“非遗”传承人认定与集体性乡民艺术的保护——以冀南GY村“捉黄鬼”活动为个案  

The Identification of “Intangible Cultural Heritage”Inheritor and the Preservation of Collective Folk Art: a Case Study of “Exorcism of Yellow Ghost”at GY Village in South Hebei Province

作　　者：李向振[1] 

机构地区：[1]山东大学儒学高等研究院,山东济南250100

出　　处：《贵州大学学报（艺术版）》2015年第2期106-113,共8页Journal of Guizhou University Art Edition

基　　金：国家社科基金项目"新时期乡民艺术发展与公共社会建设"(项目编号:11BG075)

摘　　要：乡土社会生活为乡民艺术发展提供了合适的土壤,乡民艺术的展演既反映了村民的生活态度和审美意念,又折射出乡土社会的社会结构与社会关系。"非遗"及传承人认定和保护制度介入乡民艺术的传承与保护,一方面有利于通过自上而下的认可提高村民参与乡民艺术的热情;另一方面又在具体实践中造成乡民艺术内在价值的部分失落和参与村民的内部组织结构和社会关系失衡。鉴于此,我们在"非遗"实践过程中,尤其是在传承人认定时,有必要注意一些乡民艺术的集体性特点,而从具体实践层面,或许可以尝试建立集体传承人制度。The folk life provides the appropriate conditions for folk art which reflects the villagers ＇ life views and aesthetic thoughts and indicates the social structure and relationship in the rural society. The identification of ＂intangible cultural heritage＂ with its inheritors and the implementation of preservation system concerning folk arts are favorable to promoting villagers＇ participation and enthusiasm for folk arts. However, it also caused the loss of some inherent value of folk arts and the imbalance within the participants and social relationship in practice. In view of these problems, in the practice of ＂intangible cultural heritage＂, especially in the identification of its inheritors, it needs to consider the collective features of certain folk arts and thus the identifying of collective inheritors is advisable.

关 键 词：乡民艺术 “非遗” 传承人 “捉黄鬼” 组织结构 人际关系 

分 类 号：J03[艺术—艺术理论]