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1988年11月,在贵阳召开的全国傩戏学术会议上成立了中国傩戏学研究会,我区边多、刘志群二同志为理事。后来在山西临汾、湖南吉首和广西南宁相继召开了几次国际傩戏和傩文化研讨会,我区也有人、有论文参加。近年来,随着藏文化艺术理论研究的广泛、深入地展开,西藏傩戏和傩文化研究,不仅显露了异军突起的势头,而且已经取得了突破性的成果。如,先后在本刊上发表的傩戏和傩文化论文有:边多的《西藏农民抗灾歌舞〈吉达吉姆〉综述》、丹增次仁的《米那羌姆》、《阿羌姆》,张鹰的《西藏面具艺术浅识》、《西藏女性崇拜考释》,姚兴奇的《孤岛狩措文化的图腾、面具和巫术》,刘凯的《一个由寺院傩衍化的傩戏型藏戏剧目——〈米拉日巴劝化记〉》,
In November 1988, a seminar on Chinese opera opera was set up in the National Conference on Opera in Guiyang. There are many sides in our district and two comrades with Liu Zhiqun as their directors. Later in Linfen in Shanxi, Hunan Jishou and Nanning, Guangxi held several international opera and 傩 culture seminars in our area, some people, with papers. In recent years, with the extensive and in-depth study of the theory of Tibetan culture and art, the study of Tibetan opera and folk culture has not only revealed the momentum of the rapid emergence of the Allied Forces, but also achieved breakthrough results. For example, there have been published articles in this magazine: 边 drama and 傩 cultural papers are as follows: Side of the “anti-disaster song and dance of Tibet farmers Jeddah Jim> review”, Tengzeng Tsering “Mi Naqiang”, “Ah Qiang” , Zhang Ying’s “Tibetan Masks”, “Investigation of Tibetan Women’s Worship”, Yao Xingqi’s “Totem, Mask and Witchcraft in the Culture of Isolated Islands”, Liu Kai’s “A Tibetan Opera Drama Derived from a Temple - ”Miraji Bab advised diary“ ”,