摘要
针对目前国内博物馆、非遗专题馆展陈中将“非遗”混同或从属于物质文化遗产、“活态性”理解为“动态性”,或仅将“非遗”作为一种项目、一种技术、一种艺术展演的工具,只追求外在表现形式,忽略其真实的文化生境与内涵等问题。本文以陕北民歌博物馆为例,通过对该馆所秉承的文化整体观,活态化、立体化、现场化的展陈方式,以及对文化生境的还原与再现等内容的分析与阐释,以期对当下博物馆里的非遗展陈提供一些借鉴和启示性意义。
At present,there are various issues in the exhibition of domestic museums and intangible cultural heritage theme museums,such as confusing intangible cultural heritage with material cultural heritage,understanding“liveliness”as“dynamism”,or regarding“intangible cultural heritage”as a project,a technology,or a tool for artistic performance,only pursuing external forms of expression,and ignoring its true cultural habitat and connotation.This article,taking Northern Shaanxi Folk Song Museum as an example,analyzes and explains its cultural holistic view,dynamic,three-dimensional and on-site exhibition methods,as well as the restoration and reproduction of cultural habitats,in order to provide some references and inspirations for the current exhibition of intangible cultural heritage in museums.
作者
杨春祥
YANG Chun-xiang(School of Music and Dance,Quanzhou Normal University,Quanzhou 362000,China)
出处
《榆林学院学报》
2024年第1期17-22,共6页
Journal of Yulin University
关键词
陕北民歌
非遗博物馆
文化整体性
活态化
文化生境
Northern Shaanxi folk song
intangible cultural heritage theme museum
cultural integrity
liveliness
cultural habitat
