基于文化视域下的民族舞蹈探究
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摘要
肢体艺术、习俗承载、功能导向是民族舞蹈基本的精髓。从民族舞蹈的本源与超脱艺术表达的价值定位审视,民族舞蹈是朴素肢体艺术承载下的民俗文化再现和潜在文化的艺术诠释。基于文化视域下民族舞蹈的本能文化与实然文化在习俗文化的点缀、包裹中逐渐成为超乎艺术本身的文化现象。换言之,基于文化视域的民族舞蹈行为符号是民族群体跨种族、地域的文化认同。因此,以民族舞蹈的本源与文化定位为基准成为审视民族舞蹈的文化基因的应然之举。
Body art, custom bearing and function orientation are the basic essence of national dance. From the origin of the national dance and the value orientation of the detached artistic expression, the national dance is the reproduction of the folk culture under the simple body art and the artistic interpretation of the potential culture. The instinct culture and the actual culture based on the cultural view of the national dance gradually become cultural phenomena beyond the art itself in the embellishment and wrapping of the custom culture. In other words, the symbol of national dance behavior based on cultural perspective is the cultural identity of ethnic groups across ethnicities and regions. Therefore, based on the origin and cultural orientation of the national dance, it is a natural move to examine the cultural genes of national dance.
Body art, custom bearing and function orientation are the basic essence of national dance. From the origin of the national dance and the value orientation of the detached artistic expression, the national dance is the reproduction of the folk culture under the simple body art and the artistic interpretation of the potential culture. The instinct culture and the actual culture based on the cultural view of the national dance gradually become cultural phenomena beyond the art itself in the embellishment and wrapping of the custom culture. In other words, the symbol of national dance behavior based on cultural perspective is the cultural identity of ethnic groups across ethnicities and regions. Therefore, based on the origin and cultural orientation of the national dance, it is a natural move to examine the cultural genes of national dance.
引文
[1]娄艳莲.民族文化在民族舞蹈中的渗透分析[J].中国民族博览,2018,(1).
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[5]龙倮贵.红河哈尼族原生态舞蹈艺术研究[J].红河学院学报,2009,(4).
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[7]李妮亭.傣族舞蹈与当代审美的融合与创新[J].大众文艺,2017,(16).
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[9]叶凌飞,符姗姗.少数民族舞蹈艺术深层文化内涵研究[J].贵州民族研究,2016,(4).
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[11]于丽萍.学科建设视野下的少数民族舞蹈文化教育传承探究[J].太原城市职业技术学院学报,2014,(1).
[12]田丽萍.论少数民族舞蹈文化发展及其动因[J].河北师范大学学报(哲学社会科学版),2011,(4).
[2]张谛.传统茶文化与民族舞蹈文化的融合发展[J].福建茶叶,2017,(12).
[3]杨秀芝.侗族舞蹈审美特征探析[J].云梦学刊,2015,(1).
[4]刘远林,王声珅.论旅游文化与原生态舞蹈的关系——以贵州苗族舞蹈为例[J].贵州民族研究,2012,(1).
[5]龙倮贵.红河哈尼族原生态舞蹈艺术研究[J].红河学院学报,2009,(4).
[6]许莉.原生态舞蹈与民族文化生态保护[J].艺海,2010,(8):130.
[7]李妮亭.傣族舞蹈与当代审美的融合与创新[J].大众文艺,2017,(16).
[8]佟佳家.民族审美和人性美结合:少数民族舞蹈大众传播实现的关键[J].贵州民族研究,2016,(6).
[9]叶凌飞,符姗姗.少数民族舞蹈艺术深层文化内涵研究[J].贵州民族研究,2016,(4).
[10]代欢.民族之根,时代之魂——关于内蒙民族舞蹈发展的民族性及其审美个性[J].乐府新声(沈阳音乐学院学报),2015,(2).
[11]于丽萍.学科建设视野下的少数民族舞蹈文化教育传承探究[J].太原城市职业技术学院学报,2014,(1).
[12]田丽萍.论少数民族舞蹈文化发展及其动因[J].河北师范大学学报(哲学社会科学版),2011,(4).