民间舞蹈中的国家在场——以湘西花垣县董马库村接龙舞为研究个案  

State Presence in Folk Dance: a Field Study Based on Jielong Dance of Dongmaku Village in Huayuan County,Xiangxi Prefecture

作　　者：罗婉红[1] LUO Wan-hong(China Intangible Cultural Heritage Center, Sun Yat-sen University, Guangzhou 510002, China)

机构地区：[1]中山大学中国非物质文化遗产中心,广州51000

出　　处：《北京舞蹈学院学报》2017年第4期116-120,共5页Journal of Beijing Dance Academy

基　　金：2014年教育部人文社科重点基地重大课题<"非遗"保护与文化生态保护区建设研究>(项目编号:14JJD850002);2014年国家社科基金课题<中华民族传统体育项目志(1990至今)>(项目编号:14BTY085)

摘　　要：近代社会,随着现代民族国家的建立,国家权力的不断下沉,使原本在民间社会中自娱自乐、表达自我信仰的舞蹈形式也沾染上了浓厚的"权力技术"色彩。本文以湘西花垣县董马库村的接龙舞为研究个案,实证国家如何"在场"于民间舞蹈之中。研究结果表明,民间舞蹈中国家与民间的关系并非国家单向的作用力,而是呈现出一种双向的互动,国家征用与塑形民间舞蹈的同时,民间社会也巧妙地利用国家符号复兴自己的舞蹈文化,表达自身的诉求。In modern society,the establishment of the modern nation-state and the continuous sinking of state power bring profound features of＂power technology＂to the folk dances,which originally meant to amuse people themselves and to express their beliefs. This paper conducts a case study on the Jielong Dance of Dongmaku village of Huayuan County in Xiangxi Prefecture,describing the state presence in dance and ceremony. The research comes to a conclusion as follows： although the state strongly leads the development of folk dance,the relationship between the state and civil society is not a one-way acting force in the folk dance,but shows a two-way interaction; while the state confiscates and shapes folk dance,civil society also cleverly uses national symbol to revive their own dance,and expresses their aspirations.

关 键 词：民间舞蹈 国家在场 接龙舞 双向互动 

分 类 号：J722.21[艺术—舞蹈]