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作 者:赵明[1]
机构地区:[1]西南民族大学艺术学院
出 处:《民族艺术研究》2016年第4期196-204,共9页Ethnic Art Studies
基 金:教育部人文社科研究项目"嘉绒地区藏族舞蹈素材的收集整理与开发研究"(12XJC880009)阶段性成果;西南民族大学中央高校青年教师基金项目"嘉绒藏族舞蹈文化研究"(2014SZYQN101)结项成果~~
摘 要:艺术并非悬设,每种艺术都有每个时代和地域的文化"存在感"。通过考察丹巴婚俗锅庄可以发现,对每个嘉绒藏族人而言,缔结婚约并不仅仅是一件喜庆之事,从接亲、送亲,再到答谢宴会,都是一项项神圣而充满仪式感的活动。并且,在这期间,人们都会情不自禁地跳起锅庄以抒发内心蓬勃的情感。婚礼庆典上的三曲吉祥锅庄,不同体态、步伐、上肢动作从整体上烘托出了嘉绒藏族男女的"动静"之美、"歌舞"之美、"和谐"之美。每个队形行进或体态动作背后所负载的都不是单一的、恒定不变的意义指向,其中涵括着从原始自然崇拜到苯教信仰,再到民俗观念的多重象征,可以认为,嘉绒藏族不同的历史记忆和民俗记忆"历时性"地沉积在嘉绒传统之中,但又"同时性"地显现在嘉绒传统的身体表达之中。这些共同为嘉绒锅庄着上了厚重的文化底色。Art is not a postulate. Each art holds a cultural "presence" of time and place. It can be observed through the Danba wedding Guozhuang that, for every Jiarong Tibetan, forming marital ties is not only a mat- ter of happiness, but also a sacred activity which is full of ceremonies, including Jie Qin (to welcome bride to bridegroom's home), Song Qin( to escort bride to bridegroom's home) and appreciation banquet. During the wedding ceremony of Banma Wangdan and Gexi Lamu, Whether it's Jie Qin or Song Qin, all people would like to dance Guozhuang to express their inspiring emotions. It can be seen from the Sanqujixiang (three lucky songs) Guozhuang that, various gestures, steps, and upper limb movement all express the beauty of quiescent and dynamics, the beauty of songs and dances, and the beauty of harmony of Jiarong men and women. Behind every advancement of the formation and the gesture is nota single and constant im- plication, rather, it involves multiple significances from primitive natural worship to Ben religious worship and the idea of folklore. It can be concluded that, various historic and folk memories of Jiarong Tibetan are embodied in the Jiarong tradition diachronically. Meanwhile, these memories are demonstrated synchronical- ly in the bodily expressions of the Jiarong tradition. All of these characteristics color the Jiarong Guozhuang with rich cultural grounding.
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