民间文艺汇演的历史反思——保护民间音乐的一项措施

发布时间：2019-07-12 07:39

【摘要】：根据中央政府的指令,大规模地调动地方民间文化资源,无意中塑造了20世纪中国舞台上一种特殊的汇演形式,也形成了由汇演连带引发的一系列文化现象。刚刚打算铺开自己视野的中国音乐学界,就是通过从中央到地方、大大小小、品类繁多的汇演,发现了大多数民间艺术品种。参与演出的民间艺人,则因为政府行为的权威性,彻底改变了社会地位和文化身份。在20世纪50年代那段特殊的历史时期,晋京演出,参加调演,就是政府对一个民间艺术品种从内容到形式的政治肯定。从此,"下里巴人"变成"阳春白雪",吹鼓手变成艺术家。一系列舞台上下的艺术活动,充分体现和反映出"国家在场"的巨大势能,成为我们咀嚼20世纪中国民间文化向艺术化、现代化、城市化迅速转化的一条重要渠道。
[Abstract]:According to the instruction of the central government, the local folk cultural resources were mobilized on a large scale, which inadvertently shaped a special form of exchange on the Chinese stage in the 20th century, and also formed a series of cultural phenomena caused by the combination of the performances. The Chinese music circles, which have just planned to spread out their horizons, have discovered most of the folk art varieties through a wide range of performances, large and small, from the central to the local level. The folk entertainers who participated in the performance, because of the authority of the government behavior, completely changed the social status and cultural identity. In the special historical period of 1950s, Jin and Beijing performed and participated in the performance, that is, the government's political affirmation of a folk art variety from content to form. From then on, the people of Xialiba became "spring snow" and the drummer became an artist. A series of artistic activities on and off the stage fully reflect and reflect the great potential energy of "national presence", which has become an important channel for us to chew the rapid transformation of Chinese folk culture to artistry, modernization and urbanization in the 20th century.
【作者单位】：中国艺术研究院音乐研究所;
【分类号】：J607

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