再论“鞑靼舞”起源与民族共同体文化内涵——兼补彭恒礼先生文章观点之缺漏

On the Origin of “Tartar Dance” and Its Cultural Connotation of the Ethnic Community——Response to Mr.Peng Hengli

彭恒礼先生结合各地田野调查材料及实物图像,认为今之元宵社火中的"鞑子舞",就是宋代的"鞑靼舞",二者之间存在承继关系。其文章列举了"鞑子舞"在东北、华北、中原、西南等地元宵社火中的存在,但唯独漏掉了西北。实际上,地处汉藏民族交错地带的甘肃临夏和政牙塘地区仍存有"鞑子舞"的原生形态——"玩老鞑子"。"鞑子舞"除用于节日文化娱乐外,还有祭祀祈禳功能及其他衍生功能,同时是多民族文化交融的产物。"鞑子舞"尚保留有集体文化记忆、仪式叙事起源,并非仅仅是宋代历史文献中所记载的"鞑靼舞"的遗留,其流变也尚有其他形态和脉络。同时,这一案例也深刻反映了中华民族作为共同体的历史事实。

Combining the field investigation materials and physical images,Mr.Peng Hengli believes that the current"Tartar Dance"in the folk art performance of the Lantern Festival is the"Tartar dance"of the Song Dynasty,and there is an inheritance relationship between the two.While listing the very dance’s existence in places such as the northeast,the north,the central and the southeast of China,Mr.Peng missed the northwest of China.Actually,in Yatang of Hezheng county of Linxia prefecture of Gansu province,where Han ethnic group and Tibetans co-inhabited,there is still the original form of the"Tartar Dance"——"Wanlao Tartar".Besides being conducted as festive cultural entertainment,the"Tartar Dance"also has the function of sacrifice and praying and other derivative functions.Meanwhile,it is the product of multiple ethnic culture integration.The"Tartar dance"still keeps the collective cultural memory and the origin of the ritual narrative.It is not just the legacy of the"Tartar dance"recorded in the historical documents of the Song Dynasty.Its evolution also has other forms and threads of thoughts.At the same time,this case also deeply reflects the historical facts of the Chinese nation as one community.