马华文化的发展与适应 ：以新山廿四节令鼓为个案研究 = The development and adaptation of Mahua culture : a case study of the ‘twenty-four festive drums’ in Johor Bahru of Malaysia

• Main Author: 邢玮娱 Heng, Wei Yi
• Other Authors: Lee Guan Kin
• Format: Final Year Project
• Language: Chinese
• Published: 2009
• Subjects: DRNTU::Social sciences::Sociology::Culture::Chinese
• Online Access: http://hdl.handle.net/10356/15016
• Institution: Nanyang Technological University

马来西亚华人处在马来族群掌握主导权的国家，其文化发展往往充满曲折，更曾在 70 年代至 80 年代期间一度面临衰亡。但凭着马来西亚华人的坚定信念，马华文化最终并没有沉寂，反而越加蓬勃。廿四节令鼓由马来西亚华人创立，其诞生与发展跟马华文化的发展背景息息相关，节令鼓从马来西亚传入其他国家的过程更是象征了马华文化成功向世界出发的重要时刻。本文旨在把廿四节令鼓的发展置于马华文化的历史框架，从廿四节令鼓的创立、发展与展望进一步讨论马华文化的整体发展。首先，第一及第二章对廿四节令鼓和马华文化的基本理念进行说明，并探讨节令鼓的产生与马华文化当时的发展历史有何联系，从中又可看出哪些文化意涵。第三章主要论述廿四节令鼓在马来西亚国内和国外的发展情形，各地对于节令鼓的诠释出现了什么变化。廿四节令鼓的组成元素源自中国，如今廿四节令鼓从马来西亚传到中国并开花结果，这一个过程无论对于廿四节令鼓、马华文化或中华文化都具备重大意义。因此本章把焦点放在中国地区，从廿四节令鼓在马来西亚及中国的发展状况，并根据两地报章、文化学者及鼓手们的看法，深入探讨马华文化与中华文化的关系。最后两章除了提及廿四节令鼓和马华文化目前所面临的发展隐忧，也前瞻廿四节令鼓与马华文化的未来发展，同时为本篇论文作回顾和总结。 Malaysian Chinese, being born in a multi-racial country dominated by the Malays, have inevitably faced a lot of barriers in developing the Malaysian Chinese Culture (be called Mahua Culture). The most difficult time was during 1970’s and 1980’s, when Mahua Culture nearly came to its extinction. Nevertheless, with the strong will of Malaysian Chinese in preserving their culture, Mahua Culture has survived the crisis. Since then, it has been growing with full vitalities and energy until the present day when it has become one of the most well-known cultures in the world.