Cultural Legacy and Modern Adaptation: Nagasaki Chinese Lion Dance in the Context of Japanese Overseas Chinese Festivals

Abstract

This article explores the historical context, contemporary inheritance, and cultural innovation of the Chinese lion dance in Nagasaki, Japan. As the sole port open during Japan's isolation period, Nagasaki became a vital conduit for Chinese culture, with the lion dance first performed by Chinese merchants in the Edo period (1603-1868) during festivals like the Lunar New Year. Two distinct yet interrelated traditions exist: the Nagasaki Shrine lion dance, rooted in Shinto beliefs, and the Southern Chinese lion dance preserved by the overseas Chinese community, fostering a unique cultural dialogue. The Meiji period (1868-1912) saw the localization of the Chinese lion dance, leading to a hybrid musical style that integrates Chinese gongs and drums with Japanese shamisen. In the 21st century, the Howl Lion Club, established in 2005, has become key to preserving and developing the Chinese lion dance, with a diverse membership that promotes active participation across generations. The club employs an innovative "dual-track teaching system" that maintains traditional routines while incorporating contemporary performance elements. Major events like the Nagasaki Spring and Lantern Festivals provide crucial platforms for showcasing these performances, attracting large audiences and enhancing community engagement. This article argues that the Nagasaki Chinese lion dance exemplifies the adaptability of intangible cultural heritage within a cross-cultural context, highlighting the importance of cultural preservation in promoting social diversity and facilitating future cultural dialogue in an increasingly globalized world.

Keywords: Chinese lion dance, Nagasaki, cultural heritage, cross-cultural dialogue, cultural preservation, Howl Lion Club

Historical Context and Cultural Duality

Nagasaki, as the only port open to foreign trade during Japan's isolation period, served as a crucial gateway for the introduction of Chinese culture into Japan. The origins of the Chinese lion dance in Nagasaki can be traced back to the Edo period (1603-1868) at the Tangren Yashiki, where Chinese merchants performed the lion dance to celebrate traditional festivals, including the Lunar New Year. Historical records, such as the "Nagasaki Tang Mansion Map," document these early performances.

Notably, two distinct yet mutually influential lion dance traditions coexist in Nagasaki: the Nagasaki Shrine lion dance, rooted in Shinto beliefs and designated as an intangible cultural asset in 1992, and the Chinese lion dance preserved by the overseas Chinese community. The Nagasaki Shrine lion dance is characterized by black feather decorations and accompanying drumming, while the Chinese lion dance retains the fundamental features of the Southern Chinese tradition. The interplay between these two traditions fosters a unique cultural dialogue in Nagasaki.

Documents from the Meiji period (1868-1912) indicate that the Chinese lion dance began to localize, developing a "hybrid" musical style that combines Chinese gongs and drums with Japanese shamisen. This cultural adaptation represents not a mere layering of elements, but an organic fusion resulting from prolonged interaction.

Contemporary Inheritance and Activation

Entering the 21st century, the transmission of the Nagasaki Chinese lion dance faces both challenges and opportunities. The "Howl Lion Club," established in 2005, has emerged as the primary organization dedicated to the protection and development of the Chinese lion dance in the region. Its organizational structure and inheritance model present significant research value.

The membership of the Howl Lion Club exemplifies cultural inclusiveness, comprising first-generation overseas Chinese driven by nostalgia and local Japanese residents motivated by interest. Membership spans a wide age range, from children to the elderly, often featuring scenes of three generations practicing together. This cross-generational and cross-ethnic participation model enables the active transmission of the traditional lion dance.

In terms of skill transmission, the Howl Lion Club has implemented an innovative "dual-track teaching system." This approach preserves traditional Southern Chinese lion dance routines, such as "Cai Qing" and "Gao Zhuang," while integrating elements of Japanese taiko and contemporary dance to meet modern stage demands. Notably, the club has developed a children's version of the lion head prop, weighing only one-third of the traditional lion head, effectively addressing generational gaps in inheritance.

Since the inception of the "Nagasaki Spring Festival" in 1987 and the expansion of the "Nagasaki Lantern Festival" in 1994, these events have provided a stable platform for showcasing the Chinese lion dance. During the 15-day Lantern Festival, lion dance performances attract tens of thousands of spectators, becoming a defining cultural landscape of winter in Nagasaki.

Cultural Fusion and Innovation

The contemporary evolution of the Nagasaki Chinese lion dance exemplifies the adaptability of intangible cultural heritage within a cross-cultural context. This adaptation is characterized by proactive creative transformation rather than passive change.

In terms of performance forms, the 2015 program "Dragon and Lion Meeting" integrated traditional lion dance with the "surikomi" footwork of Japanese Noh, a creative innovation that garnered recognition with the "Japanese Traditional Culture Revitalization Award." This artistic experiment underscores that festive customs and rituals are not static; as General Secretary Xi Jinping noted in the report of the 19th National Congress, we should "promote the creative transformation and innovative development of excellent traditional Chinese culture." This perspective affirms that creative transformation is essential for "activating" tradition, enabling cultural customs to be transmitted across generations.

Furthermore, the Chinese lion dance has evolved from a simple festive performance into a vital medium for community education and cultural exchange. The Howl Lion Club regularly conducts workshops in schools and community centers, transforming professional performances into participatory cultural experiences. In recent years, the club has collaborated with local businesses to develop cultural and creative products, establishing a sustainable model of "cultivating culture through culture."

The preservation practices of the Nagasaki Chinese lion dance substantiate the explanatory power of "hybridity" theory. It is neither an exact replica of the original Chinese lion dance tradition nor solely a local Japanese performance art; instead, it represents a third form emerging from long-term cultural exchange. This hybridity does not indicate a loss of cultural purity, but rather the vitality and resilience of culture.

Conclusion: Classical Transformation in a Cross-Cultural Context

The culture of the Nagasaki Chinese lion dance has experienced fluctuations and is gradually being revitalized in contemporary society, which increasingly values multiculturalism. The overseas Chinese community’s efforts to preserve Chinese culture ensure the lion dance's transmission not only within the Chinese community but also into new developmental spaces within Japanese society. Cultural preservation transcends mere maintenance of traditions; it serves as an essential means of promoting social diversity. The case of the Nagasaki Chinese lion dance illustrates that the protection of intangible cultural heritage is not solely about preserving the past but also about fostering possibilities for future cultural dialogue. In today's globalized world, the significance of traditional practices that connect diverse cultures is likely to intensify.

Reference

Book

Chen, L. Cultural exchange and identity among overseas Chinese: The case of the United States. Chinese Cultural Press, 2016.

Tan, R. Performing heritage: The role of traditional arts in the Chinese diaspora. Routledge, 2020.

Wang, W. The reorganization of tradition and ethnicity in the Japanese overseas Chinese community: Focusing on rituals and performing arts. Fuhyosha, 2001.

Wu, H., and Takahashi, S. (Eds.) Nanjing town and Kobe overseas Chinese. Shorai-sha, 2015.

Zhang, Y. The creation of overseas Chinese culture and identity: Chinese schools, lion dance, Guandi temples, and history museums. Unite, 2008.

Zhou, F. Transnational identities: The Chinese diaspora in Japan. University of Tokyo Press, 2022.

Journal Article

Li, J. “The evolution of Chinese festivals in Japan: A historical perspective,” Asian Ethnology 78, no.2 (2019): 215-233. https://doi.org/10.18874/ae.78.2.2019.215-233

Okawara, S. “The impact of cross-strait relations on the Japanese overseas Chinese community: A case study of Yokohama Chinatown,” Journal of Asia-Pacific Studies 20 (2011): 327-347.

Sun, Y. “The significance of lion dance in Chinese communities: A cultural analysis,” International Journal of Cultural Studies 24, no. 3 (2021): 345-360. https://doi.org/10.1177/1367877920911234