近现代多重语境下的怒族非物质文化遗产——以怒族民歌“哦得得”及民族舞“达比亚”为例

发布时间：2018-03-24 22:24

  本文选题：多重语境　切入点：后民族艺术　出处：《云南民族大学学报(哲学社会科学版)》2017年03期

【摘要】：民歌与民族舞蹈在一定程度上可以说是一个民族的立法与结构,它规范了这个民族的生存状态。伴随着云南建设民族文化大省和各地对非物质文化遗产的重视及各种形式"保护"措施的实施,云南怒族非物质文化遗产"哦得得"和"达比亚"从原生环境到非物质文化遗产视野下呈现出多元化态势,表演者不断地进行着文化"再生产",让原始艺术与现代社会意识形态不断杂糅,使得新的艺术形式再生之后进入了"后民族艺术"时代。在现代以市场为主导的非物质文化遗产环境中,以怒族为例的各民族艺术存在于近现代多重语境中,当前这种环境导致了对民族艺术形态进行了"再生产",重构了当下民族艺术的生存状态——艺术变迁。
[Abstract]:To a certain extent, folk songs and folk dances can be said to be the legislation and structure of a nation. It standardizes the living conditions of this nation. It is accompanied by the importance that Yunnan attaches to the intangible cultural heritage and the implementation of various forms of "protection" measures. Yunnan Nu people's intangible cultural heritage "oh get" and "Dabia" from the original environment to the perspective of intangible cultural heritage presents a pluralistic trend. The performers are constantly engaged in cultural "reproduction", so that primitive art and modern social ideology are constantly mixed. After the regeneration of the new art form, it has entered the era of "post-national art". In the modern intangible cultural heritage environment dominated by the market, the art of various nationalities, taking the Nu nationality as an example, exists in the context of multiple modern times. At present, this kind of environment has led to the reproduction of the national art form and the reconstruction of the existing state of the present national art-art changes.
【作者单位】： 南京大学历史学院;
【基金】：国家社会科学基金重大项目“中华民族伟大复兴中国梦的唯物史观基础研究”(15xKS009)阶段成果
【分类号】：J0
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本文编号：1660287