巴里島中烏布村（Desa Ubud Tengah）婦女克差（Ke-cak Wanita）之性別與創新問題探究

Discussing Gender and Innovation Issues Concerning Women Kecak in Central Ubud Village, Bali

李婧慧(Ching-Huei Lee)

《關渡音樂學刊》 20期 (2014/07) Pp. 67-83

摘要

「克差」（kecak或cak）原是巴里島的一種人聲甘美朗（gamelan suara）的合唱，源自於島上一種驅邪逐疫的宗教儀式「桑揚」（sanghyang）中，以人聲模仿甘美朗（gamelan），來伴唱入神舞（trance dance）的合唱「恰克」（cak）。這種合唱於30年代初期脫離儀式脈絡，發展成為由男聲合唱團伴唱的克差舞劇而風靡觀光客。70年代起陸續有新編克差問世，包括文本、音樂與肢體動作的改編。其表演團體在90年代之前以玻諾村（Desa Bona）最有名，後來隨著烏布區（Kecamatan Ubud）的觀光發展，轉而以烏布為主要分布地區，形成一個競爭激烈的觀光表演市場。傳統上克差由男性擔綱演出，強而有力的動作加上節奏激烈、強弱分明的合唱樂，充滿陽剛的力度美。然而中烏布村卻打破傳統、跨越性別，於2008年成立婦女克差團，每週一次為觀光客表演擷取自印度史詩《摩訶婆羅多》（Mahabhrata）中畢斯瑪（Bhisma）之死的一段故事，以女主角「史麗甘蒂」為節目名稱：Kecak Srikandhi，新編動作與音樂，以適合女性表演並突顯陰柔美。然而2011年為迎合觀眾的喜好，將表演內容改為一般觀光客所熟知的另一印度史詩《拉摩耶那》（Ramayana）的故事內容，與一般男性克差團的表演內容大同小異。前後兩個不同劇碼的編舞與指導者都是男性，主導著風格的建立。本文探討中烏布村成立顛覆傳統之婦女克差團的背景與意義，當表演者性別改變時，其風格如何受到影響？又如何在強調女性特質的表演中，各自再確認其性別認同；從而理解性別價值觀、觀光、傳統與創新的互動。

關鍵字

克差 ； 婦女克差 ； 巴里島音樂 ； 性別與表演藝術 ； 觀光與表演藝術

並列摘要

Kecak (or cak) is primarily a form of vocal chanting (Dibia 2000/1996: 1) and later becomes a type of performing arts which combines vocal chanting, storytelling and dancing. It has been one of the most attractive tourist performances in Bali since its initiation in the 1930s. Since 1970s it has undergone various innovations and changes in regards to its music, texts and body movements. The vocal chanting cak or kecak, originally a male chorus imitating gamelan music, was derived from the vocal accompaniment of the trance dance in the exorcism sanghyang rituals. Before the 1990s Bona village (Desa Bona) was the most famous place for tourist kecak performances. However, along with the development of tourism in Ubud district (Kacamatan Ubud), Ubud has become the most famous and competitive market of tourist kecak in Bali. Historically kecak has been exclusively performed by men and featured its masculine beauty: vigorous body movement together with rhythmic and dynamic chanting. However, Central Ubud Village (Desa Ubud Tengah) has become progressive and in an untraditional way of crossing gender founded a women kecak (Cak Wanita) group in 2008. Since then the village has offered a tourist performance by this group on a weekly basis presenting the story of the death of Bhisma which was excerpted from Mahabharata. The program is entitled Kecak Srikandhi which is taken from and following the name of the story's heroine, Srikandhi. It was an innovated work with newly choreographed movements for female performers and featured feminine beauty. Yet later in 2011 the story was once again revised. This time the plot was about the abduction of Sita, an excerpt from Ramayana, in order to cater to the tastes of tourists. The choreographers and instructors of these two kecak works were male artists. They had the final decisions regarding the style of performances. In order to understand the interaction among gender identity, tourism, and innovation, this paper aims for exploring the context and meaning of woman kecak in Central Ubud village, making observation about how tradition and gender were subverted, and discussing how the style of kecak was changed to manifest and feature feminine beauty, and thus reconfirm their gender identities respectively.

並列關鍵字

Kecak ； Cak ； Women Kecak ； Cak Wanita ； Balinese Music ； Gender and Performing Arts ； Tourism and Performing Arts

參考文獻

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