汉畲交融文化共相--客家“跳觋”仪式音声的互文性与三重文化认同  

Han-She Intermingling and Cultural Convergence——The Intertextuality and Triple Cultural Identity of Hakka Tiaoxi Ritual Sound

作　　者：董晓梅[1] 罗钢芹[1] Dong Xiaomei;Luo Gangqin

机构地区：[1]嘉应学院音乐与舞蹈学院,广东梅州514000

出　　处：《北方音乐》2024年第3期94-100,共7页Journal of the Northern Music

基　　金：2023年度广东省哲学社会科学规划项目“粤东客家传统民间仪式音乐与文化认同研究”(项目编号:GD23CYS16)阶段性成果。

摘　　要：“跳觋”仪式中的仪程仪轨、客家念唱、客家山歌等音声文本均是客家汉民语境下的语义表达,体现了客家汉民对中原汉族传统文化的承继与认同;而仪式外显形态中融入的吹龙角、敲觋锣、跳巫舞、畲族歌谣等音声文本则是客家畲民语境下的语义表达,体现了客家畲民对本土畲巫信仰的承袭与坚守。“跳觋”仪式音声的互文性建构与表达,实际上是客家社会汉畲族群文化之间的一种互动、妥协与重构,其目的是建构一种汉畲族群具有认同性的“文化共相”,以达成客家社会对族群、区域、国家的三重文化认同功能。The audio,as text in the propriety and procedure,Hakka chanting and Hakka Shan'ge[mountain song]in the Tiaoxi[wizard jumping ritual]are semantic expressions in the context of the Hakka Han people as reflecting their inheritance and identification with the traditional Han culture of Central Plains;whereas the explicit gesture the ceremony,such as the Longjiao[dragon horns]and Xiluo[wizard's gong]performance,Wuwu[wizard's dance]and Shezu Geyao[She ethnic gor-oup ballad] are semantic expressions in the context of the Hakka She people as manifesting their in-heritance and adherence of the local Shewu[She wizard]belief.Actually,the intertextual construc-tion and expression of the Tiaoxi sound is a kind of interaction,compromise,and reconstruction be-tween the cultures of the Han and minority She in Hakka society,with the goal of constructing a cul-tural commonality with which the Han and minority She can identify,in order to achieve the triple cultural identity of the Hakka society with respect to the ethnic group,the region and the country.

关 键 词：“跳觋” 客家 仪式音声 汉畲文化 互文性 文化认同 

分 类 号：J607.21[艺术—音乐]