A Comparative Cultural Ecological Analysis of Zhuang and Dong Polyphonic Folk Songs in Guangxi Province, China
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Abstract
Background and Aim: Cultural Ecology examines how traditions evolve in response to their environments. The polyphonic folk songs of the Zhuang and Dong ethnic groups in Guangxi have developed over centuries through interactions with their unique geographical, linguistic, and social contexts. Despite their recognition as intangible cultural heritage, comparative studies on the ecological factors shaping these traditions remain scarce. This study investigates how geography, language, and social structure influence the similarities and differences between Zhuang and Dong polyphonic folk songs. The objectives are 1. To study the relationship between the natural environment and the musical characteristics of polyphonic folk songs. 2. To study the connection between Ethnic languages and the rhythm of polyphonic folk songs. 3. To study the impact of social customs on the performance environment and cultural functions of polyphonic folk songs. 4. To explore the intrinsic connection between polyphonic folk songs and cultural ecology
Materials and Methods: A triangulation approach was used, combining: (1) a review of academic articles on Zhuang and Dong music; (2) field observations conducted between 2022 and 2024 in Nanning, Hechi, Jingxi and Sanjiang, including 12 recorded performances and 5 semi-structured interviews with folk musicians; and (3) case studies of key traditions like the ‘Song Festival’ and ‘Dong Grand Choir.’ Data were analyzed using cultural ecology mapping and thematic content analysis.
Results: Three key findings emerged:(1) Geographical Influence: The Zhuang tradition varies significantly across 26 counties, adapting to local micro ecologies, while the Dong tradition remains highly unified despite being geographically dispersed. (2) Linguistic Impact: Both traditions reflect their languages differently—Zhuang polyphony mirrors tonal speech patterns, whereas Dong polyphony prioritizes harmonic blending over tonal accuracy. (3) Social Structure: Performance contexts differ—the Zhuang tradition emphasizes dialogic exchanges, reflecting interpersonal communication, whereas the Dong tradition follows a hierarchical format aligned with its communal “Kuan” system.
Conclusion: Though the Zhuang and Dong traditions share a cultural-linguistic heritage, they have evolved distinctively due to ecological adaptation. Geographic isolation has preserved their uniqueness while shaping divergent musical developments. These insights highlight the importance of considering ecological factors in cultural conservation efforts rather than treating minority music traditions as homogeneous. Future studies should examine how contemporary environmental and social changes impact these ecological relationships.
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