逃离与重构：民谣酒馆作为青年情感调适的日常阈限空间研究——以H市HB民谣火塘酒馆为例

Escape and Reconstruction: Folk-Music Bars as Everyday Liminal Spaces for Youth Emotional Regulation—A Case Study of the HB Folk-Music Fire-Pit Bar in H City

摘要: 在城市生活节奏加快与青年压力持续累积的背景下，民谣酒馆逐渐成为部分城市青年进行情绪释放、社交互动和自我调适的重要场所。本文以H市HB民谣火塘酒馆为个案，借助维克多·特纳的阈限理论，结合参与式观察与非正式访谈材料，分析民谣酒馆如何在时间节奏、空间氛围与互动方式上生成区别于日常生活秩序的体验场域。研究发现，民谣酒馆通过夜间营业、异质化装饰、民谣表演、点歌合唱、留言书写等实践，暂时弱化了青年在工作、学业和社会角色中的压力，使其在音乐参与、非正式互动与情感表达中获得情绪释放和群体认同。民谣酒馆并非对现实生活的彻底逃避，而是一种嵌入城市日常生活的情感调适机制，反映了当代青年在结构性压力中的阶段性抽离与自我重整。

Abstract: Against the backdrop of an accelerating pace of urban life and the continuing accumulation of pressure among young people, folk-music bars have gradually become important venues where some urban youth seek emotional release, social interaction, and self-adjustment. Taking the HB Folk-Music Fire-Pit Bar in H City as a case study, this paper draws on Victor Turner’s theory of liminality and combines participant observation with informal interview data to examine how folk-music bars create experiential settings distinct from the routines and order of everyday life through their temporal rhythms, spatial atmosphere, and modes of interaction. The study finds that practices such as nighttime operation, distinctive and heterogeneous décor, folk-music performances, song requests and collective singing, as well as blessing and message-writing activities, temporarily alleviate the pressures associated with young people’s work, studies, and social roles, enabling them to achieve emotional release and a sense of group identification through music, mild intoxication, and informal interaction. Folk-music bars do not represent a complete escape from real life; rather, they function as a mechanism of emotional regulation embedded in everyday urban life, reflecting the temporary withdrawal and self-reorganization of contemporary youth under structural pressures.