摘要
艺人的身体形态一定程度上代表着花鼓舞的发展状况及走向。笔者将湘西苗族花鼓舞艺人大致分成两种类型:老艺人和新生代鼓王。二者的分类是以年龄、生活环境、花鼓舞身体形态等差异性为依据。本文以湘西苗族花鼓舞,以及老艺人、第一代花鼓舞鼓王龙英棠和第二代花鼓舞鼓王石顺明为个案,对她们的身体形态进行分析,从而提出"身体二重性"的思考。本文的"身体二重性"是指艺人个体运用身体,依循社会结构进行表达和传承。并且利用结构的特点进行资源再配置以改造这个结构的过程。它也是通过身体的实践,使结构与个人能动性产生互动的过程。
The bodily form of folk artists represents,in many ways,the current condition and developmental direction of ＂huagu＂ dance. The author divides western Hunan Miao ethnic artists into two major types：old folk artists and new era drum kings. These two categories of folk artists can be differentiated according to age,living environmen,t ＂huagu＂ dance bodily form,and other factors. Taking western Hunan Miao ethnic ＂huagu＂ dance and Long Yingtang,first generation ＂huagu＂ dance drum king,and Shi Shunming,second generation ＂huagu＂ dance drum king as case studies,the current paper conducts an analysis of bodily form and puts forth the concept of ＂body duality＂ for reflection. In this paper,body duality refers to the way in which the individual body in use by the folk artist enacts expression and inheritance in the context of social structure,as well as the process by which he or she enacts redistribution of resources and revision of the social structure. Through bodily practice,the folk artists create a process of interaction between the social structure and individual dynamic role.
出处
《北京舞蹈学院学报》
北大核心
2010年第1期32-36,63,共6页
Journal of Beijing Dance Academy
关键词
湘西苗族花鼓舞
艺人
身体二重性
结构
能动性
western Hunan Miao ethnic ＂huagu＂ dance
folk artists
body duality
structure
dynamic role
