Choreographing notionalism in China (1937-1976) through Shanxi Xiao Hua Xi and peasant culture

Art plays a vital role in the construction of nationalism. This thesis examines Shanxi Xiao Huaxi in Zuo Quan County as part of the national discourse, focusing on how traditional dance contributed to the construction of nationalism through peasant culture during the Second Sino-Japanese War (1937_1949), the founding of the People_s Republic of China (1949_1966), and the Cultural Revolution (1966_1976). The study has three primary objectives: to explain how Xiao Huaxi became a form of peasant culture, to analyse changes in its choreography, and to explore how its choreography embodies nationalism. To achieve these objectives, the research adopted ethnographic and historical methods, employing content and narrative analysis to evaluate data collected through semi-structured interviews and archival research. The findings reveal that during the three periods examined, Xiao Huaxi was transformed into a representation of peasant culture through negotiation between the state and the people of Zuo Quan County. Choreographic changes were observed in five areas: music, movement, themes, dance design, and aesthetics. Furthermore, the choreography expressed nationalism through both collective imagination and individual participation. From these findings, three conclusions are drawn: (1) tradition acts as an intermediary in the relationship between the state and the people, (2) nationalism constructs authentic cultural identities, and (3) nationalism reversely constructs Orientalism. This study uses a cultural lens to explore societal structures and a societal lens to analyse cultural practices, highlighting how Xiao Huaxi functions both as a cultural text and as a tool for preserving social memory. Thus, the research broadens the scope of dance studies and refines the concept of peasant culture.