本书以云南省昆明市西郊团结、沙朗和太平三地散居白族的典型艺术形式——霸王鞭舞为主要研究对象，探讨近30年来昆明西郊白族现实生活中的民族认同与历史进程、资源博弈、文化实践、经济发展、审美变迁、时代话语的紧密联系和互动关系。在扎实的田野调查基础上，通过案例、图片、图表等形式，多维呈现这一研究所关注的几个主要问题，即：昆明西郊白族“为何认同白族”“如何认同白族”及“为什么选择霸王鞭舞作为强化白族认同的艺术形式”，并以此阐释民族艺术在多元发展和现代建构的过程中，如何作为民族认同的有效资源，与民族认同相互影响并进行塑造的问题，呈现民族艺术发展过程中与地域认同的共存，原生性、建构性、工具性和符号性多重叠合的特点及“美人之美，美美与共”的和谐民族关系图景。

This book mainly focuses on the Bawang Whiplash Dance, a typical art form of the Bai ethnic group in the western suburbs of Kunming, Yunnan Province, and explores the close connection and interaction between national identity and historical process, resource game, cultural practice, economic development, aesthetic changes, and the discourse of the times in the real life of the Bai ethnic group in the western suburbs of Kunming in the past 30 years. On the basis of solid fieldwork, through cases, pictures, charts and other forms, it presents several main issues that this research focuses on, namely: "why do the Bai people in the western suburbs of Kunming identify with the Bai people", "how to identify with the Bai people" and "why choose the overlord whip dance as an art form to strengthen the Bai identity", and explain how national art can be used as an effective resource for national identity, and interact with and shape national identity in the process of diversified development and modern construction. It presents the coexistence with regional identity in the process of national art development, the characteristics of originality, construction, instrumentality and symbolism, and the harmonious ethnic relationship picture of "beauty of beauty, beauty and commonality".（AI翻译）

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