广东乳源瑶族“拜盘王”仪式舞蹈身体惯习的当代建构

Contemporary Construction of Body Habitus of Yao Ethnic Group’s“Worship of Panwang”Ritual Dance in Ruyuan,Guangdong Province

“拜盘王”是广东乳源瑶族祭祀祖先神盘王的仪式,仪式舞蹈是其中的重要组成部分,是文化主体配合瑶经文本叙事的身体实践,承载着瑶族人民的历史记忆、信仰观念与文化表征。文章以“拜盘王”仪式舞蹈的惯习建构为对象,研究其作为感官经验对多方身体技术养成-舞蹈形态转化(身体图式转化成具有意象性的肢体动作)-惯习建构(身体经验内化)的过程及其再生产。这一过程不仅展现“渡海”神话叙事中盘王显圣功能从佑护渡海到保佑丰收等现实愿望的变迁,亦充分体现瑶族身体惯习从民间场域到“非遗”展演场域的当代建构方式及其动力,同时是瑶汉民族交往交流交融的历史见证。身体惯习的当代建构之研究对赓续民俗艺术和铸牢中华民族共同体意识具有现实意义。

“Worship of Panwang”is a ceremony celebrated by the Yao ethnic group in Ruyuan,Guangdong Province in memory of their ancestral god Panwang.The ritual dance is an important part of the ceremony,and it is a physical practice of cultural subjects combined with the narrative of the Yao scriptures.It conveys the Yao people's historical memory,belief,and cultural representations.From the perspective of habitus construction of the“worship of Panwang”ritual dance,the paper analyzes the process and reproduction of sensory experience from multi-body technique formation,to the transformation of dance forms(the transformation of body images into symbolic body movements),then to habitus construction(the internalization of body experience).This process not only shows the vicissitudes of realistic wishes such as the presence of Panwang in the mythological narrative of“sailing crossing the sea”from protecting the voyage to blessing the harvest,but also reflects the contemporary construction mode and its driving force of Yao ethnic group's body habitus from the folk field to the exhibition field of intangible cultural heritage.It also bears witness to the historical process of exchanges and integration between the Yao and Han peoples.The research on the contemporary construction of body habitus is of realistic significance to continuing the folk art and forging a strong sense of community for the Chinese nation.