摘要
少数民族传统舞蹈因其集神圣性、世俗性、娱乐性、参与性为一体,在当今文化旅游中逐渐成为旅游者热衷的消费品,地方权力行为体和商业行为体从市场的角度出发,按照商品模式去改造少数民族传统舞蹈自身的内在逻辑,以迎合旅游者的消费需求,使得作为地方人群共同体日常生活的舞蹈逐渐符号化、舞台化,从而造成地方文化的异化。本文以基诺族大鼓舞为例,分析大鼓舞的文化逻辑、自我边界和文化旅游消费情境中大鼓舞的旅游消费符号化表征,探寻大鼓舞文化旅游消费边界和自我延续的路径。
Ethnic minority folk dance is regarded as a tourists attraction in today ＇s cultural tourism due to its sacredness,secularity,recreation and participation. Guided by tourist market,local authorities and business agencies tailor these dances to meet the needs of tourists,therefore,symbolization,dramatization and acculturation of them are formed. This paper analyzes cultural logic,ego boundary and symbolic representation of big-drum-dance of Jino ethnic group in the context of cultural tourism to inquire its consumption boundary and the path of sustainable development.
作者
吴兴帜
WU Xing-zhi(School of Vocational ＆ Technical Education, Yunan Minzu University, Kunming 650500, Chin)
出处
《北京舞蹈学院学报》
CSSCI
北大核心
2017年第6期72-77,共6页
Journal of Beijing Dance Academy
基金
国家社科基金青年项目"民族艺术消费符号与文化传承研究"(项目批准号:15CSH035)阶段性成果
2016年广西高等学校高水平创新团队"中国-东南亚跨境民族文化遗产研究创新团队"阶段性成果
关键词
大鼓舞
文化旅游
符号
边界
big-drum-dance
cultural tourism
symbol
boundary
