近十年来(2005-2015)晋西临县伞头秧歌的发展变化研究
发布时间:2018-08-06 17:24
【摘要】:伞头秧歌是临县一种重要的民间艺术形式,以领歌领舞者手持花伞为标志而得名。它是临县社会历史发展的产物,主要表演于临县以及周边的柳林、离石等地,在临县尤为盛行。伞头秧歌最初用于祭祀,后来演变为集歌、舞、乐为一体的全民参与的年节期间的民间艺术活动。 伞头秧歌植根于民间,因而与当地民俗息息相关,它作为一种礼尚往来的方式与外部村落交流联系互动。在从传统到现代的变迁过程中,临县伞头秧歌表现的民俗内容越来越广,涉及祭祀信仰、婚丧嫁娶、娱乐庆典、日常生活等各个方面,它就是当地社会的一部民俗大全。临县伞头秧歌作为临县当地的艺术形式,具有独特的地方性色彩,浓郁的乡土气息和雅俗共赏的艺术魅力。 临县伞头秧歌一直处在变化发展中,民国初年的大普及,抗战时期的兴盛,文化大革命期间的被限制和停滞,在文化大革命之后这种艺术又如火如荼的开展起来。进入新世纪以后伞头秧歌也发生了新的变化,首先伞头秧歌与其他民间艺术相结合,其次受到外来文化的影响,再次为了适应时代的变化和受众的喜好,使得伞头秧歌从形式到内容都发生了很大的发展与变化。在对伞头秧歌进行了大量的田野调查和实地观看,了解到伞头秧歌在演出时间、演出场合、演唱曲调、唱词形式、传播载体、经济运行等方面都发生了一定程度的改变,特别是民歌、民间小演唱、民间小戏曲、民间舞蹈、民间快板加进来以后,使伞头秧歌这一艺术更加丰富多彩。 近十年来(2005——2015)随着现代信息技术的发展,使得伞头秧歌出现了一种新形式,即网络秧歌,即秧歌爱好者在网络上通过QQ群、贴吧、微信群编唱的秧歌。伞头秧歌是临县人的一种思乡的精神符号,它利用网络这种独特便捷的传播方式,不用荒废过多的精力、财力、物力且能跨时空、随时随地借助电脑,甚至是手机等移动通讯适时的组织对歌、出题答歌比赛等为临县本土及其定居在外的临县人提供了一个便捷而广泛的交流平台,,以寄托对家乡的思念。网络秧歌唱词也以它主题明确突出、内容包罗万象、形式新颖独特的魅力吸引着众多参与者,各个村落秧歌群也如雨后春笋般建立起来用以互动交流。这是伞头秧歌发展史上的一次巨大变化。 虽然临县伞头秧歌已被列为国家级非物质文化遗产,但是目前传统伞头秧歌的生存现状也遭受着极大的考验:娱乐多样化的冲击、观众和参与者的流失、政府宣传保护力度不够种种的原因都冲击着传统秧歌和舞台秧歌。
[Abstract]:Umbrella head Yangge is an important folk art form in Linxian County. It is the product of the social and historical development of Linxian, mainly performed in Linxian and surrounding Liulin, Lieshi and other places, especially prevalent in Linxian. Yangko was originally used for sacrifice and later evolved into a folk art activity in which the whole people participated in the festival of singing, dancing and music. The Yangko is rooted in the folk and is closely related to the local folklore. It acts as a way of exchange and contact with the outside villages. In the process of changing from tradition to modern, the folklore content of Yantou Yangko in Linxian County is more and more extensive, involving the worship of sacrifice, marriage and funeral, entertainment celebration, daily life and so on. It is a folklore of the local society. As the local art form of Linxian County, Yangko has unique local color, strong local flavor and artistic charm. The yangko of umbrella head of Linxian county is in the change and development all the time. The popularization of the early Republic of China, the prosperity of the War of Resistance against Japan, the limitation and stagnation of the period of the Cultural Revolution, the art developed in full swing after the Cultural Revolution. After entering the new century, new changes have taken place in the umbrella head Yangko. First, the umbrella head Yangko is combined with other folk art, and then it is influenced by foreign culture. Again, in order to adapt to the changes of the times and the preferences of the audience, So that the umbrella Yangko from the form to the content has a great development and change. After a large number of field investigations and field observations on the yangko, we have learned that the Yangko has changed to a certain extent in terms of performance time, performance occasions, singing tunes, singing forms, spreading carriers, and economic operation. Especially folk songs, folk operas, folk dances, folk Allegro are added to make the art of umbrella head Yangge more colorful. In the past ten years (2005-2015), with the development of modern information technology, a new form of Yangko has appeared, that is, Yangko, which Yangko enthusiasts sing through QQgroups, posts and WeChat groups on the Internet. Umbrella head Yangko is a kind of homesick spiritual symbol of Linxian people. It uses the network as a unique and convenient means of communication, without wasting too much energy, financial and material resources, and can cross time and space, using computers anytime and anywhere. Even mobile communications, such as mobile phones, timely organization of songs, answering competition for Linxian native and settled outside Linxian people to provide a convenient and extensive exchange platform, in order to place their thoughts on their hometown. Network Yangge lyrics with its theme is clear and prominent, the content all over the world, the form of novel and unique charm attracted many participants, each village Yangge groups are also like bamboo shoots to build up for interactive exchanges. This is a great change in the development history of Yangko. Although Yantou Yangko in Linxian County has been listed as a national intangible cultural heritage, the survival status of the traditional umbrella Yangko has also suffered a great test: the impact of diverse entertainment, the loss of audience and participants, The government propagandizes and protects the strength not enough each kind of reason impinges the traditional Yangko and the stage Yangko.
【学位授予单位】:山西师范大学
【学位级别】:硕士
【学位授予年份】:2015
【分类号】:J722.211
本文编号:2168444
[Abstract]:Umbrella head Yangge is an important folk art form in Linxian County. It is the product of the social and historical development of Linxian, mainly performed in Linxian and surrounding Liulin, Lieshi and other places, especially prevalent in Linxian. Yangko was originally used for sacrifice and later evolved into a folk art activity in which the whole people participated in the festival of singing, dancing and music. The Yangko is rooted in the folk and is closely related to the local folklore. It acts as a way of exchange and contact with the outside villages. In the process of changing from tradition to modern, the folklore content of Yantou Yangko in Linxian County is more and more extensive, involving the worship of sacrifice, marriage and funeral, entertainment celebration, daily life and so on. It is a folklore of the local society. As the local art form of Linxian County, Yangko has unique local color, strong local flavor and artistic charm. The yangko of umbrella head of Linxian county is in the change and development all the time. The popularization of the early Republic of China, the prosperity of the War of Resistance against Japan, the limitation and stagnation of the period of the Cultural Revolution, the art developed in full swing after the Cultural Revolution. After entering the new century, new changes have taken place in the umbrella head Yangko. First, the umbrella head Yangko is combined with other folk art, and then it is influenced by foreign culture. Again, in order to adapt to the changes of the times and the preferences of the audience, So that the umbrella Yangko from the form to the content has a great development and change. After a large number of field investigations and field observations on the yangko, we have learned that the Yangko has changed to a certain extent in terms of performance time, performance occasions, singing tunes, singing forms, spreading carriers, and economic operation. Especially folk songs, folk operas, folk dances, folk Allegro are added to make the art of umbrella head Yangge more colorful. In the past ten years (2005-2015), with the development of modern information technology, a new form of Yangko has appeared, that is, Yangko, which Yangko enthusiasts sing through QQgroups, posts and WeChat groups on the Internet. Umbrella head Yangko is a kind of homesick spiritual symbol of Linxian people. It uses the network as a unique and convenient means of communication, without wasting too much energy, financial and material resources, and can cross time and space, using computers anytime and anywhere. Even mobile communications, such as mobile phones, timely organization of songs, answering competition for Linxian native and settled outside Linxian people to provide a convenient and extensive exchange platform, in order to place their thoughts on their hometown. Network Yangge lyrics with its theme is clear and prominent, the content all over the world, the form of novel and unique charm attracted many participants, each village Yangge groups are also like bamboo shoots to build up for interactive exchanges. This is a great change in the development history of Yangko. Although Yantou Yangko in Linxian County has been listed as a national intangible cultural heritage, the survival status of the traditional umbrella Yangko has also suffered a great test: the impact of diverse entertainment, the loss of audience and participants, The government propagandizes and protects the strength not enough each kind of reason impinges the traditional Yangko and the stage Yangko.
【学位授予单位】:山西师范大学
【学位级别】:硕士
【学位授予年份】:2015
【分类号】:J722.211
【参考文献】
相关期刊论文 前10条
1 许良;;陕北秧歌沿革的文化意蕴[J];北京体育大学学报;2009年01期
2 杨建设;;陕北秧歌发展与中国社会文化变迁研究[J];北京体育大学学报;2012年03期
3 张艳芳;;吕梁伞头秧歌简论[J];太原师范学院学报(社会科学版);2006年02期
4 张红娟;;伞头秧歌的创作手法和文学美感[J];太原师范学院学报(社会科学版);2011年02期
5 纪广;;“伞头秧歌”表演形式和舞蹈动作特征分析[J];太原师范学院学报(社会科学版);2010年05期
6 陈娟;;祁太秧歌流变与晋商文化关系探讨[J];北方音乐;2014年18期
7 张开宇;;浅析陕北伞头秧歌的艺术形式与文化内涵[J];大舞台;2012年12期
8 王娜;;试析“扭”与“唱”在伞头秧歌表演中的相依共存[J];黄河之声;2012年06期
9 刘锡诚;;传承与传承人论[J];河南教育学院学报(哲学社会科学版);2006年05期
10 高兴;山西秧歌的民俗学研究[J];黄钟.武汉音乐学院学报;1998年02期
本文编号:2168444
本文链接:https://www.wllwen.com/wenyilunwen/wdlw/2168444.html