摘要
乳源过山瑶“拜盘王”仪式是族群特有的文化记忆和民俗信仰,仪式中“近音乐”的“族性歌腔”的艺术特点、“近语言”的具有特定观念的念诵腔以及仪式中“法器”音声的象征隐喻,体现出“拜盘王”传统是一种具有传承性、历史性、神圣性的文化形态。而“拜盘王”仪式活动在官方主办、群体参与的方式下,以及在“非遗”文化、旅游文化、媒体文化等新的文化语境中形成了多个空间并存,多种景观互文,集神圣、祭祀、表演、审美等属性为一体的文化展演。当下的“拜盘王”仪式展演既承载着过山瑶集体记忆的传统基因,亦重构了其认同的多重性、文化景观的多层性和仪式功能的多样性。
The ceremony of Worshiping of the Pan King in Ruyuan Guoshanyao is a unique cultural memory and folklore belief of the ethnic group. The “similar to music” ethnic tunes,the “similar to language” chants with specific concepts and the symbolic metaphors of the Faqi[musical and other instruments used in the belief ceremony]sounds reflect that the Worshiping of the Pan King tradition is a cultural form which upon the inheritance,history,and sanctity. The Worshiping of the Pan King is sponsored by official and participated by the public community. In the new cultural contexts that include Intangible Cultural Heritage,tourism culture,and media culture,etc. The worship forming a cultural exhibition which not only characterized with coexistence of multiple spaces and the intertext of multiple landscapes,but also integrates sanctity,ritual,performance,and aesthetic attributes. Nowadays,The Worshiping of the Pan King both carries the traditional gene of the Guoshanyao people’s collective memory and reconstructs the multiplicity of its identity,cultural landscape,and ritual functions.
作者
肖志丹
赵书峰
Xiao Zhidan;Zhao Shufeng
出处
《北方音乐》
2022年第4期130-142,共13页
Journal of the Northern Music
基金
国家社科基金冷门绝学研究专项项目“中国与东南亚瑶族《盘王大歌》系列传世唱本整理与研究”(20VJXG022)之阶段性成果
关键词
拜盘王
仪式展演
文化记忆
族性歌腔
音声景观
Worship of the Pan King
ritual performance
cultural memory
ethnic song
soundscape
