Constructing Cultural Identity through Zhuang Folk Songs in Guangxi, China

Background and Aim: As the largest ethnic minority group in China, the Zhuang people possess a rich musical tradition, with folk songs (Zhuang Folk Songs ) serving as a vital vehicle for cultural expression and heritage. In the context of rapid modernization and cultural transformation, these songs not only preserve ancestral memory but also articulate evolving identities within the community. This study aims to explore the construction of cultural identity in contemporary Zhuang folk songs by (1) identifying their linguistic, musical, and symbolic elements, (2) analyzing how these elements contribute to the articulation of collective identity, and (3) interpreting the multidimensional structure of identity as embedded in the performance and reception of Zhuang musical practices. Materials and Methods: This study takes six new Zhuang language songs and six Zhuang popular music songs as samples, and comprehensively uses literature analysis, field observation (such as the "March 3rd" ceremony in places like Mashan and Napo in Guangxi), and in-depth interviews (with folk artists and creators) to collect empirical data. The collected data were classified and sorted out, and analyzed in combination with the identity theory. Results. Language identification is the core symbol of emotional connection. Most songs take the Zhuang language as the main language and convey the mother's concern for her children and grandchildren through the Zhuang language lyrics. The familiar pronunciation and intonation directly evoke the audience's sense of cultural belonging. 2. Musical style recognition showcases a dialogue between tradition and modernity. It is mainly reflected in aspects such as element inheritance and musical instrument innovation. 3. Folk customs and historical identity are the concretization of cultural roots. 4. Emotional value recognition becomes the resonance field of collective consciousness. 5. The identification of regional and cultural symbols demonstrates a dual anchoring of space and symbols. Conclusion: Zhuang folk songs, through multi-dimensional cultural coding such as language, music, and folk customs, form a hierarchical structure of "surface symbol identification - middle identity identification - deep value identification". They are not only the "audio archives" of Zhuang's historical memory, but also the emotional bond of contemporary ethnic cohesion. The research emphasizes that in the wave of commercialization, it is necessary to safeguard its cultural core, promote creative transformation based on "identity", and achieve the modern inheritance of national culture.