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    題名: 中國非物質文化遺產政策下 廣西壯族「末倫」（moedlaenz） 舞臺化展演的探討與反思
    Discussion and Reflection on Zhuang Staged Moedlaenz Performance in Guangxi under Policies regarding Intangible Cultural Heritage in China
    作者: 高雅寧
    Kao, Ya-ning
    貢獻者: 民族系
    關鍵詞: 壯族;儀式專家;末倫（moedlaenz）;展演;非物質文化遺產
    Zhuang people;ritual specialist;moedlaenz;performance;intangible cultural heritage
    日期: 2017-06
    上傳時間: 2017-09-21 17:04:39 (UTC+8)
    摘要: 本文探討廣西西南部壯族曲藝「末倫」（moedlaenz），在非物質文化遺產政策下「舞臺化」展演的方式與背後的成因，並反思保護與傳承末倫的可能性。末倫是從壯族口頭傳承儀式專家末婆╱末公的儀式音樂發展出來的曲調。清末民初地方文人改編漢族故事創作出末倫曲目，由民間藝人走村串寨地演唱；1949年開始，末倫被視為曲藝搬上舞臺演出，文工團演員用它來宣傳與讚揚黨的政策；1980年代，中國民間藝術文化研究界，大規模調查與記錄末倫曲目；2010年「壯族末倫」正式成為第三批自治區級非物質文化遺產項目。靖西安德鎮文化站站長，2011年完成名為〈報母恩〉的曲目，並訓練當地婦女演唱；當地從右江歌舞團退休的專家，參考末婆╱末公的儀式裝扮與用具，設計出該曲目的表演服裝與道具。這群婦女從2012年開始以末婆 的扮相，在城市與鄉鎮各種活動中表演〈報母恩〉，也在安德鎮2013年的「藝術節」與2014年「壯齋節」中，出現模仿末婆╱末公扮相的末倫曲目表演。末倫的舞臺化是典型「去脈絡化」（de-contextualization）與「再脈絡化」（re-con textualization）的過程，末倫的舞臺化展演雖運用到儀式專家的裝扮、法器，甚至布景，但究竟末婆╱末公的口傳宗教知識與他們即興創作的能力，能否被主導非物質文化遺產傳承的執行者所珍視，並借重儀式專家末婆╱末公來豐富末倫曲目的創作與表演仍未可知。筆者認為，末倫的保護與傳承，唯有透過地方藝人、相關政策執行者與研究者積極與密切地建立合作夥伴關係，共同攜手合作，始有可能達成目標。
    This paper discusses and reflects on the process and opportunity of staging moedlaenz performance among the Zhuang people in southwest Guangxi in the context of practicing policies regarding intangible cultural heritage (ICH). I suggest that in the early 21st century both the wider social context of these performances and their inner cultural origin direct Zhuang people to stage moedlaenz songs by mimicking ritual specialists. In the context of the widespread and enthusiastic practicing of ICH policies in China, moedlaenz singers are allowed to dress up in the clothes of ＂practitioners of superstition＂ and carry ritual instruments as stage props to perform their Zhuang culture. The staging of moedlaenz performance is a typical case of de-contextualization and re-contextualization. Between late Qing and early Republic era, local literati adopted Han Chinese stories to create moedlaenz songs and folk singers sang them while traveling from village to village. Since 1949, moedlaenz has been classified as a form of Zhuang folk art (quyi) under the People`s Republic of China (PRC), and cultural troupe performers have sung moedlaenz songs praising the Chinese Communist Party`s policies on stage as a form of propaganda. In the 1980`s, Chinese academic circles researching folk arts and culture conducted large-scale surveys to record moedlaenz songs. In 2010, the moedlaenz was formally identified as an item on Guangxi`s provincial ICH list. The head of Ande township culture station in Jingxi wrote a moed laenz song entitled ＂Baomu`en＂ (Sending Thanks to Mother) and trained local women to sing this song in 2011. A local composer who had retired from the You River Song and Dance Troupe, inspired by ritual specialist`s costume and instruments, designed specific stage costumes and props to accompany the performance of this song. Since 2012, a group of local female performers, dressed in stage costumes and carrying props, have been performing the song ＂Baomu`en＂ in invented festivals in both towns and cities across southwest Guangxi. Although performances of staged moedlaenz songs utilize the costumes, instruments and settings of ritual specialist, whether or not practitioners of ICH policies treasure ritual specialist`s oral ritual knowledge and their impromptu spirit is not clear. I expect that the spirit of ritual song will continue to enrich moedlaenz song performance and that local song experts, policy makers, practitioners and researchers will need to cooperate toward the goal of protection and inheritance of moedlaenz as a whole.
    關聯: 民俗曲藝, Vol.196, pp.147-217
    資料類型: article
    顯示於類別:[民族學系] 期刊論文

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