jing refers to a strong or rough man; Chou refers to
the performance of funny characters, nose whitewashed, said clown, small face, etc. Wei Liqun, Jidong Shadow Play.
56
Different tones have different singing characteristics and are suitable for different roles. Wei Liqun, Jidong Shadow Play, 48.
19
character is the interweaving of tears and silence, grief, and anger, actors should show
sadness in singing; Another kind of sadness tone called Bei tone, with a strong melody,
can show the complicated emotions of the characters in detail, and is suitable for all kinds
of characters. The function of expression is crying and sorrow; Huan Yang tone is a
unique tone of Dan's character, which is used in the process when the protagonist wakes
up after being frightened and fainted by people around him; Yin Yang tune is mainly
used by women and is suitable for depicting the murders of people who have died. The
tone is high and angry.
57

During the performance, the actors always sing with a strong regional accent. In addition,
another essential feature in shadow play singing is plug-in singing. After the sandalwood board
starts, the first word of a sentence begins to sing in the second half of the beat, but it is forbidden
to start singing at the beginning, which is a rare rule in other types of singing.
58

In the development history of the Chinese shadow play, singing is an indispensable part
of the art. Shadow play artists in different regions gradually established an independent singing
system with local characteristics by constantly improving and innovating singing skills and
exploring rhythm. As a result, the singing style of the Jidong shadow play is mainly based on the
local singing style of the Laoting Opera.
59

Laoting Opera has a unique tune system, well-known for its gentle and pleasant sound
and strong local flavor.
60
Its early singing music is simple in melody, dull in ending, and slow in
rhythm, like Buddhist chanting. Later, the Laoting Opera gradually absorbed the local folk

57
Wei Liqun, Chinese Shadow Puppet, 293.
58
The first word of a sentence is sung in the first half of the beat. Wei Liqun, Jidong Shadow Play, 46.
59
Wei Liqun, Jidong Shadow Play, 61.
60
Laoting Opera originated in Hebei Province, a county subordinate to Tangshan city. Laoting accent is also a local dialect.
20
songs, slang, and other kinds of music, forming a beautiful melody and unique dialect singing
method. The intensity of the "Laoting" accent became one of the criteria for art critics measuring
the performance.
61

From 1920 to 1930, due to the expansion of the city and the needs of people's cultural
life, shadow puppet troupes in various counties were no longer limited to the local area but
flocked to other areas to expand the performance market. However, due to the differences
between local dialects and folk music, the audience had different appreciation and evaluation of
a shadow play performance, and there were gradually contradictions among actors from different
regions. The singing of the Jidong shadow play has gradually developed into the eastern,
western, and northern schools with the Luanhe river as the boundary.
62
The main difference
between them is the accent of singing and reading. The eastern and northern groups use the
Laoting accent as the standard, but the latter has a more robust local flavor; the western group
sings with a Tangshan accent. In addition, most counties east of the Luanhe river sing elegantly
and happily. To the west of the river, every county has a bold and unrestrained singing style with
a fast pace.
63

In addition, there is a critical singing feature in the Jidong shadow play - actors gently
pinch their throat with fingers when singing. [Fig. 2.1]. This skill originated from a Qing

61
Wei Liqun, Chinese Shadow Puppet, 292.
62
Luanhe River is the only river flowing into the sea from the Bohai Sea. Originated from Fengning County, Hebei Province, it
flows into the Bohai Sea in Laoting County; Wei Liqun, Jidong Shadow Play, 62.
63
Wei Liqun, Jidong Shadow Play, 62.
21
Dynasty shadow puppet actor named Tian. He was unable to perform generally because of his
throat injury. So instead, he tried to hold the voice with his fingers to control the vocal cord and
gradually created a soft, delicate, beautiful, and natural sound. Once this kind of voice was
performed, it was loved by the masses, and this way of singing was also popular.
64

Figure 2.1: Shadow play actor Ding Yaoyang sings with his throat pinched. Source: Wei Liqun, “Jidong Piyingxi” [The Jidong
Shadow Play], eds. Changhua, et al., (Beijing: Science Press, 2009), 63.

64
Ibid.
22
When it comes to the accompaniment of Jidong shadow play, there were only percussion
and no stringed instruments in the early days. Percussion instruments include “Bell Touching,
Cymbals, Nao, Small Double Bell, Cloud Gongs, Drums and so on.”
65
[Fig. 2.2, 2.3, 2.4].

Figure 2.2. Cymbals. Source: Amazon, https://www.amazon.com/Hand-cymbals-pair-brass-handmade/dp/B00KHOYOCO.

65
Bell Touching, one of the traditional Chinese musical instruments. Two for a pair. The touch clock is made of brass. When
playing, use the rope passing through the small hole, one for each hand, and strike each other to pronounce. “Peng Zhong” [Bell
Touching], Baidu Encyclopedia, accessed December 20, 2021,
https://baike.baidu.com/item/%E7%A2%B0%E9%92%9F/4396871?fr=aladdin; Nao is a kind of copper percussion instrument in
ancient China, with a huge shape. Nao is used to mean that the mouth is facing the sky and the hand is facing down. When it is
knocked to one side, the sound is powerful, broad, and pleasant. “Nao,” Baidu Encyclopedia, accessed December 20, 2021,
https://baike.baidu.com/item/%E5%A4%A7%E9%93%99/3995587?fr=aladdin; Cymbal, round, protruding in the middle, made
of copper. Big cymbals have a loud voice, primarily used for ensemble, drama, song, and dance accompaniment. “Cymbal,”
Baidu Encyclopedia, accessed December 20, 2021, https://baike.baidu.com/item/%E5%A4%A7%E9%92%B9; Cloud Gong
appeared in the Tang Dynasty. Folk is also known as nine-tone Gong. It is one of the few gongs that can play music. “Yun Luo”
[Cloud Gong], Baidu Encyclopedia, accessed December 20, 2021,
https://baike.baidu.com/item/%E4%BA%91%E9%94%A3/342447?fr=aladdin; Wei Liqun, Chinese Shadow Puppet, 293.
23

Figure 2.3. Tong Nao [Copper Nao]. Source: Academia Sinica,
https://ihp.openmuseum.tw/muse/digi_object/e519b57749491cff5bff4f298e41f091.

Figure 2.4. Yunluo [Cloud Gong]. Source: Sohu, https://www.sohu.com/a/254938068_100090365.

The singer can use a Ba and small double bell in the performance or use the giant Cymbal
and the drums simultaneously. However, it was not until the late Qing Dynasty (1636-1912) that
24
the Jidong shadow play was played with four-stringed instruments, dulcimer, Sanxian, and Erhu,
etc.
66

The Creation and Significance of a Shadow Play Script
The content of a Chinese shadow play performance has continued the tradition of ancient
scriptures, history, and stories of ghosts and gods, including the historical romance and folklore
from the Spring and Autumn Period (770 BC to 476 BC) and the Warring States Period (447 BC
to 221 BC) to Ming (1368 to 1683) and Qing (1636-1912) Dynasties.
67
Most of the stories are
about the rise and fall of the feudal dynasties, Chinese traditional feudal morality, and folk
traditional customs, which represent the development and changes of China.
68

Although the origin of the shadow play is still controversial, its formal singing style and
content are closely related to the famous "folk saying" in the Tang Dynasty (618-907). In other
words, the script of a shadow play may have originated from Buddhism in this period. "Folk
saying" was a kind of rap activity conducted by monks in temples to attract people. The monks
translated the Buddhist scriptures into easy-to-understand vernacular and interspersed some
convincing historical stories and folk tales in the process of rap. This is to popularize Buddhism
so that audiences of all ages can understand it. Later, this kind of rap gradually broke away from

66
Wei Liqun, Chinese Shadow Puppet, 293.
67
The spring and Autumn period is the first half of the Eastern Zhou Dynasty, that is, from 770 BC to 476 BC. Jianmin Du,
Chronology of imperial lineages in China (Jinan: QiLu Press, 1995); The Warring States period was a period of significant
change in Chinese history after the spring and Autumn period, from 477 BC to 221 BC. Sima Qian, Historical Records (Beijing:
Zhong Hua Book Company, 1959).
68
Wei Liqun, Jidong Shadow Play, 88.
25
the Buddhist sutras and became its own system. In this way, this expression form was no longer
confined to monks in temples, professional "rap musicians" began to appear in public. The
purpose of rap was also no longer limited to spreading Buddhism but used for performances at
some major festivals, funerals, and weddings.
69

The form of shadow play scripts can be roughly divided into two types: with and without
words. Most oral scripts are derived from folk rap literature, such as "storytelling."
70
These
scripts have only the story's synopsis, no specific lyrics, which is similar to the outline of the
story taught orally by the elderly artists. When performing such scripts, the shadow artists have
to remember the plot of the story before the performance, while others need to improvise puppet
performances based on singing. In this kind of performance, it is necessary to highlight the voice
of a prominent actor along with the team's voice.
71

Most dramas with words were written by literati in the Ming (1368 to 1644) and Qing
Dynasties (1636 to 1912), especially for shadow play. Because the rulers loved opera and took it
as the primary means of propaganda, opera scripts entered an essential stage of development and
prosperity. This kind of script contains chanting words, commonly known as "Yingjuan" or
"Jingjuan Book," and most of these were long stories. It usually takes more than a month for a
story to be fully presented. In the plot, the characters are complex and complete, the structure
and rhythm of the script are changeable. In scripts, there are dialogues and singing lines of each

69
Wei Liqun, Chinese Shadow Puppet, 21.
70
Storytelling is an ancient Chinese traditional oral performance art form, which became popular in Song Dynasty.
71
Wei Liqun, Chinese Shadow Puppet, 78.
26
character and hints for the actions of different characters during the performance, which are very
vivid and detailed.
72

One of the pioneers of script creation at that time was Gao Shuyao, a famous "Xiucai."
73

He lived in Laoting County during the Daoguang period (1636-1912) of the Qing Dynasty.
74
He
loved poetry and songs and collected many classic historical books. However, due to his integrity
and stubbornness, he often had conflicts with the county magistrate, so he was dismissed. After
leaving the government, he founded a private school in the countryside. In addition to teaching,
he also wrote many famous scripts, such as “Er Du Mei,” “San Xian Zhuan Chu Shibiao,” and
“Qingyun sword,” all scripts used to denounce evil and promote justice. He also created some
new singing forms for a shadow play, enriched the repertoire, promoted the innovation of music
singing, and made the shadow play flourish.
75

In addition, the role of a shadow play in the dissemination of ideas was also reflected in
the Republic of China. In the second year of the Republic of China, Sun Huanlun, the magistrate
of Laoting County, employed Zhang Tingmeng, a scholar, to improve shadow plays. He deleted
the backward feudal thoughts in the traditional dramas and added the views of expelling the
Tatars and restoring China's popular beliefs to help social education.
76
[Fig 2.5].

72
Ibid., 79.
73
Xiucai is selecting officials in ancient China, and the examinee won the title after passing the examination.
74
It is the eighth emperor of the Qing Dynasty, Emperor Xuanzong AI xinjueluo min Ning, from February 3, 1821, to February
25, 1850. In the period of Chinese feudal monarchy, time was usually called by the name of the incumbent emperor.
“Daoguang,” The Palace Museum, https://baike.baidu.com/item/道光/10953324?fr=aladdin.
75
Wei Liqun, Chinese Shadow Puppet, 79.
76
Wei Liqun, Chinese Shadow Puppet, 89, as cited in “Daqing Xuanzongcheng Huangdi Shengxun” [Sixty volumes of emperor
Xuanzongcheng's holy instructions of the Qing Dynasty], Yan fa ji strict law and discipline 60.
27

Figure 2.5. Traditional shadow play scripts. Photo by author.

28
The lyric's rhythm in the script is also very special. Songs can be divided into verse and
prose, with prose as narrative and verse as lyrics. Various plays have their matching verses, and
the actors can increase or decrease according to the situation. The lyrics in a shadow play are
very particular about rhythm; that is, the pronunciation of the last word in every sentence should
rhyme so that it sounds smooth and pleasant. The pronunciation position of the word is different,
and different mouth shapes are formed, and the rhyme of the end of each sentence should make a
unified standard, such as closing and opening of the mouth.
77

Modeling and Character Features of Shadow Puppets
The Jidong shadow play, as one of the most representative shadow play styles in northern
China, has developed for nearly one thousand years and finally formed its unique artistic
modeling system.
78
Its shadow puppet is famous for rigorous structure, exquisite carving, and
gorgeous colors. However, because the shadow puppet is flat and needs to adapt to the
relationship between the characters in the play, its modeling must be characterized by
exaggeration, deformation, simplicity, etc.
79
In addition, these silhouettes have also been
influenced by folk papercuts, temple sculptures, frescoes, and traditional Chinese drama
costumes, as well as stylized facial makeup and decorative patterns.
80

77
Wei Liqun, Jidong Shadow Play, 95.
78
Ibid., 124.
79
Wei Liqun, Chinese Shadow Puppet, 313.
80
Wei Liqun, Jidong Shadow Play, 134.
29
The shapes of characters are rich and varied, typical images of various industries carved
according to plot and performance effect. In addition to characters, shadow puppets also include
thousands of scene props, such as terraces, pavilions, attics, Stone trees, sedan chairs, various
weapons, cloudy and rainy weather, and various animal characters.
81
[Fig. 2.6, 2.7, 2.8, 2.9].

81
Ibid., 124.
30

Figure 2.6. Female shadow puppet character. Photo by author.

31

Figure 2.7. Flag props. Photo by author.

32

Figure 2.8. Long sword weapon props. Photo by author.
33

Figure 2.9. The eagle puppet in the Jidong shadow play style. Photo by author.

Traditional shadow play troupes use special shadow play boxes to hold puppets. There
are about 500 puppets’ heads and 100 bodies in a small shadow box, and nearly 2,000 heads and
more than 200 bodies in the big film box. [Fig. 2.10]. Body and head can be matched to form
different characters before performances.
82

82
Zhang Xiangdong (Head of Xiangdong shadow play Troupe) in discussion with the author, June 2021.
34

Figure 2.10. Shadow puppetry box. Photo by author.

From the perspective of role classification, the faces of the puppets’ heads in the Jidong
style can be divided into several categories: Sheng, Dan, Jing, Binjiao, Da, Chou, and Yao. [Fig.
2.11]. Although names may vary in different regions, it is generally like the roles in traditional
Chinese opera.
83

• Sheng refers to the male characters in the play, which are divided into scholar roles
and martial roles. Their faces are all hollowed out with the bridge of the nose.
• Binjiao refers to the elderly male role, like the facial makeup of the Sheng role, but
with a long beard.
• Dan refers to the female characters in the play. According to the age of the

83
Wei Liqun, Jidong Shadow Play, 125.
35
characters, their personalities can be subdivided into “Qingyi,” that is, the dignified
and steady young and middle-aged women; “Huadan,” a young and lively girl;
“Sword-and-Horse Dan,” a female general or marshal in the battlefield; “Martial
Dan” is a woman or spirit with excellent martial arts; “Old Dan,” a senior woman.
• Jing refers to the young, brave, rough personality, divided into black, red, green
facial makeup.
• Da refers to impressive leaders with big eyes and big beards. Such as Cao Cao, Bao
Zheng, etc.
84

• Chou the characters are funny, witty, or cunning. Generally, they have a flattering
smile and white circles around their eyes.
• Yao refers to all kinds of monsters, immortals, etc., in the play, with complex and
diverse facial makeup.
85

84
Cao Cao, a classic figure in shadow play. He was the founder of the Wei state at the end of the Eastern Han Dynasty. He was
also an outstanding statesman, militarist, litterateur, calligrapher, and poet in ancient China; Bao Zheng, a classic figure in
shadow play. He was the censor of the Northern Song Dynasty, whose primary function was to monitor officials and solve cases.
85
Wei Liqun, Jidong Shadow Play, 125.
36

Figure 2.11. Facial makeup of different characters in Jidong shadow play. Source: Wei Liqun, Jidong Shadow Play, 2009, 125-
126.
1. Young Dan’s face, unmarried girl.
2. Hua Dan facial makeup, the image of young or middle-aged women.
3. Ugly Dan's face, female clown role.
4. Yao Dan’s face, a female clown role above middle age.
5. Young Sheng’s face, young man.
6. Old Sheng’s face, older male roles.
7. Red Jing’s face, hero roles of valor and integrity.
8. Black Jing’s face, general in the army.
9. Old Chou’s face, older but funny characters.
10. Bearded, tanned, and majestic leaders.
11. Bearded, white-skinned, treacherous, and sinister leadership roles.
12. Monster face.

37
Generally speaking, "Xiao Sheng" and "Xiao Dan" are hollow faces. A long nose bridge
summarizes the side face line from forehead to nose tip. Eyebrows and eyes are connected in a
ring shape. The mouth is simplified into a short red line, and the chin is treated at right angles.
The differences between men and women mainly lie in headdresses, buns, earrings, and so on.
The facial makeup of the militant figures is generally characterized by exaggerated eyes, bold
eyebrows, and horizontal stripes. Even nose hair and ear hair are highlighted. The clowns' face is
usually grinning, with white eyes around his eyes; Others carved scars on the top of their heads
and plastered their sideburns to vilify their image.
86

In addition, hats are also an important feature of puppet head modeling. There are many
types of hats worn by different figures, such as helmets, crowns, headscarves, hats, and buns. For
example, military commanders mostly wear helmets; Officials and Buddhas wear the crown. The
headscarves and hats have various shapes and are worn mainly by ordinary people. According to
the various types mentioned above of faces and multiple combinations of crowns and hairpins,
the heads of shadow puppets with different identities and characteristics, such as emperors,
generals, gifted scholars, beauties, people, gods, demons, monks, and Taoist priests, are
produced.
87

86
Wei Liqun, Chinese Shadow Puppet, 313.
87
Wei Liqun, Jidong Shadow Play, 128.
38
Apart from the shadow puppets' heads, the puppets’ bodies are also very abundant.
According to the style, it can be divided into python, robe, leaning, armor, mask shirt, shirt,
coffin, clothes, trotters, etc.
88
[Fig. 2.12].

• Python Robe: it is the official uniform of the emperor and the general in the shadow play.
The robe is embroidered with a Python shape, so it has this name. It has yellow, white, red,
green, black, and other colors. Among them, the yellow robe was worn by the emperor, old
loyal officials worn white, black was worn by treacherous officials, red and green were
worn by ordinary court ministers.
• Robe: including brocade robe, leather robe, “Buzi” robe, and black robe. Wealthy
businessmen wore the first two, "Buzi" robes by low-level officials and black robes by poor
scholars.
• Kao: for officers and men's clothing, wearing armor, with back flag.
• Armor: it is also a uniform for officers and soldiers. It is like Kao clothes, but it doesn't
carry a back protecting flag
• Traditional Chinese cover shirt: the official dress worn by the marshal, with armor on the
inside and boa on the outside
• Traditional Chinese T-shirt: worn by officials at all levels of the imperial court
• Cloak: refers to the open style coat, worn mainly by heroes or the elderly.
• Clothing: including cassock, crime clothing, filial piety clothing, etc. for various special
roles or situations.
• Small “Paozi”: clothes for children.
89

88
Ibid.
89
Ibid., 128-129.
39

Figure 2.12. The clothing of different characters in Jidong shadow play. Source: Wei Liqun, Jidong Shadow Play, 2009, 129-131.
1. Red Python Robe, the general clothing of court ministers.
2. White Python Robe symbolizes the clothing of loyal officials of the court.
3. Female Python Robe, the dress of a queen or highest-ranking imperial concubines.
4. Female Kao, the dress of the female general.
5. Traditional Chinese cover shirt, marshal's official uniform.
6. Yellow mandarin jacket, the costume of the leader of the imperial court guard.
7. Scholar shirt, the official uniform of civil servants in the imperial court.
8. Traditional Chinese sleeve shirt, clothing of ancient scholars.
9. Male Cloak, clothing of martial arts figures.
10. Taoist Robe, a robe worn by Taoist.
11. The costumes of male jugglers, the legs above the knee joint are separated and can be used for big strides and splits.
40
12. The costumes of female jugglers.
13. Gorgeous clothes worn by female characters.
14. Clothes for the role of a good wife and mother.
15. Maid's shirt, clothes worn by female servants.

The difference between male and female roles is also reflected in the feet in the costume
modeling of shadow puppets. Men are matched with combat boots, facing and flat boots
according to their identity; Women are mostly shown in inch shoes, and a few are embroidered
shoes.
90

According to all kinds of facial makeup, crowns, hairstyles, and the matching with the
bodies, the shadow puppets with various identities and characteristics, such as emperors, gifted
scholars, beauties, people, deities, and monks, are produced to adapt to the multiple
performances. Therefore, these shadow figures have a profound and extensive basis for people's
appreciation of the folk. Moreover, once they appear, the audience can immediately recognize all
kinds of figures.
91

90
In ancient Chinese aesthetics, women's feet are smaller and more beautiful, so women's foot binding is a tradition. This is when
women were young, people wrapped their feet tightly with a cloth to make them deformed and smaller. Therefore, ancient
women's shoes mainly were inch shoes. This feudal habit was abolished during the Republic of China. Zhang Zichen, Zhongwai
minsuxue cidian [Chinese and foreign folklore dictionary], (Zhejiang: Renmin chubanshe, 1991), 46-50; Wei Liqun, Jidong
Shadow Play, 132.
91
Ibid., 134.
41
The Application of Colors in Jidong Shadow Puppets
Color is an essential supplement to the beauty of the shadow puppets. Traditional shadow
play artists are not limited by specific patterns when dealing with colors. Instead, they play based
on conventional color concepts according to the texture and role characteristics of the shadow
puppet itself, forming a bright, gorgeous, contrasting, and harmonious artistic effect.
92

The contrast and coordination of Chinese traditional five colors, red, yellow, blue, white,
and black, are fully reflected in shadow puppetry.
93
However, blue is often replaced by green in
the Jidong style, just because in the past, the performances of shadow play were illuminated by
oil lamps, and the colors of blue and black under the light were too close. In addition, using
green instead of blue can also increase the contrast between red and green and make the
characters look brighter. In this way, the five colors in the Jidong shadow play became red,
yellow, green, white, and black. Because the hollow part of the puppet appears white on the
screen, but the puppet material is yellow, the practical colors are only red, green, and black,
rendered with the carving edge as the boundary and juxtaposed with each other.
94

In addition, the color of the puppets' face also represents the character characteristics,
such as red face for loyalty, black face for integrity, white face for cunning, and green face for

92
Teng Yuntao and Yan Xiaokun, Changli Piyingxi [Changli Shadow Play], (Beijing: China Drama Publishing House, 2014),
176.
93
“Zhang zhishi! Zhonguo chuantong secai zhiyou wuzhong yanse” [Up knowledge! There are only five traditional colors in
China], Sohu, May 16, 2020, https://www.sohu.com/a/395634079_820271.
94
Ibid.
42
bandits and monsters. The coordination and collocation of these traditional colors make shadow
play produce colorful artistic effects.
95

Carving methods and skills of Shadow Puppets in the Jidong Style
In shadow play art, carving puppets is one of the most critical parts because the vividness
of the figure image is directly related to the effect of performance. The shadow carving skills
recorded in the Historical Records can be traced back to the Song Dynasty (960 to 1279).
96
At
the earliest time, people used paper as puppet-making material; Later, with the progress of
technology, people chose sheepskin as the primary production material and colored paint as
decoration.
97

During the Wanli period of the Ming Dynasty (1573 to 1620), Huang Suzhi improved the
materials for making shadow puppets.
98
In the beginning, he made puppets out of thick paper,
but later his disciples used sheepskin and donkey skin instead.
99
This is because donkey skin has
many advantages, such as transparent, thin, easy to carve, easy to color, strong in toughness,

95
Ibid., 177.
96
The Song Dynasty was divided into two stages: the Northern Song Dynasty and the Southern Song Dynasty, from 960 to 1279.
Guangming, et al., China Encyclopedia, "Song Dynasty" (Beijing: China Encyclopedia press, 2011).
97
Wu Zimu, Meng Liang Lu [Dream of Song's Memoirs], Song.
98
In ancient China, it was customary to use the emperor’s name in power as the year number. The Wanli year was from 1573 to
July 1620, which was the Ming Emperor Zhu Yijun. This is also the longest-used year name in Ming Dynasty. Huang Renyu,
Wanli shiwunian [Fifteen years of Wanli], (Shanghai: Shenghuo, Dushu, Xinzhi sanlian shudian, 1997).
99
Yuntao and Xiaokun, Changli Shadow Play, 181.
43
waterproof and anticorrosive, etc., so it has become the primary material for making shadow
puppet and is still used today.
100

The carving process of shadow puppets in the Jidong style is rigorous, which can be
divided into seven steps from material selection to production; scraping donkey skin, “Jiang”
skin, cutting, carving, coloring, oiling, and assembly respectively.
101
Each process is interrelated,
among which “Jiang” skin and engraving are the most critical. The superb shaping process can
make the carved puppets smooth even after one hundred years. Exquisite carving skills can also
make puppets show beautiful rhythm and exquisite craftsmanship.
102
The following is the
specific process of the traditional manufacturing method.
The first step is scraping donkey skin: the primary material of puppets is animal skins,
especially young donkeys’ skin. Because young donkeys have not been forced to work hard,
their skin pores are thin and have excellent transparency. First, soak the peeled donkey skin in a
vat for 24 hours in summer and five to seven days in winter, which requires the donkey skin to
reach the degree of soft soaking.
103
When peeling donkey skin, be careful not to let the blood get
on the skin; otherwise, the blood will penetrate it, and the scraped skin will not be transparent.
104

After the leather is soaked, take it out and put it on a wooden frame made of logs, with the

100
“Piying yishu shoucang: Yaokan zhiliao he gongyi” [Shadow puppet art collection: Depends on materials and technology],
Xinlang caijing [Sina Finance and Economics] (5, 2009),
http://finance.sina.com.cn/money/collection/gwzx/20090515/22106233391.shtml.
101
Yuntao and Xiaokun, Changli Shadow Play, 180.
102
Ibid., 181.
103
Ibid.
104
Yang Jinbo (Shadow puppet carver in Xiangdong shadow play Troupe) in discussion with the author, June 2021.
44
leather up, and scrape the residual meat inside the leather with a spatula.
105
In this process, the
scraper should not be too sharp to not break the skin.
106

After that, the scraped leather should be pierced along four sides, and the distance
between each hole is about 3 to 5 inches. Then, use a small rope through the hole to tie the
leather tightly to the wooden frame. Next, lean against the wall and dry the inside of the leather
toward the sun, because it is not easy to dry if the hairy side faces the sun. After the leather is
dry, scrape off the hair outside the donkey skin with a knife, and then scrape off the oil and meat
inside the donkey skin. When scraping, the force should be balanced until the leather is clean and
transparent to avoid knife marks. In winter, it is important to prevent the donkey skin from
freezing; otherwise, the opacity of the finished product will affect the use. The thickness of the
donkey skin shall be moderate; too thick will lead to poor transparency and blur the puppet
image. The knife is always round and half-rolled, when shaving the skin, the craftsman will hold
a needle in his mouth to sharpen the blade. Every time a leather set is scraped, the craftsman will
hold the needle in one hand, hold the knife upside down in the other hand, and gently turn the
handle to make the blade rotate along the needle bar to sharpen it.
107
[Fig. 2.13].

105
Yuntao and Xiaokun, Changli Shadow Play, 181.
106
Yang Jinbo, June 2021.
107
Yuntao and Xiaokun, Changli Shadow Play, 181.
45
Figure 2.13. Scraped donkey skin. Source: Teng Yuntao and Yan Xiaokun, Changli Piyingxi [Changli Shadow Play], (Beijing:
China Drama Publishing House, 2014), 185.

The newly scraped donkey skin is called rawhide; it is not suitable to directly engrave
shadow puppets. Although it has been strongly pulled on the wooden frame, the scraped donkey
skin texture has not been destroyed, and it will shrink when exposed to water and become
warped when exposed to wind and light. In addition, the rawhide is oily and difficult to color. To
overcome the above challenges, craftsmen usually shape and degrease donkey skin before
carving, called "Jiang" skin. Because traditional shadow play is performed under the oil lamp,
puppets carved with rawhide are easy to bend when heated under the light. But the treated leather
46
is not only transparent, but also tricky to curl, and is not afraid of the oil lamp, the wind, and easy
to color.
108

In the process of “Jiang” skin, the first step is to cut the scraped skin into the right size,
then put the thick and thin skins into the water, finally take them out to dry after they are
transparent. In this drying process, the floating water on the leather should be dried with
absorbent articles first and cannot be directly exposed to the sun. When the water vapor on the
leather is dried, fold it with a cotton cloth, place it on a wooden board and flatten it with a heavy
stone. In this flattening process, the cotton cloth should be opened and dried for several minutes
every few hours and then pressed again and again until the donkey skin is dry to make the skin
soft.
109
If pressed for too long and not opened for drying, it is easy for donkey skin to get moldy
due to lack of contact with air.
110
In addition, some artists also brush a layer of rice soup on
leather so that it can be painted easily after carving.
111

The third step is to draw a draft, which is the basis of carving. Past artists have handed
down many exquisite carving works and patterns used as samples for carving artists. Sculptors
usually put leather on the pattern and use steel needles to outline characters on the leather
according to the original picture. After that, cover the skin with a towel soaked with water. After
the skin is soaked and softened, it can be carved with a knife. However, a few accomplished

108
Ibid., 182.
109
Ibid., 184.
110
Yang Jinbo, June 2021.
111
Yuntao and Xiaokun, Changli Shadow Play, 184.
47
sculptors can also create new shapes according to their needs.
112
When dealing with the drawings
of various parts of the puppet body, people should pay attention to the problem of "circle line" at
the connecting parts; that is, the overlapping proportions of each part of the puppet body should
be aligned according to the patterns, and the structure should be orderly.
113

After the draft is drawn, skin selection will be carried out. Each part of a donkey skin has
a different thickness, and it also has horizontal and vertical textures. It should be noted that when
making shadow puppets, the skin must be used along its vertical texture; otherwise, the puppets
are more likely to bend under the oil lamp, resulting in some curling and not sticking to the
shadow screen. The characteristics of the materials selected for making different parts of puppets
are also different. The upper part of the puppet’s body should be made of thin skin to adapt to the
turning movement. The waist skin of the puppet is slightly thicker, and the lower part should be
thick, so that the puppet made in this way will be straight and flat, and it will hang stably; Puppet
heads require thin, moderate, and transparent leather. As for the upper arm, it needs thinner skin
to adapt to flexible movements such as martial arts; For the puppet material of tables and chairs,
the thickest part of donkey skin needs to be selected to ensure its stable placement.
114

The next step is carving. In the Jidong style, the carving of shadow puppets is usually to
carve two layers of donkey skins with one knife, which has high carving efficiency and saves
time. The donkey skins of the same shape and size up and down are bound, holes are punched in

112
Yang Jinbo, June 2021.
113
Yuntao and Xiaokun, Changli Shadow Play, 185.
114
Ibid., 185-186.
48
the corners, and fine leather silk is cut out to be introduced and fixed and then placed on a wax
plate for carving.
115
When carving, artists hold the knife handle with their thumb and forefinger,
and push the knife forward along the line drawn by the steel needle against the back of the blade.
Carving usually starts with the outline and then the face. When a long line is needed in carving,
the engraver should not carve it to the end but must stop halfway and leave a small section of the
interface to keep the puppet connected as a whole.
116

Commonly used carving knives have different sizes and blade shapes, which artists
themselves usually make. [Fig. 2.14]. No matter what kind of carving blade is, it is necessary to
carve the puppet according to the needs of different objects and shapes, which requires the edge
to be neat, clean, and symmetrical. Attention to the 90-degree angle between the knife and the
skin is required to avoid edges of the upper and lower puppets are different, and the lines are out
of shape.
117
[Fig. 2.15]. The carving of a shadow play puppet in the Jidong style is mainly done
with a straight knife. According to the characters, two carving methods are adopted: "positive
carving" or "negative carving." Positive engraving is to hollow out the puppet's face and leave
the outline of each part; Negative carving is hollowing out the contour line, leaving the solid
face.
118

115
Wax board is a small wooden board about 8 inches long and 5 inches wide, dug into a wooden trough. Only the edges around
the board are left. Then it is mainly made of beeswax, added with a small amount of butter, heated, melted with an iron spoon,
and mixed with the ash, and filled into the wooden trough. Yuntao and Xiaokun, Changli Shadow Play, 185-186; Yuntao and
Xiaokun, Changli Shadow Play, 187.
116
Yang Jinbo, June 2021.
117
Yang Jinbo, June 2021.
118
Yuntao and Xiaokun, Changli Shadow Play, 187.
49

Figure 2.14. Carving tools for shadow puppets. Source: Yuntao and Xiaokun, Changli Shadow Play, 2014, 186.

Figure 2.15. A craftsman who carves shadow puppets. Source: Yuntao and Xiaokun, Changli Shadow Play, 2014, 187.
50
The next step is to color and oil the shadow puppet: the dye can directly use a solid color
so that the puppet's color effect will be powerful. Before coloring, the donkey skin should be
wiped on both sides with a wrung wet towel and then colored immediately. Some craftsmen will
paint a layer of glue on the puppet surface before painting to make it brighter after oiling.
Carved puppets need to be dyed with the same color on both sides. Dyeing is divided into two
methods: flat coating and separate dyeing. The flat coating spreads the color evenly on the skin;
Separate dyeing uses colored pens and clear water pens to paint and dye the depth changes.
Generally, before dying, it is necessary to determine the color to be dyed according to the shape,
and at the same time, pay attention to the juxtaposition of colors with the knife-edge as the
boundary.
119

The painted puppets can be oiled after being pinched and dried thoroughly. This step will
make the puppets more transparent, durable in use, and convenient for joint movement. Most
early puppets were painted with tung oil. After 1950, they were painted with varnish and hung in
empty rooms to dry in the shade. When oiling, the artist applies tung oil or varnish to the palms
of their hands and evenly rubbed on both sides of the puppet with color at the same time so that
the oil is evenly applied. Put the oiled shadow play parts in a basket with bamboo strips and put a
layer of donkey skin on each layer of bamboo strips, then put them in a ventilated and dust-free
place, and finally cover them with a small cloth awning to prevent dust. Craftsmen can also hook

119
Ibid., 190-191; Yang Jinbo, June 2021.
51
up the puppets that have just finished oiling with fine iron wires and let them dry naturally.
120

The last step is the binding of shadow puppets: after the oil on the carved parts of the
puppets has dried up, the puppet's different parts can be wrapped with thread according to the
designed initially movable joints. [Fig. 2.16]. It is worth noting that the front and back of the
sleeve and legs of the puppet should be distinguished when binding and the low-level mistakes
of anti-binding should be avoided.
121

In addition, the puppet's two arms should be set at the same point from both sides of his
body; The binding of two legs is one after the other, but the front leg should be bound from the
right side of the puppet's traveling direction, while the back leg is opposite. After the puppet’s
body is attached, a collar should be added to the neck to facilitate the insertion of the puppet's
head. Then sew the joystick at the neck and hands. The joystick is made of iron bars and straw,
and its length depends on the height of the puppet so that it is convenient and flexible to operate
and can be placed on the screen smoothly.
122

120
Yuntao and Xiaokun, Changli Shadow Play, 191.
121
Ibid., 192; Yang Jinbo, June 2021.
122
Yuntao and Xiaokun, Changli Shadow Play, 192-193.
52

Figure 2.16. Binding of shadow puppets. Source: Yuntao and Xiaokun, Changli Shadow Play, 2014, 191.

The above is the complete process of making shadow puppets. For shadow carvers, the
repair skill of damaged puppets was as crucial as the production technology. Because most
shadow plays were performed under oil lamps in the past, puppets were easily blackened,
resulting in fuzzy color on their surfaces, and tung paint on their surfaces was easily sticky when
heated. Therefore, these puppets needed to be renovated once in two or three years. The method
is to soak the old puppet in alkaline water, take it out to dry, and flatten it after the tung oil and
color fall off, then re-color and oil it. Some craftsmen use sodium hydroxide to brush the old
puppet lightly to shed the grease and paint on its surface. Others buried the old puppets in the
53
plant ash and sprayed them with damp water, but this method may deform the puppet parts, so it
is not recommended.
123

However, since the beginning of China's liberation, the shadow puppets will not become
sticky due to heat, because the lighting in shadow play was changed from oil lamps to
fluorescent lamps, thus avoiding the blackening of puppets due to smoke. Therefore, the methods
of repairing old shadow puppets have been gradually lost.
124
But with time, the color of the
puppet’s surface may fade, and direct coloring will be hindered by the grease protective layer on
its surface or failing pigment. In this situation, folk artisans can paint the color with a brush and
then apply it by soap flakes, so that they can dye the color on the puppet with an oily surface and
then finish the varnish again after the paint is dry.
125

123
Ibid.
124
Ibid.
125
Zhang Xiangdong (Head of Xiangdong shadow play Troupe) in discussion with the author, June 2021.
54
Chapter 3: The Performance of a Jidong Shadow Play
A shadow play is a comprehensive form of artistic performance. Although its props are
simple and the play is convenient to perform, it is not easy to describe the stories of historical
figures clearly and show their personality characteristics. This requires shadow play artists to
make vivid shadow puppets, have superb singing skills to depict the emotions of various
characters, have outstanding abilities in manipulating the puppet, and the rigorous cooperation of
the whole team.
126
This chapter will introduce different aspects of the shadow play performance
in detail.

The Stage of Shadow Play
Traditionally, before performing the play, actors should set up a high stage with wooden
poles in an open space and set up tents around the stage. A long table with a shadow “screen”
would be set at the stage entrance.
127
Moreover, the screen should be placed on the table in a
slight forward inclination so that the actors can manipulate the puppet easily.
128
It is worth noting
that the screen was initially made of white cotton paper, but later they were changed to a white
cloth. Puppets vary in size in different places, and so do shadow screens. The screen in the
Jidong style is generally two meters wide and one meter high.
129
[Fig 3.1].

126
Wei Liqun, Chinese Shadow Puppet, 263.
127
Ibid.
128
Wei Liqun (third grade Professor, School of fine arts and design, Hebei Normal University, member of national intangible
cultural heritage protection expert committee, deputy director of Hebei intangible cultural heritage protection expert committee)
in discussion with the author, July 2021.
129
Wei Liqun, Chinese Shadow Puppet, 263.
55

Figure 3.1. Folk Shadow Play stage. Source: Wei Liqun, Zhongguo Piying Yishushi [The History of Chinese Shadow Puppet Art],
ed. Jia Dongying (Beijing: Cultural Relics Publishing House, 2007), 264.

In terms of material selection for stage construction, most stages were mainly made of
local materials or built with wooden poles or boards. The choice of materials is flexible; even the
trunk near the site can be used.
130
However, the stage no longer needs to be temporarily built
with wood in an open space in the urban areas but is built indoors with brick, reinforced
concrete, and other materials. [Fig 3.2].

130
Ibid.
56

Figure 3.2. Modern Indoor Shadow Play Stage. Photo by author.

Lighting in shadow play is also very important, which directly affects the performance
effect. The lamp needs to be hung close to the shadow window. During the Republic of China,
large bowls of soybean oil or cottonseed oil were used as fuel for lamps, with five to seven
wicks, and a special tin can wrap around the lamp. [Fig. 3.3].

57

Figure 3.3. Tin Square Pot Lamp used in the period of the Republic of China. Source: Taobao on sale.

The actors were always blackened after each performance because the oil lamp would
emit thick black smoke when it was ignited. However, some older artists believe that performing
under oil lamps will have special effects. Therefore, today, with the development of science and
technology, shadow puppet performers in some remote areas still insist on using oil lamps for
lighting. Whenever the performance reaches the plot's climax or the puppets change, the actors
gently blow the light. The shaking of the lamp will make the shadow vibrate, resulting in an
intense performance atmosphere.
131

131
Ibid., 265.
58
Behind the screen is the place where the actors perform. Behind and on the left and right
sides of the shadow window are long ropes or strings for hanging puppets. This arrangement also
makes it easier for the actors to take them down and hang up. Singers, percussion, and string
accompanists arranged behind the screen.
132

Operation Skills of Shadow Puppets
Shadow play, as puppet art, is mainly performed by singing and manipulating puppets.
The puppet itself has no change in facial expression, so the characters’ thoughts and personality
depend on the actors’ singing and operating to integrate into the puppet, giving it life.
133

There are many different shapes of shadow puppets all over the country. They are made
of donkey skin, cowhide, camel skin, horse skin, thick paper, and other materials. Due to the
different thickness and hardness of the materials, the size of puppets and the coordination of
movements are different. In addition, the number of levers used to manipulate puppets in
different areas is different, so their methods are various. However, no matter what style of
shadow play, the performer’s manipulation skills play a vital role in the performance.
134
It
requires the actor to be familiar with the script, master the rhythm of the performance progress,
and cooperate closely with the singer. Professional controllers can manipulate eight or nine

132
Ibid.
133
Ibid., 274
134
Ibid., 275.
59
puppets with one hand and do various actions simultaneously. Excellent manipulation skills can
delicately express puppet emotions and arouse the audience’s sympathy.
135

Because all shadow puppets are sided images, they can only move forward, back, up, and
down, but not left and right, which has great limitations and difficulty for the operators. In
addition, many martial arts plots require actors to manipulate puppets to make exaggerated and
complex movements, such as fighting, splitting, changing clothes, and so on. Usually, a
manipulator’s hands must manipulate several puppets to turn and jump simultaneously.
136
When
some auxiliary props, such as tables, chairs, and puppets, need to be placed on the shadow
window during the performance, the actors have no time to pull down the curtains and change
the channel but throw the auxiliary props close to the screen with fast speed and wrist skills,
which requires the props to be placed firmly and keep a proper distance between them. This
technique needs long-term diligent practice.
137

In addition, each puppet is usually equipped with a joystick on its neck and hands. An
iron rod around the neck is called the central rod, and the rod on each hand is called the hand rod.
The central rod can show the puppet’s front and back legs, sitting and lying, turning over,
jumping, and other actions; The hand rods can direct the movement of throwing sleeves,
covering mouth, rotating, and so on.
138
When handling rods, the actors should firmly grasp them

135
Wei Liqun, Jidong Shadow Play, 175.
136
Wei Liqun, Chinese Shadow Puppet, 275.
137
Zhang Xiangdong, June 2021.
138
Wei Liqun, Chinese Shadow Puppet, 275.
60
with five fingers. They also need to pinch them hard, dance flexibly and keep the puppets
balanced. Every subtle action must meet the requirements of the characters in the specific
situation of the plot and closely and harmoniously cooperate with the music and singing. In the
martial arts plot, besides the two levers that dominate the puppet movements, there are also
mounts, weapons, whips, and other levers, sometimes even as many as seven.
139

In a Jidong shadow play, the common manipulation skills are using spears, sticks, and
swords. Fighting can be divided into two types: horse and ground, which operate similarly. First,
the joystick of the weapon is folded with the two levers of the actor’s puppet. Then, hands
folded, opened, closed, twisted with the thumb and forefinger so that the spear can stab back and
forth, the stick can be mixed, and the dagger can fly up and down. In this process, it is necessary
to pay attention, use hands, eyes, and heart, and the flexibility of fingers is the key.
140

Besides, one of the essential things in manipulating puppets is to show the thoughts and
feelings of characters. Although there is stylized facial makeup of good and evil in the exquisite,
sculpted shadow puppet figures, their expressions are all fixed. Therefore, actors need to express
different emotions of the characters; they need to control the puppets to do the appropriate
movements, bring in their feelings, and make puppets a soul and vivid artistic image.
141
For
example, in manipulating an elderly character, the puppet should be controlled to hunch over to
show the characteristics of the elderly; In a frustrated figure’s performance, puppets should be

139
Wei Liqun, July 2021.
140
Wei Liqun, Chinese Shadow Puppet, 275.
141
Ibid.
61
manipulated to hang their head and sigh, showing lost emotion; When expressing the character’s
joy, puppets can clap their hand, raise their head, and then tilt back and forth body to show
happiness, etc.
142

The above-stylized puppet movements come from life. Nevertheless, these activities are
exaggerated according to the needs of the performances to make the audience feel the
personalities of the characters and enjoy the charm of art. These fully reflect the critical role of
manipulating skills in shadow puppet performances.
143
The following are some skills of scene
expression in a traditional shadow play.

• Performances without physical objects: for example, when performing boating on the lake,
because there is no water on the stage, actors can use the bumps of boat props to express
the meaning of water.
• Smoky: spraying smoke on the shadow screen can create an atmosphere of dark clouds of
smoke.
• Fire spraying technique: with liquor burning rosin in your mouth, spray it on the place
where the flame needs to appear on the shadow screen. Ignite immediately, and you will
have a vivid effect of fire.
• Umbrella holding: fold the umbrella props into a closed shape and fix them with thin elastic.
When the rubber bands are released, the umbrella will open.
144

With the development of science, some technologies can be properly integrated into
shadow play, such as making waves and sea water, raging fire, clouds and rain and lightning,
etc., which makes the overall performance more enjoyable and shocking.
145
[Fig 3.4]. Compared

142
Zhang Xiangdong, June 2021.
143
Wei Liqun, Chinese Shadow Puppet, 276.
144
Ibid., 278.
145
Ibid., 276.
62
with the effect of traditional shadow play, the integration of modern technology also ensures the
safety of actors to a large extent. This shows that traditional art and modern technology are not
always contradictory. In the case of proper use, science and technology can also play a role in
promoting the development of traditional art.

Figure 3.4. Use the projector to put the fire scene on the props of the shadow screen. Photo by author.

63
The Performance of Jidong Shadow Play
In the past, most shadow plays were performed in the open spaces in streets. Before the
performance, actors always played gongs and drums to attract audiences.
146
At present, shadow
play in the city are mostly performed in specific theaters, and tickets are sold in advance.
Therefore, the role of drumming to attract the audience has disappeared. However, this tradition
is still going, as a signal of the start of performance, and it can also urge audiences to find the
corresponding seat as soon as possible.
147

It is noteworthy that beating gongs and drums is not arbitrary, the beating time is
generally about ten minutes. When the audiences are basically seated, actors can begin to
perform. As soon as the drums and gongs stopped, puppets appeared on the screen. A backstage
commander controls the rhythm of the performance by beating the board. After the drums were
over, he began to hit the board three times. The first castanet is to remind the actors to get ready.
A few minutes later, the next two soundboards marked the beginning of the performance.
148

The whole performance is based on the scripts. In the Jidong school, actors are required
to sing the script on the stage as it is, and they are not allowed to change lines without
authorization. The script is placed in the middle of the long table with the screen. After an actor
finishes one page, the actor on the right turns it to the next page with a bamboo stick and presses
it down with iron. Actors must be familiar with their lyrics, and each of them shall leave

146
Wei Liqun, Jidong Shadow Play, 270.
147
Zhang Xiangdong, June 2021.
148
Wei Liqun, Jidong Shadow Play, 270.
64
immediately after performing their roles, leaving space for other actors to watch the script. At the
top of the screen, the puppet operators should follow the actors' singing and accompanying music
and perform various actions in the plot.
149
Although each shadow play's performance mode and
lines are fixed, when there are some unexpected situations, such as one character singing but the
next character does not appear in time, the former actor needs to improvise and add a few words
to delay time.
150
This reflects the professionalism of a shadow puppet actor.
In addition, there are strict regulations on the number and division of actors' labor in the
performance. A regular performance needs seven or eight actors. The leading actor on the left
side of the stage is responsible for selecting the puppets needed on-site and controlling the
performance progress. The person on the stage's right side is a second-level actor whose primary
duties are to cooperate with the leading operator, supervise the lights, add oil to the lights, turn
over the script for the singers and perform some roles. The remaining six percussionists are
responsible for the accompaniment of drums, clappers, gongs, cymbals, and singing of different
parts. In general, they will be assigned to sing different roles, but they can also help each other
when similar roles are posted.
151
Besides, there were no actresses in the old shadow play troupes,
so all the female characters in the performance were sung by male actors.
152

149
Ibid., 271.
150
Zhang Xiangdong, June 2021.
151
Wei Liqun, July 2021.
152
Wei Liqun, Chinese Shadow Puppet, 266.
65
In terms of performance duration, performing a play usually takes two to three hours, but
the time can also be adjusted according to the audiences' requirements. When the performance is
over, the leading actor would put the script in front of the screen and move the puppets away to
signal the end of the performance. But sometimes, the audiences may not leave immediately but
applaud and cheer for a long time to show their love for the performance. In this case, actors
should make an additional short performance to thank the audience for their enthusiasm, which is
also the hidden rule of shadow play.
153

Folk Customs of the Jidong Shadow Play
Since the birth of Chinese folk art, it has permeated with rich totem concepts and natural
religious worship consciousness. Because the origin of shadow play art is influenced by religious
culture, especially Buddhism, the traditional shadow play groups have religious customs and
unique folk customs. Since the appearance of this art, religion has also used it to publicize its
thoughts, thus forming the phenomenon of a cross between religion and folk culture. Therefore,
in the traditional shadow play groups, the custom of offering sacrifices to gods has always been
preserved.
154

153
Wei Liqun, July 2021.
154
Yuntao and Xiaokun, Changli Shadow Play, 215.
66
In the Jidong shadow play, traditional troupes worship Guan Yin Bodhisattva.
155
Under
normal circumstances, Guan Yin statues or throne are attached to the box containing shadow
puppets, and always keep secret from others. [Fig. 3.5]. Whenever Guan Yin Festival, Mid-
Autumn Festival, or performing with the theme of God, the group members open the puppets’
box, and the actors to burn incense to worship Guan-yin Bodhisattva.
156
In addition, many
shadow puppets are also depicted according to the straight nose and fine eyes of Guan Yin
Bodhisattva’s profile. This has become a unique custom of shadow play in the Jidong style.
157

Jidong Shadow Puppetry troupes took Guanyin Bodhisattva as the ancestor, which was
influenced by myths and legends. It is said that a long time ago, many tribes in northern China
lived a nomadic life. These groups were violent, dissolute, and disobedient, and often harassed
people in the South. Southerners had no choice but to burn incense and kowtow to pray for the
protecting of Guan Yin Bodhisattva. Their pious prayers touched Guan Yin, so she/he went to
the north to preach and persuade people to do good deeds.
158
But the locals could not understand
the truth in the Scriptures. In this situation, Guan Yin found two monks, asked them to cut some
paper men, and set up a table and a lamp, and then sing scriptures and manipulate paper puppets

155
Guan-yin is the most used bodhisattva translation in Buddhism and refers to the bodhisattva adopted by other eastern
religions. The Chinese name Guan-yin is the abbreviation of Guanshiyin, which means "the person who perceives the sound of
the world." Perceiver of the World’s Sounds, 31, October 2018.
156
Every year, Guan Yin Festival falls on the lunar calendar of 19th of 2nd Moon, 19th of 6th moon and 19th of 9th Moon.
Temples with Guan Yin worship will have such festivals with many devotees visiting to pay their respects, In Chinese Festivals,
retrieved 28 July 2021, https://www.chinatownology.com/chinese_festivals.html; Mid-Autumn Festival, also known as Moon
Festival or Moon Cake Festival, is a traditional festival celebrated by people in East and Southeast Asia. It is also the second
most important festival after Chinese New Year. On this day, the Chinese believe that the moon is at its brightest and fullest size,
coinciding with harvest time in the middle of Autumn.
157
Yuntao and Xiaokun, Changli Shadow Play, 216.
158
At present, there is no clear record to explain the gender of Guan Yin Bodhisattva.
67
to attract people to accept enlightenment. This way of singing scripture is considered as the
predecessor of shadow play, and Guan Yin Bodhisattva is also regarded as the ancestor of
shadow play.
159
Although these myths carry people’s beautiful vision, they cannot be used as a
formal theory of origin because they are fictional.

Figure 3.5. The picture of Guanyin Bodhisattva attached to the shadow puppets’ box. Source: Yuntao and Xiaokun, Changli
shadow play, 216.

159
Yuntao and Xiaokun, Changli Shadow Play, 217.
68
The Jidong Shadow Play Customs in Special Festivals: Returning God
and Worshipping Ancestors
In northern China, there is a special theme of shadow play that is very popular. It is
specially performed for returning gods and worshipping ancestors.
160
For example, if a person’s
family is sick or has a child, they would pray Guan Yin for blessing. After that, they would also
invite a shadow play troupe to perform the special performance.
161

Such exceptional shadow play performance usually takes three days. On the first day,
singing was used to appease the gods. After that, a simple tent will be set up in the master’s yard,
in which the gods’ tablets were placed. That night, the actors had to perform the script designated
by the employer: the plot of sacrificing gods. The next day is the official day to return gods’
grace. When the sun is shining at noon, they will perform the “Bright Shadow” on the memorial
tablet of the gods in the hut.
162
Most content is praying to God and wishing their family peace
and happiness. The third day is the day of “sending God,” they don’t perform during the day but
wait until the evening. After the formal shadow play performance, they will perform an
additional short section, not for the audiences but for Guanyin Bodhisattva and the gods.
163
This
custom still exists in some remote mountainous areas in eastern Hebei region today.
164

160
Those who prayed for God's blessing fulfilled the promise to gods.
161
Yuntao and Xiaokun, Changli Shadow Play, 219.
162
The shadow play performed during the day is called bright shadow.
163
It is believed that when performing the shadow play of sacrificial content, Guanyin Bodhisattva will be summoned and come
to watch.Yuntao and Xiaokun, Changli Shadow Play, 220.
164
Yuntao and Xiaokun, Changli Shadow Play, 220.
69
In addition, there used to be a rule that women were not allowed to appear on the shadow
play stage or perform in teams. This is a manifestation of discrimination against women in old
Chinese society. However, since China’s liberation, the status of women has gradually improved,
and this rule has naturally disappeared.
165

165
Ibid.
70
Chapter 4: Case Study- Beijing Opera
Beijing Opera, also called Peking Opera, is China’s most influential opera style. Various
artistic elements in the performance are used as symbols of traditional Chinese culture.
166
In
2006 and 2010, Beijing Opera was inscribed in the first batch of the National Intangible Cultural
Heritage List and UNESCO Representative List of the Intangible Cultural Heritage of Humanity
representatives.
167
Beijing Opera has achieved great success in inheritance, development, and
protection as a traditional Chinese drama performing art. This chapter takes Beijing Opera as a
case study to introduce its origin, development, and dissemination. Its successful protection
measures and experience may be helpful examples for the conservation of the shadow play.

The Origin and Characteristics of Beijing Opera
Beijing Opera’s distribution is centered in Beijing and spread all over the country, but
this does not mean that it is only a drama performance with Beijing characteristics. On the
contrary, it is a comprehensive artistic expression created by blending the drama characteristics
of different regions. Since 1790, four famous Hui opera troupes entered Beijing from the south,
forming Beijing opera’s predecessor.
168
At that time, many styles of dramas were prevalent in

166
“Jing Ju” [Beijing Opera], Zhongguo feiwuzhi wenhua yichan Wang [China Intangible Cultural Heritage Network], December
29, 2019. https://baike.baidu.com/reference/75719/3a1aPWNcoF6YpFQme7jCT218-
POVoeFyWLsQG2UWYLRgOqJAzo4Li1ItC5p1N5bOQ9F_GNeXujHMI2dQV_bZXFJBWoOKkDjhxg.
167
“Diyipi guojiaji feiwuzhi wenhuayichan minglu” [The First Batch of National Intangible Cultural Heritage List], Guowuyuan
gongbao [State Council Bulletin], no. 20 (May 2006), http://www.gov.cn/gongbao/content/2006/content_334718.htm; “Peking
Opera,” UNESCO, accessed December 20, 2021, https://ich.unesco.org/en/RL/peking-opera-00418.
168
“Beijing Opera,” China Intangible Cultural Heritage Network,
https://baike.baidu.com/reference/75719/3a1aPWNcoF6YpFQme7jCT218-
POVoeFyWLsQG2UWYLRgOqJAzo4Li1ItC5p1N5bOQ9F_GNeXujHMI2dQV_bZXFJBWoOKkDjhxg.
71
Beijing. Still, there was little contact and infiltration among various troupes, leading to the
relative independence of different opera styles. However, the Hui troupe’s approach is just the
opposite. They widely solicited predecessors’ opinions, constantly absorbed the advantages of
various operas, and integrated them into Hui Opera. Local audiences loved Hui Opera for its rich
repertoire and changeable performance forms. However, the increase in the popularity of the Hui
Opera has led to the decline of other operas. Under this circumstance, for the sake of livelihood,
Qin opera artists joined the Hui school. In this process, Hui artists widely absorbed the singing
and performance styles and script contents from Qin Opera, which created favorable conditions
for the Hui opera’s development. Later, Han Opera arrived and joined the Hui troupes in 1821, a
confluence of Hui, Qin, and Han Operas was formed, which laid the foundation for the birth of
Beijing Opera. In addition, in 1840, Hui Opera further learned from the advantages of Kunqu
Opera and Beijing Singing and finally formed the Beijing Opera after continuous exchanges and
integration.
169

From the perspective of drama features, Beijing Opera is better at expressing political and
military struggles with historical themes, and most stories are taken from historical romance and

169
A play is sung in the Beijing dialect; Qin Opera is a traditional opera in Northwest China and one of the national intangible
cultural heritages; Han Opera is a local drama in Wuhan, Hubei Province, one of the traditional operas of the Han nationality and
one of the national intangible cultural heritages; “Zhongguo Jingju fazhanshi” [Development history of Chinese Peking Opera],
Jingju yishu [Peking Opera Art], (Wenhua zhongguo China Culture, April 17, 2019),
https://baike.baidu.com/reference/75719/b849iKl4ALkG6Id1UIRVC5zFts2uqd1pi6m-
lLcIxN4z0S_p0Dt7OLUJ60UxRlvmBkJpW6qfdz7FVlFHHsCWIbMXMD3e_-
3Bw85EBiXiKi4aC_lYI_tI3HMxHSiytmAp4SQak9A40oI; Kunqu Opera is one of the oldest traditional operas of the Han
nationality. It originated in the Kunshan area, Suzhou, China, in the 14th century. “Zhongguo xiqu zhimu: Beifang Kunqu” [The
Mother of Chinese Opera -- Northern Kunqu Opera], Zhongguo chuantong wenhua [Chinese Traditional Culture], (Zajia,
November 29, 2013),
https://baike.baidu.com/reference/216928/3c06bWGavs9XTx3E9mcAvIsPkGMKBIzRz5DKKoXmYiJVUFKbuLtopd9oVydTw
U00xfJNZK2Vr8R4svFCgg-KaCIUxWx3; “Jing Ju” (see chap. 4, n. 166).
72
novels. The type of scripts is various, including big-play and Zhezi play.
170
Peking Opera is a
song and dance performing art in terms of performance. Song and dance are the two elements of
the performance, reflected in its four expression methods, namely Chiang, Nian, Zuo, and Da.
Among them, Chang means singing, Nian refers to the musical recitation, which complements
each other and constitutes one of the two significant elements of “song.” Zuo refers to the body
movements of dance, and Da relates to martial arts and tumbling skills, which are combined to
form the second central element of Beijing Opera performing arts, dance. Although opera actors
have different divisions of labor and performance contents, they should be trained from these
four aspects to ensure that they can give full play to the artistic features of Beijing Opera and
better show various figures.
171

In the role classification, roles in Beijing Opera are classified not only according to the
natural and social attributes of the characters but also according to their personality
characteristics.
172
It is worth noting that everything on the Peking opera stage does not appear
based on the original appearance of life but exaggerates artistically in all aspects of makeup and
costumes according to the characteristics of the characters played. In this way, the roles on the

170
Zhezi Play is a beautiful story intercepted in long plays. The plot is short but complete, saving time and effort than performing
the whole drama. “Zhongguo wuda juzhong zhi jingju jianjie” [Introduction to Peking Opera, one of China's five major operas],
Zhongguo shehui kexu wang, March 16, 2011,
https://baike.baidu.com/reference/75719/2be2cjDkQK0U5SH2H8DmcywFqp4iBb7FgFu2cqX2UbXreVwMeh2B7CkDlBNkd5H
y8zJbMAP9wkpYy2BBwYoRGgncOV7BZwhbP3DN3SzznsiaRV-52Tpv0Q.
171
“Zhongguo Jingju fazhanshi” [Development history of Chinese Peking Opera], Jingju yishu [Peking Opera Art], (Wenhua
zhongguo China Culture, April 17, 2019),
https://baike.baidu.com/reference/75719/b849iKl4ALkG6Id1UIRVC5zFts2uqd1pi6m-
lLcIxN4z0S_p0Dt7OLUJ60UxRlvmBkJpW6qfdz7FVlFHHsCWIbMXMD3e_-
3Bw85EBiXiKi4aC_lYI_tI3HMxHSiytmAp4SQak9A40oI.
172
Natural attributes refer to the physiological characteristics of characters, such as gender, age, etc; Social attributes refer to the
characteristics of characters in society, such as identity, occupation, etc.
73
stage are divided into four types: Sheng, Dan, Jing, and Chou, which is very similar to the
occupation division in shadow play.
173
In addition, like the shadow play, the Beijing Opera also
attaches great importance to the use of color. The difference is that the former is mainly used in
puppets, while the latter is painted directly on the actors’ faces, that is, facial makeup. Different
colors represent different personalities. For example, the red face implies praise, meaning loyalty
and bravery; The black face is neutral and represents courage and wisdom. Colorful faces and
green faces are also neutral, representing folk heroes; Yellow faces and white faces are
derogatory, meaning cunning and cruelty; golden and silver faces imply mysteriousness,
representing gods and ghosts. The initial function of facial makeup was only to exaggerate the
facial features textures of characters in the play and use exaggerated techniques to express the
characters’ nature, psychological, and physiological characteristics to serve the plot of the whole
play. Later, however, facial makeup gradually became a kind of pattern art with national
characteristics, with the human face as the expression means, from simple to complex, coarse to
fine, and from simple to profound.
174

In addition, according to different themes, Beijing Opera performances can be divided
into martial arts scenes and non-martial arts scenes, and the accompanying instruments are also
different. In the martial arts play, most of the instruments used are percussion instruments, such

173
“Jingju hangdang de huafen” [Role Division of Peking Opera], Zhongguo Jingju [Chinese Peking Opera], April 17, 2019,
https://baike.baidu.com/reference/75719/ffa6cK3rqX2EqcYlY7khrngPGvXmzGI_FTEACutWTGoiIi79TSdHMCG2Hgyx7NyKI
Ferq_FCGz4SCzsQwzFhggDLDLLOExcj8sSfuLu9OQUhwX63YD5Qbp-UuJBUDZEksuaqKUf31Dw.
174
“Chinese Peking Opera,” Peking Opera Art (see chap. 4, n. 168).
74
as board, drum, gong, and cymbal. In non-martial arts performances, pipe instruments such as
Jinghu, Beijing Erhu, Yueqin, Sanxian are often used.
175
[Fig, 4.1, 4.2, 4.3]. Among them,
musical instruments such as drums, gongs, and cymbals are also used in shadow play art
performances.

175
Jinghu, also known as huqin, is a traditional Chinese stringed instrument; Beijing Erhu is a traditional Chinese string
instrument. It was invented with the formation of Beijing opera at the end of the 18th century. Its shape is very similar to that of
Jinghu, but the tone is more mellow. “Jing Erhu” [Beijing Erhu], Baidu Encyclopedia, accessed December 20, 2021,
https://baike.baidu.com/item/%E4%BA%AC%E4%BA%8C%E8%83%A1/6904033?fr=aladdin; Yueqin is a traditional Chinese
plucked instrument, which originated in the Han Dynasty. “Yueqin,” Baidu Encyclopedia, accessed December 20, 2021,
https://baike.baidu.com/item/%E6%9C%88%E7%90%B4/498985?fr=aladdin; Sanxian is a traditional plucked instrument in
China. Its origin is controversial, but the earliest written records can be traced to the Tang Dynasty. “Qiao Samxian” [Beautiful
Sanxian], Guxian xinsheng: Zhongguo chuantong minzu qiyue de chuangxinshi jicheng [Ancient String and New Sound:
Innovative Inheritance of Chinese Traditional National Instrumental Music] (Xinhua News, September 14, 2018),
http://www.xinhuanet.com/video/2018-09/14/c_129953461.htm; “Jingju de yueqi” [Musical Instruments of Beijing Opera],
Zhongguo Jingju [Chinese Beijing Opera], April 17, 2019, https://baike.baidu.com/reference/75719/46e9FKKFjW8M5tkzbMs-
FDGYZmE45hWVWlOaNYSV0v-
T7cXvjKcmyWXbok_7nyHPzwZS4HO55CAXTI5NjirhKbQ6iyK8embLr5RL5vmkGdIO88QpwtNs1XSHuxwA1yVwR-
gMFGJRqcs.
75

Figure 4.1. Jinghu. Source: Taobao, http://www.tbw-xie.com/px_50017391/584657376072.html.
76

Figure 4.2. Yueqin. Source: http://pic3.zhimg.com/v2-ea0f356b9917a5dec0c244f6230505f5_1440w.jpg?source=172ae18b.

77

Figure 4.3. Sanxian. Source: Online for sale.

78
In terms of props, because Beijing Opera is a live performance, props can only choose
common items in life, such as tables, chairs, swords and so on, which will limit the perfect
restoration of many play scenes. Therefore, Beijing Opera performance pays more attention to
the expression of artistic conception, and the function of props will also change with the needs of
the scene. For example, when performing the scene of the emperor's inspection, the ordinary
tables and chairs on the stage will be imaged as the dragon chairs.
176
In the banquet scene, the
table became a banquet. Besides, props can also be imagined as natural landscapes with entirely
different properties. For example, the actor standing on the table represents climbing the
mountain. When representing weather changes such as water, fire, wind and so on, flags with
matching patterns are used.
177
In a word, Beijing Opera has great restrictions on the use of props,
most of which require the audience to imagine the scene to show the story. In contrast, the props
in shadow play are finely crafted on puppets, so there is almost no limit to the variety of props
used.

176
The Dragon Chair is a unique piece of gold furniture for ancient emperors. Because the public believed that the emperor was
the embodiment of the dragon, the pattern of the dragon is carved on the furniture.
177
“Jingju qiemo” [Peking Opera Props], Zhongguo Jingju [Chinese Peking Opera], April 17, 2019,
https://baike.baidu.com/reference/75719/b23aBZYORycI0Cxz3YJxVB6p66CSk8e6v2GyXqsbYPk4CplSU0oQPyFp6s_r6ELkU
NcXJUuUaoyKpr5hKF_2O5rBGgE417YQi1c1rwsPJGZupF-rj5AFcZHpq9R79LuSIz-JN5VESDY.
79
Transmission Value of Beijing Opera
The stage art of Beijing Opera now constitutes a mature and standardized procedure in
literature, performance, music, singing, accompaniment, makeup, facial makeup, etc.
178

Compared with other operas, Beijing Opera entered the court at the early stage of its formation,
which led to the need to show broader life fields and more types of characters. In addition,
because the audience is primarily high-ranking officials and dignitaries, there is a high demand
for comprehensiveness, outstanding performance skills, and the beauty of stage images.
Correspondingly, its folk and local flavor, rough and straightforward style are relatively weak.
Therefore, its performance art tends to be a combination of virtual and natural means of
expression, which transcends the limitations of stage space and time to the greatest extent, to
achieve the artistic realm of "conveying spirit in both form and spirit." This is also one of the
fundamental reasons why Peking Opera can become the quintessence of China today.
179

Besides its artistic value, Beijing Opera is also one of the important ways for China to
publicize traditional culture to the world. It has been more than 100 years since Beijing Opera
was introduced to foreign countries in 1919. This process can be divided into three parts. The
first phase was from 1919 to 1940. The troupe headed by Mei Lanfang, a famous Beijing Opera
performing artist, has performed in Japan, the United States, the Soviet Union, and other places.
This is the first step of Chinese opera to go global. It not only embodies the characteristics and

178
Ibid.
179
“Chinese Peking Opera,” Peking Opera Art (see chap. 4, n. 168).
80
cultural connotation of Chinese drama aesthetics, but also eliminates the western prejudice
against Chinese drama and even the Chinese at that time and promotes the cultural exchange
between the East and the West. It is worth mentioning that Pomona College and the University
of Southern California have each awarded Mei Lanfang a doctorate in literature, expressing their
admiration for this master of art.
180

The second phase was from 1950 to the end of 1970. With the founding of new China,
China has successively sent diplomatic missions to visit overseas, and the Beijing Opera Troupes
have followed the missions to perform everywhere, covering India, Myanmar, Venezuela,
Colombia, Cuba, Canada, and other countries. During this period, Beijing Opera was mainly
used as a means of cultural diplomacy. The third phase is from 1978 to the present. With the
implementation of the opening-up policy, China has continuously deepened its cultural
exchanges with other countries around the world. The footprints of a new generation of Beijing
Opera artists have spread all over the world, further expand the overseas influence of this art.
181

180
Li Zhongming, “Mei Lanfang ba Jingju tuixiang guoji wutai” [Mei Lanfang Pushed Peking Opera to the International Stage],
Renmin ribao – Guoji fukan [People's Daily - International Supplement], no. 12 (2008): 15, accessed December 18, 2021,
https://www.docin.com/p-1142593370.html.
181
Li Siqing, Chen Shu, and Chen Xiqiang, “Dissemination and influence of Peking Opera in the world: A study on translation
and dissemination of Peking Opera in Intercultural Communications,” Theory and Modernization, no. 1 (August 2014),
https://en.cnki.com.cn/Article_en/CJFDTotal-LYXD201401016.htm.
81
Difficulties and Solutions of Beijing Opera's Overseas Dissemination
Although Beijing Opera has frequently gone abroad in the past decades and has
established a certain influence in some countries in Asia, North America and Europe, there are
still two major problems in overseas communication.
The first problem is that there is the lack of regular audience. Most foreign audiences
watch Beijing Opera out of curiosity about Chinese culture, but lack of in-depth understanding of
its artistic and cultural connotation, which also makes it difficult for Beijing Opera to attract
overseas loyal audiences. The second problem is the language and cultural barriers. Martial art is
a category of Beijing Opera performances. Because of its strong stage appeal and visual impact,
it is often selected as the main repertoire for overseas performances. However, this leads to the
misunderstanding of foreigners that Beijing opera is kung fu. In addition, foreigners cannot fully
understand the singing content of this art, which further affects the effective dissemination of
Beijing Opera and the publicity of Chinese culture.
182

To solve the problem that Beijing Opera is difficult to spread overseas, Beijing Opera
Troupes conducted a survey in the United States in January 2013. They invited 21 adults whose
native language was English as experiments, including fifteen Americans, four Canadians and
two British. Four experimental methods were arranged to test foreigners' reaction and acceptance
of different forms of Peking Opera performances. In Experiment one, the subjects who watched
the Peking opera performance were provided with English on-site translation. Every

182
Ibid.
82
conversation in the performance was translated into English by professional translators. In
experiment two, two screens were prepared for the audiences. One screen played the Peking
opera performance, and the other displayed the English subtitles of lines and lyrics. The method
of experiment three is the same as that of experiment two, but a process was added. That is, an
English manual was given to each audience before the performance begins, which included the
plot of the performance, characters, costumes, props and so on. Experiment four added another
process to experiment three, that is, explained and displayed the Peking Opera props, facial
makeup, scenery, program movements, musical instruments, and other Peking Opera knowledge
in English firstly, and provided Peking Opera experience activities, such as trying on costumes,
painting facial makeup, and teaching Peking Opera movements.
183

After the experiments, some conclusions can be drawn by collecting the feedback of the
experimenters. In Experiment one, with the help of on-site English response of lines and lyrics,
most subjects could understand the story plot and most lines and lyrics, but they still couldn't
understand the relationship between characters, program actions, stage settings and band
accompaniment. In addition, 72% of the respondents indicated that online real-time English
translation would affect their viewing of performances. In particular, the translation lags the
voices of the actors, which greatly affected the appreciation effect. Nearly half of the respondents
said that after their curiosity was satisfied, they might not watch Beijing opera again. In
Experiment two, 90% of the subjects thought that English subtitles were better than on-site

183
Ibid.
83
English translation, so that they could pay more attention to the performance. Although most
people can understand the plot, they still don't know the singing, makeup, makeup, and dance of
Beijing Opera. Foreigners who watched Peking Opera with the experimental three method said
that they could not only fully understand the plot, but also had a strong interest in this art. One-
third of them expressed their willingness to continue watching other dramas to learn more about
Beijing Opera, and they also wanted to learn Chinese. In the fourth experiment, in addition to
understanding the plot, many subjects could ask some valuable questions about the
accompaniment of the band, stage setting, costumes and headdress, and even 90% of them
showed a strong desire to explore Beijing Opera.
184

The results show that language and culture are the main factors that affect the effective
spread of Beijing Opera overseas. Because the more people have in common, the less obstacles
or cultural distortions they will encounter in communication. On the contrary, when the cultural
differences among members of different groups increase, the possibility of misunderstanding will
be greater. Therefore, due to the lack of in-depth understanding of Beijing Opera art and Chinese
culture among most foreign audiences, China is strange and mysterious to them, and most of
them watch Beijing Opera out of freshness and curiosity.
185
Therefore, some measures can help
foreign audiences to overcome language and cultural barriers and enjoy Chinese culture better.
For example, in terms of language barriers, the audience can have a basic understanding of the

184
Ibid.
185
Larry A. Samovar, Nemi C. Jain, and Richard E. Porter, Understanding Intercultural Communication (Belmont, CA:
Wadsworth, 1981), 34-37.
84
content and plot of the drama before the performance by playing English subtitles or distributing
English translation scripts in advance. In terms of cultural barriers, artists can solve them by
popularizing the common sense of Peking Opera and expounding the Chinese humanistic spirit.
During the explanation, commentators should not only clarify the relationship between the plot
and the characters, but also clarify the cultural differences between China and foreign countries,
so that foreign audiences can appreciate the play while knowing Chinese culture.
186

Protection Policies and Development Measures of Beijing Opera
As one of China's national quintessences, Beijing Opera has developed and reached a
high reputation in the world with its forward-looking development strategy and the government's
comprehensive protection policies.
First, from the government's point of view. To support the creation of Beijing Opera, the
Communist Party of China and the government have taken many effective measures, such as
setting up related awards and funds. With the approval of the State Council, the government
established the Beijing Opera Steering Committee of the Ministry of Culture and the China
Peking Opera Art Fund in 1992. After that, three national new Peking Opera performances, four
Chinese Peking Opera Art Festival, five national stage art projects and eight Chinese Art Festival
were held. In addition, the government also strongly supports the evaluation of national key
Peking Opera Troupe and sets up several seminars for outstanding young Peking Opera actors.

186
Siqing, et al., “Influence of Peking Opera,” Theory and Modernization, (see chap. 4, n. 181).
85
These measures have played an effective role in encouraging and supporting the creation of
Beijing Opera. The formulation of relevant policies and regulations and financial support have
also provided fundamental help to the protection of Beijing Opera.
187

In addition to policy support, the inheritance and innovation of Beijing Opera Troupe is
also critical. In terms of inheritance, because Beijing Opera is a complex and abstract art, it is
difficult for young people to understand its singing, lyrics, and connotation. In this case, how to
improve teenagers' love for Beijing Opera is particularly important for the protection and
inheritance of this art. To solve this problem, the National Beijing Opera Academy, together with
the Ministry of Education, the Ministry of Culture, and the Ministry of Finance, has launched an
elegant art-into-campus activity to bring traditional Beijing Opera to campus as a part of
students' art and culture learning. To enhance students' understanding of Beijing Opera art,
before each performance, the troupe would hold lectures to popularize the basic knowledge and
characteristics of this art for students and answer students' questions about Beijing Opera genres,
music, professions and so on. Moreover, students were invited to visit the makeup process of
actor’s backstage and show them the costumes and props used in performances.
188
The activities
of traditional art entering the campus are like a key for young people to open the gate of Beijing
Opera. In this way, people can understand the charm of Chinese traditional culture, strengthen

187
"Jingju 30 nianlai de fazhan he bianhua" [The development and changes of Beijing opera in the past 30 years], Liyuan News,
no.11 (2008): 15.
188
“Chuantong Jingju he daxuesheng meiyou juli” [There is no distance between traditional Peking Opera and college students],
Jingju Yuansantuan yanchu ceji [Sidelights on the Performance of the Yuan San Troupes of Beijing Opera], Tianjin Network -
Daily News, no. 12 (2009): 3.
86
their understanding, and reduce their sense of distance from Beijing Opera. Cultivating the new
generation's love for Chinese traditional art is an effective way to inherit and protect Beijing
Opera, which plays a vital role in its future development.
189

The other important factor is innovation. An invariable Beijing Opera cannot survive in
this changing society. Therefore, to inherit and develop Beijing Opera and Chinese culture, the
opera inheritor must keep pace with the times and innovate constantly, which requires them to
have a high level of knowledge and skills, and to review and cultivate the next generation
inheritors while innovating all aspects of Beijing Opera. Considering that most young people
cannot fully accept traditional drama performances, Beijing Opera should add some elements of
a new era to meet their needs and interests, such as innovating the expression form and script
content of music, integrating some hot spots of current affairs, etc. In addition, the Beijing Opera
Troupe should always pay attention to practical problems and adjust this end. For example, many
grass-roots people have reported that the cost of performances by famous Peking Opera actors is
too high. If Chinese traditional drama wants to achieve better development, it is necessary to be
close to the masses. Appropriately reducing the ticket prices can make Beijing Opera more
common. Besides, many theaters prohibit children under the age of 12 from entering because of
the comfort of the overall performance environment, which will prevent children from
cultivating the opportunity of appreciating Beijing Opera from childhood, which is not

189
Bao Haixia, “Feiwuzhi wenhua yichan Jingju de baohu jianyi” [Suggestions on the protection of intangible cultural heritage
Beijing Opera], Undergraduate diss., (Zhejiang Normal University: 2013).
87
conducive to the inheritance of art in the long run.
190
In general, the successful protection of
Beijing Opera is the result of joint efforts of many parties. On the one hand, the government
needs to provide policy and financial support for traditional art and introduce it into schools as a
part of students' art and culture study. On the other hand, the troupes should constantly innovate,
so that the art of Beijing Opera can keep pace with the times and keep its vitality.

190
Ibid.
88
Chapter 5 The Protection, Development, and Future of the Shadow
Play
With the development of China's social economy and the significant changes in people's
daily habits, the Chinese Shadow Play, as one of the intangible cultural heritages globally, is
facing the danger of disappearing. The aging of audiences and actors, the lack of successors in
skill inheritance, and the insufficient support of the government have all become
disadvantageous factors to crush this art. In this chapter, the author will elaborate on the current
situation of the Chinese Shadow Play. By analyzing UNESCO's intangible cultural heritage
protection policy and the successful experience of Beijing Opera development, this paper will
explore feasible ways for the survival and growth of the shadow play from the angles of the
government, inheritors, and the performance itself.

Analysis of Shadow Play's Dilemma from Various Aspects
The protection and inheritance of the Chinese shadow play are facing many problems.
The first problem is the severe shrinkage of the shadow play market, which is caused by three
factors: social development, outdated content of the shadow play performance, and the impact of
policies. With the change in people's modern life, the infusion of western culture, and the
popularity of film, the traditional shadow play performance can hardly meet the demands of
contemporary young people for visual impact. In addition, the popularity of the Internet has also
facilitated people to watch various types of films and television works online, hindering people's
89
enthusiasm for going to the theatre to watch operas in person. In terms of shadow play
performances' content, most traditional plays are adaptations of divine dramas and fables.
Although some groups have added colorful props and beautiful lights, the plot is still somewhat
old-fashioned and cannot be related to modern life. This is because many folk shadow play
groups do not have the financial ability to develop innovative new scripts, nor do they have
enough professional ability to change the traditional performance and singing methods.
Therefore, most actors can only survive by continuing the ancient artistic tradition, which is a
critical obstacle attracting young audiences.
191
In terms of policy, as the Chinese government
vigorously promotes Mandarin, more young people give up learning dialects and even think that
speaking dialects is backward. However, most shadow plays are sung in local dialects. Young
people may not understand, which hinders their enthusiasm for watching the opera.
The downturn of the shadow play market directly led to a sharp drop in the number of
Chinese shadow play groups. In the 1950s, there were more than 1500 troupes in Hunan
province and over 900 in Hebei province. Now they have dropped to over 200 and 80
respectively, and this situation is generally similar in other parts of China. In addition, society's
demand for shadow play performance has decreased, leading to the problems of unstable work
and low salaries of opera actors.
192
Take Xiangdong Shadow Play Troupe in Changli County,
Hebei Province, as an example. The average performance time is about 100 days per year, which

191
Wei Liqun “Zhongguo Piyingxi de tianye diaocha yu chuancheng baohu wenti” [Field investigation and inheritance protection
of Chinese Shadow Play], Xiqu tanjiu 83 [Drama Research], no. 8 (2014): 5.
192
Ibid.
90
means that a shadow play troupe is unemployed for an average of the two-thirds period each
year. In terms of income, the actor's salary is decided by the basic salary and performance
commission. Their basic salary is between 1800 and 2000 RMB per month, and the commission
for each performance is about 100 to 200 RMB, which is related to the actors' performance skills
and qualifications.
193
In this case, the average annual income of a shadow actor is about 50,000
RMB, lower than the lowest standard of the yearly income of Chinese families. [Table 5.1].

Class Annual Income (unit: 10,000 RMB)
Very Poor < 8
Lower Class 8-15
Middle Class 16-30
Upper Class 31-100
Table 5.1. The Annual income of different classes of Chinese families. Arranged and translated by the author. China New
Middle-Class Report 2018, n.d., accessed December 28, 2021.

The second problem is that the aging trend of shadow play artists is severe. Nowadays,
90% of the play-actors are over 60 years old, and there are very few young and middle-aged
artists. Moreover, most well-known actors are too old to continue the performances, and some
even can't move freely. When it comes to puppet carving artists, their average age is over 50
years old, only a few in the age group of 40 to 50 years old, and fewer under 40 years old with
high-level carving skills. In this case, passing on the skills to the next generation seems the only

193
Zhang Xiangdong, June 2021.
91
way to develop the shadow play.
194
However, due to the shrinking market and low income, many
young people are unwilling to engage in related industries. As a result, even many in-service
actors have lost hope for developing this art. The shadow play scholar, Wei Liqun's
questionnaire survey of actors in 2014 shows that less than 30% of the actors think shadow play
can develop. Still, most people believe that art can only be barely maintained without the case of
development.
195

The third problem is that it is difficult to pass on skills. There are different lyrics in
traditional shadow play performance, and the singing tunes and techniques are complex. All of
these require actors to practice basic skills all year round, which is difficult for young people to
master in a short time. In terms of puppet carving, it also requires a lot of complicated
techniques. The choice of raw materials and the craftsmen's carving skills are very demanding,
which beginners can only achieve after decades of practice. Therefore, most of today's craftsmen
have mastered the most basic carving skills but cannot make lifelike puppets like their
predecessors. In this case, to improve efficiency, some junior carvers gave up learning carve
skills but used machines to do mass production. However, the puppet made by the devices is
simple in form and lacks details. In the long run, the large-scale use of machines will hinder the
enthusiasm of beginners to learn puppet carving skills, leading to the gradual loss of critical
handicraft skills as intangible cultural heritage.
196

194
Wei Liqun, Chinese Shadow Puppet, 502.
195
Wei Liqun, Field Investigation, 7 (see chap. 5, n. 191).
196
Ibid., 8-9.
92
The fourth problem is the loss and severe damage of the props in shadow play. Recently,
many vendors have been committed to buying shadow play heritage in large quantities, such as
shadow puppets, scripts, musical instruments, etc., and then selling them overseas at high prices,
resulting in fewer props for shadow play left locally.
197
In addition to human factors, natural
factors are also important reasons for the decrease of shadow puppet props. For example, in July
2021, there was a catastrophic flood in Germany. After the flood, thousands of Chinese shadow
play works and many precious materials collected by German biologist Dr. Christian Riedel were
buried in the mud.
198
Although volunteers from all over the world came to the local area to
participate in the emergency repair, most puppets could not be repaired due to severe damage.
199

[Fig. 5.1].

197
Ibid., 9.
198
Xinran Sun and Huiya Wu, “Wo zai kelong xiu wenwu: Zhongde lianhe Piying xiufu zhiyuan huodong de yitian” [I was
repairing cultural relics in Cologne: a day of Sino German joint shadow puppet restoration volunteer activity], German News
(European Times German Edition, September 2, 2021), https://mp.weixin.qq.com/s/sdySiyFTEJq0GDLq2aBwCw.
199
Wei Liqun, September 2021.
93

Figure 5.1 Shadow Puppets Rescued after the German Flood. Image courtesy of Shadow puppet restoration volunteers.

Shortcomings of Existing Measures
The Chinese government has issued some policies and measures to help the inheritance
and development of the shadow play to meet these challenges. For example, with the approval of
the cultural department, the Beijing Intangible Cultural Heritage Development Foundation was
established in 2013 to provide financial support for the development of a series of Chinese
94
traditional intangible cultural heritages such as the shadow play.
200
In addition, to protect the
inheritors, the government has also established subsidy policies for shadow play inheritors at the
national, provincial, and municipal levels. If shadow play artists meet the corresponding
assessment standards, they can apply for additional subsidies.
However, this policy has some apparent disadvantages: the process of applying for a
grant is very long and cumbersome, and the conditions to be met are too high, resulting in most
people being unable to meet the requirements. For example, the applicant must complete a
certain number of shadow play performances within the specified time and publish academic
articles in authoritative journals. However, due to the depression of the shadow play market and
the Covid epidemic's impact, it is difficult for applicants or groups to complete many
performances. Moreover, some elderly artists are too old to conduct high-intensity performances.
In the academic aspect, except for relevant scholars, most drama actors only have performance
skills, but do not have enough academic or theoretical background to publish scholarly articles.
In addition, the subsidies granted by the government are not enough to support the new drama
creation and the lives of inheritors, resulting in many older artists still needing the support of
their children. To be specific, national shadow play inheritors can receive 20,000 RMB a year if

200
“Zhongguo feiwuzhi wenhua yichan baohu xiehui” [China intangible cultural heritage protection association], Zhongguo
feiwuzhi wenhua yichan wang [China Intangible Cultural Heritage Network], accessed December 24, 2021,
http://www.ihchina.cn/jigou_desc_details/5.html.
95
they meet the assessment requirements. However, provincial inheritors can only receive 6,000
RMB, and municipal inheritors have no financial subsidies.
201

With the government's approval, some art schools set up special shadow play
performance classes to teach students knowledge and skills. According to the skill category, the
classes are divided into singing, shadow puppet performance, and puppet carving classes. In this
case, students can selectively and systematically learn specific skills.
202
However, the unified
training for students will lead to their singing skills and styles being too formatted and lack of
ability to master the progress of drama performance and adapt to changes. Moreover, many
performance skills taught orally by senior artists are not included in the teaching materials, so
they are likely to disappear with the death of the old actor. In addition, although academic
courses are also offered in such art schools, the level and ability of teachers are relatively low,
leading to the low cultural literacy of most shadow play students.
203
The Chinese government
pays more attention to protecting intangible cultural heritage than before. Shadow puppet troupes
also adhere to innovation in the dilemma, looking for a road suitable for developing this art.
However, the current policies and measures are not perfect enough to help this art inherit and
develop.

201
Wu Yutong, “Guojiaji feiyi chuanchengren buzhi shengzhi meinian 2 wanyuan” [The subsidy for national intangible cultural
heritage inheritors increased to 20,000 RMB per year], CPPCC network, (Heilongjiang: Morning Post, September 8, 2016),
http://www.rmzxb.com.cn/c/2016-09-08/1024342.shtml; Zhang Xiangdong, June 2021.
202
“Tangshan yixiao 2021 zhaosheng jianzhang” [Enrollment profile of Tangshan art school in 2021], Tangshan Art School,
(Hebei: Technical School Network, July 25, 2020), http://www.hebjxw.com/ShowInfo_zxzk.asp?id=34171.
203
Wei Liqun, Field Investigation, 6.
96
UNESCO's Guidance on the Protection of Intangible Cultural Heritage
The United Nations Educational, Scientific, and Cultural Organization (UNESCO) is an
international organization that aims to contribute to building a culture of peace, poverty
eradication, sustainable development, and intercultural dialogue through education, science,
culture, communication, and information.
204
According to the UNESCO Convention for the
Safeguarding of the Intangible Cultural Heritage (referred to as Convention), intangible heritage
can be embodied in five aspects: oral tradition and expression, performing arts, social customs,
rituals, and festival activities, knowledge and practice about nature and the universe, and
traditional crafts.
205
As an oral tradition and expression, Chinese Shadow Play was selected into
the representative list of human intangible cultural heritage in 2011.
206
Therefore, the Organizing
guidance on protecting intangible cultural heritage has essential reference value for developing
shadow puppet art.
The Convention guides the protection of intangible cultural heritage at domestic and
international levels. At the national level, the State Party should make efforts in four aspects:
first, ensure the creation, maintenance, and inheritance of the communities where the heritage is
located, and actively mobilize relevant groups and individuals to participate widely in the
formulation and implementation of plans and policies. Second, ensure that Heritage-related

204
“UNESCO: United Nations Educational, Scientific and Cultural Organization – Office of the Secretary-General's Envoy on
Youth,” United Nations, accessed December 24, 2021, https://www.un.org/youthenvoy/2013/08/unesco-united-nations-
educational-scientific-and-cultural-organization/.
205
Basic Texts: Of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage, accessed December 24, 2021,
https://ich.unesco.org/doc/src/2003_Convention_Basic_Texts-_2020_version-EN.pdf.
206
“Chinese shadow puppetry,” Intangible cultural heritage, UNESCO, accessed May 20, 2021,
https://ich.unesco.org/en/RL/chinese-shadow-puppetry-00421.
97
communities, groups, and individuals are the primary beneficiaries at the spiritual and material
levels. Third, confirm that heritage protection plans and policies respect ethical considerations
and do not deviate from the background of the heritage or change its essence to harm the
viability of intangible cultural heritage. Fourth, promote the cooperation between sustainable
development experts and cultural brokers and adequately integrate the protection of intangible
cultural heritage into plans, policies, and programs both inside and outside the cultural and art
community.
207

At the international level, the Convention points out that channels for mutual exchange of
information and experience and working mechanisms for mutual assistance can be established
through international cooperation and assistance. At present, there are many forms of
international aid, including the provision of experts and professionals for countries with
intangible cultural heritage in crisis; Train all kinds of relevant personnel; Help develop
guidelines and measures; Establish and operating infrastructure; Provide equipment and skills;
Other financial and technical assistance, such as donations or low-interest loans.
208
Although the
shadow play is a unique form of artistic expression in China, drama art's performing skills and
development policies in other regions or countries still have practical reference value.
In addition, the Convention also provides guidance from other aspects, such as policy and
education. First, in terms of policy, the government should formulate a general guideline for

207
Safeguarding Intangible Cultural Heritage and Sustainable Development at the National Level, vol. 2, 2020 (Oxford:
Baseline Arts Ltd), 64-76.
208
Chapter I Safeguarding of the Intangible Cultural Heritage at the International Level, Cooperation and International
Assistance, vol. 2, 2020 (Oxford: Baseline Arts Ltd), 27-39.
98
heritage protection, play its due role in society, and incorporate heritage protection into planning.
Second, one or more institutions in charge of preserving intangible cultural heritage in their
territory should be designated or established. In this proposal, the subject of establishing
institutions is not limited to governments, but according to China's national conditions, officially
launched or authorized institutions are more authoritative. Third, encourage scientific, technical,
academic research and research methods to provide theoretical guidance and technical support
for the comprehensive protection of cultural heritage. Fourth, the government should adopt
appropriate laws and administrative policies to provide places and space for activities and
performance of intangible cultural heritage to promote their inheritance. In terms of education,
intangible cultural heritage should be respected and promoted in society mainly through
educational programs to publicize and disseminate information to the public and provide training
programs to heritage-related communities and people. In addition to heritage, it is also necessary
to promote education in the protection of natural places and memorial sites essential for
expressing the culture and publicizing the threats and seriousness of such heritage. Among them,
the media can play an influential role in publicity, which should be used reasonably.
209

209
Convention for the Safeguarding of the Intangible Cultural Heritage, vol. 1, 2020 (Oxford: Baseline Arts Ltd), 9-10.
99
Protection, Transmission, and Development of Chinese Shadow Play
Through the previous analysis of the current situation and difficulties of Chinese shadow
play, it can be concluded that the current shadow play is facing the threat of extinction. To save
this precious Chinese traditional cultural heritage, the author gives reasonable measures for the
protection of shadow puppet art from three aspects: protection, inheritance, and development,
combined with UNESCO's guidelines for the protection of intangible cultural heritage and the
successful experience of Peking Opera inheritance.

Protection
In all work related to intangible cultural heritage, protection is the premise and
foundation for the maintenance and development of art. For the shadow play art, protection can
start from four aspects: policy protection, physical protection, art protection, and the preservation
of the environment and community related to the cultural heritage.
For the policy protection, as mentioned in the previous section, the government has
indeed made some efforts to protect the art of shadow play, such as setting up the intangible
cultural heritage foundation, and providing subsidies to the inheritors. However, these policies
are not enough to save the art. For example, the government has not promulgated relevant laws
to punish the behaviors that hinder or destroy the protection and dissemination of intangible
culture and art. At present, the number of foundations is too small, and the subsidies is not
enough to support the development of shadow play troupes in different areas. As a result, in the
100
first recommendation, according to the suggestions on Other Protection Measures in the
Convention, the government should formulate general policies for the protection of cultural
heritage and introduce relevant laws to severely punish all acts that interfere with or damage the
protection and publicity of cultural heritage. The government should also set up special
institutions and archives in different administrative regions to protect their cultural heritage and
provide more financial assistance for their development. In this process, Guangzhou Cantonese
Opera Art Museum could be a good reference, which has collected various related opera
costumes, documents, materials, etc., providing strong support for the development of the
drama.
210
In addition, local governments should authorize and support non-governmental cultural
heritage protection institutions, and encourage the active participation of heritage related
individuals, people, and communities.
211

The second is the physical protection related to shadow play art. Although the shadow
play is an intangible cultural heritage, this art also includes a series of physical heritage, which
should be collected and properly preserved. In this process, relevant institutions need to collect
the shadow play scripts in different periods scattered among the people, and preserve the
performance props, shadow puppets, accompanying musical instruments, puppet production
materials, etc. These heritages not only represent the history of the shadow play art, but also

210
Han Shuang, “The Museum of Cantonese Opera Art / Architectural Design and Research Institute of SCUT + Architectural
Designand Research Institute of Guangdong Province,” ArchDaily (ArchDaily, November 4, 2019),
https://www.archdaily.com/898889/the-museum-of-cantonese-opera-art-architectural-design-and-research-institute-of-scut-plus-
architectural-designand-research-institute-of-guangdong-province.
211
Ibid., 9.
101
show the superb carving skills of carver predecessors and the methods of ancient people to depict
characters, so they have cultural and research value. Besides, it is also very important to protect
the literature related to shadow play art, such as shadow play modeling records of different
styles, puppet modeling paper manuscript, folk activities of shadow play in different periods, and
traditional inheritance methods, which provide a valuable theoretical basis for the protection and
development of this heritage.
212
It is worth noting that since shadow play is a folk performing art
and there are not many official records related to it, institutions should focus on the folk and go
deep into the grass-roots level to comprehensively investigate and collect all related
information.
213

The third is the protection of shadow play art skills, including scriptwriting, singing,
accompaniment, skills of making and manipulating puppets, performance ceremony, inheritance
system, ideological connotation, etc. Besides, puppet repair technology is also an essential skill
to prolong its lifespan due to the impermanence of the shadow puppets' materials.
All of these are essential elements of a shadow play and are mastered by puppet carvers and
shadow play actors. Therefore, the protection of inheritors is the foundation of the protection of
shadow play culture.
214
In promoting the income generation and sustainable life of inheritors, the
Convention makes valuable recommendations, that is, encourages States parties to take
appropriate legal and financial measures to provide more opportunities for cultural heritage

212
Wei Liqun, Field Investigation, 10. (see chap. 5, n. 191).
213
Liqun Wei, September 2021.
214
Wei Liqun, Field Investigation, 10.
102
related communities, groups, and individuals to generate income and maintain their livelihoods,
to ensure the sustainable practice, dissemination, and protection of cultural heritage.
215

Although intangible cultural heritage development foundations have been established in
some regions of China to provide subsidies for the creation and basic life of local shadow puppet
art inheritors, the insufficient level of subsidies and difficult application requirements have added
difficulties to the applicants. As mentioned above, the applicant needs to complete a specified
number of shadow puppet performances and publish academic articles to prove their contribution
to the dissemination and development of shadow puppet art. At present, national, and provincial
shadow puppet inheritors can only receive subsidies of 20,000 and 6,000 RMB each year after
passing the application assessment.
216
To solve the problem of difficult application and better
support shadow puppet inheritors, relevant foundations should reduce the application
requirements, such as reducing the demanding for the number of performances during the
epidemic and reducing the academic requirements for inheritors with low academic background.
The amount of subsidy should also be appropriately increased to make up for the economic
pressure caused by inflation at this stage, and the subsidy restrictions on municipal heirs should
be liberalized. The foundation can also cooperate with the media to appeal to the public for
donations, to reduce the financial pressure of the foundation. In this process, the State shall
authorize relevant institutions to supervise the approval and subsidy implementation, to ensure

215
Safeguarding Intangible Cultural, 70 (see chap. 5, n. 207).
216
Wu Yutong, “The subsidy for inheritors,” CPPCC Network (see chap. 5, n. 201).
103
that the applicant is the main beneficiary. Besides, based on the suggestions put forward in
Chapter III and Article 13 of the Convention, the State Party should take measures to establish
intangible cultural heritage literature institutions.
217
It is suggested that the Chinese government
can set up a special shadow play art museum to preserve the collected written and audio-visual
materials, or hand over some of the materials to a Shadow Play Art Troupe or art schools that
offers shadow play teaching, to achieve the purpose of education. In this process, institutions can
also record videos of local artists' singing and puppet operation skills, and record intangible
cultural heritage in a tangible way to protect it.
218

The fourth is the protection of the ecological environment of shadow play art. What
intangible cultural heritage protection really needs is the living inheritance and the self-viability
that enables it to be inherited. Heritage can have sustained and stable vitality only if it is kept in
the middle of people's daily production and life in a living form.
219
Chapter III, Article 13 of the
Convention points out that the State shall provide places and spaces for activities and expression
of cultural heritage to promote the inheritance of such heritage.
220
Therefore, it is very important
to protect the birthplace, community, and traditional performance venues of shadow play art.

217
Chapter IV Raising awareness about intangible cultural heritage and use of the emblem of the Convention for the
Safeguarding of the Intangible Cultural Heritage, vol. 2, 2020 (Oxford: Baseline Arts Ltd), 57.
218
Wei Liqun, Jidong Shadow Play, 222.
219
Wei Liqun, Field Investigation, 11.
220
Convention for the Intangible Cultural Heritage, 9 (see chap. 5, n. 209).
104
Transmission of the Art
In the process of the shadow play’s transmission, two aspects can be started from: skill
inheritance and cultural inheritance. Inheriting skill means cultivating a new generation of
shadow play actors. Inheriting shadow play art and its representative culture needs to cultivate a
new generation of audience's interest in shadow play and create a stable market.
The traditional inheritance of shadow play is carried out in the form of master with
apprentice. The master is generally served by senior actors in shadow play troupes, which is also
the main means for the troupe to train actors in the past. In most cases, the disciples would stay
at the master's home during their study period, so that the master can guide and supervise them at
any time. Therefore, they are closer than the traditional relationship between teachers and
students, more like the relationship between family members. However, this informal teaching
method will cause some disadvantages, such as unsystematic teaching content and low
efficiency. First, the shadow puppet artists at that time were not professional teachers. Most of
them taught students according to their own learning experience and memory, so the teaching
content was not systematic. Besides, artists always had heavy performance tasks, they could only
use scattered time to teach students, which will lead to low teaching efficiency and cannot train
too many students at one time.
221

Today, this traditional teaching model has been changed. Many art schools have set up
special shadow play courses, and the classes are divided into singing classes, puppets

221
Zhang Xiangdong, June 2021.
105
manipulating classes, puppet carving classes, etc. according to the different skills taught, to meet
the students with different interests.
222
Although this unified teaching method can ensure
systematic and comprehensive teaching content, it leads to the formatting of the students' singing
skills and styles, resulting in the lack of flexibility of the performance. Moreover, many of the
performance skills of shadow puppet predecessors have not been included in the course, so there
is a risk of loss.
223
In addition, because such schools pay more attention to the cultivation of
students' drama major, the academic level of most teachers is low, which is not conducive to the
improvement of students' academic quality.
224

About such issues, the Convention makes relevant recommendations, that is, improving
the ability of teachers to teach cultural heritage and to develop guidelines and manuals for this
purpose.
225
To solve the problem of students' rigid performance skills, first-line shadow puppet
artists can be hired to teach regularly in schools to share performance skills and live performance
experience. In terms of students' academic issues, the drama schools should employ professional
drama teachers and academic teachers simultaneously and pay attention to the cultivation of
students' comprehensive quality.
In terms of the inheritance of shadow play culture, the modes of communication can be
divided into two types: on campus and off campus, to popularize China's intangible cultural

222
“Enrollment profile,” Tangshan Art School (see chap. 5, n. 215).
223
Wei Liqun, Field Investigation, 6.
224
liu Hao (Member of China Song and Dance Troupe, 2010 Graduate of Tangshan Art School) in discussion with the author,
July 2021.
225
Raising awareness about intangible cultural heritage, 50 (see chap.5, n. 215).
106
heritage for different groups of people. In school publicity, the Convention puts forward several
suggestions: schools should carry out intangible cultural heritage teaching in the curriculum
according to local specific conditions and promote interdisciplinary scientific, technological, and
artistic research activities; Carry out summer camps, cultural heritage tourism, or travel to show
the natural places and memorial places required by the heritage, to support people's full
experience of intangible cultural heritage.
226

It is worth mentioning that Beijing Opera has been successfully introduced into campuses
as an important category of China's intangible cultural heritage. With the permission of the
government, the troupe enables students to understand the charm of Beijing Opera and cultivate
their love for Chinese traditional art by performing plays, holding lectures, displaying opera
related costumes and props on campus. In this case, the successful publicity of Beijing Opera can
provide a reference for the publicity of shadow puppet art on campus.
227
In addition, intangible
cultural heritage institutions can also compile different cultural heritages into pamphlets and
distribute them to schools and universities to let students have a basic understanding of Chinese
traditional culture and heritage. Shadow puppet troupes can regularly go to colleges for
performances and lectures, so that students can experience the charm of shadow puppet art on
site. In this process, the government should take corresponding legal measures to ensure that the

226
Ibid.
227
“Beijing Opera and college students,” Performance of the Yuan San Troupes (see chap. 4, n. 188).
107
education system promotes self-respect and mutual respect for individuals, communities, and
groups, and cannot alienate people from intangible cultural heritage in any way.
228

In the popularization and publicity of shadow play art to the public, the media plays a
vital role. By analyzing the instructions given by the Convention in using the media to improve
people's attention of intangible cultural heritage, the author summarizes several methods and
measures suitable for the dissemination of shadow play art. First, the media should promote the
public's understanding of intangible cultural heritage as a means of cultivating social cohesion
and sustainable development. In this process, the media should guide the public beyond the pure
appreciation of shadow play entertainment performances, but to deeply understand the Chinese
traditional culture and thought carried by cultural heritage. Second, encourage the audio media to
produce high-quality radio and television programs and documentaries, improve the visibility of
shadow play art and highlight its role in contemporary society. Third, encourage the media to
contribute to raising public awareness of the diversity of shadow play art expression, especially
through the production of special programs or products for different target groups. Based on the
different scripts and performance styles in different regions, shadow play will show various
effects, such as the exciting martial arts plot, the historical plot showing the people's living
conditions in different periods, and educational fables. Young people may prefer to watch
dramas with a more dramatic martial arts theme. The older generation tend to watch the plot
showing their young life. Children are more suitable to watch fables with simple plot and humor.

228
Safeguarding Intangible Cultural Heritage, 67-68 (see chap. 5, n. 207).
108
Therefore, making shadow play theme programs suitable for audiences of different ages can
better stimulate the public's interest in shadow play art and let them understand the diversity of
shadow play heritage forms. Fourth, encourage the media to use the existing networks to support
the community's heritage protection, or hold forums at the local and national levels to promote
information sharing within the community, such as measures to protect and develop different
kinds of cultural heritages. Fifth, encourage the media to carry on shadow play art in other
informal ways, such as making interactive programs and games for young people, stimulate their
interest and lay a foundation for young people to actively understand Chinese traditional
culture.
229

Development
Carrying forward the intangible cultural heritage is the goal of protecting and inheriting
this heritage. Balancing cultural heritage protection and industrial development, and coordinating
the relationship between protection, inheritance and development are the core of heritage
development.
230

In the process of protecting intangible cultural heritage, helping relevant practitioners to
obtain productive employment is the premise of promoting the sustainable development of
heritage. However, to further open the market, it is necessary to reform the adaptability of

229
Raising awareness about intangible cultural heritage, 52-53 (see chap.6, n. 216).
230
Wei Liqun, Field Investigation, 6.
109
traditional art to meet the needs of modern society. However, in the process of reform and
innovation of shadow play, stakeholders who adhere to different views are divided into different
factions. Conservatives who advocate completely retaining the traditional form of shadow play
believe that the premise of protecting intangible cultural heritage is the protection of its "original
ecology". The development and continuation of any national culture and art is also based on
tradition. Therefore, the reform of heritage may lead to the loss of traditional culture. The
reformers believe that innovation is an important way to ensure the vigorous vitality of intangible
cultural heritage. They insist on examining shadow play from the perspective of market
economy. Only by innovating drama content and forms of expression and making it close to the
trend of the times, can they further open the market of young people and obtain more capital
income.
231

In fact, overemphasizing the protection of the original ecology of cultural heritage will
lead to the stagnation and obsolescence of cultural development. However, too much emphasis
on the innovation of the cultural industry may lead to the loss of tradition and foundation of
culture. Therefore, it is essential to balance the protection and industrial development of
intangible cultural heritage. Different cultural forms need different treatment methods. For some
classic or endangered shadow play styles and forms of expression, complete protection is needed
to ensure their inheritance and facilitate future research. Meanwhile, shadow play troupes and
relevant institutions should also create new plays that keep pace with the times and adapt to

231
Ibid., 10-11.
110
contemporary humanistic concepts, ways of thinking, and life rhythm based on tradition, to
attract young audiences.
232

Taking Xiangdong shadow play troupe as an example, head Zhang Xiangdong reformed
shadow play performance in three aspects. First, in shadow puppet modeling, he exaggerated the
traditional puppet image to make it more vivid. Secondly, in the aspect of musical instrument
accompaniment, he bravely added modern and western elements to the traditional performance
accompaniment. In performing the script of Journey to the West, bullfighting music is added to
the story of the battle between the monkey king and the ox demon king, which makes the scene
more humorous and vivid.
233
In terms of performance form, Zhang Xiangdong integrates modern
technology into shadow puppet performance, such as using various props to simulate river, fire,
and other scenes to make the performance more realistic. Furthermore, inspired by fairy tales,
Xiangdong shadow play troupe has created a series of new shadow plays suitable for children to
further expand the audience of shadow play art.
234

In addition to the reform of the content and form of shadow play performance, some
measures should be taken to further expand the popularity and influence of this cultural heritage,
such as holding various shadow play related competitions and awards to stimulate the attention
of the public and the participation enthusiasm of actors. At present, shadow play art related
awards and competitions include National Puppet Shadow Play Golden Lion Award,

232
Ibid.
233
Journey to the West is one of the four traditional masterpieces in China. Monkey King and ox demon king are classic
characters in the book, which are created based on monkeys and bulls respectively.
234
Zhang Xiangdong, July 2021.
111
International Puppet Award, Guangling Cup, etc.
235
These competitions and honors have played
a positive role in improving the living standards of shadow play practitioners, industry pride and
promoting benign competition in the industry.
Besides, as a world intangible cultural heritage, the development of shadow play should
not only stay in China, but also promote its overseas development and expand its international
influence. It can also be used as a diplomatic way to let the world understand East Asian culture.
However, the art of shadow play is facing the same problems overseas as China, such as the
damage of puppets and objects; the loss of puppetry manipulating skills and singing skills, etc.
Beyond that, how to effectively spread shadow play art overseas is another difficult problem.
The results of the overseas dissemination experiment of Beijing Opera mentioned in the fourth
chapter show that language and culture are the main reasons that hinder the international
development of Chinese drama. To alleviate these problems, the successful dissemination of
Beijing Opera can provide a reference for the development of shadow play. Before each shadow
play, theater staff can explain and display the props, puppets and accompanying musical
instruments needed for the performance in English or a local language, and distribute the
instructions on the performance repertoire, plot, and characters to the audience. In the process of

235
“Muou piying yanyuan jinshijiang duokui” [Puppet shadow puppet actor won the Golden Lion Award], Zhongguo
Gongchandang xinwen [Communist Party of China News], (Hunan: Ribao, October 9, 2014),
http://cpc.people.com.cn/n/2014/1009/c87228-25792909.html; The International Puppet Federation, founded in 1929, is a non-
governmental international organization and cultural branch of UNESCO The International Puppet Federation holds a general
assembly and International Puppet Festival every four years in a city of its Member States, enjoying a high reputation in the field
of world art. “Guoji muou lianhui” [International Puppet Federation], Baidu Encyclopedia, (Wenhua chuantong wang, June 16,
2012),
https://baike.baidu.com/item/%E5%9B%BD%E9%99%85%E6%9C%A8%E5%81%B6%E8%81%94%E4%BC%9A/5920235?fr
=aladdin#reference-[1]-8773305-wrap.
112
explanation, they should place emphasis on explaining the background of the plot and combing
the relationship between the plot and the characters. More importantly, it is necessary to clarify
the cultural differences between China and foreign countries, so that local audiences can enjoy
the performance after they have a basic understanding of Chinese culture. In addition, during the
performance, an additional electronic screen can be prepared to synchronously display
appropriate subtitles of lines and lyrics, to facilitate the audience's understanding. The above
measures can minimize the misunderstanding of foreign audiences due to language barriers and
cultural differences and help to cultivate loyal audiences for shadow play internationally.
236

236
Siqing, et. al., “Peking Opera in the world,” Theory and Modernization (see chap. 4, n. 181).
113
Conclusion
Intangible cultural heritage is an essential part of cultural heritage, representing
tremendous historical and artistic achievements of a nation or an ethnic group. Moreover,
intangible cultural heritage is of great significance for studying the evolution of human
civilization, showing the diversity of times and cultures.
237

However, in modern society the protection and inheritance of many precious aspects of
intangible cultural heritage face different challenges. Through the investigation and analysis of
the present situation of shadow play in eastern Hebei province, the development dilemma of
intangible cultural heritage in China is mainly caused by three factors: the impact of modern
culture; Traditional culture, and education are insufficient; Government support is inadequate.
The development of contemporary society has led to earth-shaking changes in people's lifestyles.
People's enthusiasm for traditional art is gradually replaced by new forms of entertainment, such
as movies and video games, etc. As a result, conventional artistic performances such as shadow
play are getting less attention. In addition, China's current educational system and assessment
methods attach great importance to cultivating students' scientific knowledge and academic
ability, ignoring the primary education of traditional culture. Therefore, most young people do
not understand the cultural connotation and national spirit carried by intangible cultural heritage,
let alone take the initiative to watch or learn the art and culture. In this case, the market for

237
Liu Xiaoshan, “Chuancheng hongyang zhonghua minzu youxiu wenhua gonggu tuozhan feiyi fupin chengguo” [Inherit and
carry forward the excellent Chinese culture, consolidate and expand the achievements of intangible cultural heritage poverty
alleviation], Economic Daily (November 2020), http://www.rmzxb.com.cn/c/2020-11-10/2710854.shtml.

114
intangible cultural heritage gradually shrinks and is marginalized in people's lives. This has
further led to a decline in the income of artists and practitioners in many related fields, making it
difficult to find young people who are willing to inherit traditions and gradually losing pathways
for the development of the art. Besides, although the government has made some efforts to
support intangible cultural heritage, such as establishing cultural heritage foundations and
providing financial assistance, this help is not enough to save the declining trend of many
intangible heritages.
To address the above problems, the author takes shadow play as the research object and
puts forward concrete suggestions on the development of shadow play art from three aspects:
protection, transmission, and development. In terms of protection, the author suggests that art
can be comprehensively protected from five elements, physical objects (including shadow
puppets and traditional scripts), historical records, skills, inheritors, artistic ecological
environment, etc. In the process of protecting skills, the puppet restoration technology may be
even more essential due to the impermanence of the puppet-making materials, it can greatly
prolong the life of the puppet. In general, the government should establish shadow play archives
to preserve these precious objects and technologies, refer to the Guangzhou Cantonese Opera Art
Museum mentioned in the previous chapter.
In terms of transmission, the author suggests reforming the education system.
Professional art colleges should provide inheritors with systematic guidance on art background,
theory, performance skills, and the teaching of scientific and academic knowledge, etc. In
115
schools and universities, performances and lectures focused on traditional Chinese culture and
art, such as shadow play, should be added so that students can have a basic understanding of
China's intangible cultural heritage and cultivate interest. In development, both domestic and
foreign platforms should be fully utilized. Increasing relevant professional competitions and
activities in China can raise people's awareness of the shadow play and enhance opportunities for
practitioners in this field. Overseas, we can reduce foreigners' misunderstandings of shadow play
performance due to language barriers and cultural differences by utilizing translation, interaction,
and explanation. In addition, shadow play can also be used as a diplomatic means to publicize
Chinese culture and spirit.
It is worth noting that innovation is the core of the continuous inheritance and
development of intangible cultural heritage in modern society. Only by keeping pace with the
times can traditional drama art reflect people's spiritual and cultural changes in the new era and
ensure the vitality and freshness of art. However, innovation does not mean breaking away from
tradition. On the contrary, the reform should seek a balance; that is, while retaining the tradition
of intangible cultural heritage, it should integrate modern or international elements and expand
audience diversity. Therefore, how to balance the tradition and innovation of intangible cultural
heritage in the reform may become the focus of attention of researchers in the field of intangible
cultural heritage protection and development in the future.
Taking Chinese shadow play as an example, this thesis discusses the situation and
challenges of intangible cultural heritage in modern society and puts forward comprehensive
116
recommendations for its future development. However, intangible cultural heritage exists all
over the world, representing the precious cultures and historical traditions of different ethnic
groups. Therefore, the thesis also aims to arouse public attention to intangible cultural heritage
and encourage more people to participate in its protection and transmission.

117
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Asset Metadata

Creator Li, Zongqi (author)

Core Title Beyond intangible cultural heritage designation: protecting Jidong shadow puppetry

School School of Architecture

Degree Master of Heritage Conservation

Degree Program Heritage Conservation

Degree Conferral Date 2022-05

Publication Date 03/08/2022

Defense Date 03/07/2022

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag intangible cultural heritage,Jidong shadow puppet,OAI-PMH Harvest,UNESCO's guidance.

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Sandmeier, Trudi (committee chair), Bharne, Vinayak (committee member), Platt, Jay (committee member)

Creator Email 503016239@qq.com,zongqili@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC110768216

Unique identifier UC110768216

Legacy Identifier etd-LiZongqi-10432

Document Type Thesis

Format application/pdf (imt)

Rights Li, Zongqi

Type texts

Source 20220308-usctheses-batch-915 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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