摘要
众家将花鼓溯源到三棒鼓、讶鼓、社火、秧歌、打夜胡等民间艺术样式,而诸艺术又共同指向傩。傩是淮河花鼓的艺术和文化内核,历经岁月演进艺术要素不断地分离和强化,伴随印度梵文化尤其是佛教在南北朝东进与我们傩文化的结合,傩的沿门、行乞、驱逐成分被佛教在寺院中得到了保存,宋代的市民阶层和民俗活动为傩的民俗化提供了展演空间,并最终完成了傩向民间歌舞的转化。
The flower-drum opera is usually traced back to folk art forms including sanbang-drum ( a folk art form with the player singing and playing three sticks at the same time) , ya-drum, shehuo (juggling and a variety of shows in sacrifices or festivals), yangko (a popular rural folk dance) and dayehu (a folk custom of driving out evil spirits) , and all these art forms all lead to Nuo (exorcise). Nuo is the artistic and cultural essence of flower-drum opera along the Huaihe River. With its artistic elements separated and intensified in years as well as its fusion with Buddhism after the Northern and Southern Dynasties, Nuo retained its tradition of begging from door to door and banishing evil in temples and finally accomplished its transformation into folk songs and dances with space for its secularization provided by ordinary citizens and folk activities in the Song Dynasty.
出处
《文化艺术研究》
2010年第1期35-45,共11页
Studies in Culture and Art
