“民族舞”艺术话语建构的比较研究--以戴爱莲和康巴尔汗·艾买提为例  

A Comparative Study on the Construction of Artistic Discourse in"Ethnic Dance"--Taking Dai Ailian and Kangbaerhan as Examples

作　　者：苗安琪 Miao Anqi(Shanghai Theatre Academy,Shanghai 200000)

机构地区：[1]上海戏剧学院,上海200000

出　　处：《新疆艺术学院学报》2024年第4期22-30,共9页Journal of Xinjiang Arts University

摘　　要：“民族舞”是中国在20世纪40年代建构出的一个艺术话语,建构的动机是在西方艺术体系的冲击下中国确立自身艺术特性的内在需求。戴爱莲与康巴尔汗·艾买提都是“民族舞”话语建构的主要贡献者。她们对中国舞蹈“民族性”的理解不同,在“民族舞”的建构中走向两条迥异的道路:表现主义与社会主义现实主义。尽管二人在艺术观念、创作路径、审美范式等方面存在差异,但她们推动了少数民族舞蹈和汉族民间舞蹈由民俗向艺术的转变,其结果共同导向了“民族舞”这一艺术话语的初步建构。Driven by the inherent need for China to establish its own artistic characteristics under the impact of the Western art system,"ethnic dance",the term used in artistic discourse,was constructed by China in the 1940s.Dai Ailian and Kangbaerhan Aimaiti are both major contributors to the construction of"ethnic dance"discourse.They have different understandings of the"ethnicity"of Chinese dance.Naturally,in the construction of"ethnic dance",they have taken two distinct paths:expressionism and socialist realism.Although they have differences in artistic concepts,creating methods,aesthetic paradigms etc.,they have both promoted the transformation of ethnic minority dance and Han folk dance from folk customs to art.Their effort has jointly led to the initial construction of the term"ethnic dance",a term used in artistic discourse.

关 键 词：艺术民族性 戴爱莲 边疆舞 康巴尔汗 

分 类 号：J722.22[艺术—舞蹈]