辽西太平鼓的文化解析
摘要
辽西太平鼓主要是辽西地区民间妇女的一种自我娱乐的艺术形式,反映劳动妇女生产和生活的场景,是一种在传统年节期间(即春节至元宵节期间)进行的鼓舞表演。辽西太平鼓是由技艺高超的太平鼓艺人组织、群众自发参与的民众自娱性的鼓舞活动,是辽西地区年节庆典的重要内容。从太平鼓的产生与发展脉络中我们可以看出,传统时期,太平鼓这一仪式活动贯穿于祭祀和节日仪礼当中,表达当地民众祈求风调雨顺、五谷丰登、平安吉祥的愿望,是民众传统民间信仰的物质载体。但在现代化和文化多元化的进程中,辽西太平鼓中蕴含的满族萨满文化特质逐渐弱化,辽西太平鼓不可避免地发生了变异而重新被建构。同时随着政府、学者、民众和传媒机构的介入,辽西太平鼓开始从台后走向台前,与现代语境相结合,逐渐演变成了表演化和遗产化。辽西太平鼓被建构的过程因政府的利益和国家非物质文化遗产保护运动建立起以太平鼓为中心的利益场,形成了特定机制。在这个被重构的过程中,民俗学者开始了对辽西太平鼓这一传统民俗文化本真性的探求和研究。
通过辽西太平鼓的重新建构,客观上提高了民众的文化自觉性,增强了民众对文化的保护意识,使民众开始重新认识和理解本民族的传统文化。当地民众作为民俗文化的传承人和诠释者,他们对本地文化的认知,对本地文化的传承与发展起着至关重要的作用。另一方面,民俗学者们对民俗文化研究的不断深入,开始以发展的眼光来看待民俗文化的本真性。学者开始认识到,所谓本真性,只不过是特定人群给某种文化设定的一个相对的标准,因此,学者对民俗文化本真性的研究也经历了一个由静态到动态的过程,这个过程的转变,促使学者和民众开始把对民俗文化的保护从“物”的保护发展成为对其依存的文化生态环境的保护和对其传承性的强调,把有形民俗文化遗产和无形民俗文化遗产放在同等重要的地位。
本文首置绪论,尾置结语,正文共分四章:绪论交待了选题目的和意义、研究现状、本文的研究方法与资料来源。第一章为辽西太平鼓的概述。主要介绍了辽西太平鼓的产生与发展脉络;辽西太平鼓生存的自然环境与社会环境。辽西太平鼓的展演过程,首先介绍了辽西太平鼓的表演内容,以农家生活、农村妇女的生活境况以及风土人情和名胜风光为题材;其次介绍了辽西太平鼓的表演特征,一类是边打边舞,一类是边打边唱。辽西太平鼓表演自如,人数不限。第二章指出太平鼓的传承脉络,同时,从器物层、民俗层和民俗信仰层三种文化内涵上,对辽西太平鼓所体现的满族文化和区域文化进行解读和分析,揭示其社会及文化内涵。第三章从多维视角审视辽西太平鼓的文化功能。太平鼓既是神与人沟通的媒介,并借此强化了民众的民间信仰;它还是调节人际关系的“润滑剂”;此外,辽西太平鼓既是民众传统审美的展演过程,也是维系妇女群体的纽带。第四章,辽西太平鼓在现代化语境中,面临着传承危机,由传统文化元素向“陌生化”的性质转变,促使国家、学者、民众观念性的转变,开始以动态的和发展的眼光看待传统民俗文化。
结语:现代语境中,辽西太平鼓在现实生活中仍然有其存活基础。在众多外力的影响下,传统民俗文化仍然以服务民众的节俗生活为重要宗旨,这一宗旨短期内不会改变。
The Liaoxi peace drum is mainly one kind of self-entertainment's artistic form for the Liaoxi folk woman's, which reflected working women’s both production and life scene. It performance in traditional lunar new year's season period (From Spring Festival to Lantern Festival period).The peace drum is spontaneous populace's self-entertaining organized by the superb skill person, so it become important content celebrating new year. We may see from peace drum's origination and development vein, during the traditional time, this ceremony activity penetrating in the middle of the sacrificial and the holiday ritual, helps the local populace implore the good weather、grain harvest、safe propitious desire, which is material carrier of the populace in term of traditional folk belief. In the country ideology control、modernized and cultural diversity's advancement, Liaoxi peace drum has had the variation inevitably, but it is constructed again.Samanism contained in the peace drum has had varied gradually. Along with each benefit community and the media organization's involvement, once only takes as the populace’s entertainment method during farming, now already unified with the modern linguistic environment, showing the evolution and the inheritance. Because the constructed process which promote the local government and the national non-material cultural heritage protection movement to take the peace drum as the central benefit, thus formed the specific mechanism. Each benefit community started to research the truth of traditional culture.
Through the reconstruction, enhanced populace's cultural self-consciousness objectively and strengthened the populace’s protection consciousness to the culture, which makes the populace to start to know and understand traditional culture. The local populace is considered as the inheritance person and the annotation of culture, their culture's cognition has the very important function to the local culture's inheritance and the development. On the other hand, scholars begin further research to the folk custom culture to consider the folk custom’s truth. The scholars start to realize that so-called truth, just the specific crowd gives a relative standard. The research has also experienced from the static to the dynamic process. With the transferred idea, the scholar and the populace start to turn from protecting”the thing”into its culture ecological environment protection and inheritance emphasis, placing the visible heritage and invisible heritage in the equal status. Therefore, the understanding to the traditional folk custom culture should be different from person to person timely.
This article sets up the introduction、the conclusion. The main text is divided into four chapters: The introduction has pointed the topic goal and the significance、present research situation、research technique and the data source. The first chapter introduces Liaoxi peace drum's outline, mainly the survival nature and the social environment; Liaoxi peace drum's production and development vein; Liaoxi peace drum's performance process, which concludes Liaoxi peace drum's performance content, taking the peasant family life、rural women's life condition as well as the local conditions and social customs and the scenic spot scenery as theme; Next introduces the Liaoxi peace drum's performance characteristic, one kind is hitting while dancing, another kind is hitting while singing. The peace drum performances freely without population limit. The second chapter display Manchu culture and regional culture from the utensil level、the folk custom level and the folk custom belief level. They carry on the explanation and the analysis of peace drum, promulgating its society and the cultural connotation and displaying peace drum's inheritance vein. The third chapter carefully examines the Liaoxi peace drum's cultural function from the multi-dimensional angle of view. The peace drum is not only the medium between the god and the human, but also strengthens populace's folk belief; It adjusts the interpersonal relationship called”the lubricant”; In addition, the peace drum is not only the performance process for populace tradition esthetic, it is also the link between women community. The fourth chapter explains the Liaoxi peace’s inheriting crisis in the modernized linguistic environment. The scholar and the populaces start to judge tradition folk custom culture in the view of development.
通过辽西太平鼓的重新建构,客观上提高了民众的文化自觉性,增强了民众对文化的保护意识,使民众开始重新认识和理解本民族的传统文化。当地民众作为民俗文化的传承人和诠释者,他们对本地文化的认知,对本地文化的传承与发展起着至关重要的作用。另一方面,民俗学者们对民俗文化研究的不断深入,开始以发展的眼光来看待民俗文化的本真性。学者开始认识到,所谓本真性,只不过是特定人群给某种文化设定的一个相对的标准,因此,学者对民俗文化本真性的研究也经历了一个由静态到动态的过程,这个过程的转变,促使学者和民众开始把对民俗文化的保护从“物”的保护发展成为对其依存的文化生态环境的保护和对其传承性的强调,把有形民俗文化遗产和无形民俗文化遗产放在同等重要的地位。
本文首置绪论,尾置结语,正文共分四章:绪论交待了选题目的和意义、研究现状、本文的研究方法与资料来源。第一章为辽西太平鼓的概述。主要介绍了辽西太平鼓的产生与发展脉络;辽西太平鼓生存的自然环境与社会环境。辽西太平鼓的展演过程,首先介绍了辽西太平鼓的表演内容,以农家生活、农村妇女的生活境况以及风土人情和名胜风光为题材;其次介绍了辽西太平鼓的表演特征,一类是边打边舞,一类是边打边唱。辽西太平鼓表演自如,人数不限。第二章指出太平鼓的传承脉络,同时,从器物层、民俗层和民俗信仰层三种文化内涵上,对辽西太平鼓所体现的满族文化和区域文化进行解读和分析,揭示其社会及文化内涵。第三章从多维视角审视辽西太平鼓的文化功能。太平鼓既是神与人沟通的媒介,并借此强化了民众的民间信仰;它还是调节人际关系的“润滑剂”;此外,辽西太平鼓既是民众传统审美的展演过程,也是维系妇女群体的纽带。第四章,辽西太平鼓在现代化语境中,面临着传承危机,由传统文化元素向“陌生化”的性质转变,促使国家、学者、民众观念性的转变,开始以动态的和发展的眼光看待传统民俗文化。
结语:现代语境中,辽西太平鼓在现实生活中仍然有其存活基础。在众多外力的影响下,传统民俗文化仍然以服务民众的节俗生活为重要宗旨,这一宗旨短期内不会改变。
The Liaoxi peace drum is mainly one kind of self-entertainment's artistic form for the Liaoxi folk woman's, which reflected working women’s both production and life scene. It performance in traditional lunar new year's season period (From Spring Festival to Lantern Festival period).The peace drum is spontaneous populace's self-entertaining organized by the superb skill person, so it become important content celebrating new year. We may see from peace drum's origination and development vein, during the traditional time, this ceremony activity penetrating in the middle of the sacrificial and the holiday ritual, helps the local populace implore the good weather、grain harvest、safe propitious desire, which is material carrier of the populace in term of traditional folk belief. In the country ideology control、modernized and cultural diversity's advancement, Liaoxi peace drum has had the variation inevitably, but it is constructed again.Samanism contained in the peace drum has had varied gradually. Along with each benefit community and the media organization's involvement, once only takes as the populace’s entertainment method during farming, now already unified with the modern linguistic environment, showing the evolution and the inheritance. Because the constructed process which promote the local government and the national non-material cultural heritage protection movement to take the peace drum as the central benefit, thus formed the specific mechanism. Each benefit community started to research the truth of traditional culture.
Through the reconstruction, enhanced populace's cultural self-consciousness objectively and strengthened the populace’s protection consciousness to the culture, which makes the populace to start to know and understand traditional culture. The local populace is considered as the inheritance person and the annotation of culture, their culture's cognition has the very important function to the local culture's inheritance and the development. On the other hand, scholars begin further research to the folk custom culture to consider the folk custom’s truth. The scholars start to realize that so-called truth, just the specific crowd gives a relative standard. The research has also experienced from the static to the dynamic process. With the transferred idea, the scholar and the populace start to turn from protecting”the thing”into its culture ecological environment protection and inheritance emphasis, placing the visible heritage and invisible heritage in the equal status. Therefore, the understanding to the traditional folk custom culture should be different from person to person timely.
This article sets up the introduction、the conclusion. The main text is divided into four chapters: The introduction has pointed the topic goal and the significance、present research situation、research technique and the data source. The first chapter introduces Liaoxi peace drum's outline, mainly the survival nature and the social environment; Liaoxi peace drum's production and development vein; Liaoxi peace drum's performance process, which concludes Liaoxi peace drum's performance content, taking the peasant family life、rural women's life condition as well as the local conditions and social customs and the scenic spot scenery as theme; Next introduces the Liaoxi peace drum's performance characteristic, one kind is hitting while dancing, another kind is hitting while singing. The peace drum performances freely without population limit. The second chapter display Manchu culture and regional culture from the utensil level、the folk custom level and the folk custom belief level. They carry on the explanation and the analysis of peace drum, promulgating its society and the cultural connotation and displaying peace drum's inheritance vein. The third chapter carefully examines the Liaoxi peace drum's cultural function from the multi-dimensional angle of view. The peace drum is not only the medium between the god and the human, but also strengthens populace's folk belief; It adjusts the interpersonal relationship called”the lubricant”; In addition, the peace drum is not only the performance process for populace tradition esthetic, it is also the link between women community. The fourth chapter explains the Liaoxi peace’s inheriting crisis in the modernized linguistic environment. The scholar and the populaces start to judge tradition folk custom culture in the view of development.
引文
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①朝阳.辽西太平鼓研究[J].中国文化报,2010(5):3
①张助群.辽西太平鼓[J].葫芦岛市连山区政协专刊,2008(3):5
②编辑部.中国民族民间舞蹈集成·辽宁卷[M].北京:中国ISBN中心,1998:206-210
①刘桂腾.萨满教与满洲萨满跳神的乐器—对神鼓和腰铃的民族音乐学考察[J].中国音乐学报,1994(3):23
①秋浦主.萨满教研究[M].上海:上海人民出版社,1985:66
①任广世.太平鼓及其相关歌舞伎艺略考[J].民间文化论坛,2004(3):2
②姚元之.竹叶亭杂记[M].上海:中华书局,2007:158-163
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①江帆.生态民俗学[M].哈尔滨:黑龙江人民出版社,2003:15
①朝阳.辽西太平鼓研究[J].中国文化报,2010(5):3
①张助群.辽西太平鼓[J].葫芦岛市连山区政协专刊,2008(3):5
②编辑部.中国民族民间舞蹈集成·辽宁卷[M].北京:中国ISBN中心,1998:206-210
①刘桂腾.萨满教与满洲萨满跳神的乐器—对神鼓和腰铃的民族音乐学考察[J].中国音乐学报,1994(3):23
①秋浦主.萨满教研究[M].上海:上海人民出版社,1985:66
①任广世.太平鼓及其相关歌舞伎艺略考[J].民间文化论坛,2004(3):2
②姚元之.竹叶亭杂记[M].上海:中华书局,2007:158-163
①庞志阳.原生态舞蹈·辽西太平鼓[M].沈阳:辽宁民族出版社,2009:130-135
①刘侗,于奕正.帝京景物略[M].上海:上海古藉出版社,2001:362-366
①张紫晨.中国巫术[M].上海:新知三联书店上海分店,1990:176-180
①沈彦硕.走下神坛的太平鼓-“太平鼓”溯源”[J].中国萨满学者学术座谈会,2003(5):3
②杨育.太平鼓:祭祖驱疫的歌舞[J].民间文化论坛,2005(3):5
①[德]黑格尔著,贺麟、王玖兴译.精神现象学[M].北京:商务印书馆,1979:56
①[德]本雅明著,周颖译.机械复制时代的艺术作品[M].天津:天津人民出版社,1998:108
①高丙中.民俗文化与民俗生活[M].北京:中国社会科学出版社,2000:56
[1] [德]阿尔弗雷德·许茨著,索昕译.社会实在问题[M].北京:华夏出版社,2001
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