Comment

Comment by 陳老頭 on November 17, 2021 at 1:51pm

（Con't）This is because intangible cultural attributes such  as  legends  and religious rituals can add value and enhance the  authenticity and genuineness of particular heritage sites and buildings (Amirjamshidi et al., 2012). In the context of Malaysia, Dollah and Kob (2004) argue that myths of origin play a significant role in the rejuvenation and revitalisation of culture and heritage. The legend narrating that Baba and Nyonya descended from the marriage between a princess of China, Hang Li Po (who came to Melaka with 500 maids) and Sultan Mansur Shah during the 15th century has strengthened belief in their existence and identity in the historic state of Melaka (Dollah and Kob, 2004). It is also reflected in this study that the presence of Hang Li Po’s well near the Chinese hill in Melaka has made the Baba and Nyonya myth of origin believable. In a place which is well-known for its mythology, Langkawi Island, myths and legends not only form components of local intangible heritage; they have also been transformed into destination attributes  which can lure tourists (Aziz and Ong, 2011 ).

It is proposed that the inclusion  of  myths  and legends can increase the attractiveness of tourist sites and destinations. For example, Hassan and Isa (2014) argue that the inclusion of myths and legends in the promotion of an archeological site in Malaysia, Lengg ong Valley, can enhance the desirability of this place to tourists. Similarly in the promotion of Algrave as a beach destination, it is claimed that local myths and legends can enhance the authenticty and add more value to this destination (Aranda et al., 2015).

To summarise, myths and legends have played an important role in the development cultural  heritage tourism and it is apparent that places associated with fascinating mythological stories can be commercialised for tourism. Therefore, the analysis in this study helps to fill the gap in knowledge about tourism and mythology with an assessment of the representation of native traditional tales in promotional material.

 

MATERIALS AND METHODS

The analysis of native myths and legends  contained in promotional tourist material was carried out using content analysis. Content analysis is a method which has been used by many researchers in investigating the contents of media and printed materials. According to Prasad (2008), “content denotes what is contained and content analysis is the analysis of what is contained in a message” In his recent research, Krippendorff (2010) defined content analysis as “a research technique for making replicable and valid inferences from texts or other meaningful matter to the context of their use” Furthermore, this method can be used to examine both quantitative and qualitative components (Graneheim and Lundman, 2004). This technique has been commonly employed to examine tourist destination images and representations. As this study utilises both  quantitative and qualitative approaches in investigating the tourism portrayal of myths, it is appropriate to adopt content analysis.

The data selected for analysis were promotional brochures published by Malaysian national bodies from 1962-2015. In the assessment of the portrayal of myths only brochures which were published in the English language were selected for examination. As this research concentrates on the representation of indigenous myths, the assessment only focuses on two well-known native tales associated with Mount Kinabalu and Monsopiad included in tourism brochures.

Comment by 陳老頭 on November 15, 2021 at 8:40pm

（Con't）RESULTS AND DISCUSSION—Mount Kinabalu’s Myth. Mount Kinabalu’s myth is incorporated in brochures published from 1969-2015. As part of the description of Mount Kinabalu, 21 brochures mention that the myth of this mountain is closely linked to the Kadazan Dusun people. The myth first appears in the city brochure published in 1969 and subsequently in three other brochures published in the 1970s. However, there is no mention of it in any of the brochures published in the 1980s.

It is generally as part of the description of the natural attractions in the state of Sabah. The Kadazan Dusun people believe that Mount Kinabalu is a sacred site as it is the resting place for their souls when they die.

For example, two of the earliest brochures featuring the Mount Kinabalu myth claim that "to the Kadazan people, Mt. Kinabalu is known as Akinabalu meaning the revered place of the dead, for Mt. Kinabalu is considered by them to be the final resting place of their spirits when they die".

The narrative included in these brochures is actually only part of the Kadazan Dusun mythology linked to Mount Kinabalu. Liang (1985) says that the souls of dead people will climb to the summit of this mountain which is their last destination. However, again according to Liang (1985), other components of the mythology which include details of the sites their dead spirits will pass through and stop at before reaching the final destination and what is going to happen afterwards are not included in the brochures.

There is a significant increase in the inclusion of this myth in the brochures published from 2000-2007. The assessment of this myth over the years identified a slight alteration in the description of this tale as represented in the brochures published from 1990-2007.

It is added in these brochures that "no wonder long ago" or "the older folk believe that". This modification implies a change in values of the Kadazan Dusun people over the years.

Although, only a few words have been added, it suggests an important message to readers that younger generations of the Kadazan Dusun people may not maintain their traditional beliefs. This finding is supported by who states that in the past, Dusun people would not climb this sacred mountain because of their traditional belief; if they really did have to go up the mountain, offerings and rituals had to be made and taboos complied with in order to avoid misfortune. As visitors are allowed to climb Mount Kinabalu today, encouraged by promotions in the brochures, it shows that traditional beliefs are not strictly adhered to.

In the context of tourism representation to be able to convey this message to tourists is regarded as crucial, particularly for native peoples who are commonly portrayed as being backward. Four other brochures use a similar statement in describing the myth associated with the mountain: "no wonder that long ago, the Kadazan Dusun named it Aki Nabalu or home of the spirits of the dead". However, it is depicted in the brochures published relatively recent that.

The mountain itself has long been regarded as sacred to the local Kadazan Dusun people, who consider its brooding peaks the resting place of the spirits of their departed ancestors. Till today, ceremonies are still being performed to appease the spirits of the ancestors, hence one of Sabah's names-Land of the Sacred Mountain.

This quote demonstrates that contemporary Kadazan Dusun people still strongly believed in the myth and related rituals. One of the reasons contributing to the increasing attention in myths and legends recently can be attributed to the growing attention given to preserving the past (Reiss, 2006) even among indigenous ethnic groups in Malaysia.

Comment by 陳老頭 on November 15, 2021 at 2:03pm

(Con't) In the context of tourism, the analysis of the representation of myths shows not only that Mount Kinabalu has a significant meaning to local people, spiritually and culturally; it has also been one ofthe main attractions promoted to visitors from the 1960s to the present day. Although, Mount Kinabalu and its myth has been incorporated into various categories of brochure, they were mainly featured in city brochures whichrepresent the earliest material used in the promotion of tourism in Malaysia. Over the years, the myth of Mount Kinabalu has come to be included in thematic brochures promoting the main mountains and hills in Malaysia and state brochures advertising Sabah.

Legend of Monsopiad: Another indigenous tale included in the brochures is story of the legendary Kadazan Dusun warrior, Monsopiad. This myth is mostly told as part of the promotion of the monsopiad cultural village in Sabah.

It reflects one of the traditional practices of the Kadazan Dusun people, headhunting. Overall, this legend is represented in 15 brochures. The tale first appeared in the brochure published in 2007 which claimed that "some 300 year ago in a village in Penampang, Sabah, there lived a great kadazan warrior named monsopiad. So, great was his power that no enemy could defeat him. During his lifetime in order to protect his village, Monsopiad took the heads of 42 enemies". A longer version of this tale is included in another brochure which states that.

Long ago, Kizabon, the daughter Of the kuai village's headman was blessed with a baby boy named Monsopiad. During her pregnancy, her husband, Dunggou, realized a sacred Bugong bird had nested and laid aggs on the roof of their house. Such a good omen was a sign that their child would possess extraordinary abilities. When their child was born, the Bugang eggs hatched.

The inclusion of the myth associated with Monsopiad and the headhunting tradition reveals several key aspects relating to the Kadazan Dusun people. First, this myth highlights that Monsopiad was a very bravwarrior who possessed supernatural abilities. His courage as awarrior was also evidentthrough his ability to kill and cut off many enemy heads. In fact, traditionally the Kadazan Dusun strongly encouraged their young men to participate in this practice as it symbolises adulthood and bravery(Liang, 1985). Further more,followingthe narrative of Monsopiad myth, some brochures stated that his direct descendants constructed the cultural village dedicated to him in order to commemorate him and share their stories with others. This shows that modem Kadazan Dusun people are proud of their ancestor's bravery and they are even willing to be the guardians of this tourist attraction.

Monsopiad's bravery was intimately linked to the traditional practice of headhunting. In the context of tourism representation, myths depicting such an unusual traditional practice can help to project images of Otherness which is regarded as a reputable strategy to attract tourists in destination marketing. This view is also supported by Gingging (2007) who argues that headhunting can further accentuate Kadazan Dusun people as other as this traditional practice is regarded as peculiar and brutal. However, the positive perspective of headhunting is that it is unique and can highlight the distinct identity of this particular ethnic group. The importance of this tradition to tourism in Sabah is reflected through images of human skulls commonly exploited as part of the cultural images of Kadazan Dusun people and their longhouses. The myth depicting Monsopiad's past headhunting practice either directly or indirectly demonstrates a close connection to nature.

Comment by 陳老頭 on November 10, 2021 at 10:08pm

(Con't) The myths are also close to the supernatural world as is evident through tales involving magic and supernatural occurrences. Besides, the conceptual aspect of bravery associated with past warriors such as monsopiad includes not only physical strength but also a spiritual component. The source of their strength and powers is directly and revealed that the worldview of Kadazan Dusuns involved a belief in spirits and the afterlife.

Furthermore, myths and legends have featured in several categories of brochure published by the Malaysian national tourism organisations over a long period. These include brochures produced to promote national, state, specific destination and thematic attractions. Although, only a small number of the mythological stories are presented here, this still shows that myths and legends play an important part of tourist attractions in Malaysia. Not only have they featured in the different categories of brochure mentioned above but there is also a specific brochure for Malaysian myths and legends called "Treasured Malaysian Legends".

The findings of this research support the argument of previous scholars, that myths and legends are mostly employed in the promotion of cultural and heritage attractions and that their incorporation can accentuate the image of these attractions and sites. However, the findings
of this study demonstrate that in addition to cultural heritage sites, myths and legends have also been incorporated into the promotion of natural sites and natural resources.

Overall, the findings of this study extend our understanding in the area of tourism and mythology. It has been shown that the types of myth selected for inclusion in Malaysian tourism brochures and the parts of the myths featured, complement the tourism attractions.

Based on the myths assessed in this study, it is apparent that the parts of the myths which have been commoditised in the brochures are the ones that illustrate the uniqueness of particular ethnic groups and sites.


CONCLUSION

In conclusion, this research has analysed the portrayal of native myths in promotional tourist brochures published by Malaysian tourism bodies from 1969-2015, through the assessment of two traditional tales: Mount Kinabalu and Monsopiad, using a content analysis technique. Overall, findings show that Mount Kinabalu's myth has been incorporated into the brochures published from 1969-2015 while the legend of Monsopiadhas been included in the brochures published from 2007-2015. The findings demonstrate that there are specific attributes associated with the Kadazan Dusun people presented as part of their myths in the brochures. The analysis of the myth of Mount Kinabalu demonstrates that the values of the Kadazan Dusun people have shifted over the years.

The representation of indigenous myths featured in tourism brochures reflects that the Kadazan Dusuns are intimately linked to their ancestors, nature and the supernatural world. Finally, it is evident that places associated with fascinating mythological stories including native myths and legends can be commoditised to attract tourists.

(Representation of Native Myths and Legends and Cultural Values in the Malaysian Tourism Promotional Brochures, by Norhanim Abdul Razak and Abd Rahim Romle, School of Tourism, Hospitality and Environmental Management, Universiti Utara Malaysia, Changlun, Sintok, Kedah, Malaysia, in Research Journal of Applied Sciences 11 (11): 13°9-1383, 2016 ISSN: 1815-932X / D Medwell Journals. 201-6)

Comment by 陳老頭 on November 8, 2021 at 3:46pm

旅遊是一種生活方式，更是一種學習方式和成長方式

“詩和遠方”的旅遊本質解讀

文化和旅遊融合，不少媒體將其稱作“詩和遠方”走到了一起。“詩”代表文化體驗的深度，是一種深層次的精神審美追求；“遠方”代表時空的廣度，是旅遊活動所進行的時間過程和空間位移。“詩和遠方”走到一起，生動地反映了旅遊者在旅遊過程的時空轉換中，實現對文化和精神世界的深度觀照。“詩和遠方”，本質上都是一種美化的生活方式和對美好生活的追求，是一種高級的精神需求，是“以人民為中心”發展理念的集中體現。在文旅融合的背景下，旅遊已經成為一種生活方式、學習方式、成長方式，因而更加有必要從旅遊本體論的角度，對“詩和遠方”的旅遊本質進行深度探討。

“詩”來自心靈自由的最深處。“詩”亦即“詩意”，“詩意”可以理解為人的身心自由體驗。旅遊與詩都追求“美”，因為它們都是人生的美學散步，使人生更富有詩意。旅遊是審美的詩意對話，是人對“詩意棲居”生活方式的追求與向往。旅遊的本質是人對生命自由和諧的追求或異地身心自由的體驗，是一種“詩意地棲居在大地上”的生活狀態。

旅遊與詩是相通的，在許多方面有著共同之處。旅遊與詩都是休閑的產物，注重精神追求；旅遊與詩都追求“真”，使我們觸摸到內心不敢作假的人性，因為它們都追求身心自由的體驗；旅遊與詩都追求“善”， 因為它們都是凈化心靈的藥方，使人對大自然和生活寄予無限的深情，並用一種藝術的眼光來看待人生；旅遊與詩都追求“美”，因為它們都是人生的美學散步，使人生更富有詩意；旅遊與詩都追求“意境”，因為它們都追求主客交融、物我同一，精神與自然融為一體，由“在場”洞見“不在場”；旅遊與詩既是人生的一種奢侈品又是人生的一種必需品，在物質生活豐裕和生活節奏加快的今天，我們都需要休閑與詩意。既然旅遊與詩是相通的，因此我們在旅遊中就需要用一顆“詩心”去觀照大自然與世界，與旅遊審美對象進行詩意的對話。

“遠方”實際是指旅遊具有“異地性”特征。旅遊活動一般是旅遊者離開常住地到異地發生的一種旅遊體驗行為，旅遊活動的發生要以行為主體的空間移動為前提。旅遊源於人們“遠方崇拜”的天性和異地向往的心理情結，旅遊是人類轉換生活空間的理想途徑，是使人詩意棲居在大地的另類生活方式。“異地”主要是指與日常生活和工作場景相區別的特殊空間場所。旅遊異地性內涵豐富，既包括地理上的區別，也涵蓋文化與心理上的差異。正是異地的陌生與神秘，才使旅遊具有誘人的魅力。常言道：“熟悉的地方沒風景。”說的就是這個道理。旅遊是“見異思遷”的社會實踐活動，以新奇或新異為核心的刺激追求是旅遊的主要動機之一。

異地是相對於日常生活與工作環境而言的，不僅是地理空間的概念，而且是心理的、社會的、感性的概念，不可能精確地、理性（或量化）地定義。筆者曾經提出用“樊籠理論”闡釋旅遊的本質。“樊籠”比喻受束縛而不自由的境地。將小鳥關在鳥籠裏，小鳥囿於鳥籠的束縛，總是向往著飛向可以自由翺翔的藍天，一旦打開鳥籠，鳥兒就要飛出去。這正是陶淵明所說的“久在樊籠裏，復得返自然”。人也是一樣，慣常生活與日常工作環境像樊籠一樣對人具有束縛作用。

從日常時空特征來講，日常生活是一個相對凝固、刻板、封閉的世界，而“遠方”的旅遊世界是活潑、變化、新奇的。這種窒息人類生命自由的日常生活世界，韋伯稱之為“理性鐵籠”。正是慣常生活與日常工作單調乏味、狹隘封閉的時空局限，束縛了人類崇尚身心自由的本性，由此埋下了旅遊的種子並孕育萌發了旅遊動機。特別是現代社會的生活程式化、精神空虛化、人際關系異化等，對大眾旅遊的興起產生了巨大的助推力，促使人們衝出“理性鐵籠”，到日常生活與工作環境以外的地方尋求身心自由的體驗。

“遠方”或異地是旅遊的重要屬性特征，它代表了人們對於空間的無限性與時間的永恒性的一種深層次內在追求。當然，我們對“遠方”不限於“異地性”的科學解讀，“遠方”也是一種詩意的文化想象，可以從旅遊哲學的視野對“遠方”進行詩意的闡釋。那就是，真正的旅遊應該目視“遠方”，仰望星空，努力創造一個“理想的旅遊世界”，讓旅遊實現促進人的自由全面發展與社會文明進步的強大功能與遠大目標。

“詩”和“遠方”之於旅遊，二者缺一不可。僅有“遠方”而無“詩”（意）可能只是人的空間位移的事務性旅行，僅有“詩”（意）而無“遠方”可能只是人的日常性的就地休閑。“詩與遠方”，其根本在“詩”；心中有“詩”，就有“遠方”。心中沒有“詩”的時候，只在茍且。心中想起“詩”的時候，自然就成就“遠方”之夢。總之，只有“詩” 和“遠方”有機結合，才是真正體現旅遊本質——“異地身心自由體驗”的旅遊。

（2021-07-21 來源：中國旅遊報作者：曹詩圖 鐘晟註：本文系國家社科基金藝術學重大項目“促進文化和旅遊融合政策創新研究”［20ZD01］階段性成果。）（作者單位：武漢科技大學恒大管理學院，武漢大學國家文化發展研究院）

Comment by 陳老頭 on November 3, 2021 at 9:27pm

許曉雲·舞蹈：旅遊產業真實性表述研究

舞蹈是一種美的形態，是人類追求至高境界（真善美）的重要途徑，也是人類滿足對美需求的主要來源。它多維的厚度承載了歷史，印記了文化。它可以像幻燈片式地再現你可以想像到的許多畫面，也可以與你近距離甚至是零距離地感受難忘的時刻。生動的舞蹈是與宇宙對話的“天線”，是情系社會關係的“紐帶”。它是一門綜合性藝術，綜合了音樂、詩歌、戲劇、繪畫、雜技等，在交流與整合中，逐漸成為獨立的一門藝術。舞蹈既是時間的概念，也是空間的概念，是集視覺、聽覺和動覺為一體的藝術門類。

旅遊產業隨著時代的發展，越來越成為當今經濟、文化領域的寵兒。我們常言：“物質是基礎，文化是人類的精神食糧。”旅遊產業的興起與興盛，既實現了經濟的增長，也滿足了人們的精神渴求。隨著物質基礎的夯實，全球一體化的交融，人們對旅遊的需求，特別是精神文化的需求只會有增無減。黨的十九大報告指出：“中國特色社會主義進入新時代，國内社會主要矛盾已經轉化為人民日益增長的美好生活需要，和不平衡不充分的發展之間的矛盾。”因此，在新時代背景下，旅遊產業的發展前景不可估量。它應該像藝術一般，充滿著文化氣息和對美的追求，對重新認識人的本來價值有一種積極的啟發作用。

在創新意識的推進下，通過旅遊產業真實性的發展和舞蹈獨特的言語表達，結合數據時代背景下多元的技術，進而促進旅遊產業對人民大眾日益增長的精神需求，在保證經濟效益的同時，對文化的自覺與自信、文化軟實力的提升及文化復興起到積極作用。

一、何為舞蹈的旅遊產業

（一）何為舞蹈

舞蹈概念有廣義與狹義之分。狹義的舞蹈指的是舞臺藝術舞蹈；廣義的“舞蹈”不僅包括舞臺藝術舞蹈，也包括存在於民眾之中的旨在自娛、健身、祭祀及娛人的一切舞蹈文化。廣義舞蹈是在特定的自然環境和文化環境中產生，是一種主要以身體為表達媒介的行為藝術。本文的舞蹈概念不僅指舞蹈本體形態要素（動作、音樂、服裝、道具、舞美燈光等），也涵蓋了舞蹈的文化內涵。

舞蹈主要具有形象性、承載性和娛樂性的特征。首先，形象性是舞蹈最重要的表達方式。通過開發身體與其他媒介的可能性，進而生動地塑造出各種形象，包括具有生命的形象，比如人物形象、動物形象，還有無生命的形象，比如山石、廢墟等。形象性使得旅遊產業的發展更加多元化，也增添了具象的審美表達。把當地抽象的文化，通過舞蹈的方式栩栩如生地表達出來，既滿足了遊客對真實再現的體驗，也通過形象具體的方式，使遊客享受到了文化的熏陶與美的享受。承載性，更多指舞蹈所表達出的文化現象和文化內涵。“一方水土養一方人”，一方水土也孕育著一方舞蹈。蒙古族舞蹈，作為符號，是蒙古族文化的代表，作為文化，是蒙古族民族屬性的體現。比如“勒馬手”“馬步”都是屬於遊牧民族的象征符號，蒙古族舞蹈所體現出的豪放、大氣的動作風格與舞蹈氣質，也都是蒙古族歷史文化的體現和民族性格的表達。娛樂性，使得舞蹈成為雅俗共賞文化中的重要組成部分，尤其傳統民間舞蹈，成為中華民族非物質文化遺產的代表，是人民大眾喜聞樂見的藝術形式，具有堅實的群眾基礎與精神休閑娛樂功能，是遊客旅遊的主要動機。（下續）(許曉雲《舞蹈：旅遊產業真實性表述研究》2021-04-06 見《品詩文平臺》本文作者：中央民族大學舞蹈學院博士研究生在讀。山西大學音樂學院舞蹈系講師，主要研究民族舞蹈學。) 

Comment by 陳老頭 on November 2, 2021 at 10:44am

許曉雲《舞蹈·旅遊產業真實性表述研究》（續）（二）何為旅遊產業旅遊產業，在本文更多指的是文化旅遊產業。從發展歷程看，文化旅遊是旅遊發展到一定階段的產物，或者說是旅遊的高級形式，文化旅遊的目的在於追求精神上的滿足，促進旅遊者精神素養的提升。從文化旅遊者的目的地選擇來看，更偏向於文化底蘊深厚的旅遊目的地或者旅遊產品，但是也不能把山水型的旅遊者排除於文化旅遊者的範圍之外。只要能給遊客帶來不同的體驗及文化的提升都可以納入文化旅遊的範疇。

旅遊產業的主要特征可以歸納為：文化性、綜合性、體驗性、創意性以及民族性和國際性。首先，旅遊產業的文化性蘊涵著大量的知識信息，它可以為旅遊者提供大量豐富的自然風光、科普知識、歷史知識、社會知識，使遊客接受藝術熏陶，提高文化修養，或者說得到些許感悟與升華。比如，以歷史文化景點作為文化藝術的演出場所，或是在景點附近人工搭建演出場所等。其次，綜合性是指文化旅遊產業是集吃、住、行、遊、購、娛、健、閑、體九位一體的產業，並在每一個旅遊環節中賦予了更為豐富的文化內容；從產業關聯的角度看，文化旅遊產業是集旅遊產業、文化產業、休閑娛樂產業、藝術產業、體育產業等一體化的龐大產業，產業邊界越來越模糊。從某種意義上講，文化旅遊產業已經發展成了一個萬能的無所不包的產業，具有超強的綜合性。這種綜合性，使得舞蹈文化可以廣泛地滲透在所有旅遊產業之中，作為符號代表，娛樂形式等存在於旅遊場所與文化之中（如迪士尼的街道歌舞表演等）。第三，現代文化旅遊倡導的是文化體驗與文化參與行為。由於時代的變遷與發展，當代人對旅遊的要求越來越高，單純的靜態觀賞歷史古跡已經無法滿足當代人對旅遊的需求，體驗和參與成為旅遊熱點，人們渴望在“體驗和參與的過程中感受文化的價值和魅力”。因此，借助舞蹈動覺的藝術特征，通過身體運動，可以讓遊客親身感受到旅遊場景的客觀存在與文化氛圍，帶給遊客身心合一的藝術享受（如遊客與演員一起跳篝火晚會的鍋莊舞）。第四，創意性。今天的文化旅遊不僅僅與歷史古跡相聯系，而且更多是通過文化創意來實現。好的創意本身就可能成為文化旅遊的吸引點，這些創意點需要特定形象來實現，把意識形態層面的想像變成人們通過視覺、聽覺就可以看到和感受到的實體。第五，民族性與國際性。旅遊景點的文化，一方面具有民族性，中國多姿多彩的民族舞蹈就是其重要的組成部分。另一方面旅遊產業越來越具有國際性，通過把民族舞蹈與高科技手段相結合，可以鑄造既是民族的又是世界的，既傳統又現代的舞蹈作品。

（三）何為舞蹈的旅遊產業

旅遊產業是一個內容豐富的概念，其中包括藝術與娛樂的部分，可以將藝術看作是文化概念，將娛樂看作心理概念。舞蹈的旅遊產業主要是指需要有舞蹈部分的旅遊產業或是主要以身體為表達方式的旅遊產業，包含在文化產業中，強調舞蹈文化的新理念。比如旅遊演藝產業，一些大型舞臺劇和情景劇等。通過舞蹈的形式與其他技術的配合，以傳統或突破傳統的方式，輕鬆愉快地表達內容，讓遊客有一種美的享受，有身臨其境的體驗感或高度的參與性。舞蹈的旅遊產業在弘揚地域文化的同時，讓遊客獲得審美滿足，知識與思想的啟迪，得到身心的愉悅與放鬆。

Comment by 陳老頭 on October 29, 2021 at 1:09pm

許曉雲《舞蹈·旅遊產業真實性表述研究》（續）

二舞蹈的旅遊產業對旅遊真實性的表述——“真實性”是由馬丁·海德格爾在《存在與時間》一書中首次提出的，此概念隨著20世紀中期“文化和遺產旅遊”的興起而進入旅遊研究領域，並最終成為衡量旅遊產品質量和遊客滿意度的決定性因素。由此可見，“真實性是遊客旅遊的主要動機，真實性的再現與感受是吸引遊客的主要內容。隨著旅遊真實性學說的研究成果日趨成熟，逐漸發展為四種類型，即客觀主義真實、建構主義真實、後現代主義真實和存在主義真實。”（陳享爾，蔡建明：《旅遊客體真實性與主體真實性集合式關係探討——以文化遺產故宮為例》, 《人文地理》,2012年第4期，第153頁）

（一）客觀主義真實

支持客觀主義真實觀點的學者是從客觀的、博物館學的角度來看待真實性的，他們強調被旅遊的客體與原物完全對等。“客觀主義真實性學說是從專家的客觀標準看待旅遊吸引物的真實性。馬康納提出‘舞臺化真實理論’，其核心觀點可以概括為：真實應是旅遊吸引物的固有屬性，可通過一定的標準和客觀程序進行鑒別，旅遊客體的真實性直接決定旅遊活動的體驗質量。伯斯汀進一步指出由於商業化及產品的同質化和標準化影響，大眾旅遊成為‘偽事件’。因此，‘真實的復制’這一概念被提出，從而使絕對的客體真實被相對的客體真實所取代。”（陳享爾，蔡建明：《旅遊客體真實性與主體真實性集合式關係探討——以文化遺產故宮為例》,《人文地理》,2012年第4期，第155頁）

回望歷史，在幾千年的中華文明史中，舞蹈作為一種具有審美意義和文化價值的生動形態，在華夏文明進程中起到了獨特而積極的作用。歷代的舞蹈藝術，無不應和著各個朝代獨特的歷史進程，演繹出各自不同的動人姿容，形成了富有史學含義的獨特形式與內容。“中國舞蹈史來源於經史子集、詩詞歌賦中，存在於壁畫、巖畫、青銅、畫像磚石等文物中。”（茅慧，廖燕飛：《篳路藍縷，信史丹心——“紀念中國舞蹈史研究60年學術研討會”綜述》, 《藝術評論》,2016年第12期，第92頁）

筆者認為，中國舞蹈史的研究工作可以為當前的藝術創作、旅遊文化產業提供強有力的支持。比如，宋朝非常重視宮廷食饗之樂，因此宋朝的宮廷宴樂表演發展規模宏大，其中隊舞以其華麗、精彩的表演以及感人的故事情節在宋代宮廷食饗歌舞中占有重要地位。“隊舞是在唐朝宮廷舞大曲的影響下發展成的一種集音樂、舞蹈、詩歌為一體的藝術表演形式，具有很高的藝術表現力及藝術價值。在宋代宮廷禮儀、典禮、娛樂等方面有著重要的作用。”（劉莊：《宋代宮廷食饗歌舞形式“隊舞”的發展》, 《蘭臺世界》,2015年第7期，第150頁）宋代隊舞是否可以在旅遊景點——宋城旅遊區有所重現，再現宋代文化盛貌，值得思考與借鑒。

（二）建構主義真實

建構主義真實則是學者研究真實性的焦點，從旅遊客體轉向旅遊主體的過渡階段，是在承認旅遊客體存在真實性的前提下，加入旅遊主體真實性感受的新元素。

遊客的參與性和情境的塑造，是建構真實性遊覽感受的重要因素。舞蹈本體中，動作和音樂具有時間屬性，他們可以通過動作與音樂的擇取與創作，營造出特定情景。道具與服飾具有符號性，可以通過特定服飾和道具的選擇，對具體情境提供象征意義。再加上舞美燈光的營造，通過空間感與色彩的運用，增強遊客身臨其境的真實感受。大型情境體驗劇《又見平遙》就是一個典型且成功的案例。整個演出通過“選妻”“鏢師死浴”“靈魂回家”等充滿儀式感的舞蹈片段，配合劇場內部聲光電等新技術的運用，在平遙古城的街景和趙家大院的舞臺場景設計中，觀眾可以置身於演員的表演空間，與演員同處一個真實物理時空，切身感受平遙古老文化和誠信精神，該表達形式不僅有震撼的視覺效果，也在語言講述的協助下，極大地沖擊著觀眾的情感，使觀眾感同身受，在情境體驗中，感悟人生，反思人生。

山西是黃河文化的發源地，在20世紀80年代震撼全國的“黃河三部曲”（《黃河兒女情》《黃河水長流》《黃河一方土》）就是借鑒黃河流域農耕民俗文化的具體舞蹈形式進行創作的舞蹈作品。其中，《黃河兒女情》中尤為體現出濃郁的生活氣息和民俗風情，並高度提煉出山西民間舞蹈的獨特形式。黃河歌舞系列不僅是山西區域文化的表達，也是黃河文化、中華文化精髓的體現，也許我們可以在黃河文化的基石上，構建以“黃河歌舞”為主題的山西旅遊文化品牌，形成具有“窗口效應”的品牌產品。（下續）

Comment by 陳老頭 on October 21, 2021 at 8:23pm

許曉雲《舞蹈·旅遊產業真實性表述研究》（續）

（三）後現代主義真實 

後現代主義真實則完全否認了旅遊客體的“真實性”概念，認為仿真比原物更加真實，已達到了一種完美的“超現實”。後現代主義真實的代表作是艾克的《超現實世界中的旅遊》，他認為真實性的參照已隨著技術的進步被打破，旅遊產品中現實與虛擬、真實與復制的界限也被打破，所以真實性已無從談起。迪士尼樂園的巨大吸引力和成功運營是此種觀點的最好例證。“麥格雷戈指出隨著遊客向後現代主義旅遊者的轉變，對旅遊客體真實性的要求將逐漸減弱。”（陳享爾，蔡建明：《旅遊客體真實性與主體真實性集合式關係探討——以文化遺產故宮為例》, 《人文地理》, 2012年第4期，第160頁）

人都是追求自由的，希望可以像鳥兒一樣自由飛翔，而無需像熱氣球等外在器械的協助。20世紀中期，“風洞”技術的出現，實現了這一夢想。它通過人工產生和控制氣流，對人進行可量度氣流的控制，進而可以讓人在不借助任何器械的前提下，飛向上空。這種技術原本是用以模擬飛行器或物體周圍氣體的流動設備，比如汽車、飛行器、導彈設計領域，現在也開始運用於旅遊產業。我們可以通過“風洞”技術，設計一些空中舞蹈的場景，像“嫦娥奔月”“化蝶”等具有故事情節的舞蹈作品，把這種仿真的空中漂移運用到傳說故事的真實再現中，把不可能的虛構現象變成真實的情節舞蹈。

（四）存在主義真實

存在主義真實是以旅遊主體作為研究載體的真實性學說，此類學者對真實性的理解是從遊客而不是從旅遊客體的角度出發，著眼於旅遊主體的本真體驗。存在主義者認為存在的真實強調的是旅遊主體（旅遊者）的真實存在狀態，即真實是遊客自身的一種感受，它與遊客真實的自我體驗相聯系。即使被旅遊的客體是完全虛假的，遊客可能還是在追求一種真實性，即一種潛在的、由旅遊活動激發的存在的真實性。“遊客在某種旅遊活動的激發下，毫不關心旅遊客體的真實，只是借助於旅遊活動或旅遊客體尋找真實的自我”。（陳享爾，蔡建明：《旅遊客體真實性與主體真實性集合式關係探討——以文化遺產故宮為例》, 《人文地理》,2012年第4期，第160頁）

“存在主義真實的實現，離不開虛擬現實技術。虛擬現實技術是多種技術的綜合，包括實時三維計算機圖形技術、廣角（寬視野）立體顯示技術、對觀察者頭、眼和手的跟蹤技術，以及觸覺和力覺反饋、立體聲、網絡傳輸、語音輸入輸出技術等。利用虛擬現實技術，結合網絡技術，可以將文化旅遊資源的展示提高到一個嶄新階段，利用虛擬技術更加全面、生動、逼真地展示文化旅遊資源，借助計算機網絡在大範圍內進行營銷推廣，將為各地文化旅遊的發展創造一個新的騰飛機會。”（高志堅：《虛擬現實技術在蘇州文化旅遊中的應用》, 《合作經濟與科技》,2017年24期，第78頁）

虛擬現實技術可以給遊客帶來多種感官刺激的虛擬環境，遊客以自然的方式與環境交互，產生置身於相應的真實環境中的虛幻感、沈浸感、身臨其境的感覺。虛擬現實系統有桌面式、增強式、沈浸式和網絡分佈式四種。目前，虛擬現實技術應用最廣泛的領域是娛樂業，我們可以將其引入旅遊業中的娛樂產業和藝術產業中，通過設計虛擬技術的舞蹈畫面，來增進舞蹈藝術表達的力度。比如，很多演繹旅遊產業，舞蹈演員一天最多可能演出十場，他們的體力和精力都會因為上一場的演出而大打折扣，我們可以借助虛擬現實技術，以一個真人在跳舞來表現多個“真人”在跳舞的畫面，並且通過畫面的切換，達到不僅生動而且真實的效果。這種技術，不僅可以運用到舞蹈演員身上，也可以運用到遊客通過肢體語言來感受到虛擬現實技術的虛幻與真實。（下續）(許曉雲《舞蹈：旅遊產業真實性表述研究》2021-04-06 見《品詩文平臺》本文作者：中央民族大學舞蹈學院博士研究生在讀。山西大學音樂學院舞蹈系講師，主要研究民族舞蹈學。) 

Comment by 陳老頭 on October 3, 2021 at 5:29pm

舞蹈旅遊産業

旅遊產業是人民實現精神需求的重要途徑，美的訴求是精神需求的重要方面，舞蹈文化是審美表達的生動形式。“隨著文化自覺與文化自信的個體與族群需要，大眾旅遊者對文化真實性的要求不會像諸如民族學家、人類學家這樣的學者那麽嚴格與苛刻，他們更多地是在旅遊中追求美感、解脫感、自豪感、新鮮感、認同感等許多難以名狀的東西。”（邵玲：《移植性民俗文化旅遊產品開發研究》,2006年，第16頁）

這就對真實性多了一份非理性的體驗與感受，進一步體現人文關懷與意義闡釋。舞蹈作為諸多藝術門類中具有動覺的藝術形式，留下了身體與文化的印記。舞蹈的形象性、承載性和娛樂性的主要特征與實現旅遊者的真實感受與體驗密不可分，在這種欣賞與感受中，旅遊引導旅遊者感受文化的真實性，而旅遊者對文化的真實性感受又反過來加深了對精神的滿足。

舞蹈的旅遊產業發展，可以促進當今旅遊業達到體驗異質化的目標，即：把靜止的變成動態的，把歷史的變成現在的，把虛擬的變成現實的，把不可能的變成可能的。(許曉雲《舞蹈：旅遊產業真實性表述研究》2021-04-06 見《品詩文平臺》本文作者：中央民族大學舞蹈學院博士研究生在讀。山西大學音樂學院舞蹈系講師，主要研究民族舞蹈學。) 

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