This study is based on the fieldwork data of local musical groups (chiu-kuan) and martial arts groups (wu-kuan) dispersed in the religious sphere formulated on the belief of Chang-hua Matsu. First, the number of such groups in different historical stages are presented and the reasons why they were established and disappeared are discussed. Then, the teaching inheritance and the faction between different chiu-kuans and different wu-kuans are analyzed as well as the organizational mechanisms and activities closely related to the folk religion. The relationship of these groups to the villages, village temples, and villagers are emphasized. Finally, this article provides the social-historical viewpoint to the understanding of such village organizations by examining them in the context of village histories, inter-village networks, and ethnic relations.
There are 194 chiu-kuans and 210 wu-kuans including those which exist nowadays and which have disappeared and have stopped any activity. Chin-kuans and wu-kuans are the voluntary associations of village male members. They spend their leisure in learning traditional musical instruments, singing, and opera or traditional martial arts, including lion dancing.
The chiu-kuans and wu-kuans are the part of village organization in the rural area or neighborhood organization in the urban area. In the past, they were organized and supported by the local leaders or lineage organizations. Many are partially or fully supported by villagers' donations. The major activities of chiu-kuans and wu-kuans are to perform ritual opera or lion dancing in front of temples or in the festival procession. Each chiu-kuan or wu-kuan has its teaching inheritance and belongs to a specific faction. The alliance within the same faction and the rival relation between different factions together with the inter-village activities of these groups reveal the pattern of inter-village relationships. Within the religious sphere of Chang-hua Matsu, many more chiu-kuans perform Pei-kuan music instead of Nan-kuan music and almost all wu-kuans perform lion dancing instead of Sung-chiang-chen. This indicates that the characteristics of the Chang-chou ethnic group dominated in the region.