【作者】 张晓舒；

【导师】 黄永林；

【作者基本信息】 华中师范大学 ， 中国民间文学， 2011， 博士

【摘要】 舞龙是一项历史悠久、内涵丰厚的民俗活动。它既是全球化时代中国人文化身份的表征,也是中华民族奉献给世界文化一份珍贵的“活”遗产。本文是关于大别山南麓一个家族村落舞龙习俗的民俗志报告,旨在将我们所了解的有关舞龙的宏观知识通过地方性知识的形式呈现出来,并在为民俗世界中提供鲜活个案的同时,力图以历时视角动态考察该习俗是如何融入区域社会发展的历史之中,及其在当地人的日常生活建构中发挥怎样的作用。在个案研究之前,本文首先从时间和空间两个角度对中国舞龙进行总体概述。追溯舞龙由先秦至明清的发展历程,认为“神圣与世俗”、“国家与民众”构成了舞龙发展的两大主线。立足地方志中的舞龙记载,将全国舞龙分为五个主要的风俗区,即长江流域、东南沿海、岭南、云贵、黄河流域,归纳各风俗区的基本特点,以便为舞龙习俗的个案研究提供一个清晰的宏观图景。本文的调查地点在湖北省红安县张家湾,对这个村落的介绍围绕着与舞龙有关的地理环境和家族历史展开。张家湾地处“吴头楚尾”,且靠近中原文化,是一个文化交叉区域,但仅就舞龙习俗而论,它仍然属于长江流域风俗区。大别山特殊的人文地理环境造就了它的一些特点。张家湾是一个单姓聚居的自然村,其舞龙活动具有鲜明的家族色彩,因此,了解它的家族组织是理解舞龙习俗的重要前提。本文对张家湾清末至民国时期的家族历史进行了勾勒描述。从共时结构的视角来看,张家湾的舞龙习俗由三个基本要素构成：神龙信仰、仪式过程和文艺表演。神龙信仰体现的是当地人对于龙的观念和情感,它处于舞龙习俗的核心层。对于广泛流传的神龙信仰,人们已经形成了一些观念上的共识。只是当不同地方的人们在诠释其意义时,它便由一种观念共识向地方性知识转化。张家湾人的神龙信仰深刻体现了“一般性知识”与“地方性知识”之间的关系。仪式过程和文艺表演构成了舞龙习俗的现象层。舞龙仪式包括“接灯—出灯—送灯”。“接灯”是将张家湾人信奉的神龙接来,附着到他们所制作的龙灯上。“出灯”是龙灯外出巡游,到邻近的村庄享用香火,并在每一个香案前进行表演。“送灯”是人们送别神龙,回归天庭。舞龙习俗的仪式具有为文艺而生、与娱乐共存的特点,其文艺表演以舞龙为核心,涵盖采茶歌、跑竹马、打莲湘、小车舞和彩莲船等多种民间艺术形式。张家湾的舞龙活动不仅包括舞蹈艺术,还有许多口头民间艺术形式,它们为我们了解大别山人的精神世界开启了一扇窗。从历时变迁的视角来看,张家湾人舞龙总有其内在需求。集体化时期,尽管人们的生活摆脱了颠沛流离的状态,但是心灵深处的战争隐痛仍然困扰着他们。村民们玩起神圣的红灯,祈求神龙扭转不祥的湾运,带给他们心灵的慰藉和面对战争创伤的勇气。文革结束后进入八十年代,改革开放的春风驱散了人们心中的严寒,村民们感到过去那种受贫困、被束缚、压抑自我的日子已经一去不返。文化生活的饥渴状态促使张家湾人舞起龙灯闹新春,受到当地群众的热烈欢迎。女性作为文艺主体的公开表演,成为那时期龙灯会上一道独特的风景,昭示着人们对未来生活满怀乐观自信的心态。随着市场经济的深入发展,商品化时代的利弊关系在二十一世纪得到更清晰的体现。当私人领域的娱乐生活不断丰富时,村民们的公共文化生活却呈现出衰退迹象。他们开始怀恋起自己的集体化时代,期望在公共文化活动中重新找寻归属于集体的自我。传统舞龙习俗成为他们回归集体的一种方式,他们以此证明自己仍属于一个有凝聚力的共同体。尤其是在近距离观察本世纪的舞龙活动时发现,舞龙在村落组织、习俗呈现和社会功能方面都正在发生剧变。它启发我们对于传统民俗的现代境遇进行认真的思考。本文立足从地方性知识的角度记述我们习以为常的舞龙习俗,这种方式在提供一个生动个案的同时,也带给我们关于舞龙习俗的新的认识,即从舞龙的地方特点出发引导我们进入人的价值观领域。此外,本文还强调从民间视角来理解和阐释舞龙现象,认为当地的舞龙体现的是物质生活的丰足与精神生活的困境,而舞龙人身上所展现的蓬勃向上、生生不息正是他们努力走出困境的生动写照。更多还原

【Abstract】 As a kind of folk activity with long history and rich connotations, dragon dance of our Chinese nation is not only a piece of valuable living heritage in the world culture, but also represents the cultural identity of the Chinese nation in the era of globalization.This paper deals with the custom of dragon dance in a family-centered village which is located in Dabie Mountains. It aims to interpret the cultural connotations of dragon dance under the background of regional culture, and explores its evolution as social changes take place in the villages and how it plays an active role in the construction of Chinese people’s daily life.Before this very case study, the paper starts with a general overview of Chinese dragon dance from the perspective of time and space. It traces the development of dragon dance from pre-Qin days to Ming and Qing Dynasty, and divides the Chinese custom of dragon dance into five main districts:Yangtze River valley, Southeast Coast, Lingnan (the south of the five ridges region), Yunnan-Kweichow Plateau and Huanghe valley. Furthermore, it generalize the basic character of these five districts in order to provide a background of the study on dragon dance.The spot of these investigation is zhangjiawan village in Hubei province.The introduction of this village is unfolded with the geographic environment and the history o f the family which is relevant to the dragon dance. Zhangjiawan locates in the head of Wu and the tail of Chu, which is near by the Zhongyuan culture and is a cultural crossing area. But the dragon dance in this distinct is still belongs to Yangtze River valley. The special humane geographical environment of Dabie mountains has brought up some of its characteristics to this village. Zhangjiawan is a natural villages in which inhabit people with a single name—Zhang, so its dragon activities have a distinct familial color. Therefore, understanding its family organization becomes an important basic for understanding the prerequisite of dragon custom. This paper outlines the family history from Qing-dynasty to the period of public.From a synchronic perspective, the custom of dragon dance in Zhangjiawan consists of three fundamental elements:faith in dragon, ceremonial process and artistic performance. Faith in dragon, lying in the core layer of dragon-dance-custom, reflects the local people’s notion and feeling towards dragon. As a widespread religion, the belief of dragon have formed a common sense among people. But when people in different places interpreting its significance, the belief transforms form consensus to local knowledge transformation consensus. Zhangjiawan man’s shenlong beliefs reflecting the relationships between consensus and local knowledge. The ritual process and art performance constitutes the phenomenon layer of Dragon Dance. The ceremony of dragon dance is formularized, being composed of "welcoming the dragon lantern—playing the dragon lantern—farewell to the dragon lantern". "Welcoming the dragon lantern" means inviting the dragon god, in whom the people of Zhangjiawan have faith, to their village, with their dragon lanterns possessed by the spirit of the dragon god. "Playing the dragon lantern" is to make a cruise to the neighboring villages, enjoying the sacrifice and giving performances at each incense table. "Farewell to the dragon lantern" refers to giving the dragon god a farewell party, asking the dragon to leave the lanterns and back to heaven. The ceremony of dragon dance possesses the following characteristics:born for art and co-exist with entertainment. The artistic performances are usually given at the intervals of ceremony, with the dragon dance at the core. Meanwhile, the performances also include other form of folk art, such as the song of the tea leaf pickers, running bamboo horse dance, lotus-thrashing, folk dance and so on.Form the perspective of historical changes, the custom of dragon dance in Zhangjiawan is always indicative of their internal needs. During the period of collectivization, people were still haunted, deep down in their hearts, by the trauma of war despite the fact that they had shaken off the state of being destitute and homeless. Therefore, villagers began to play the sacred dragon lantern, hoping the dragon god could change their unfortunate fates, soothe their souls and bring them courage to face the trauma of war. After the Cultural Revolution, people stepped into a new ear. The policy of reform and opening-up, like a spring breeze, has blown off the coldness in people’s mind since the 1980s. The villagers felt that the days of being stricken with poverty, restriction and depression were long gone and would never return. Being eager for cultural life, the people of Zhangjiawan danced the dragon dance to celebrate Spring Festival, which was warmly welcomed by the local people. At that time, the public show with women as the pillar of art activities became a unique sight at the dragon lantern festival, showing the people’s optimistic and confident attitude towards their future life. With the further development of market economy, the pros and cons of a commercialized era becomes all the more clearer in the twenty-first century. While the recreational life in private region was gradually enriching, the public cultural life of the villagers exhibited signs of decline. They began to reminisce the period of collectivization, and tried to re-find the collective-owned self from the public cultural activities. As a result, the traditional dragon dance became a way for them to return to the collective, by which they tried to prove that they still belonged to a cohesive community.This paper probes into the custom of dragon dance from the perspective of local knowledge, which not only provides us a vivid case, but also sheds some new light on the dragon dance, that is, associating the values of local people with the characteristics of the custom of dragon dance. Furthermore, to understand and illustrate the phenomenon of dragon dance from the perspective of folk culture is also emphasized in this paper. The author holds that the local dragon dance reflects the abundance of material life and the predicament of spiritual life there, and the spirit of being vigorous and prosperous of the dragon dance performer is a clear reflection of their great effort to shake off the predicament.更多还原