节点文献
功修、祭仪、节庆中旋跳的舞蹈
【作者】 王昕；
【导师】 白振声；
【作者基本信息】 中央民族大学 ， 民族学， 2010， 博士
【副题名】新疆维吾尔族萨玛舞研究
【摘要】 新疆维吾尔族萨玛舞,最初是伊斯兰教苏非派教团神秘主义功修仪式中的舞蹈,主要在苏非道堂罕尼卡中由苏非教士们传跳,随着时代的发展它慢慢的向外拓延,不仅麻扎朝拜中能看到苏非教团跳的萨玛舞,艾提尕清真寺广场节日庆典中也有大批民众聚集在一起跳萨玛舞的场景,以致于后来艺术院校的课堂与文艺院团的舞台上,也出现了职业化舞者传承展演的萨玛舞。萨玛舞是一个跨国界文化现象,不仅中国新疆有与之相邻的阿富汗、巴基斯坦、印度、乌孜别克斯坦、哈萨克斯坦等国家,乃至不相邻的土耳其、埃及、伊朗和俄罗斯的车臣,该舞蹈也都存在,每个国家的萨玛舞都表现出不同的本土文化特色。新疆苏非教团与这些国家苏非教团的文化有承接关系,今天仍在活动的契斯提耶、哲合林耶、嘎迪林耶、毛拉维耶等新疆苏非教团,他们跳的萨玛舞也不尽相同。该舞蹈研究不但涉足的领域较多,遇到的问题也很繁杂,是一个即困难但又非常有研究价值的课题。对待该舞蹈的研究仅仅用某一个学科的知识,远远不能够解答所有的问题。在具体的研究过程中,以民族学(人类学)理论方法为基础,结合舞蹈学舞蹈语言研究的思考,运用历史学文献研究的方式,加入宗教学与政治文化学研究的视野,运用跨学科、跨文化比较研究的方法,从一种文化整体观的理念,解读与审视该舞蹈独特的历史,分析其民间的仪式结构(表演流程),揭示潜在的社会功能与象征寓意。同时,对都市艺术院校与文艺院团传承展演的萨玛舞进行关注,阐释它的特征、功能,以及发生文化变迁的原因。,此外,运用一些非物质文化保护与合理利用的理论与思考,对今天萨玛舞传承与发展进行一些应用性探讨,也是本文的一个关注点。全文共分九个章节,论述四部分内容。第一部分内容主要在首章,在对萨玛舞的概念进行解析的同时,对其存在环境的多种要素进行了分析。一方水土养一方人,一方生态决定一方文化,这部分尝试用生态人类学的观点,展开了对萨玛舞存在环境与文化特征的讨论。最终得出多元、复合、杂糅是萨玛舞存在于“西域”这一特殊人文地域环境的主要特征,也就是说,它是经过文化整合、涵化、变迁、分化后的产物,有着鲜明的伊斯兰苏非文化印记,也积淀着多种异质文化的要素。第二部分内容,从第二章到第四章就一个问题展开谈论,即萨玛舞起源问题。萨玛舞究竟是起源于萨满教,还是起源于伊斯兰苏非派教团,是一个到现在学术界还在争论的话题。无论是那种起源说,都是前人的研究成果,目前进行萨玛舞研究,这个争论是无法回避的。当然要想说清楚也并非容易,为了尽可能的中立客观,研究尝试着分别站在两种不同起源说学者的立场,从他们的研究视角去理解认识问题,不作是非曲直的评判,尽可能地洞察他们论点背后的依据,同时运用跨文化比较研究的方法,将当今仍然存在萨满教信仰民族中的萨满舞与新疆维吾尔族萨玛舞放在一起比较,通过重合与差异的排比,反思这两种萨玛舞起源说。第三部分内容,从第五章到第八章,是本文研究的重点也是难点。对“罕尼卡”宗教功修仪式中的萨玛舞,“麻扎”朝拜仪式中的萨玛舞,“艾提尕清真寺广场”节日庆典仪式中的萨玛舞,艺术院校与文艺院团传承展演的萨玛舞,这四个时空场域下传承展演的萨玛舞分析,不仅要对各自的舞蹈仪式结构和发展变迁过程进行描述,也要对变迁原因和不同场域下的文化功能进行分析,更要对舞蹈的象征意义进行解读,以此来回答它是什么,以及它存在的价值意义。现当代舞蹈研究,如果只把起源研究当作重点,而对舞蹈自身的仪式结构、文化功能、象征意义、以及变迁涵化的原因不涉及不探究,是不完整的。因为只关注它从哪里来,而不探讨它向何处去,这样的研究只算完成一半。关注历史传承下来的舞蹈在现当代社会中的存在与发展意义重大。第四部分内容,主要在第九章。本章对萨玛舞的存在现状与合理利用进行了一些研究与探讨,目的是想说明这样一个问题：一个因为许多原因日益被边缘化的宗教舞蹈形式,在现当代社会中如何充分发挥它的优长为大众服务,同时又能改变自身的不足,避免被文化主流遗忘与废弃。也希望通过这样一个个案研究,能为处于同样命运的舞蹈形式,找寻一个合适的存在空间与重新焕发活力的可能。这四部分内容的写作,首先是一种研究的使然,因为前人的研究成果与相关的材料搁在那里,但歧意颇多,因此一些问题必须加以深入探讨；其次,受理论研究范式的制约,现当代民族舞蹈研究,大多只停留在起源研究与舞蹈形式表层的描述上,很少对舞蹈的结构、功能、意义进行深入分析,缺乏现代学术理论透射的张力,理论研究的不足驱使着我们必须进行这方面的努力；再次,是应用性研究的倡导。现今的学术研究不仅要回答是什么?也要解释为什么?还要尝试给出怎么办?当然在这三个层面上的研究都能展开起来,都能兼顾到,那是最理想的。即便对最后一个层面“怎么办”作出的回答仅仅是一种推测和设想,但是有总比没有强,因为它会为后来的研究提供一个参照。
【Abstract】 The Xinjiang Uygur ethnic Sema dance has a long tradition in Sufism (Sufiyah) of Islam. It was first inaugurated by sufis as a ritual in road churches (Khanaqah) and later gradually became so widely accepted as to be performed in many other occasions ranging from Mazar pilgrimage by Sufi Order to Id Kah Mosque ceremony by jolly crowds. What’s more, today there are professional Sema dancers inheriting it at conservatory and performing it at stage.As a transnational art, the Sema dance has been well developed and nourished by cultures indigenous to such neighboring countries like Afghanistan, Pakistan, India, Uzbekistan and Kazakhstan and even non-borders or areas like Turkey, Egypt, Iran and Chechnya. With Sema lineage of these regions, Chishtiyah, Jahriyah, Qadiriyah and Mevlevi have different versions of Sema dance while they are all Sufi orders native to the Xinjiang Uygur Autonomous Region. As is known from the above-mentioned, study on Sema dances, though interlaced and interlocked, is promising as well as challenging.The study of Sema dances, as an interdisciplinary research, involves ethnological (anthropological) method and dance language analyses of Choreology with combination of archival research in history and religious, political and cultural study. From a comprehensive cultural perspective to interpret its distinctive history, the Sema dance is analyzed as a folk ritual structure to explore its signification and significance. Given its inheritance in municipal conservatory and theatre troupes, the study of Sema should also include its characteristics, function and evolution. At the same time, non-tangible cultural heritage research is also referred as an applied study in the thesis.The thesis falls into four parts in nine chapters. Part One is included in the first chapter. It explains definition of the Sema dance and tentatively analyzes its cultural environments. By the eco-anthropological method, Part One introduces the fact that the Sema dances are characterized by more Sufic than plural features with nurtured by compound and complicated Western Region cultures and governed by the rules of integration, acculturation, cultural vicissitudes and cultural differentiation.Part Two is composed of Chapter Two, Chapter Three and Four. This part mainly explores the origin of the Sema dance. There is always debate over which deserves credit for its invention, Shamanism or Sufi Order. Though highly contentious, it is inevitable. Without focusing on settling the disagreement, Part Two objectively highlights the intercultural comparison and contrast between Shamanic and Sema dance to gain an insight into its origins.As a key and difficult part, Chapter Five, Six, Seven and Eight are used to make register analyses including the Sema dances in religious Khanaqah, Mazar pilgrimage, Id Kah Mosque ceremony and in conservatories and performing troupes. Four register analyses involve describing ritual structure and evolvement process and explaining its symbolic meaning and cultural function helping to understand what is the Sema dance and what is its great significance in modern society, any analysis of which is the integral part of contemporary chorographic research. Furthermore, it is a significant enterprise to study ancient dances in our times.Part Four made up of Chapter Nine introduces the status quo and future of the Sema dances aiming to explore how an ancient religious dance, ever being marginalized on various accounts, is well exploited for the public and revived by improving their deficiency to avoid felling into oblivion and isolation from the dominant culture. And it is expected that the case study of the Sema can explore a feasible practice to recover other traditional dances.Writing four parts is attributed to the following three involvements. First, it is a further study in virtue of the preceding researches. Second, it is an urge to convert ethnic Choreology from concentrating on skin-deep description of the origins or motions to highlighting ritual structure, function and meaning in contemporary study. Last but not least, it is an initiative to take application into account. A perfect academic research can be credited to solve three questions, ie. what, why and how. More often, the last one---how to do--- falls into an assumption, but one is better than none. Any proceeding study paves the way for the preceding one.