空间生产与文化变迁:湘南瑶族“串春珠”田野舞蹈民族志考察

Space Production and Cultural Changes: An Ethnographic Study of Yao People’s Folk Dance “Chuan-Chunzhu” in South Hunan Province

舞蹈的形式、意义和表演方式与社会空间、文化符号、权力关系和身份构建密切相关。“串春珠”作为一种重要的民俗舞蹈形式,承载着瑶族的文化信仰和文化记忆,同时也与社会身份认同和地方文化传承紧密相连。“串春珠”特定的步伐和动作形态,与瑶族社会生产生活息息相关,整个表演过程凝聚了瑶族人民的情感、人际关系和社会秩序,具有重要的民俗文化意义。从民俗活动中的舞蹈“串春珠”到被列为“非遗”的民间舞蹈“串春珠”,“串春珠”的展演实现了由“民间在场”到“国家在场”的转变,这一语境的变迁彰显出身份的变迁。“串春珠”舞蹈的意义不仅从宗教和祭祀逐渐转变为文化传承、社群凝聚和身份建构的一种方式,而且逐步发展成为融合了“国家在场”“民间在场”“专家在场”的“新民俗”文化,在当代社会中发挥着重要的社会功能。

There is a close link between the form,meaning,and performance of dance with the social space,cultural symbols,power relations,and identity construction.“Chuan-Chunzhu”,as an important form of folk dance,carries Yao people’s cultural beliefs and memories and is closely linked to the social identity and local cultural inheritance.The specific steps and movements of the dance“Chuan-Chunzhu”are closely connected with the production and life in Yao society,as the entire performance process embodies Yao people’s emotions,interpersonal relationships and social orders,thus it acquires important significance in folk culture.From the dance“Chuan-Chunzhu”in folk activities to that in the list of the“intangible cultural heritage”,its performance has achieved a transformation from“folk presence”to“state presence”,and the change in this context reflects the transformation of identity.The significance of the folk dance“Chuan-Chunzhu”has gradually shifted from the field of religion and worship to a means of cultural inheritance,community cohesion,and identity construction,and there also has developed into a“new folk”culture,integrating“state presence”,“folk presence”,and“expert presence”,which plays an important social function in the contemporary society.