| 摘要: |
| 依附于游神仪式的民俗体育活动英歌舞脱胎于神明鬼怪与英雄好汉的母体形态。从多元祭祀文化圈的生态环境考察英歌舞仪式展演过程中隐喻的意义映照，折射出村落秩序的神性嵌入。认为，英歌舞身体展演的性别界限与神明禁锢是世俗与神性的对话，英歌舞仪式因现代性受到了一定程度的羁绊，但整体上神明的秩序象征仍然支配着仪式的发生形态。从历史时序推演来看，英歌舞的展演诉求流变于武力抗争与祭孔礼制、大兵训练和游神依附、世俗化三个阶段。在前两个阶段，英歌舞神性依附现象明显，神性支配着英歌舞的外在形态展演。在世俗化阶段，英歌舞在农村城市化发展过程中被工具性生产，须依托想象的空间再造仪式的神性秩序与族群认同。 |
| 关键词: 英歌舞 共同事件 民俗体育 神性秩序：祭祀圈 仪式 返祖 |
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| Ceremonial Atavism: Order Reconstruction of the “Common Event” of Yingge Dance ——A Narrative of Folklore Sport Order in a Chaoshan Village |
| LI Wen |
| (Shantou Chaonan Vocational and Technical Education Center) |
| Abstract: |
| Yingge dance, a folk dance activity attached to the rituals of gods is born out of the matrix form of gods, ghosts and heroes. From the ecological environment of the multi-ethnic cultural circle, this article investigates the meaning reflection of metaphor in the ceremonial performance process of Yingge dance, which reflects the divine embeddedness of village order. It is believed that the gender boundary and the divine confinement of the physical performance of Yingge Dance are a dialogue between the secular and the divine. Yingge dance ceremony has been embarrassed by a certain degree of modernity, but the overall divine symbol of order still dominates the ceremonial form. From the chronological perspective, the performance of Yingge Dance’s performances has changed into three stages: the military struggle and the ceremonial system for Confucius, the training of soldiers, and the attachment and secularization of gods. In the first two stages, divine attachment of Yingge dance is obvious, and the divinity dominates the external form of Yingge dance. In the stage of secularization, Yingge dance is instrumentally produced in the process of rural urbanization, and it is necessary to recreate the divine order and ethnic identity of the ceremony based on the imaginary space. |
| Key words: Yingge dance common event folk sports divine order: sacrifice circle ceremony atavism |
