广西壮族八音坐唱表演中的性别表征与隐喻——以隆林扁牙上社八音班为例  

Gender Representation and Metaphor in the Bayin Zuochang Performance of the Zhuang Ethnic Group in Guangxi——A Study of the Longlin Bianya Shangshe Bayin Class

作　　者：范洋洋 Fan Yangyang

机构地区：[1]广西民族大学相思湖学院

出　　处：《中国音乐》2024年第6期137-147,共11页Chinese Music

基　　金：2021年度国家社科基金艺术学重大项目“中国少数民族器乐艺术研究”(项目编号:21ZD20)的阶段成果;2024年度广西高校中青年教师科研基础能力提升项目“基于数字化技术的中国民族民间音乐资源库生成与建构研究——以音乐影像志为例”(项目编号:2024KY1690)的阶段成果。

摘　　要：社会性别(gender)是相对于生物性别(sex)而言的社会属性概念,是指男性或女性在社会化过程中所获取的性别身份,而这种被建构的社会性别身份又重造着社会中男性或女性的群体特征、行为方式等层面。本文以广西隆林各族自治县的壮族八音坐唱[boux yaix nangh ndangl beetd yinggl](1)为研究对象,从社会性别的视域来探究作为仪式音乐的壮族八音坐唱,阐述壮族八音坐唱表演中不同性别的角色分工、仪式与性别的关系、音乐与性别的象征内涵及不同的性别角色在表演中的音乐行为与功能,并进一步探讨壮族八音坐唱仪式表演性别关系背后“圆”[nduen]的深层次逻辑与社会意义。Gender,as distinct from biological sex,is a social construct that reflects the roles and identities acquired by individuals through socialization processes.This socially constructed gender identity shapes group characteristics,behavior patterns,and other societal attributes associated with males and females.This article investigates the Bayin Zuochang,a ritual music performance of the Zhuang ethnic group in Longlin County,Guangxi,through the lens of gender.It explores the role division based on gender within the performance,the interplay between ritual and gender,and the symbolic representation of gender in the music.The study also analyzes the musical behavior and functions attributed to different gender roles within the performance.By doing so,this research aims to uncover the deeper logic and social significance behind the concept of"harmony"that governs gender relations in the Bayin Zuochang of the Zhuang ethnic group.

关 键 词：壮族八音坐唱 社会性别 仪式表演 性别分工 性别隐喻 

分 类 号：J607[艺术—音乐]