土家族撒叶儿嗬表演场域与主体性别的变迁  

Changes in the Saye’erhe Performance Field and SubjectGender of Tujia Ethnic Group

作　　者：王传历[1] 刘梦[2] WANG Chuan-li;LIU Meng(Fujian Normal University,Fuzhou 350108;South-Central Minzu University,Wuhan 430074,China)

机构地区：[1]福建师范大学,福州350108 [2]中南民族大学,武汉430074

出　　处：《北京舞蹈学院学报》2024年第2期108-117,共10页Journal of Beijing Dance Academy

基　　金：湖北省教育厅科学技术研究项目“鄂西土家族民俗音乐的审美特征研究”(项目编号B2021426)阶段性成果。

摘　　要：撒叶儿嗬是湖北清江流域土家族民众用来祭祀亡人的一种仪式歌舞,原本存在着“灵堂之外”和“女性主体”不能跳丧的禁忌,由此形成其表演场域之“神圣灵堂与世俗舞台的对立”和主体性别之“男性与女性的分野”。通过观察土家族撒叶儿嗬表演场域与主体性别的变迁发现,其对立在社会的发展过程中正不断走向融合。前者经由舞台化和广场化之后已实现了多层面交融,而后者的融合在展演舞台上还差“最后一公里”。Saye’erhe(撒叶儿嗬)is a ritual song and dance performed by Tujia people in the Qingjiang river basin of Hubei Province to worship the deceased.There were originally taboos that“beyond the mourning hall”and“female subjects”could not perform the funeral dance,which formed the“opposition between the sacred mourning hall and the secular stage”in its performance field and the“division between male and female”in the subject gender.By observing the changes in the performance field and subject gender of the Tujia people’s Saye’erhe,the paper concludes that their opposition is constantly moving towards integration in the process of social development.The former has realized multifaceted integration through stage and public square performances,while the integration of the latter is still one last mile away from the stage.

关 键 词：土家族 撒叶儿嗬 表演场域 主体性别 变迁 

分 类 号：J722.2[艺术—舞蹈]