谁的“非遗”?--中国传统乐舞类“非遗”传承与传播问题再思考

Whose"Intangible Cultural Heritage":Rethinking on the Inheritance and Dissemination of"Intangible Cultural Heritage"of Chinese Traditional Music and Dance

"非遗"的传承是"文化持有者"内部的一种基于原生语境的纵向文化接续,"非遗"的传播更多是跨文化、跨族群间文化的横向传播与流动,强调剥离原生语境的一种"原形态"的习得行为;由专家学者与文化部门联合制定的"非遗"传承人的遴选标准,以及"传承人"身份的建构,彰显其"专家系统""国家在场"话语的互文建构;地方传统乐舞文化在经历"非遗"语境的重建之后,从表演者、参与者到文化的享用者的主体正在发生变迁与重建现象,这种表演与参与主体性的变迁折射出地方传统音乐以"申遗"为边界,经历了民间语境中的"民俗性""仪式性""象征性"到官方语境中的"舞台性""表演性""娱乐性"的文化与象征功能的变迁过程。

The inheritance of "intangible cultural heritage" is a vertical cultural succession based on the original context within the "cultural bearers". While the dissemination of "intangible cultural heritage" is more a horizontal communication and flow between cultures and nationalities, emphasizing the acquisition behavior of the "original form" that is stripped from the original context. The selection criteria of successors for "intangible cultural heritage" jointly formulated by experts and scholars and cultural departments, as well as the identity construction of "successor", highlight the intertextual construction of the discourses of "expert system" and "state presence". After local traditional music and dance cultures reconstruct the context of "intangible cultural heritage", their subjects are undergoing changes and reconstruction from performers, participants to cultural consumers. This change in the subjectivity of performance and participation reflects that local traditional music takes "application for cultural heritage" as the boundary which has experienced the evolution process from "folk custom", "ritual" and "symbolism" in the folk context to the "stage", "performance" and "entertainment" in the official context.