花腰彝舞龙文化研究

发布时间：2018-03-08 09:27

本文选题：花腰彝　切入点：舞龙艺术　出处：《云南艺术学院》2011年硕士论文　论文类型：学位论文

【摘要】：舞龙本是汉民族的一种民间文艺形式,但随着彝、汉文化上的不断接触与交融,舞龙也随之流传到花腰彝的村落生活空间。在与外来文化不断接触的过程中,花腰彝人通过不同的途径将它复合进自身的文化体系之中,使得这一民俗艺术事象呈现出不同的名称和意象。随着经济一体化、大众传媒化时代的到来,花腰彝舞龙文化循着现代大众消费文化的路径而不断发生着变迁和转型,呈现出显在的当代性和鲜明的后现代特征。基于对这一民族民间艺术形式的整体认知,文章从不同层面探讨了其在发展过程中所呈现出的文化品格和艺术个性。文化是一个不断发展的动态过程,在流变的生活中,文化总是在不断建构中持续发展的,而并非一段僵死的历史事实与文化存在。在舞龙文化文本的建构生成中,花腰彝以汉民族舞龙文化为中介,以传统文化生活和族性符号为导向,通过记忆复原、符号借用、文化整合等途径和方式,将舞龙这一民间艺术形式转化为具有强烈的地域性和族群性的村落文化表征,其舞龙文化的建构呈现出地方性知识生产的地域性特征和文化发展的复杂性特点。随着现代话语体系和时空观的进入,村民的日常生活被重置,村落文化也随之不断被重新改写。在此过程之中,花腰彝舞龙为适应环境的变化而不断进行着相应的调整和变迁。在花腰彝村落传统生活中,舞龙作为祭龙仪式的一部分,与花腰彝村民的日常生活融为一体,在多元文化背景下,舞龙被人们从祭龙仪式中抽离出来,呈现为面向他者的展演艺术。为了迎合他者的需要,其文化个性逐渐被消解,成为了一种供大众消费的文化产品和文化符号,其转变体现出民族民间文化艺术的当下性生存范式和文化变迁的复杂图景。文化在本质上是一种功用性装备。在人类学的视界中,艺术以其功用性而存在,一旦失去了功能这个基点,那么艺术也将无法生存。文章通过对“花腰彝”舞龙进行考察和分析后认为,其文化意义是多层面的,正是这多重的文化内涵给予了舞龙艺术存在的理由与根基,同时又赋予了其不断发展的内在动力。因此,从本质上说,文化意义才是舞龙艺术赖以生存和发展的生命线和根本所在。基于这样一种文化逻辑,从村落艺术生存的实际状况出发,本文认为,艺术作为一种功能性存在,其不断变迁以迎合着新的功能需要的同时,又在不断地建构着新的文化意义。
[Abstract]:The dragon dance was originally a folk art form of the Han nationality, but with the continuous contact and blending of Yi and Han culture, the dragon dance spread to the village living space of Huayao Yi, and in the process of constant contact with foreign culture, Huayao Yi people combined it into their own cultural system through different ways, which made this folk art phenomenon take on different names and images. With the economic integration and the arrival of mass media era, The culture of "Huayao Yi" and "dragon dance" is constantly changing and transforming along the path of the modern popular consumption culture, showing a distinctive contemporary and distinctive post-modern characteristics. Based on the overall cognition of this national folk art form, the Huayao Yi and the dragon dance culture are constantly changing and transforming. The article discusses its cultural character and artistic personality in the process of development from different aspects. Culture is a dynamic process of continuous development. In the changing life, culture always develops continuously in the process of continuous construction, rather than a dead historical fact and cultural existence. Huayao Yi takes the dragon dance culture of the Han nationality as the intermediary, takes the traditional cultural life and the ethnic symbols as the guidance, and through the memory restoration, the symbol borrowing, the cultural integration and so on the way and the way. The dragon dance as a folk art form is transformed into a strong regional and ethnic characteristics of village culture. The construction of dragon dance culture presents the regional characteristics of local knowledge production and the complexity of cultural development. With the entry of modern discourse system and space-time view, the daily life of villagers has been reset, and the village culture has been constantly rewritten. In the traditional life of Huayao Yi village, dragon dance, as a part of the ritual of sacrificing the dragon, is integrated with the daily life of the villagers of Huayao Yi. In the context of multiculturalism, dragon dance was separated from the ritual of dragon sacrifice and presented as an exhibition art for others. In order to cater to the needs of others, their cultural personality was gradually dispelled. It has become a kind of cultural product and cultural symbol for mass consumption, which embodies the current survival paradigm of national folk culture and art and the complex picture of cultural change. Culture is essentially a kind of functional equipment. In the anthropological world, art exists because of its utility, and once it loses its function, Then art will also be unable to survive. After investigating and analyzing the dragon dance of "Huayao Yi", the article believes that its cultural significance is multidimensional, and it is precisely this cultural connotation that gives the reason and foundation for the existence of dragon dance art. Therefore, in essence, cultural meaning is the lifeline and root of the survival and development of dragon dance art. Based on such a cultural logic, Starting from the actual situation of village art survival, this paper argues that art, as a functional existence, is constantly changing to meet the new functional needs, and at the same time, it is constantly constructing new cultural significance.
【学位授予单位】：云南艺术学院
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J722.22

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