再造传统与消费文化:一个滇西北古城的非遗实践

Tradition Reconstructing and Consumption Culture:An Intangible Heritage Practice of an Ancient City in Northwest of Yunnan Province

进入21世纪以来,联合国教科文组织所倡导的保护非物质文化遗产的理念日益受到重视,"非遗保护"从一个生僻的概念迅速变成具有重大公众影响的文化观念和社会文化实践。以剑川布扎的非遗实践为例,借用霍布斯鲍姆的"发明传统"和费瑟斯通的"消费文化"这两个概念,结合田野调查材料,探讨非遗实践中的传统主义和现代性及其内在联系。传统主义的概念在本文里指有两个面向,在物的层面上指的是布扎创作形象上的仿古和对传统文化的借用;在人的层面上指的是行动者以传统为导向的种种作为。在非遗的语境里,再造传统并不意味着要继续、保护或复兴古老习俗,相反,它标志着传统作为现代文化生产的方式,因而,传统通过现代性变得不仅可及,而且可思考。

Since the beginning of the 21st century,the concept of protecting intangible cultural heri tage advocated by UNESCO has received increasing attention.“Intangible cultural heritage protec tion”has rapidly changed from a rare concept into a cultural concept and social and cultural practice with great public influence.This study mainly takes Jianchuan Buzha’s intangible cultural heritage practice as an example,and uses Hobsbawm’s“invention tradition”and Featherstone’s“consumer culture”as two concepts,combining with materials from field study,to discuss the traditionalism and modernity in intangible cultural heritage practice and their internal relations.There are two aspects of the concept of traditionalism discussed in the current paper.In terms of the level of object,it refers to the imitation of antiquity in Buzha’s creation image and the borrowing of traditional culture.In terms of the level of human,it refers to the traditional-oriented actions of the actor.In the context of intan gible cultural heritage,the reinvention of tradition does not mean the continuation,protection or re vival of ancient customs.On the contrary,it marks tradition as a mode of modern cultural production.Therefore,tradition becomes not only accessible but also thinkable through modernity.