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第12回東文研・ASNET共催セミナー
"Being Han in a Multi-Ethnic Region of the People’s Republic of China:
An Anthropological Perspective on the Inhabitants of Yangzong Valley, Yunnan Province"

本年5月より、東洋文化研究所とASNETが共催で、毎週木曜日にセミナーを開催しております。
このセミナーは、東京大学に所属する、広くアジア研究に携わる若手研究者に、発表の場を提供することを目的とするものです。
ロビーという開放的な場所で、自由・活発に議論を行えるよい機会となっております。

下記の要領で第12回セミナーを開催いたします。
多くの皆様のご参加をお待ちしております。

日時：9月16日（木）午後5時～6時
場所：東京大学東洋文化研究所　1階ロビー
http://www.ioc.u-tokyo.ac.jp/access/index.html
テーマ："Being Han in a Multi-Ethnic Region of the People’s Republic of China:
An Anthropological Perspective on the Inhabitants of Yangzong Valley, Yunnan Province"
報告者：Sylvie BEAUD（東京大学東洋文化研究所外国人研究員/パリ第10大学人類学科博士課程研究生）

発表要旨：
The Yunnan province of China is famous for its ethnic diversity: no less than twenty-five officially registered “minority nationalities” (shaoshu minzu 少數民族) occupy the province. As a consequence, the Han majority people, even though representing two third of the province’s population, have been largely ignored by past and contemporary research. However, their study in such multi-ethnic environment, by shedding light on the necessary interplay of different levels of identity, may prove critical for understanding the category of “Han”.
This paper draws on ethnographic material collected in Yangzong county. It deals with how the members of this peripheral Han population are categorized and categorize themselves in relation to minority groups and to notions of Chinese identity. The specificity of the Han of Yangzong is framed by an ongoing tension between two contrasting points of view: they appear both as one local ethnic minority among others, and, notably by means of ritualized theatrical representations, as the legitimate representatives of a national majority.
Thus, for example, Yangzong women’s colorful clothing and ornaments, while making them appear in everyday contexts as the members of a local minority group, are displayed in huadeng dramas as highly significant Han cultural items. In similar fashion, by re-playing the history of the crucial Three Kingdoms period (220-280) every Chinese New Year, the Yangzong people establish the Guan Suo exorcism-opera (nuo) as a local emblem. Paradoxically, it is by emphasizing in this way their local specificity that they lay claim to an overarching Han identity.

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