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  • 學位論文

印尼巴里島蕾貢舞的傳承與變遷

Indonesia Balinese Legong Dance: Inheritance and Change

指導教授 : 嚴智宏

摘要


本研究以印尼巴里島的蕾貢舞為研究對象,探討蕾貢舞的傳承與變遷。 巴里島的舞蹈與宗教有著密不可分的關係。不僅舞蹈的情節多源自宗教相關的傳說,女性舞者以金色錦鍛緊裹上身,毫不隱瞞的裹出曲線,將自己視同「貢品」奉獻神明,更直接說明了「舞蹈」對巴里島民而言並非單純的娛樂,而是昇華成與神溝通的重要管道。在巴里島舞蹈中,蕾貢舞是女性舞蹈的經典代表。它的姿態、步伐、手、眼,都是其表演時的重點。表演的重要核心有十四個部分,原先長達三十至六十分鐘以上。 但是,很多部分因為要配合觀光客而切割,越來越精簡。表演者為了生存,只好迎合大眾的喜好,讓自己的作品符合市場的需求。巴里島原有純粹而神聖的宗教文化(如蕾貢舞),越來越受到商業化的影響。現在的蕾貢舞,繼承了傳統蕾貢舞令觀眾目不暇給的舞技,透過擷取傳統蕾貢舞的精華片段,表演給到訪的觀光客欣賞。這一方面帶給巴里島居民更多的收入,對居民的經濟來說是助力,也間接宣傳了巴里島;但另一方面,商業化對保存原有的蕾貢舞而言卻是阻力,因為蕾貢舞原有的面貌已隨著商業化而改變了。巴里島當地也有許多人在「保存原有的蕾貢舞」與「為生存而改變蕾貢舞」之間,不斷地掙扎、拉扯。 我們從蕾貢舞看到,在政治及社會變遷、商業化的影響下,表演藝術者為了適應環境、為了生存而改變。亦即蕾貢舞原本以處女舞者、服裝、音樂、舞技、透過儀式、在宮廷演出等等條件及形式,作為表演給神明及貴族欣賞的舞蹈;接著由於貴族被迫遷移至其他地區而將蕾貢舞帶到民間,並代代相傳;晚近由於商業化的緣故,於是有了今日的蕾貢舞:地點不在宮廷,舞者未必處女,儀式已經簡化或省略,但舞技精湛。在這整個過程中,我們看到了表演藝術(如蕾貢舞)的傳承與變遷,也看到蕾貢舞這無形文化遺產對當地人的重要性。

並列摘要


This research aims to investigate the inheritance and change of Balinese Legong dance. Balinese dance has a close relationship with the religion. Most plots of Legong dance are related to the religious legend; female dancers wrapped the gold brocades around their upper bodies to show their curves without hiding, and regarded themselves as the "offerings" to contribute to the gods. For Balinese, the “dance” is not only an entertainment but also sublimated into an important way of communication with the gods. Legong dance is a classic example of female dance. The posture, pace, hand gesture and eye contact are the main focuses of the dance. Originally, there are fourteen important parts while performing and it takes thirty to sixty minutes even more to accomplish a performance. However, many parts of the performance have been reduced and simplified so as to match the tourists’ needs. In order to survive, the dancers are forced to change their performances to the meet the public's preferences and market needs. The pure and holy religious culture of Balinese (such as Legong dance) has been influenced by commercialization gradually. The recent Legong dance preserves the essence of tradition to inherit the attractive dancing skills. Tourism not only brings more income to the Bali residents to help their economy but also promotes Bali indirectly, whereas Legong dance has been changed because of commercialization which becomes a resistance of the preservation of original Legong dance. In Bali, many people constantly struggle between "saving the original Legong Dance" and "changing the Legong dance for survival". From Legong dance, we learn that under the influence of political and social changes and commercialization, the performing arts have been changed to adapt to the environment in order to survive. Originally, the Legong dance was regarded as an entertainment to the gods and the nobility in the form and condition of virgin dancers, clothing, music, dancing skills, ceremonies, and performed in the court. Later, as the nobility was forced to migrate to other regions, the Legong dance had been spread to the folk, and handed from generation to generation. Commercialization results in recent Legong dance which is not performed in court, the dancers may not be virgins, the ceremony has been simplified or omitted but the dancing skills still remained. From the whole process, we can realize the inheritance and change of performing arts (such as Legong dance), and the importance of intangible cultural heritage to the locals.

參考文獻


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