摘要
文艺的"民族形式"是抗战期间解放区、国统区同时讨论的焦点话题,从1938年开始一直持续到1943年甚至更后。这个与"五四"新文化运动截然不同的文艺思潮,不仅促发了被誉为当代中国民族民间舞蹈发生原点的"延安新秧歌运动"与"边疆音乐舞蹈大会",其文艺中国化、民族化、大众化、通俗化的理念,在今天仍具有时代意义。本文从这一命题切入,一方面阐释"民族形式"的由来以及与"延安新秧歌运动""边疆音乐舞蹈大会"的关联,另一方面反思其在当下中国民族民间舞蹈建设中的价值。
The ＂national form＂ of literature and arts was a hot topic in both the liberated areas and Kuomintang- controlled areas during the Anti -Japanese War period and it lasted from 1938 until 1943 and even later. This trend of thought in literature and arts, which is totally different from that in the May Fourth New Cultural Movement, not only triggered the ＂Yan＇an New Yongko Movement＂ and ＂Frontier Music Dance Conference＂ which were called as the origin of the contemporary Chinese ethnic and folk dance but also exerted time significances in present days through the ideas that the literature and arts should be Chinese, ethnic, popular and popularized. From this point, the paper illustrated, on the one hand, the origin of the ＂national form＂ and the relationship with the ＂Yan＇an New Yongko Movement＂ and ＂Frontier Music Dance Conference＂ ; on the other hand, the paper rethought the values the ＂national form＂ has on the current construction of Chinese ethnic and folk dance.
出处
《民族艺术研究》
CSSCI
2016年第6期65-73,共9页
Ethnic Art Studies
关键词
民族形式
中国民族民间舞蹈
时代意义
national form, Chinese ethnic and folk dance, time significances
