苏格兰凯利舞的参与动机与社...、访谈和问卷的研究（英文）_赵阳.pdf

当代舞蹈艺术研究2022年第7卷第2期98人类学研究Anthropological StudiesZhao Yang【Abstract】The focus of this research is the motivation for participating in Scottish Cilidh dancing in Edinburgh.The diversity of participants,who come from a broad spectrum of different backgrounds,is related to Cilidh as a type of social dance where the enthusiasm of the dancers and the strategies of the dance teachers draw new participants.The research used qualitative methods,including four individual interviews,two focus groups,ten observations,and fifteen online questionnaires and fifty-three printed questionnaires.Data were analysed based on interview transcription,fieldnotes,and questionnaires.The findings from this research demonstrate that reasons for participation include social networks,fun,fitness,Scottish culture,fexible dance forms,live Scottish music,and the perception that the dancing is easy to do.【Keywords】Cilidh dancing,participation,motivation,social contact【中图分类号】J732.9【文献标识码】A【文章编号】20963084(2022)02009813【DOI】10.20070/ki.cdr.2022.02.012【标题】苏格兰凯利舞的参与动机与社交因素基于观察、访谈和问卷的研究【作者】赵阳【内容摘要】本文重点探讨了人们在爱丁堡参与苏格兰凯利舞（Cilidh dancing）的原因。参与者的背景广泛，这与凯利舞是一种借助舞者的热情和舞蹈教师的策略来吸引新的参与者的社会型舞蹈有关。本研究采用定性研究方法，包括10名受访者（4次个人访谈和2个每组3名参与者的焦点小组）、10次观察、15份在线问卷和53份印刷问卷。数据分析基于访谈记录、田野笔记和问卷调查。研究结果表明：人们参与凯利舞的动机包括了以下信息：社交网络、娱乐、锻炼身体、苏格兰文化、凯利舞灵活的舞蹈形式、现场的苏格兰音乐，以及这种舞蹈的“易操作性”。【关键词】凯利舞；参与；动机；社交Participation,Motivation and Social Aspects of Scottish Cilidh DancingA Study Based on Observations,Interviews and Questionnaires【About the Author】Zhao Yang，is a PhD candiadate at the University of Edinburgh，UK.Main Research Fields：Dance Ethnography，Dance Education and Scottish Dancing.Choreomundus International Master in Dance Knowledge，Practice，and Heritage.Two-year joint masters（24 months）：Norges teknisk-naturvitenskapelige universitet，Trondheim，Norway；Universit Clermont Auvergne，Clermont-Ferrand,France；Szegedi Tudomanyegyetem，Szeged，Hungary；and University of Roehampton，London，United Kingdom.IntroductionThe question of how to encourage public participation in dance in a community setting is an issue for some social dances and folk dances,such as Chinese folk dances,which are in decline and are no longer popular among young people.In 2018,after carrying out research on Scottish country dance in Lyon and Edinburgh,I graduated with a Masters in Dance Knowledge,Practice and Heritage(Choreomundus)in four countries in Europe.My dance background in China was in Chinese dance and thus,my position as a Chinese dancer and a Cilidh dancer affects my approach to and interpretation of my research on Scottish country dance.Contemporary Dance ResearchVolume 7,Issue 2(2022)99Participation,Motivation and Social Aspects of Scottish Cilidh Dancing苏格兰凯利舞的参与动机与社交因素In China,folk dances are learnt by watching or attending dances and/or related events,especially in minority ethnic areas where people speak their own language instead of the national official language,Mandarin.However,the folk dances I studied in studios and at university are different from social folk dancing in daily life.Chinese national folk dance is now considered as a performance art,which is managed and choreographed for highly skilled professionals,rather than being something that ordinary people enjoy at social functions.National folk dance adapted continually to the changes in the times,showing contemporary characteristics and influences and expressing current sentiments and ideologies.Some national folk dance traditions have been preserved and developed,while others have evolved to reflect the changing times.Thus,national folk dance has been developed and the dances have been presented differently in different periods.A researcher who gives more details about this is Wilcox,an American scholar who can speak professional Chinese fuently.Wilcox notes that Chinese classical dance and Chinese folk dance are two subcategories of Chinese dance that researchers and practitioners of Chinese dance have generally recognised since the 1950s and Chinese folk dances have combined Han Chinese and minority forms(e.g.Uyghur,Mongolian,Korean,Tibetan and Dai).While in Beijing,I was involved in a dance group for Chinese Tibetan dance,where I observed a contrast between the dance practice of ordinary Tibetans who were university students in Beijing,who commonly participated in traditional Tibetan dance,and professional dancers(regardless of ethnicity)who practised folk dance at most dance academies and at many theatrical events in Beijing,where dances were staged and often choreographed by professionals.My interest in this contrast underpins my research.It is my view that dance education should not be limited to a formal school-based curriculum,but should be broader and more holistic,where students would dance and be taught as human beings,rather than aiming solely at producing a performance piece,especially in folk dance.It is my belief that preserving traditional cultural heritages and engaging larger communities with dance will increase cross-cultur