- 期刊
巴里島女性甘美朗參與傳統祭儀影響下之音景變遷及其社會意涵－以貝勒格村（Belega village）研究為例
A Study on Changes in Ceremonial Soundscapes and Its Social Implications under the 'Moving into' of Bali's Gamelan Wanita in Traditional Rituals: The Case of Belega Village
摘要
直到二十世紀前半，甘美朗仍屬男性所有。縱使並非如穆斯林女性面紗般之嚴格限制方式，簡單的慣常思維，卻長久影響著巴里島祭儀之傳統空間與信仰場域性別界線。於儀式、於生活、於島上之各處，甘美朗（gamelan）以近三十種多元聲響模組傳遞上百年，此聲響存在於大小型廟會（odalan）祭儀中，其創造出的音景（soundscapes）特性，深刻反映巴里島強調陰陽互補、成對（rwa binneda）之哲學及美學觀，更可視為巴里島人以信仰奉獻（ngaturan ayah）為中心思維之展現。女性甘美朗（gamelan wanita）初始發展迄今近五十多年來，於巴里島各村里成立的婦女甘美朗團，絕不僅是單純的婦女集會活動，其所改變的是各村里於繁複信仰儀式生活中之男女分工，以及各廟宇儀式過程中的音景呈現，甚可見微知著於巴里島當代男女權責微調後之家庭現況與社會樣態。本研究除了參照八零年代迄今與巴里島女性甘美朗相關的文化研究文獻數篇，亦以巴里島吉安雅縣布拉巴杜區貝勒格村（Desa Belega, Blahbatuh, Gianyar, Bali）為田野調查主要區域，實地參與當地社區婦女甘美朗樂團「Panji Semara Santhi」的日常練習；訪查社區中心及廟宇相關人士，並拍攝記錄「2019年巴里島藝術節」（Bali Art Festival, 2019），從中觀察當代女性甘美朗樂團的演出型態，對照舊有文獻描述，以女性議題為導向進行訪談，採訪對象包括登帕薩印尼藝術學院（ISI Denpasar）學者及不同世代之女性甘美朗參與者及音樂家。隨著時代的演變、性別意識之強化，女性甘美朗體現當代甘美朗迥異於過去受限傳統性別框架的儀式音景，從以男性為主導、陽性特質為重的單一聲響樣貌，轉為女性樂團及男女合奏等多元樣貌。換言之，本研究係以女性甘美朗為研究平台，從而理解巴里島儀式音景變遷，及其反映出之世代差異及社會性別景態變動。
並列摘要
Gamelan was male dominated until the first half of the twentieth century. ＂Although the rule was not as strict as purdah-like restrictions of female activity＂, the straightforward habitual thinking has had a long-term influence on traditional rituals and gender in faith among the people of Bali. Whether in ceremonies or daily life on the island, for a hundred years, Balinese gamelan has passed on nearly thirty kinds of multi-sound modules. When the sound reverberates during large- and small-scale Odalan rituals, the soundscape characteristics it creates profoundly reflect the philosophical and aesthetic values of Bali-the complementarity of yin and yang as well as the concept of rwa bhineda (duality). It also demonstrates how Balinese people regard ngaturan ayah (religious devotion) as a core value. Gamelan Wanita (Women's Gamelan) started to flourish almost 50 years ago, and the women's gamelan groups established in villages and communities of Bali since then should not simply be considered women's gatherings. These activities have transformed the gendered division of labour in complicated religious ceremonies across villages and communities and altered the presented soundscapes in various temple rituals. The intricacies of the current division of labour in families, social formation, and generational differences, which were induced by the finetuning in responsibilities borne by contemporary men and women in Bali, reflect a broader picture of the changes. In addition to referring to several cultural studies on Gamelan Wanita in Bali, dated since the 1980s, the author also conducted field studies mainly in Desa Belega (Begela Village), located in the district of Blahbatuh in Gianyar Regency, Bali, and participated in the practices of a local Gamelan Wanita orchestra, Panji Semara Santhi. At the same time, the author visited community centres, interviewed temple personnel, and recorded videos of the Bali Art Festival, 2019 in action to observe the performance styles of contemporary Gamelan Wanita orchestras while comparing their developments and differences by contrasting the findings with descriptions from existing literature. In addition, the author conducted interviews that focus on women's issues, and the respondent include art scholars from the Indonesian Institute of the Arts, Denpasar (ISI Denpasar), as well as participants and musicians of Gamelan Wanita from different generations. In other words, Gamelan Wanita is chosen as the research platform to understand changes in ceremonial soundscapes in Bali as well as the generational differences and evolved social gender scenes it reflects.