藏羌走廊下羌族“萨朗”舞蹈的形成与发展研究

发布时间：2018-06-05 04:39

本文选题：藏羌走廊 + 萨朗　；参考：《西藏大学》2017年硕士论文

【摘要】：藏羌走廊是藏彝走廊的重要组成部分,是以藏彝走廊的岷江上游区域为核心。费孝通先生提出的藏彝走廊是一个历史区域的概念,其地理范围包括四川、西藏东部高山峡谷区和云南西部的横断山脉,这里的民族具有多样性,分支繁杂,尤其是藏羌走廊。藏羌走廊的概念具有深刻的学术内涵和文化内涵,这为理解和研究地域文化提供了最佳的历史语境。因为其独特的高山环境,藏羌走廊不仅成为历史文化的沉积带,还保留了大量的历史遗迹,文化现象也凸显了多样性和同根性,深化了与藏羌历史相关的内涵。虽藏、羌民族从行政划分上成为两个独立的民族,但从民族学的观点和传统民间舞蹈文化的分类体系的理念来研究分析,藏羌文化走廊下的民族民间舞蹈是同根异曲,相互融合的,这是由于历史积淀所形成的共同的生活习俗、相近地理环境,相似民族信仰而形成的,其绽放出来的绚烂民间舞蹈文化才是它最大的亮点。本文通过对费先生提出的藏彝走廊概念的基本思路上,以藏羌走廊为区域的视角下,集中研究以“萨朗”为例的舞蹈文化,因两个民族有着深厚的历史渊源,处在同一个地域、有着相同的气候,藏族与羌族在历史发展的长河中缔造着同而存异的舞蹈文化。藏羌民族守候着本民族的独特文化,同时缔造,生成互相亲和、互补的美的舞蹈文化。笔者认为以藏羌走廊为区域划分来研究舞蹈文化,能够体现出尊重历史、准确认识现状、严肃认真的学术精神,尤其是对于正确把握当下藏族与羌族的互动关系非常重要,不得不说,藏羌走廊为舞蹈的研究提供了一个更全面、更客观的历史环境,并运用文化长线的视角来比较研究民间舞蹈活态中的共性与个性,从而阐述笔者对这一民间舞蹈文化的研究意义。“萨朗”的舞蹈形式是羌族最擅长的民间自娱性舞蹈,与羌族人民生存生活、宗教信仰紧密连接在一起,是羌族传统文化的重要组成部分,也是与藏族传统民间舞蹈的动态、动律最相似的舞蹈,以羌族“萨朗”舞蹈与藏族民间舞蹈中的典型形式以及文化现象进行了个例比较研究,同时强调了藏族与羌族在传统民间舞蹈文化上所呈现出来的共性特征,这与他们历史上的族缘关系是紧密相连的,因此从这两个民族的文化、历史、舞蹈形态为源头,研究羌族“萨朗”的起源、形成、舞蹈动态、音乐节奏、发展等,整理出与藏族舞蹈的异曲同根之处,分析比较他们的文化内涵和特征,探索羌族“萨朗”舞蹈文化自身的发展规律,对羌族舞蹈文化的重建起着重要作用,这对民族走廊地区的研究也是一个不可缺少的补充。
[Abstract]:Tibetan-Qiang Corridor is an important part of Tibetan-Yi Corridor, which is centered on the upper reaches of Minjiang River in Zang-Yi Corridor. The Tibetan and Yi Corridor proposed by Mr. Fei Xiaotong is a historical region whose geographical range includes Sichuan, the mountains and valleys in eastern Tibet and the Hengduan Mountains in the west of Yunnan. The ethnic groups here are diverse and diverse, especially the Tibetan and Qiang Corridor. The concept of Tibetan and Qiang Corridor has profound academic and cultural connotations, which provides the best historical context for understanding and studying regional culture. Because of its unique alpine environment, the Tibetan and Qiang Corridor not only becomes the sedimentary belt of historical culture, but also retains a large number of historical relics. The cultural phenomenon also highlights the diversity and homogeneity, and deepens the connotation related to the history of Tibetan and Qiang. Although Tibet, the Qiang nationality becomes two independent nationalities from the administrative division, but from the viewpoint of ethnology and the concept of classification system of traditional folk dance culture, the folk dance under Tibetan and Qiang culture corridor is the same and different song. This is due to the historical accumulation of common life customs, similar geographical environment, similar national beliefs and formed, its blooming out of the brilliant folk dance culture is its greatest highlight. On the basis of the concept of Tibetan and Yi Corridor put forward by Mr. Fei, this paper focuses on the dance culture of Sarang as an example from the perspective of Tibetan and Qiang Corridor. Because the two nationalities have deep historical origins, they are located in the same region. With the same climate, the Tibetan and Qiang ethnic groups created the same and different dance culture in the long history of development. Tibetan and Qiang ethnic groups are waiting for their own unique culture, and create mutually friendly and complementary dance culture. The author believes that the study of dance culture based on Tibetan and Qiang Corridor can reflect the respect of history, accurate understanding of the present situation, serious academic spirit, especially for the correct understanding of the current Tibetan and Qiang nationality interaction is very important. It has to be said that the Tibetan and Qiang Corridor provides a more comprehensive and objective historical environment for the study of dance, and uses a long-term cultural perspective to compare and study the commonalities and individuality in the living state of folk dance. In order to explain the author of this folk dance culture research significance. The dance form of "Sarang" is the folk self-entertainment dance of Qiang nationality, which is closely connected with the Qiang people's living life and religious belief. It is an important part of Qiang's traditional culture and also the dynamic of Tibetan traditional folk dance. The most similar dance of the Qiang nationality "Sarang" is compared with the typical forms and cultural phenomena of Tibetan folk dance. At the same time, it emphasizes the common features of the Tibetan and Qiang nationality in the traditional folk dance culture, which is closely related to the ethnic relationship in their history. Therefore, from the source of the culture, history and dance form of these two nationalities, This paper studies the origin, formation, dance dynamics, music rhythm and development of the Qiang nationality "Sarang", sorts out the same roots with the Tibetan dance, and analyzes and compares their cultural connotations and characteristics. Exploring the development law of the Qiang "Sarang" dance culture plays an important role in the reconstruction of the Qiang dance culture, which is also an indispensable supplement to the study of the ethnic corridor area.
【学位授予单位】：西藏大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J722.21

【相似文献】