古典舞的民族化协商

The Ethnic Reconciliation of Classical Dance

作为民族国家身体文化与审美的标识,无论是单一民族还是多民族,都会在古典舞的建构中进行民族化的定位,或者在"场所的民族志"(placeethnugrapy)的空间中分离出主流文化的古典形态和民间形态,或者在"线索的民族志"(cluesethnography)的时间中分离出古代形态与现代形态。前者是用聚焦法(focus method)进行场的坐标点的静态研究,后者是用线索追溯法(cluesseeking method)进行的动态研究,两者最终在风格的符号化过程中定型。在"远亲不如近邻"的东方,多民族构成的印度古典舞如此,一元民族构成的韩国古典舞亦如此。这样,中国古典舞也不能例外,比如在静态与动态的符号化过程中对少数民族古典舞的确认。

As a symbol of bodily culture and aesthetics of a nation-country,no matter single or multiple ethnic country,an ethnic positioning is needed to be constructed in the classical dance. Alternatively,the main-stream classical form and folk form will be isolated from the space of place-ethnography. Or,the ancient form and modern form will be isolated from the times of clues-ethnography. For the former,a focus method is used in the field to study the point in a static way while for the latter a clue-seeking method is applied to conduct a dynamic study. Both of them are stabilized in the symbolization process of styles. In the East where ＂a good neighbor is better than a brother far off＂,examples can be found in both Indian classical dance which is a multi-ethnic one and in Korean classical dance which is a single-ethnic one. Chinese classical dance,therefore,is not an exception,for example,the recognition of ethnic minorities＇ classical dance in a symbolization process which is both static and dynamic.