凉山彝族火把节仪式音乐表演民族志阐释

An Ethnographic Interpretation of the Music Performance at the Ceremony of Yi People’s Torch Festival in Liangshan Region

现代火把节节庆仪式无论在官方舞台,还是民间村头、院坝,都可被界定为一场具有情境意义的文化表演,因不同表演场域中的“表演前”(模式、观念)和“表演后”(音声产品)存在差异,才生成不同的表演文本。从学理层分析,民间场域的“传统知识”(文化模式)到表演实践(变体)是局内人的第一层阐释;官方舞台表演的“概念”到“音声产品”是局内和局外人合作的再次阐释或者“传统情景的再造”。从宏观的“表演”视角看,民间仪式表演场域中无论多少变体都可看作是官方舞台“表演前”(表演观念)的积淀;而官方舞台表演又是传统音乐文化的“表演实践”(表演行为)。由此,凉山彝族火把节从传统表演模式到官民共谋的复合节日体系,再到新冠疫情后回归民间村坝零散表演的转换,正是传承性音乐文本向表演性音乐文本发展的一个螺旋上升式的持续过程。

The ceremony of modern Torch Festival can be defined as a cultural performance with contextual significance,whether on the official stages or in villages.Different performance texts are generated due to the different performance venues.When it comes to the“pre-performance”,there will be different texts in mode and concept,and then there will be different texts in vocal products regarding the post-performance.From a theoretical perspective,how to put the“traditional knowledge”(cultural mode)into the performance practice(variant)in the folk field is firstly interpreted by insiders;Then,how to combine the“concept”of official stage performances with the“vocal products”is reinterpreted as a cooperation between insiders and outsiders,or it can be regarded as a“reconstruction of traditional scenes”.From a macro-perspective of“performance”,no matter how many variants there are in the field of folk ritual performance,it can be seen as the accumulation of“pre-performance”(performance concepts)on the official stage;And the official stage performance is the“performance practice”(performance behavior)of traditional music culture.Therefore,the transformation of Yi people’s Torch Festival in Liangshan region is exactly a spiral and dynamic development process from the text of inherited music to that of the performed music as it evolves from the traditional performance mode to the complex festival system combining official and civilian efforts,and then to the occasional folk performances in villages after the COVID-19.