“玩灯”:艺术感官体验与乡村社会治理

“Playing Lantern”:Art Sensual Experience and Rural Social Govermance

呈贡是花灯之乡,呈贡的群众花灯活动历史悠久,当地老百姓习惯将唱花灯戏称为“玩灯”。感官人类学认为,人类感觉既是身体行为,也是文化行为,人们的记忆与认同往往通过感官而表述出来。呈贡花灯戏的“灯味”“好笑”“让人落泪”等这类艺术感官体验指向特定空间的情感和社会关系,可成为一条社区共享的情感纽带,调动地缘亲缘等传统资源,激发乡村社会治理的内驱力。昆明的城镇化进程给呈贡区带来快速发展的同时,也使其过去的乡土社会关系网断裂,人们通过“玩灯”完成对自身社会身份的重构和认同,修复曾经断裂的人际交往网络,增强自身的获得感和幸福感,从而促进乡村社会治理的进行。

Chenggong is a hometown of festive lantern. The history of festive lantern engaged by the local people is very long and the singing of festive lantern is called “playing lantern” by the locals. Sensual anthropology regards that human senses is both body behavior and cultural behavior so that the memory and identity of people are expressed through senses. The art sensual experiences, such as “flavor of lantern”, “funny” and “touching”, direct to specific spatial feeling and social relationship, which is an affectional tie in a community, mobilizing traditional resources such as geographical relations and relative relationships and activating the inner driving force for social governance in the village. Along with the fast urbanization of Kunming in Chenggong District, the traditional rural social relationships ruptured, so that people re-construct their social identity through “playing lantern”, restore their broken interpersonal relationships, and enhance their senses of gaining and happiness, thus, promoting the undertaking of rural social governance.