本篇论文的题目是《牧区鄂温克舞蹈研究——以内蒙古自治区鄂温克族自治旗为例》。鄂温克族主要活跃在我国内蒙古自治区与东北边疆，它与鄂伦春、达斡尔共同称作中国的“三少”民族。根据生产生活方式的不同，它们分为使鹿鄂温克人；农区鄂温克人；牧区鄂温克人。其中以畜牧业为主要生产活动的鄂温克自治旗可以称作是鄂温克民族的心脏，政治、经济与文化方面具备代表性及权威性。舞蹈作为文化的一种动态形式，是民族记忆与精神的活化石，所以研究以鄂温克自治旗为代表的牧区鄂温克舞蹈艺术，对于重视“三少”民族的文化发展现状和挖掘少数民族文化艺术遗产，具有深远而重要的意义。本文以史料梳理和实地考察相结合的方式从生态视角、历史视角与文化保护视角对牧区鄂温克舞蹈文化进行研究。首先，对鄂温克族起源、发展及概况进行梳理；其次，以鄂温克自治旗为例对鄂温克舞蹈的历史渊源进行挖掘；再次，视角集中于牧区鄂温克舞蹈的三大类即模拟类舞蹈、宗教类舞蹈与节日习俗类舞蹈，对其起源、表现形式、舞蹈特征及舞蹈背后蕴含的文化意蕴及时代精神进行剖析与研究；最后，通过分析牧区鄂温克舞蹈的现状与问题，探讨在现今时代背景下如何有效对牧区鄂温克舞蹈进行保护与发展。

The title of the thesis is " The Dance Research on the Pastoral Ewenki Ethnic Goup----taking the Evenki Autonomous Banner in the Inner Mongolia Autonomous Region for example”The Evenki ethnic group activities in China’s Inner Mongolia Autonomous Region and northeast frontier, who are called the “Three-lacking” ethnic minorities along with the Oroqen, and Daur ethnic groups. According to the different ways of living, they are divided into the deer Ewenki people，agricultural Ewenki people，and pastoral Ewenki people. Living mainly by animal husbandry, the Evenki Autonomous Banner can be called the heart of the Ewenki ethnic group, whose politics, economy and culture are representative and authoritative. As a dynamic cultural form, dance is the living fossil of a nation’s history and spirit, so the research on the pastoral Ewenki dance has a far-reaching and important significance for exploring and developing the ethic cultural heritage. Combining a profound study of the Ewenki history with personal investigations, the article interprets the pastoral Ewenki dance from three angles, including ecological, cultural and protective perspectives. First of all, the paper introduces the origin, development and general situation of the Ewenki ethnic group. Secondly, it traces the origin of the Ewenki dance, taking Evenki Autonomous Banner as an example. Furthermore, the thesis focuses on the three categories of the pastoral Ewenki dance, including imitative dance, religious dance and festival dance, analyzing its origin, manifestation, and characteristics. Meanwhile, it attempts to reveal the implication and the time spirit behind the dance. Finally, through the analysis of the present situation and problems in the pastoral Ewenki dance, the author seeks effective approaches to protecting and developing the pastoral Ewenki dance.