刘晓真《走向剧场的乡土身影——从一个秧歌看当代中国民间舞蹈》①(以下简称《走向》)对以鼓子秧歌为代表的当代中国民间舞蹈风貌作了细致的历史探究和发展论述。它并未耽于线性的考察与民间舞蹈“知识性”描摹与梳理,而是从一个较为宏观的角度,对当代中国民间舞蹈在政治与文化格局变化中的生存境遇选择,在经济冲击与信仰衰落之中的身体变化,在面对非遗时形态“新”与“旧”的价值迷茫做了深入的思考和理性的阐述。把1949年作为民间舞蹈研究的时间起点, Liu Xiaoshen “Local Figure Toward the Theater - A Look at a Contemporary Chinese Folk Dance from a Yangko” (hereinafter referred to as “Going”) made a detailed historical exploration and discussion on the contemporary Chinese folk dance style represented by the yangko drum. It does not delay linear description and folk dance “knowledge ” to describe and sort out, but from a more macro perspective, the contemporary Chinese folk dance in political and cultural changes in the choice of the living situation in the economic impact And the changes of the body in the decline of faith, and made in-depth reflection and rational exposition in the face of the confusion of value of non-legacy forms such as “new” and “old”. 1949 as a folk dance research time starting point,