从“长歌闭目”到“惊艳快闪”——侗族大歌“再媒介化”批判

以侗族大歌为代表的非物质文化遗产,从传统到当下,经历了＂再媒介化＂过程。在原生语境中,侗族大歌以歌队＂长歌闭目＂的方式合唱,是侗族传统＂村寨公民社会＂的公共艺术。通过再媒介化的语境重置,侗族大歌创演体系被打破,外来的政治权威、知识精英和商业势力介入侗族大歌的创演体系中。从＂歌队＂鼓楼坐唱到＂合唱团＂舞台展演,大歌与通过对歌＂唱款＂、协同教化的原生机制相分离;从口传媒介到大众传媒,歌者与听众被分隔开来,＂在场性＂的技术魅力消减;从机械复制媒介到互联网电子媒介,大歌从完整的＂听觉性＂时间艺术,变成了碎片化的＂视觉性＂＂快闪秀＂。再媒介化改变了侗族大歌在口传媒介下的时空局限性,却削减了原生态大歌的＂韵味＂,造成非物质文化遗产＂展示价值＂的过度征用与消费。

From the traditional time to the present, intangible cultural heritage, represented by the Dong chorus, has experienced the process of ＂remediation＂. In the context of the native society, Dong chorus, in the ＂Singing with eyes closed＂ chorus, is public art of the Dong traditional ＂rural civil society＂ . Through the reset of the ＂remediation＂, the creation and performance system of the Dong chorus is broken. The external political authority, intellectual elite and commercial forces involved in the creation and performance system of the Dong chorus. From ＂song team＂ sit singing to ＂chorus＂ stage performance, Dong chorus was separated by cooperative education mechanism. From the oral medium to the mass media, the singer and the audience was separated and the present attractive of singing technology lost its luster. From mechanical reproduction media to electronic media, Dong chorus became fragmented vision flash show from the complete auditory time art. Remediation process changed the limit of Dong chorus under the oral medium transmission of the time and space limitations, but it faded the ＂Aura＂ of the original songs, resulting in excessive consumption and expropriation of the intangible cultural heritage.