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作 者:杨声军 赵书峰 Yang Shengjun;Zhao Shufeng
出 处:《北方音乐》2023年第3期99-110,共12页Journal of the Northern Music
基 金:2022年湖南省研究生科创项目“图像·田野·文献:湘桂边界平地瑶‘吹笙挞鼓’的历史人类学研究”(项目编号:CX20220500)结项成果。
摘 要:“吹笙挞鼓”是平地瑶一种集“歌”“舞”“乐”三位一体并具祭祀性、综合性、地方性的民间表演艺术形式。其形成是过山瑶乐舞文化不断“濡化”与平地瑶政治、社会、历史、经济、宗教等相互作用的结果。从图像、文献、田野三个维度对平地瑶“吹笙挞鼓”进行互动研究,揭示出平地瑶在“祭祖还愿”仪式中乐舞文化的历史演化过程,论述其从“村寨皆有”到“少数遗存”,从“时空分离”到“身份重建”的深层次逻辑关系。并对平地瑶“吹笙挞鼓”的历史记忆与图像叙事之间的“互文”关系;历史记忆与田野遗存之间的“接通”关系;图像叙事与田野遗存之间的“对话”关系进行阐释。把“吹笙挞鼓”这一显性文化符号置于平地瑶静态与动态两种语境中进行观照与考察,以此强化平地瑶的祖先历史、生产生活、信仰民俗等族群集体记忆与文化身份认同,为平地瑶乐舞文化的整体性研究提供参考与历史依据。The zoned Chui Sheng Ta Gu[Playing Sheng and Drum]is a comprehensive folk-art form in the Pingdi Yao that includes singing,dancing and instrument music which functioned as ritual.Its formation is the result of the interaction between the music&dance culture and the politics,society,history,economy,etc.The article,which is an interactive study which in three dimensions,i.e.image,literature,and fieldwork,not only reveals the historical evolution of the music&dance culture in the ancestral ritual,but also discusses the basic logics about how it from"all over the villages"to"just few survivings"and the"temporal separation"to"identity reconstruction".It also interprets the intertextual relationship between the historical memory and image narratives of Pingdi Yao's Chui Sheng Ta Gu;the connection relationship between historical memory and field-work remains;and the dialogue relationship between image narratives and field remains.The explicit cultural symbol of Chui Sheng Ta Gu is placed in both static and dynamic contexts of the Pingdi Yao,so as the author strengthens the collective memory and cultural identity of the Pingdi Yao's ancestral history,production life,beliefs and folklore,and to provide a reference and historical basis for the overall study of the Pingdi Yao music&dance culture.
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