【摘要】 民歌，既是无文字民族情感表达的首选工具，同时也是其历史文化的重要载体。作为云南省唯一列入“三区三州”的边境地区，怒江各族在脱贫攻坚到乡村振兴的过程中，将1950年代以来依据传统民歌旋律作词的“新民歌”唱于口、达于意、烙于心，并逐渐成为内外共识的民族文化符号，不断强化其以爱党、爱国与热爱家乡新面貌为核心的国家认同并在这个过程中持续铸牢中华民族共同体意识。以艺术人类学的视角与方法“深描”怒江州独龙、傈僳与怒族“新民歌”产生的社会背景、场景性特点与功能，旨在揭示其对联结国家边疆发展战略与边民国家认同的纽带作用，并丰富铸牢中华民族共同体意识的多样性路径。更多还原

【Abstract】 Folk music is not only the primary tool for ethnic groups without written language to express their emotions,but also one of the most important carriers of their history and culture. Nujiang Lisu Autonomous Prefecture is the only border area in Yunnan Province that gets listed in the Three Regions and Three Prefectures. During their fight for poverty alleviation and rural revitalization,all ethnic groups in this area sing,express their wills with,and remember deep in their heart “new folk songs”created based on the melody of traditional folk songs since 1950s,making their “new folk songs ” national cultural symbols recognized by both insiders and outsiders; they continuously enhance the national identity of new folk song with love for the Party,the Country,and for new look of their homeland at its heart,as well as keep on fostering a strong sense of community for the Chinese nation in this process. This depicts the social context, scenario characteristics,and functions that give birth to “new folk songs”of Drung,Lisu,and Nu people from the perspective and with the methodology of anthropology of art. It aims to explore and reveal their roles as a bridge to integrate national development strategies for borderland with national identity for border residents,and to enrich the diverse paths of fostering a strong sense of community for the Chinese nation.更多还原