乡村旅游语境中民间艺术的在场与形变——基于湘西德夯苗寨的个案研究  

The Presence and Deformation of Folk Art in the Context of Rural Tourism——Base on the case of Dehang in Xiangxi

作　　者：吴晓[1] 

机构地区：[1]吉首大学文学院,副教授博士湖南吉首416000

出　　处：《广西民族研究》2010年第1期189-193,共5页GUANGXI ETHNIC STUDIES

基　　金：教育部人文社科规划项目"旅游语境中湘西民间艺术发展的人类学研究"成果之一;编号08JC850002

摘　　要：乡村旅游对中国乡村文化尤其是对民族村寨中民间艺术的发展产生了不可忽视的影响。它使得民间艺术从隐形民俗生活状态走向旅游景观的场景中,在改变自身文化特质和外在形式的基础上,以旅游产品或旅游景观的样式得以存显。就湘西德夯苗族村寨而言,其拥有的民间艺术是基于苗族历史文化传统和村寨日常生活文化运行机制而生成和存显的,具有鲜明的地方性知识特征。受制于乡村旅游的影响,苗族传统民间艺术强烈的地方性知识特征被视为建构"奇异"文化空间的有效资源,原本仅仅作为苗族村民节日仪式或者日常娱乐方式的民间艺术,现都被重塑成供人消费的旅游商品。舞台展演是这种商品消费的主要形式。这就使得苗族传统民间艺术的发展和存显处于继承与创新、传统与现代、延续与蜕变等多重文化选择的状态之中。The rural tourism has an impact on ethnic villages, particularly, on the development of folk art. It makes the folk art from the invisible state of living folk scene into tourist attractions, changing their own cultural characteristics and external form, becoming the tourism products or tourist attractions. At the Miao village of Dehang, the folk art is based on Miao history and traditional culture, generated and existed in the village life, and has distinct local knowledge characteristics. Subjected to the impact of rural tourism, the local knowledge features of folk art have been regarded as special resources. The folk art has been remodeling into the tourism products that originally as a festive ceremony of the Miao villager. The stage performance is the main form of this consumption. This makes the development and existence of Miao traditional folk arts is in the state of multi - cultural, such as inheritance and innovation, tradition and modernity, continuity and evolution.

关 键 词：乡村旅游 民间艺术 苗族 消费文化 文化变迁 

分 类 号：J02[艺术—艺术理论]