傈僳民歌的传承现状研究——以云南澜沧江流域维西县叶枝镇的“阿尺木刮”为例

Study of the Current Transmission of the Lisu Folk Songs: A Case Study of Achimugua in Yezhi Town,Weixi County in the Lancang River Area in Yunnan

"阿尺木刮"是傈僳族"三大调"之一,广泛流传于迪庆藏族自治州维西傈僳族自治县,起源于傈僳族的狩猎习俗,其丰富多彩的内容源于该民族对生产生活知识、人情世态、人与自然关系的体验,是傈僳族的百科全书,也是傈僳族民众叙述历史、祈佑尘世与神界沟通的方式,是一种以山地民族独特的美学体验进行的艺术创造。自2006年被命名为首批国家级非物质文化遗产后,政府有关单位对其采取了采集建档、建立传习点、组建歌舞队、培养传承人、培训艺人与展演等多种举措进行传承与保护,与此同时,其代表性传承人们则以师傅带徒弟和配合政府有关部门进校园、进演出团等方式对其进行传承,但仍旧面临因人文生态环境的改变、传承手段与传承环境的单一、人们思想观念的变化与传承对象的缺失而难以生存发展的局面。

Achimugua is one of the ＂three tones＂ of Lisu people and it is spread in Weixi Lisu Autonomous Coun- ty in Diqin Tibetan Autonomous Prefecture. Originated from the hunting customs of Lisu people, the diverse con- tent of Achimugua originates from the experiences of Lisu people＇s knowledge of their livelihood, social relations and the relationship between human and nature. Therefore, Aehimugua can be seen as the encyclopedia of Lisu people, the media for Lisu people to narrate their history and to communicate with the gods for well - being, and the artistic creation of the ethnic minorities living in mountainous regions who experience unique aesthetics. After 2006 when Achimugua was listed as a national intangible cultural heritage element, the government has taken measures to document, to establish the transmission base, to launch singing and dancing groups, to cultivate in- heritors, to train artists and to stage the performances for transmission and protection. At the same time, the reg- istered representative inheritors have to train disciples and collaborate with the government to advance the trans- mission in campus and theatres. However, the difficulties concern the change of human ecological environment, the limit of transmission and measures, the change of people＇s ideas and the lack of inheritors.