夷歌巴舞－論漢代宮廷巴渝舞的展演與其夷夏思維

本文以巴渝舞首度成為宮廷禮樂的漢代著手，藉由分析巴渝舞在宮廷中的展演內容與場合，還原巴渝舞以鼓樂為奏、執兵器作舞的表演型態，並指出其以夷歌樂舞身分作為朝廷宴饗與祭祀用舞的特殊性，其原因除了舞容合於西周以來雅樂武舞的傳統外，尚須注意到巴人原生歌舞本身具有的祭樂性質。此外，巴渝舞作為夷樂而廣泛展演於宮廷，其用樂思維可追溯到《周禮》以來用「四夷之樂」的禮制，在先秦兩漢以來「德化四夷」的華夏本位思考下，「四夷之樂」成為華夏政權用以宣示正統的工具，但在此同時，宮廷內的夷樂也不斷受到華夏正統的挑戰，終至消失在宮廷禮樂中。最後，本文回到漢代巴渝舞的展演主體板楯蠻作討論，指出由於板楯蠻處於華夏邊緣的特殊位置，其既作為夷夏文化的分界，同時也是邊境守禦的重要助力，因而漢宮中透過巴渝舞的一再展演，除了達到宴娛的效果，亦是對國力的反覆自我肯定。

關鍵字

巴渝舞；夷夏；宮廷禮樂

並列摘要

This article focuses on Han which the Payu dance first became the ceremony in the palace. By analyzing the performance and situation of Payu dance in the palace, the characteristics of Payu dance which are accompanying with drums and dancing with weapons could be noticed. Besides, we can also point out the particularity that Payu dance performed in banquets and religious rituals in Han palace with exotic music and dancing style. It not only because the performance of Payu dance corresponded the military dance tradition originated in Chou dynasty, but also relied on its religious characteristic which came from Pa tribe. In addition, Payu dance performed widely in the palace with its exotic style. The thinking could be traced back to ＂Chouli＂, which used the music from other tribes (Ssuyi ) as the ceremony. In the standard thinking based on Huahsia form Pre-Qin, the performance of music from other tribes became an announce of the orthodox dominance for Huahsia regime. But in the same time, the exotic music and dance in the palace also faced the challenges from the standard thinking based on Huahsia and eventually faded away from the palace. In the end, this article discusses about the original performers of Payu dance which were called ＂Panshunman＂ and point out that because their special living place which was in the boundary between Yi and Hsia. The Panshunman was not only the divide of Yihsia culture, but also played an important role in the fontier defense. In that case, to keep performing Payu dance in Han palace was not only for entertainment, but also an eusurance for the dominance.