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20世纪前期,国家对傈僳族居住的边境地区管理无力。从缅甸进入中国的基督教为了迅速传播和发展,以体现基督教教义的赞美诗取代了傈僳族的传统民族歌舞。1957年至1976年,禁止基督教音乐的流传与国家建立主流文化的政治目的相关。80年代民族政策的落实是傈僳族传统音乐舞蹈与傈僳族基督教音乐复兴的重要原因。90年代之后,文化产业发展及非物质文化遗产保护与传承战略的实施进一步促进了这一地区民族音乐舞蹈的发展,并以傈僳族音乐舞蹈为主,融合了诸多民族,乃至西方音乐舞蹈的傈僳族基督教音乐成为傈僳族的一种文化传统。在现代条件下,现代民族—国家的国家化进程是影响边境地区少数民族艺术演变的根本性因素。
In the early twentieth century, the state was unable to manage the Lisu area’s border areas. Christianity entering China from Myanmar, in order to spread and develop rapidly, replaced Lisu’s traditional folk songs and dances with hymns embodying Christian doctrine. From 1957 to 1976, the prohibition of the spread of Christian music was linked to the political purpose of establishing mainstream culture in the country. The implementation of ethnic policies in the 1980s is an important reason for Lisu’s traditional music and dance and the revival of Lisu Christian music. After the 1990s, the implementation of cultural industry development and intangible cultural heritage protection and inheritance strategy further promoted the development of ethnic music and dances in this area. The music and dance of Lisu ethnic group mainly consisted of music and dance from many ethnic groups and even Western music and dance. Ethnic Christian music has become a cultural tradition of Lisu. Under the modern conditions, the process of nationalization of the modern nation-state is a fundamental factor that affects the artistic evolution of the ethnic minorities in the border areas.