非遗保护“现代化”悖论的民间境遇--以石林大海子“阿诗玛”为例

The Folk Circumstances of the Paradox of“Modernization”in the Protection of Intangible Cultural Heritage:A Case Study of“Ashima”in Shilin Dahaizi

非遗保护运动起于对一元现代化工程的反思,却在制度设计与实践进程中陷入推动现代化再扩张、再规训的风险,非遗保护的“现代化”悖论由之显现。对此,学者们主张社区民众的主体性及参与能动性,但仍难以弱化悖论的现实影响。通过对石林大海子“阿诗玛”传承的深度访谈与参与观察发现,村民们与被纳入非遗体系的“阿诗玛”和生活整体中的“阿诗玛”形成了多方位的生活交互。民众“多元之一元”的认知与话语表述,自主变革“阿诗玛”展演使之深入撒尼人社区生活网络的实践,呈现出民众生活逻辑中“与悖论共处”的包容性和创造性;而在具体的个体体验层面,村民在歌舞排练和表演中实践着指向自身文化权利与“成为人”的意义,超越了这一悖论。学者们的悖论焦虑与民众的与悖论共处,恰恰呈现了非遗运动中不同主体话语和实践交流与交互的真相。

Through in-depth interviews and participatory observations on the inheritance of“Ashima”in Shilin Dahaizi,it is found that villagers have formed multi-dimensional life interactions with“Ashima”included in the intangible cultural heritage system and the overall life of“Ashima”.The cognition and discourse expression of the“diverse one element”of the public,and the practice of independently transforming the“Ashima”performance to deepen the life network of the Sani community,demonstrate the inclusiveness and creativity of“coexisting with paradoxes”in the logic of public life;At the specific level of individual experience,villagers practice their cultural rights and the meaning of“becoming human”in song and dance rehearsals and performances,surpassing this paradox.The paradoxical anxiety of scholars and the coexistence of paradoxes among the public precisely present the truth of communication and interaction between different subjects’discourse and practice in the intangible cultural heritage movement.