| Traditional art anthropology takes the "primitive art" of small communities in nonliterate minorities as its object of study,mainly focusing on its artistic paradigms and styles.By combining anthropology with art and studying art with anthropological research methods,the research scope and research contents are greatly broadened and enriched.In recent years,Professor Fei Xiaotong led the study of Chinese contemporary art anthropology by connecting art with creating a better life for human beings from a humanistic perspective.Thanks to that,numerous excellent achievements have been made in art ethnography,intangible cultural heritage preservation,rural revitalization strategies,and art and ethnic identity.It has opened new horizons for the exploration of traditional Chinese cultural genes,the interpretation of ethnic cultures,the reproduction of art and culture,the inheritance and development of contemporary art,and the understanding of cultural diversity and cross-cultural comparison in the pattern of Chinese pluralism.This paper studies the origin,development,and reproduction of the Fengtonggu dance of Bulang ethnic group in the context of art anthropology and is guided by the disciplinary theory of art anthropology and based on field study.The author of this paper went into the midst of the Bulang people for close participation and observation to provide an in-depth artistic ethnography of the Fengtonggu dance from the perspective of culture holders.The Fengtonggu dance,as the cultural and physical expression and practice of the nonliterate Bulang ethnic group,is regarded as an important carrier of their traditional culture,condensing the collective memory of the group.It is also a symbol and expression of the spirit and identity of Bulang people and a tool for the Bulang people to review history,face reality and look into the future.While studying the cases of Fengtonggu dance,the author interviewed the local people about the dance in their eyes,trying to unveil the mystery of the Fengtonggu dance and interpret its cultural significance,in order to provide a new perspective for the development of the dance afterwards.This paper will mainly analyze the contradictions between the sacred and the secular,the traditional and the modern in the transformation of the Fengtonggu dance.This paper consists of five chapters.Chapter one explains the origin of the topic and literature review on related theories and contents,clarifies the research and problem-solving methods and discusses what should be debated and added on the basis of previous theories and related research findings.In the second chapter,the author sketches the Fengtonggu dance from the memories of local people and records its changes from an ephemeral perspective through interviews with the Bulang people from different regions in Shuangjiang county.This is because Fengtonggu dance is a kind of physical practice,which was difficult to be recorded and preserved in a society where video technology was underdeveloped many years ago.In chapter three,the paper elaborates on "what is Fengtonggu" from three angles,the basic composition,the origin,and the cultural connotation.In this chapter,the paper is going to differentiate and analyze whether the Fengtonggu is originated from the traditional ritual of “Sacrifice to Dragon” and present new insights.In addition,through restoring the cultural interpretation of the Fengtonggu dance to the Sangkan Festival(the Spring Festival of Bulang people),this chapter also analyzes the world in the eyes of Bulang people which is reflected by the symbols in Fengtonggu dance,as well as the function and significance of the Fengtonggu dance as a "sensory threshold" in the Sangkan Festival ceremony.The fourth chapter discusses the artistic ethnicity of the Fengtonggu dance.Artistic ethnicity refers to the artistic style of a particular ethnic group that reflects their ethos and spirituality.The development of artistic ethnicity is usually related to the community’s living environment,social history,livelihood,way of thinking,and community psychology.To analyze by using aesthetic theories of Susanne K.Langer and Immanuel Kant,Fengtonggu dance is created by Bulang people,nurtured by the roaring waters of Mekong River and Nu Chiang,making it a communal dance characterized by the meaning of life under the view of intuitive thinking.The dance manifests the communal spirit of the hard-working and cheerful Bulang people and presents the aesthetic ideal of the Bulang people of harmonious coexistence and the aesthetic characteristics of taking sublimity as beauty.The fifth chapter discusses Fengtonggu dance in a new context and examines the differences between the dance under the context of intangible cultural heritage,inheritance in school education,and the cultural re-creation of the county cultural troupe and the Fengtonggu dance in traditional festivals.The conclusions are showing as follows: Fengtonggu dance is a highly structured,metaphorical,and symbolic behavior pattern embedded in the Sangkan Festival rituals as a behavior practice of the Bulang people,a nonliterate ethnic group;as a cultural expression of the Bulang people,Fengtonggu dance contains the beliefs,sacred structures of the village,and aesthetic and appropriate life pursuits of the Bulang people;as the ethnic identity of the Bulang people,the dance is the cohesion of their love and pride for the Fengtonggu,and its art form has strong ethnic boundaries,highlighting its unique ethnicity.In addition,the Fengtonggu dance,under the game of multiple forces such as the nation,local government,Bulang ethnic group,ethnic elites,and scholars,is separated from the procedures of the Sangkan Festival and takes itself to the stage,where it is interpreted by people from other cultures to show more of the traditional culture of the Bulang people in artistically.From the initial symbol of the ethnic group,it eventually becomes a human resource of the Shuangjiang government as well as a unique signature of the Shuangjiang County. |
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