摘要
黎族与高山族两个民族的舞台道具舞蹈历史根源相似,宗教色彩浓重,律动方式简约,故事情节淡化,舞蹈道具均以竹木道具为主;发展过程中均接受了外来宗教礼乐文化的影响。但由于风俗习惯、宗教信仰以及政治文化环境的不同,黎族道具舞蹈受中国大陆文化影响较早,程度较深,在"民族国家"建构的宏伟文化工程之中,通过对既往形态的扬弃,实现了现代转换,"再生态民间舞蹈"取得了丰硕的成果;高山族主要人群,无缘经历这种舞蹈与社会同步的演变,其舞台道具舞蹈一直到20世纪80年代才得到应有的重视,至今仍处在游移的状态,虽然产生了少数高质量的艺术成果,但大多数舞蹈只是稍作队形或动作上的改编,依旧表现出原汁原味的文化守望。
With the similar historical origin,the Li nationality and Gaoshan nationality share the similarities in strong religious color,simple style of rhythm,no details of story,using bamboo as the main prop,and acceptance of foreign rites and music. There are some differences between them because of customs,religious beliefs,and political and cultural environments. Li prop dance got earlier and deeper influence from China mainland culture,sublated the previous form,transformed into modernization,and harvested abundant achievement in＂recreated folk dance＂during the procedure of the construction of ＂nation- state＂cultural project. Gaoshan people missed the reform with change of times and their prop dance did not get enough attention until 1980 s,so until now it is still in the unstable state. Even though Gaoshan prop dance gets few high quality artistic achievement,the adaptation only lies in movements and the dance still presents the original culture watch.
出处
《琼州学院学报》
2015年第6期47-54,共8页
Journal of Qiongzhou University
关键词
黎族
高山族
舞台
道具舞蹈
比较
Li nationality
Gaoshan nationality
stage
prop dance
comparison
