文化圈视域下非遗舞蹈“主体性”传承区的建构  

Construction of “Subjectivity” Heritage Area of Intangible Heritage Dances from the Perspective of Cultural Circle

作　　者：吴丹[1] 何际峰[2] WU Dan HE Ji-feng(Shenzhen Polytechnic, Shenzhen 518055, China School of Fine Arts, Nantong University, Nantong 226019, China)

机构地区：[1]深圳职业技术学院人文学院,广东深圳518055 [2]南通大学艺术学院,江苏南通226019

出　　处：《南通大学学报（社会科学版）》2017年第4期105-110,共6页Journal of Nantong University:Social Sciences Edition

基　　金：广东省哲学社会科学"十二五"规划项目(GD15DL19);国家职业教育研究院深圳分院2016年度课题(GZYSZD201606);深圳职业技术学院青年创新项目(601422S32009)

摘　　要：文化圈概念是文化传播论学派的理论之一。它所体现的核心内容是无论地理空间或物理时间,同一文化圈的不同环境是由一系列文化特质构成,具备质的约定性。因此,文化特质相通是使不同环境成为一个整体文化圈的本质。文章提出传承人作为非遗舞蹈文化特质的核心代表,贯穿于三个不同环境区域传承,即以传承人为主体中心,建构非遗舞蹈传承的"原生态文化区—文化传承核心区—文化传承拓展区"三点循环互动的"主体性"传承区,共同构建面向兼顾文化传统保护和现代文化生产的非遗舞蹈创新传承模式。Cultural circle is one of the concepts of school of cultural communication theory, and its kernel is that, despite geographic space or physical time, different cultural contexts in the same cultural circle are composed of a series of cultural features and have quantitative convention. Therefore, the commonness of cultural features is the key point for different contexts to be in the same cultural circle. This paper holds that, as the representatives of cultural features of intangible heritage dances, inheritors play roles in three different contexts, namely, pristine cultural area, kernel area of cultural heritage and extensive area of cultural heritage, which consist of the new heritage pattern for intangible heritage dances.

关 键 词：文化圈 非遗舞蹈 主体性 传承区 

分 类 号：J7[艺术—舞蹈]