@article{oai:rekihaku.repo.nii.ac.jp:00001264,
 author = {福間, 裕爾 and Fukuma, Yuji},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Feb},
 note = {application/pdf, 山笠とは豪華な人形飾りを乗せた「作り物」のこと。北部九州を中心に分布する。なかでも「博多祇園山笠」は、七百六十二年といわれる伝統に裏打ちされた求心力から、各地の祭礼に多大な影響を与えてきた。その関係性を表すものとしてハカタウツシという民俗語彙がある。北海道の「芦別健夏山笠」は、そのうち最も遠隔地の事例である。今から十八年前に始まった現代の祭りである。この両者の縁を取り持ったのが、一本のテレビ番組だった。筆者は電子メディアによって民俗が伝えられることを「電承」とよんでいるが、芦別はこれに該当する事例である。
当初、芦別山笠は博多山笠の刺激を受け、模倣することで自らの祭りを変容させたにすぎなかったものが、時を重ねるにつれて芦別の博多山笠受容は本格化し、最終的には「作り物」の枠を越えて、博多の民俗文化そのものを求めるようになっていく。その過程には、テレビ、実体験、物資、人物交流による受容段階があり、複合的に博多の民俗文化が芦別に伝播・受容されてきた経過を概観することができる。これに伴い博多山笠との系譜関係が意識化され、そこに様々な権威化の言説が生まれる。結果的に芦別にハカタが構築されることになるが、これは「博多」のイメージを再生産したものとなる。
本稿は、以上のようなこの両者の関係のなかに、民俗伝播・受容の基本的ありかたとは何かを発見する意図のもとにまとめている。これまでの民俗学ではあまり問題とならなかった、電子メディア、「かっこよさ」、共同意識、集団の特性による受容差を要点とし、調査者のかかわりの視点を含めて実際の民俗文化受容の現場で、それがどのような影響をもってきたかを、当該地域の人々の語りと新聞の言説でもって記述・分析を試みた。
筆者はこの事例を叙述するなかで、これまで民俗学でいわれてきた、いわゆる「古風」の残存という問題が、実は新しく構築された結果によるものではないかという指摘を行なった。, Yamakasa are festival floats that are tsukuri-mono mounted with splendid decorative images. They are to be found mainly in northern Kyushu. Of these, the centripetal force of the Hakata Gion Yamakasa, which is backed by 762 years of tradition, has greatly influenced festivals in regions throughout the country. The folk term “Hakata utsushi” represents the relationships between these various festivals. The Ashibetsu Kenka Yamakasa in Hokkaido is a festival of this type that is found in a region the furthest distance from Hakata. It is a contemporary festival that was established 18 years ago. And it was a television program that mediated the relationship between the two. The Ashibetsu festival is a good example of what the author calls “densho”, which is the passing on of folk customs through electronic media.
In the beginning the impetus for the Ashibetsu Yamakasa came from the Hakata Yamakasa and was nothing more than a copy that was transformed into a local festival. However, with the passage of time the acceptance of the Hakata Yamakasa in Ashibetsu gained momentum so that ultimately it transcended the framework of “tsukuri-mono” as it became a pursuit for the folk culture of Hakata itself. In this process there were a number of stages of acceptance that involved television, personal experiences, commodities, and the exchange of local identities, from which we may derive an overview of the process by which Hakata folk culture was transmitted and accepted on multiple levels in Ashibetsu. This was accompanied by a growing awareness of a genealogical relationship with the Hakata Yamakasa, which gave rise to a variety of statements that asserted authority. This is essentially the construction of “Hakata” in Ashibetsu and is a reproduction of the image of “Hakata”.
The aim of this paper is to discover from the relationship between the two as described above the fundamental nature and process of the transmission and acceptance of folk customs. It pays particular attention to differences in acceptance resulting from the electronic media, “being trendy”, collective consciousness and group characteristics. Based on the comments of people in the regions concerned and newspaper articles, the paper attempts to describe and analyze what sort of effects these differences brought to the actual site of the acceptance of folk culture while including the perspectives of the involvement of those questioned for this study. In the course of writing about this example the author has come to the conclusion that the question of the peripheral matter of “old customs” articulated in folklore studies up to the present has not been a matter of survival so much as a matter of construction.},
 pages = {155--226},
 title = {「ウツス」ということ : 北海道芦別健夏山笠の博多祇園山笠受容の過程},
 volume = {114},
 year = {2004},
 yomi = {フクマ, ユウジ}
}