少數民族傳統戲曲是少數民族傳統藝術的重要形式之一。云南白族傳統鄉戲"吹吹腔",是白族民眾本主信仰、國家認同、政治認同、民族認同、性別關系、審美趣味、道德倫理等相關問題的藝術顯現,是中華戲曲多民族、多區域傳播、交融的鮮活案例。"吹吹腔"在古代曾興盛一時,深刻地影響了白族民眾的社會生活。但是,受現代文化的沖擊,"吹吹腔"面臨戲曲知識遺失,傳承人青黃不接,觀眾熱情消退等嚴峻問題,使其傳承與保護面臨困境。我們必須從綜合研究視角出發,確立文化整體觀,以文化人類學田野調查方法,加強"吹吹腔"的傳承與保護研究。

Traditional drama is an important form of ethnic minorities’ traditional art. The traditional folk opera of Bai ethnic group,Chuichui Qiang,artistically reveals Bai people’s Benzhu worship,national identity,political identity,ethnic identity,gender relationship,aesthetic interest and moral ethics. It’s a typical case of Chinese dramas’ multi-racial and multi-regional dissemination and combination. It once prospered and deeply influenced Bai people’ s social life in the ancient times. But under the shock of modern culture,the transmission and protection of Chuichui Qiang faces difficulties like the loss of knowledge about the opera,the shortage of inheritors,the fade away of audience’s enthusiasm. With a comprehensive research angle,we must establish a cultural holistic concept and apply the approach of fieldwork in cultural anthropology while enhancing the research about transmission and protection of Chuichui Qiang.