1.Introduction

1.1 The History and Cultural Value of Kunqu Opera Performances in Chongqing

1.1.1 The Origin and Regional Characteristics of Kunqu Opera Performances in Chongqing

Kunqu opera performances in Chongqing originated from the integration of Jiangnan Kunqu Opera into Sichuan during the Ming and Qing Dynasties, as well as the fusion of Sichuan and Chongqing dialects and folk music to form a regional style characterized by “strong voice and performance.” The singing style not only retains the rhythm of Kunqu opera’s “shuimo diao” (water-polished tune) but also incorporates the characteristics of Sichuan opera’s “gao qiang” (high-pitched tune) with its accompanying chorus and percussion. The performance often features the rhythm of boatmen’s work songs along the Yangtze River, as well as elements of dock culture. For example, in Autumn River, the body movements integrate the gestures of boatmen, and the spoken parts in Zui Li (The Drunken Yamen Runner) are interspersed with Chongqing dialect and slang, making it a unique entity in Bayu culture that embodies both literati aesthetics and the vitality of the marketplace [1].

1.1.2 The Artistic Value and Social Function of the Intangible Cultural Heritage

As an intangible cultural heritage, the artistic value of Kunqu opera performances in Chongqing is reflected in the complete opera system: the tune patterns preserve the metrical rules of combining northern and southern styles, the librettos strike a balance between elegance and popularity, and the performances integrate stylized conventions with life-oriented expression [2].  In terms of social function, it is the memory carrier of Bashu history and culture, such as The Story of the Red Plum, which conveys regional ethics. It used to be the link that connected the identity of the clubhouse’s fellow villagers, and it still brings people together during community festivals. Moreover, its comprehensive art form is indispensable to traditional aesthetic education.

1.2 The Significance of Digital Archives to the Protection of Intangible Cultural Heritage

1.2.1 The Innovative Role of Digital Technology in the Preservation of Cultural Heritage

Digital technology offers a new paradigm for preserving intangible cultural heritage: 4K video and 3D scanning can accurately capture details such as vocal cavities, figures, and costumes. Compared with traditional archives, digital resources offer the advantages of durable storage (anti-aging in cloud backup), convenient retrieval (through metadata tagging), and wide dissemination (via network sharing), which enables cultural heritage to transition from static preservation to dynamic, providing multidimensional data support for research and preservation.

1.2.2 The Urgency and Necessity of Digital Protection of Kunqu Opera Performances in Chongqing

Kunqu opera performances in Chongqing face the crisis of aging inheritors (the average age of municipal inheritors is over 65 years old) and the loss of young audiences (accounting for less than 15%). Digitalization can quickly retain existing skills and prevent the loss of skills. Utilizing VR, short videos, and other tools can break through the limitations of offline communication and attract the Z generation. If dialect phonology and regional characteristics are not recorded systematically, they will fade with the urbanization process. Digitalization is essential for addressing the survival crisis we face.

2.The Present Situation and Problems of Digital Archives Construction of Kunqu Opera Performances in Chongqing

2.1 The Current Situation and Limitations of Technology Application

2.1.1 The Preliminary Application of Digital Acquisition Technology 

At present, Kunqu opera performances in Chongqing have carried out basic digital collection: some cultural units use high-definition equipment to record classic repertoires, such as Farewell to Mother, Perioring in a Hail of Arrows, multi-track recordings to save vocals, and a few pilot projects try to record three-dimensional scanning costumes and oral history videos of old artists. However, the application of technology remains at the stage of “emergency recording”: only images are preserved, and performance details are not thoroughly documented. It includes the movement track of the performer and the absence of spectrum analysis for the area. As a result, digital files struggle to support technical analysis, and the recording of the inheritors’ personalized performances lacks a systematic approach.

2.1.2 File Incompatibility Caused by Inconsistent Technical Standards

There is a lack of uniform standards in digitization, resulting in “data islands.” Firstly, video formats (e.g., AVI, MP4), audio sampling rates, and 3D model file formats from different institutions are mixed. When integrating, playback jam and image quality loss may occur. Second, the early DVD and tape files failed to be read due to aging media, and in recent years, the mobile hard disk interface has been eliminated [3]. Thirdly, the metadata labeling is simple; only the names of plays are labeled, and professional information is not classified or indexed, resulting in low retrieval efficiency and restricted storage and utilization due to technical standards.

2.2 The Present Situation and Dilemma of Resource Integration

2.2.1 Preliminary Arrangement of Scattered Resources

The digital resources of Kunqu opera performances in Chongqing have begun to be partially organized: the city group art museum has transcribed tapes from the 1980s, colleges and universities have scanned newspaper reviews from the Republic of China, and folk music clubs have uploaded rehearsal videos. However, the resources are fragmented: music books, audiovisual materials, and images of old objects are dispersed among various institutions and private collectors, with no established mechanism for sharing. For example, a cultural center in a certain district has an improved script from the 1950s, and the recording of the corresponding performance may be in another institution. Therefore, researchers need to collect information, and the integration work is still difficult and scattered.

2.2.2 The Systematic Lack of Folk Resources

The loss of folk resources is serious: the old artists’ songbooks and handwritten work scales are scattered due to the lack of awareness among future generations, and posters from the Republic of China performances are privately traded. Moreover, the old artists who have mastered the technique of “Chuankun” are old, the details of improvisation are not systematically recorded, and the folk collection is distorted due to equipment problems [4]. Additionally, since Chongqing is a city with a significant immigrant population, there are scattered traces of early Kunqu-related activities in various districts and counties. Due to the lack of systematic field investigations, a large number of physical and oral materials have been lost over time.

2.3 The Current Situation and Shortcomings of the Guarantee Mechanism

2.3.1 Results of the Construction of Short-Term Projects 

Kunqu Opera Performances in Chongqing’s digitization process have progressed through short-term projects. In 2018, the Municipal Culture and Tourism Bureau completed a 4K recording of 10 plays. In 2020, colleges and universities collaborated with the troupes to compile more than 50 tunes, and some resources were made available through the intangible cultural heritage database. However, the limitations of project-based construction are clear: funds fluctuate with the budget, personnel are temporarily reassigned, and file maintenance is neglected after the project ends. For example, an interview video from 2019 in a district was not backed up, resulting in hard disk damage and loss of contents, which exposed long-term management defects.

2.3.2 The Problems in Long-Term Talent Training and Capital Investment Mechanism

There is a talent gap in digitization. Compounds of talents who have learned Kunqu opera and technology are scarce. Most of the existing personnel are administrative agents and are not equipped with professional skills. Furthermore, colleges and universities do not offer training that integrates “Kunqu and digital technology.” As a result, many grassroots organizations rely on outsourcing, which can lead to misinformation due to professional barriers. It means that while the technology may be available, the content can become distorted [5]. The funds have long been dependent on government special projects, and there are few channels for social capital to participate. After 2023, some district and county projects have been shelved due to financial constraints, and funding sources are limited. In short, there is a lack of diversified investment and talent cultivation mechanisms.

3.The Direct Impact of Digital Short Board on the Intangible Cultural Heritage Protection of Kunqu Opera Performances in Chongqing

3.1 Risks in Inheritance Caused by Technical Limitations

3.1.1 Incomplete Digital Record of Traditional Skills

Currently, the application of digital technology is primarily used for recording content, resulting in the loss of the essence of Kunqu opera performances in Chongqing. Most of the recordings were shot using full-motion video, and details such as pitch fluctuation and throat resonance of the prolonged tune of Chuanjiang Haozi were not analyzed using the frequency spectrum. Additionally, the movement track of Wusheng’s “shoulder-carrying” figure was not analyzed using motion capture technology. For example, in the performance, regional features such as rhyme variation caused by dialect accent and the improvisation of “vibrato” are often unable to be systematically preserved due to the limitations of a single recording method. This kind of record of “emphasizing appearance but neglecting core” makes it difficult for digital archives to become a “living teaching material” for the younger generation to learn. Once the older artists pass away, the performance paradigms that embody the characteristics of Bayu will face the risk of permanent loss, which will directly worsen the crisis of inheritance.

3.1.2 Hidden Dangers Caused by Unsustainable Preservation of Digital Files

The evolution of storage technology and confusion over standards lead to the risk of “extinction” of digital archives. Of the 12 discs of old artists’ vocal materials stored on DVD and magnetic tape in the early days, three discs could not be read because of magnetic powder falling off; Due to the update of USB interface, some files of the mobile hard disk adopted in recent years are not compatible with new devices. What’s more serious is the lack of metadata labeling-the scanned copies of the music books stored in a university are not labeled with information such as the tonal modes and scales and role types. Hence, researchers need to browse page by page to filter the contents. As a result, the efficiency is low, and cultural information may be distorted due to misreading. This “digital heritage” is unsustainable, placing Kunqu Opera performances in Chongqing in a dilemma of being “saved on a hard disk.” Even if the file exists physically, it may lose its cultural interpretation value due to technical barriers.

3.2 Low Protection Efficiency Caused by Scattered Resources

3.2.1 Fragmented Resources Cannot Support Systematic Inheritance and Research

The decentralized storage of digital resources has split the cultural integrity of Kunqu Opera Performances in Chongqing. Due to the lack of a unified management platform, resources such as the republican-era opera scripts from the Municipal Cultural Research Institute, modern performance videos from the district cultural center, and photos of folk costumes cannot form a “text-performance-object” related research chain. For example, when studying the improvement practices of Kunqu Opera Performances in Chongqing in the 1950s, it is necessary to retrieve revised scripts, performance recordings, and media reports from different institutions [6]. These materials can be classified into various categories according to different classification standards. Researchers need to expend a significant amount of energy sifting through information, resulting in incomplete research on key issues, such as the evolution of aria. The protection work has long remained fragmented.

3.2.2 No Cross-Regional Network of Kunqu Cultural Resources

The historical relationship between Kunqu Opera Performances in Chongqing and Sichuan-Kunming, as well as Suzhou-Kunming, was disrupted due to the island effect of resources. As a branch of Sichuan and Kunming, the evolution of its vocal cavity has a close interaction with Chengdu and Kunming. However, the digital files in various locations are fragmented, and no sharing mechanism has been established. For example, the performance video of Autumn River by a Kunqu Opera Club in Chongqing and the Sichuan-Kunming stills from the same period at the Sichuan Museum cannot be found online, making it difficult to study the differences in regional performances. This closed state has also led to repeated construction efforts: Chongqing and Chengdu have invested in recording The Story of the Jade Hairpin in recent years, but resources have been wasted because the results have not been shared. Kunqu Opera performances in Chongqing struggle to define their characteristics within the tradition of genealogy of ‘Grand Kunqu Opera’, reducing their status as an independent intangible cultural heritage.

3.3 Lack of Protection Motivation Caused by Lack of Mechanism

3.3.1 No Successor in Digital Work

The lack of compound talents makes digital work fall into a period of crisis. Many staff members who studied Kunqu opera lack digital skills, making it difficult for technicians to comprehend terms such as “vibrato” and “cloud hands,” which results in a disconnect in work processes [7]. When recording the vocals of an old artist in a certain district, the technicians mistakenly recorded the rhythm of “slow 4/4 time” as an ordinary beat because they didn’t understand the rules of Kunqu opera’s rhythmic patterns, which caused distortion. The lack of higher education resources is exacerbating the issue. In Chongqing, there is no dedicated professional research sector focused on the “Digitalization of Kunqu Opera.” Furthermore, the only college that offers courses on intangible cultural heritage emphasizes theoretical knowledge, lacking practical training opportunities like 3D modeling. Graduates often lack the necessary skills for their jobs, leading grassroots organizations to depend on outsourcing. However, this professional barrier results in “advanced technology but a distorted culture.”

3.3.2 Poor Participation Channels of Social Forces Limit Protection 

First, the government-led model lacks social resonance in its protection efforts. Kunqu Opera Performances in Chongqing’s digital funds have long relied on the budget approved by the cultural and tourism departments. In 2023, a district and county cut funding by 30% due to financial adjustments, which directly led to the stagnation of three projects. Second, the channels for participation in social capital are limited. A cultural technology company initially planned to sponsor the Kunqu VR project but ultimately withdrew due to the ambiguity of tax incentive policies. Spontaneously recorded short videos by the public are often excluded from the official system due to copyright disputes and quality inconsistencies. More crucially, the role of the community as a traditional communication field has been neglected; there was a folk custom of sitting and singing Kunqu Opera in the communities around Huguang Guild Hall. Nonetheless, the lack of social organizations has led to young people’s perception of local Kunqu Opera being viewed merely as “museum art.” This situation prevents the establishment of a healthy ecosystem of protection, inheritance, and consumption.

4.Collaborative Improvement of Digital Archives and Intangible Heritage Protection

4.1 Constructing Standardized Technology Application System

4.1.1 Formulate the Digital Acquisition Specification of Kunqu Opera Performances in Chongqing

It is necessary to establish technical standards that cover the entire process, from acquisition to storage and utilization. 4K video capture should include both panoramic and close-up shots, such as facial expressions and finger movements. The audio sampling rate should be at least 96 kHz to preserve the details of the sound cavity. A metadata annotation guide should be formulated for Kunqu Opera Performances in Chongqing, which requires the structured annotation of professional information, such as repertoires, qupai, role types, and performing conventions. For example, in Autumn River, the Dan character’s rowing gestures in Nanlü Mode. It is necessary to standardize the accuracy error of three-dimensional scanning to be less than or equal to 0.1 mm, and the file format must be exported uniformly as a combination of OBJ and MTL to ensure the three-dimensional representation of costumes and props. Finally, through standardized construction, the problems of current format confusion and lack of metadata are addressed, laying the foundation for inter-agency resource integration.

4.1.2 Establish a Blockchain Deposit Certificate System

First, the blockchain technology is introduced to build a digital file safe. The collected audio, video, and three-dimensional model are hashed to ensure that the contents of the file cannot be tampered with. Second, using distributed storage and cloud backup mode, the local server in Chongqing and the national blockchain innovative application pilot platform are stored synchronously to prevent data loss caused by damage to a single storage medium. Third, it is necessary to develop a copyright management module based on blockchain, clarify the intellectual property boundaries of inheritors, recording institutions, and users, and provide technical support for the subsequent authorized use of digital resources, thereby fundamentally solving the problems in digital archives.

4.2 Establish Resource Integration and Sharing Mechanism

4.2.1 Build a Digital Resource Center about Kunqu Opera in Chongqing 

Guided by the municipal cultural tourism department, we will build a digital platform integrating storage, retrieval, and display: Scripts, audio-visual materials, and physical archives from the Municipal Mass Art Museum, Cultural Research Institute, and universities, and establish a database according to repertoire, voice cavity, performance, and literature. In addition, the intelligent retrieval function is developed to support the rapid positioning of resources through keywords such as the prolonged tune of Chuanjiang Haozi, audio clip matching, and image recognition. A dual mode of open access and authorized use should be established, allowing the public to browse low-definition materials online and researchers to obtain the original data through audit, thereby addressing the issue of systematically integrating fragmented resources.

4.2.2 Promote the Sharing of Kunqu Resources in Sichuan and Chongqing

It is suggested that the Sichuan-Chongqing Kunqu digital cultural corridor should be established: the digital standards should be unified, and the data interface between Chongqing Bayu Kunqu Library and Sichuan-Kunming resource platform should be opened, to realize the cross-regional retrieval of The Story of the Jade Hairpin and The Story of the Red Plum. It is suggested that we collaborate in constructing a specialized database for the comparative study of the Sichuan-Kunming vocal tradition, and simultaneously display different performance versions of the same play in the two locations. In addition, it is necessary to establish a resource co-construction mechanism. Chongqing is responsible for collecting performance materials related to dock culture. At the same time, Sichuan focuses on the materials of Kunqu Opera clubs in northwest Sichuan, aiming to avoid repeated construction and form a Kunqu Opera resource network that combines regional characteristics with an overall context.

4.3 Improve the Protection and Guarantee Mechanism

4.3.1 Establish a Digital Talent Cultivation Plan for Kunqu Opera

It is necessary to establish a tripartite training system involving universities, institutions, and enterprises. The drama major in colleges and universities in Chongqing has added the direction of intangible digital protection, and offered courses such as 3D modeling and audio processing. The academy group selected inheritors as practical instructors, and enterprises provided technical training platforms. It is suggested that the mode of “double-teacher mentoring” be implemented, where each young student learns the performance rules from famous Kunqu opera masters and master digital tools with technical experts. In addition, it is suggested to establish a digital heritage scholarship for Kunqu Opera Performances in Chongqing, which will enable students to participate in international intangible digital workshops, thereby addressing the issue of people who are knowledgeable about Kunqu Opera lacking technological expertise, and those with technological expertise being unfamiliar with Kunqu Opera.

4.3.2 Multi-input Mechanism of Government Guidance, Enterprise Participation and Community Support

First, it is recommended to establish a dedicated fund for the digitalization of Kunqu Opera within the municipal budget, with a fixed allocation of 15% of the annual budget. Second, we can introduce digital sponsorship incentives for Kunqu Opera Performances in Chongqing, provide tax relief for corporate donations, and encourage cultural and technological enterprises to name Kunqu VR laboratories and other special projects. Third, it is necessary to develop a crowdfunding platform for the digital preservation of Kunqu opera, making it accessible to the public, and establish user-friendly crowdfunding projects, such as preserving the digital records of old artists and supporting the cloud-based development of Kunqu opera. Fourth, it is suggested that the community establish a Kunqu digital protection group, collect scattered folk resources, and exchange points for rewards, thereby forming a sustainable investment model that combines government backing, enterprise manufacturing, and community participation.

5.Conclusion and Prospect

The digital preservation of Kunqu Opera performances in Chongqing has reached a phase characterized by significant technical challenges from the trial stage, including the disunity of technical standards, the fragmentation of resources, and the lack of mechanisms, which lead to the distortion of traditional technical records and the erosion of cultural heritage. The research indicates that only through the construction of a standardized technical system, the integration of cross-regional resources, and the enhancement of a multi-guarantee mechanism can the transition from emergency records to live transmission be achieved. Digitalization is not only a means of preservation, but also the key to activating its regional cultural genes: through the technical tools such as blockchain deposit certificate and digital resource center, the unique skills such as Chuanjiang Haozi-style prolonged tune and dock figure can be systematically preserved, providing a solution with both technical feasibility and cultural adaptability for intangible cultural heritage protection.

In the future, the digital protection of Kunqu Opera Performances in Chongqing needs to be further developed in three key areas. The first is to upgrade the application of technology from recording tools to creative media, and explore innovative scenes such as AI sound cavity simulation and meta-cosmic stage, so that young people can understand the tradition through interactive experience. The second is to build a collaborative network of government colleges and universities, and transform the folk custom of Kunqu opera sitting and singing in the communities around Huguang Guild Hall into digital cultural IP, forming a closed loop of online archives and offline experience. Third, integrate the construction of the Sichuan-Chongqing cultural community, revealing the unique status of Chongqing Kunqu Opera in the southwest Kunqu Opera genealogy through cross-regional resource sharing. In this way, the value of Kunqu Opera Performances in Chongqing has jumped from cultural heritage to living tradition in the digital age, making it a new carrier of modern communication of Bayu culture.

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