长阳土家族“撒叶儿嗬”现代变迁研究

发布时间：2018-02-01 12:14

本文关键词： “撒叶儿嗬” 变迁研究长阳土家族　出处：《贵州民族大学》2015年硕士论文　论文类型：学位论文

【摘要】：“撒叶儿嗬”是土家族源远流长而形式独特的丧葬祭祀歌舞,至今仍在流传,又称“跳丧”、“打丧鼓”等,不仅表达了土家人豁达的生死观,也是一门集歌、乐、舞三者为一体的民俗事项,具有很高的艺术价值和文化价值。如今,因社会背景、人文环境的转变以及国家政策的影响,“撒叶儿嗬”在现代的传承过程中出现了比较复杂的现象,从灵堂前走到广场上,从丧礼中走向舞台,打破了一直以来“白天不跳丧”、“无丧事不跳丧”、“女人不能跳丧”的禁忌,出现了巴山舞、广场舞和舞台表演等新形态。本文通过文献阅读、田野调查、比较研究等方法,深入调研,挖掘传统“撒叶儿嗬”与现代“撒叶儿嗬”的形态,并对两者进行比较研究,借此反思“撒叶儿嗬”在现代的变迁。本文在绪论中介绍了研究缘起、阐明了选题意义、概括了“撒叶儿嗬”的研究现状、确定了研究思路与研究方法、分析了此次研究的创新之处,在此基础上从四个部分对“撒叶儿嗬”的变迁加以研究:第一部分:“撒叶儿嗬”概述。首先对“撒叶儿嗬”进行简单的介绍,并剖析了“撒叶儿嗬”这一名称的由来;然后分析“撒叶儿嗬”的流行区域和本次课题田野调查点的选择、及“撒叶儿嗬”传承情况;最后是对“撒叶儿嗬”展演空间和流程的梳理。这一章节主要是为了呈现传统的“撒叶儿嗬”,只有在了解传统的基础上才能看到它的变化。第二部分:现代“撒叶儿嗬”的形态与特征。通过对“撒叶儿嗬”变化后的三种形态——巴山舞、“撒叶儿嗬”广场舞、“撒叶儿嗬”舞台表演的调查,分析现代“撒叶儿嗬”的特征,并将传统的“撒叶儿嗬”和现代形态的“撒叶儿嗬”进行比较分析,直观的表达“撒叶儿嗬”的变迁。第三部分:“撒叶儿嗬”变迁原因探析。根据前两部分对“撒叶儿嗬”传统、现代的研究,笔者归纳总结了三个方面的原因来阐述其变迁,一是传统生产生活方式的变化,二是国家与本土文化精英的关切,三是民众的自我选择。第四部分:“撒叶儿嗬”变迁的反思。作为民俗文化的“撒叶儿嗬”,在社会的发展中发生变化是一定的,通过对“撒叶儿嗬”变迁的分析,笔者想要反思三个问题:一是现代“撒叶儿嗬”与传统“撒叶儿嗬”之间存在何种关系?二是现如今“撒叶儿嗬”的传承由谁主导?三是“撒叶儿嗬”的当代价值何在?最后在结论部分指出:民俗文化在不断适应社会的同时必然发生变迁,“撒叶儿嗬”也是在千百年的历史中不断地变化而形成,因而对民俗文化的关注不能仅仅停留在对传统形式的留存,更应该关注其在社会发展中的变化,提高文化自觉,理解民俗承载的意义,寻找传统与现代的契合点,以实现成功转型,为保护和传承中华民族文化,发展社会经济服务。
[Abstract]:"Saye er Ho" is a long history and unique form of Tujia funeral sacrifice song and dance, still circulating, also known as "dance mourning", "beating the funeral drum" and so on, which not only expresses the Tujia people's open-minded outlook on life and death, but also is a collection of songs. Music and dance as one of the folklore matters, has a high artistic and cultural value. Nowadays, due to the social background, the change of the humanistic environment and the impact of national policies. In the process of modern inheritance, the phenomenon of "Saayer Ho" appeared more complicated, from the front of the spirit hall to the square, from the funeral to the stage, breaking the "day do not jump mourning", "no funeral do not jump mourning." The taboo of "Women can't do mourning" appears new forms such as Bashan dance, square dance and stage performance. This paper makes a thorough investigation through literature reading, field investigation, comparative study and so on. This paper explores the forms of traditional and modern "Saayer ho" and makes a comparative study of the two, so as to reflect on the modern vicissitude of "Saayer Ho". In the introduction, this paper introduces the origin of the research. This paper clarifies the significance of the topic, summarizes the research status of "Saayeer Ho", determines the research ideas and research methods, and analyzes the innovation of this study. On this basis, the changes of "Saayehou" are studied from four parts: the first part: an overview of "Saayehou". First, a brief introduction to "Saayehoi". And analyzed the origin of the name "Saayer Ho"; Then it analyzes the popular area of "Saayer Ho" and the selection of field investigation points of this topic, and the inheritance of "Saayer Ho"; The last part is the combing of the exhibition space and process of "Saayer Ho". This chapter is mainly to present the traditional "Saayehoi". Only on the basis of understanding the tradition can we see its change. The second part: the form and characteristics of the modern "Saayaer ho". A survey of the stage performances of "Saayer Ho" and "Saayer Ho" is made to analyze the characteristics of modern "Saayer Ho", and to compare the traditional "Saayer Ho" with the modern form of "Saayer Ho". The third part: the analysis of the causes of the change of "Saayer Ho". According to the former two parts of the tradition of "Saayer Ho", modern research. The author summarizes three reasons to explain its changes, one is the change of traditional production and life style, the other is the concern of the national and local cultural elite. Part 4th: reflection on the vicissitude of "Saayer Ho". As a folk culture, "Saayer Ho" has a certain change in the development of society. Based on the analysis of the vicissitude of "Saayer Ho", the author wants to reflect on three questions: first, what is the relationship between the modern "Saayer Ho" and the traditional one? Second, who now dominates the inheritance of "Saayer Ho"? Third, what is the contemporary value of "Saayer Ho"? Finally, in the conclusion part, it is pointed out that the folk culture must change while adapting to the society constantly, and "Saayer Ho" is also formed in the history of thousands of years. Therefore, the focus on folk culture should not only stay on the traditional form of retention, but also pay attention to its changes in the social development, improve cultural awareness, understand the significance of folklore bearing. In order to realize the successful transformation, to protect and inherit the culture of the Chinese nation and to develop the social economy.
【学位授予单位】：贵州民族大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J722.29

【参考文献】