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九月的北京,弥漫着浓浓的民族风情。第三届全国少数民族文艺会演的33台剧(节)目、73场演出,为首都观众捧上了一道文化盛宴。包括港澳台同胞和解放军在内的56个民族的精彩演出,精彩纷呈的各民族歌舞通过电视、报纸、网络等媒体迅速传遍大江南北。此情此景,很容易让人联想到最近一系列与少数民族文化有关的热点:浓缩云南少数民族传统歌舞艺术精华的大型民族歌舞集《云南映象》在国内舞台上所向披靡,如今正向海外市场进军;首次亮相青年歌手大奖赛的原生态唱法,一出场便受到观众的追捧,等等。一时间,过去备受人们冷落的少数民族民间艺术,突然引起人们的极大关注和超乎寻常的认同。为什么会出现这一现象?它对于少数民族文化的保护和发展又能提供什么样的思路?少数民族文化会演带给我们的难道仅仅是一场场精彩的演出吗?
September in Beijing, filled with thick ethnic customs. The 33rd National Drama Festival of the 3rd National Minority Arts Festival features 73 performances and a cultural feast for the capital’s audience. The 56 ethnic groups including Hong Kong, Maucao and People’s Liberation Army (Hong Kong, Maucao and Taiwan) performed brilliant performances. The colorful song and dance of various ethnic groups spread rapidly through the media such as television, newspapers and internet. In this scene, it is easy to recall the recent series of hot spots related to minority cultures: the large-scale national song and dance ensemble that concentrates on the essence of the traditional song and dance of ethnic minorities in Yunnan Province. The “Yunnan Image” is invincible on the domestic arena and is now going overseas March into the market; debut singer Grand Prix of the original eco-singing, will be sought after by the audience, and so on. For a time, the neglected minority folk arts of the past suddenly caught people’s great attention and unusual recognition. Why does this phenomenon occur? What kind of thinking can it provide for the protection and development of ethnic cultures? Is it just a wonderful performance that ethnic minority culture plays to us?