摘要
1988年10月31日,贵州六枝梭戛生态博物馆作为中国第一座生态博物馆正式建成并对外开放,该馆是中国和挪威两国合作的文化建设项目之一,其目的旨在保护濒临灭绝的长角苗传统文化艺术。2000年7月间,笔者来到梭戛进行为期一周的田野考察,发现该博物馆在建设过程中存在着一些带有普遍意义的矛盾现象。4年之后,笔者再访梭戛,看到当年的矛盾现象不但没有得到化解,反而更加激化和突出,进而走向“变形”。对梭戛生态博物馆运作过程中存在矛盾作人类学的观察和总结,分析和探讨当今传统艺术保护的理论问题,具有十分普遍的现实意义。
On Oct. 31, 1988, Suojia Ecomuseum in Liuzhi, Guizhou Province,being the first of its kind in China, was built and officially opened to the tourists. This musemn is one of the cultural construction projects jointly invested by China and Norway, with an attempt to protect the nearly extinct Changjiaorniao traditional art. In July 2000, I made a week - long field inspection in Suojia and found that some contradictions of general significance during the construction of the museum. Four years passed, when I paid another visit of Suojia, I found that the past contradictions, instead of being dissolved, became more intensifying, even got ＂distorted＂. It is of general significance of reality to observe and summarize the con tFadictions in the operation of Suojia Ecomuseum from the anthropological perspective, analyze and discuss the theoretical issues of current traditional art.
出处
《湖南科技大学学报（社会科学版）》
2006年第2期104-108,共5页
Journal of Hunan University of Science and Technology(Social Science Edition)
基金
湖南省高校社科重点研究基地"中国古代文学与社会文化研究基地"成果(湘教通[2004]284号)
关键词
文化田野
梭戛
生态博物馆
长角苗
传统艺术
保护与开发
cultural fleE
Suojia
Ecomusemn
Changjiaomiao
traditional art
protection and development
