Shawm Bands and Daoists in Performance: Funerals and Temple Fairs ...
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Shawm Bands and Daoists in Performance: Funerals and Temple Fairs 鼓匠肖姆管樂班和道士演出:葬儀和廟會
原著: Stephen Jones導讀:陳美華( Chern Meei-Hwa ) 南華大學宗教學研究所副教授
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Thus even today, the ceremonial of funerals and temple fairs remains firmly in line with pre-Communist traditions. The yinyang rituals are plainly part of a complex ancient tradition, and their music remains relatively conservative.
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What few pop pieces they do play are utterly in tune with their traditional style; they have not yet tried using sax or drum-kit. Beggars also still perform traditional pieces. Costumes and head-dresses still obey age-old convention. (Jones 2007: 86)
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即使到了今天,葬儀和廟會儀式仍然嚴格遵循共黨統治之前的傳統。陰陽儀式說白了就是複雜的古老傳統的一部分,而他們的音樂仍然是相對的保守。
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他們所演奏的幾首流行曲完全與他們的傳統風格是一致的;他們還沒有嘗試薩克斯管或鑼鼓配套。賣唱的還是演奏傳統曲子。服裝和頭飾還是遵照古老的傳統。( Jones 2007 : 86 )
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Even the gujiang are still bound by the ‘old rules’ of the ceremonials they serve. Their performances remain indispensable in accompanying every stage of what is still a complex ritual procedure, as even my brief and provisional notes above show.
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These are variable perceived constraints on innovation; some gujiang feel that pop music is acceptable for processions, while others still play traditional pieces. (Jones 2007: 86)
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即使是鼓匠也受到他們進行的儀式的「老規矩」約束。在這仍然是複雜的儀式程式,我在上面的簡短和有限的紀錄顯示了這一點的每一個階段,鼓匠的參與演出是不可少的。有一些可觀察之對於創新的束縛;一些鼓匠覺得流行樂可以被納入遊行,而其他的依舊演奏傳統曲子。( Jones 2007 : 86 )
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For a dozen years after the restoration around 1978 — happily coinciding with the Anthology fieldwork — tradition was again dominant. But now people prefer to hear pop music at ceremonies, and at last the traditional repertory is losing out.
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Though we have to write a very different description for 2000 than for 1990, the recent invasion of pop may distract us from considering the more subtle changes from 1930 to 1990.
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To be sure, the society, and the lives of the gujiang, had been transformed, but the appearance and even functions of the ceremonies performed had undergone a more subtle modification.
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Compounding our hazy notions of ceremonial practice under Maoism, the new dominance of pop may further tempt us to overlook continuity and simplify the picture of modern change. (Jones 2007: 86)
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在約 1978 年的興革後的許多年——令人欣慰的與《選集》的田野調查不謀而合——傳統再次占上風。不過,現在人們選擇在儀式聽流行音樂,傳統表演曲目最終是輸了。雖然相較於 1990 年,我們得以非常不同的描述來寫 2000 年,
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最近流行音樂的入侵可能使我們分心,沒有去考量從 1930 到1990 年之間較微妙的變化。可以肯定的說,社會和鼓匠的生活已轉變,不過儀式的外表甚至是儀式演出的功能經歷了更加微妙的改變。
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結合我們對毛思想統治下的儀式實踐之模糊概念,我們可能因為流行樂的支配地位而忽略了延續性,並簡化了現代變遷的圖像。( Jones 2007 : 86 )