区域国别视角下广东汉剧在马来西亚的传承与认同  

Inheritance and Identity of Cantonese Opera in Malaysia from the Perspective of Area Studies

作　　者：董波 蒋河 DONG Bo;JIANG He(College of Music and Dance,Guangzhou University,Guangzhou,Guangdong 510006,China)

机构地区：[1]广州大学音乐舞蹈学院,广东广州510006

出　　处：《贵州大学学报(艺术版)》2025年第2期118-124,共7页Journal of Guizhou University Art Edition

基　　金：国家社科基金重大项目“中国艺术民俗学的理论与实践研究”(项目编号:22ZD06)。

摘　　要：区域国别方法强调从多学科角度对特定国家或地区研究,这有助于更细致地理解中华文化在海外的传承与文化认同的建构。粤闽沿海移民将传统戏曲广东汉剧带到马来西亚,逐渐发展为具有马来西亚华人特色的华人戏曲文化。广东汉剧在马来西亚的传承,分别经过广东汉剧的传入、老三多班到儒乐社、广东汉剧在马来西亚的隐迹等演变阶段,其传承中的多重文化身份认同具体表现为宗族实力的彰显、客家身份的标记和中华文化的归属三个层面。广东汉剧见证了海上丝绸之路的文化交流与变迁,促进中华优秀文化的国际传播,强化海外华人的中华文化认同和文化自信。The approach of area studies emphasizes the study of specific countries or regions from a multidisciplinary perspective,which helps to gain a more nuanced understanding of the overseas transmission of Chinese culture and the construction of cultural identity.Coastal immigrants from Guangdong and Fujian provinces brought the traditional opera,Cantonese Opera,to Malaysia,where it gradually developed into a Chinese opera culture featured with distinct Malaysian Chinese characteristics.The transmission of Cantonese Opera in Malaysia has undergone several evolutionary stages,including its initial introduction into Malaysia,the transition from“Lao-san-duo(the name of a troupe)”to“Lu-yue-she(Confucian Music Society)”,and its subsequent obscurity in Malaysia.The multifaceted cultural identities in its transmission are specifically manifested in three aspects:the display of clan strength,the assertion of Hakka identity and the attribution of Chinese cultural heritage.The Cantonese Opera has witnessed the cultural exchange and transformation along the Maritime Silk Road,promoting the international dissemination of outstanding Chinese culture and reinforcing the cultural identity and confidence of overseas Chinese.

关 键 词：海上丝绸之路 文化传承 客家文化 华人戏曲 文化认同 

分 类 号：J617.5[艺术—音乐]