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我们以往的经验中,板凳龙表演仅是喜庆佳节的民间活动,仅是一种需要硬性保护和传承的非物质文化遗产,和当代艺术无法本质性地联系起来。这实际上存在着民间文化和当代艺术之间的阻隔,这种阻隔不是民间文化和当代艺术之间本身固有的分界线,大多源于艺术家的观念局限。为此,笔者从重庆北碚北泉板凳龙和浙江乐清芙蓉板凳龙表演的文化语境中找到了去除这一分界线的可能性。这种可能性不仅是板凳龙文化本身的保护与传承,甚至也是中国民间文化向当代艺术延伸与拓展的一种有效路径。
In our past experience, the bench dragon show is only a festive folk-custom activity. It is only an intangible cultural heritage that needs hard protection and inheritance, and can not be intrinsically linked with contemporary art. In fact, there is a barrier between folk culture and contemporary art. Such a barrier is not the intrinsic dividing line between folk culture and contemporary art, and most of it stems from the artist’s concept limitations. For this reason, I found out the possibility of removing this dividing line from the cultural context of Beichuan bench beolong in Beibei of Chongqing and the performance of Beilun bench in Leqing of Zhejiang. This possibility is not only the protection and inheritance of the bench dragon culture itself, but also an effective way to extend and expand the Chinese folk culture to contemporary art.