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作 者:马楠[1] MA Nan(Department of History,East China Normal University,Shanghai 200241)
出 处:《中央民族大学学报(哲学社会科学版)》2018年第6期91-102,共12页Journal of Minzu University of China(Philosophy and Social Sciences Edition)
摘 要:1930年代,面对日益复杂的广西内外政治环境,如何对苗瑶僮等族进行表述以"正名",成为新桂系当局民族治理首先需要解决的问题。各种不同的表述背后均体现了刘介和其他广西学人对广西民族形象进行重新建构的努力,民族形象的建构不仅是为应对强邻的挑战,也是新桂系民族同化之南针。抗战中后期文艺界团体南下桂林,在广西特种师资训练所师生的民族歌舞展示下,"发现"并选择性地保留了西南民族的歌舞传统,遂使唱歌跳舞的西南民族形象成为抗战中国文化建构中的重要部分。但于苗瑶僮等族而论接受当局的形象建构并展示民族歌舞,并不意味着他们就此接受政府的"开化"政策。与广西学人所表述和展示的不同,广西整合民族的进程依然充满挑战。In the 1930 s, facing the increasingly complicated internal and external political environment of Guangxi, how to define and name Miao, Yao, Dong and other ethnic groups became the first problem to be solved in ethnic governance for the new government of Guangxi. A variety of expressions reflected the effort of Liu Jie and other scholars to reconstruct ethnic image of Guangxi. The construction of ethnic image is not only the way to meet the challenge of strong neighbors, but also the guide for ethnic integration of the new government. In the mid and late period of the Anti-Japanese War, literary and art circles went south to Guilin, after watching ethnic singing and dancing displayed by teachers and students of Guangxi special teachers training center, they discovered and selectively preserved the tradition of singing and dancing in Southwestern China, making the singing and dancing image of Southwestern ethnic groups an important part in Chinese cultural construction in the war time. But for Miao, Yao, Dong and other ethnic groups, accepting the image construction of the government and displaying their singing and dancing did not mean that they accepted the civilized policy of the government. Different from what expressed by Guangxi scholars, the process of ethnic integration in Guangxi was still full of challenges.
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