【摘要】：梯瑪祭祀儀式是土家族特有的法事活動,“梯瑪”意為敬神的人,是梯瑪祭祀儀式的主體。同時,梯瑪祭祀儀式作為土家族巫儺文化結合的民間儀式類傳統(tǒng)文化,一直主導和支配著土家族人民信仰和生活的方方面面。土家族民間舞蹈是土家族人民世世代代的智慧結晶,土家族舞蹈不只是一種舞蹈藝術活動,更是梯瑪祭祀儀式中的一部分,當土家族舞蹈作為儀式中的部分出現(xiàn)時,它的傳承必然會帶上更多神圣的色彩,而對儀式的執(zhí)行者梯瑪來說,意味著更大的責任和義務。梯瑪祭祀儀式與土家族舞蹈套路原本是兩個完全不同的概念,但因為有了舞蹈和宗教這兩個中介而聯(lián)系到了一起。以土家族舞蹈本體作為切入點,通過原始土家族舞蹈身體運動可以豐富和推動土家族梯瑪儀式的發(fā)展,而梯瑪祭祀儀式的發(fā)展又可以拓寬土家族舞蹈套路發(fā)展的研究視角,以音樂人類學的方法和理論,探討土家族舞蹈套路形式和梯瑪祭祀儀式之間的相互關系。文章在前輩學者們研究的基礎上,利用已有的研究成果以及文獻資料,運用音樂人類學的調(diào)查方法從土家族文化方面切入,運用舞蹈動作分析法從舞蹈本體切入,借助民俗學和歷史學的研究方式,從土家族舞蹈的文化內(nèi)涵方面切入,試圖將文化內(nèi)涵和表現(xiàn)方式相結合,較為全面地探究梯瑪祭祀儀式與土家族舞蹈套路之間的關系。梯瑪祭祀儀式與土家族舞蹈套路在土家族民族發(fā)展的過程中相互碰撞、相互融合,兩者相輔相成,相互促進。梯瑪祭祀儀式中的土家族舞蹈是一個雙面儀式舞蹈,兼具民間儀式和藝術展演的特性,并隨時代發(fā)展不斷進步、不斷更新。文章將梯瑪祭祀儀式中土家族舞蹈歷時和共時雙向雙軌傳承的現(xiàn)狀加以敘述,嘗試對民間土家族舞蹈以及梯瑪祭祀儀式中的土家族舞蹈形式及傳承進行“深描”式的挖掘,以此促進梯瑪祭祀儀式和土家族舞蹈的不斷發(fā)展。
[Abstract]:Tema sacrificial ceremony is a special legal activity of Tujia nationality. "Timar" means a person who worships God and is the main part of the ritual of Tema sacrifice. At the same time, as the traditional folk culture of Tujia witchcraft and Nuo culture, Tema sacrifice ceremony has been dominating and dominating all aspects of Tujia people's belief and life. Tujia folk dance is the wisdom of Tujia people from generation to generation. Tujia dance is not only a kind of dance art activity, but also a part of Tamar ritual, when Tujia dance appears as part of ritual. Its inheritance will inevitably bring more sacred color, and to the ritual executor Timar, it means greater responsibility and obligation. Tamar ritual and Tujia dance routine are two completely different concepts, but they are connected with dance and religion. Taking Tujia dance Noumenon as the breakthrough point, the body movement of primitive Tujia dance can enrich and promote the development of Tujia Tema ritual, and the development of Tema sacrificial ritual can broaden the research perspective of Tujia dance routine development. Based on the method and theory of musical anthropology, this paper probes into the interrelation between Tujia dance routine and Tamar sacrificial ritual. On the basis of the previous scholars' research, using the existing research results and literature, using the method of musical anthropology from the Tujia culture, dance movement analysis from dance Noumenon. With the help of folklore and history, this paper tries to probe into the relationship between the ritual of sacrificial sacrifice of Tema and the routine of dance of Tujia nationality by combining the cultural connotation with the mode of expression. Tema sacrificial ritual and Tujia dance routine collided with each other in the process of Tujia nationality development, and they complement each other and promote each other. The Tujia dance in the sacrificial ceremony of Timar is a two-sided ritual dance, which has the characteristics of both folk rituals and artistic performances, and has been constantly developed and updated with the development of the times. The article narrates the present situation of Tujia dance's diachronic and synchronic bi-track inheritance in Tema sacrificial ritual, and tries to dig deeply into the folk Tujia dance and the Tujia dance form and inheritance in Tema sacrificial ritual. In order to promote the Tema sacrificial ceremony and Tujia dance continuous development.
【學位授予單位】：湖南科技大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J722.2

【參考文獻】

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本文編號：2388434