新宾满族秧歌的变迁与文化适应  

The Change and Acculturation of Xinbin Manchu Yangko

作　　者：张林 ZHANG Lin(Qufu Normal University,Rizhao 276826,China)

机构地区：[1]曲阜师范大学音乐学院,日照276826

出　　处：《北京舞蹈学院学报》2021年第2期52-61,共10页Journal of Beijing Dance Academy

基　　金：2020年国家社会科学基金一般项目“满族传统仪式音乐融入中华民族共同体意识研究”(项目编号20BMZ089)阶段性成果。

摘　　要：新宾满族自治县在进行民族文化建构的过程中,作为原生层文化的秧歌成为重要素材。但新宾地区在历史变迁中秧歌本身为满汉高度融合的产物。为了更好地保护这种民俗文化,人们把秧歌还原至"撵鬼"习俗之中。同时,通过不断变换秧歌服装其原生性文化特征。这一现象体现了文化持有者从文化适应走向文化自觉的过程。服饰被用来塑造满族秧歌的文化属性,不只是因为它是人类文化的显性表征,具有直观、形象的标识功能,其实也是传统在遭遇现代的过程中自身"无能为力"的体现。In the process of constructing its ethnic cultural,Yangko has become an important part of the original culture of the Xinbin Manchu Autonomous County. However,the Xinbin area itself is a highly integrated product of Manchu and Han ethic groups.As a consequence,its attributes are vague,and there is no clear identification of Manchu cultural identity or Han cultural identity. In order to better protect this folk culture,local people revert to the custom of banishing ghosts. At the same time,through the constant transformation of Yangko costumes to strengthen its original cultural characteristics. This phenomenon reflects the process of cultural holders from acculturation to cultural consciousness. Costumes are used to shape the cultural attributes of Manchu Yangko because it is a prominent representation of human culture,serving a purpose of intuitive and visual identification. As a matter of fact,they also mirror the"helplessness"in the process of traditional encountering modernity.

关 键 词：满族 秧歌 撵鬼习俗 文化适应 文化自觉 

分 类 号：J722.2[艺术—舞蹈]