2012-06-28

京都祇園祭宵山的文化展演與空間

黃貞燕。〈京都祇園祭宵山的文化展演與空間〉。《民俗曲藝》176 (2012.6): 67-113
Huang Jan-yen. “The Cultural Performance of Yoiyama in Gion Festival in Kyoto and the Space.” Journal of Chinese Ritual, Theatre and Folklore 176 (2012.6): 67-113.

Abstract

文化展演是由人們在空間上所履行完成的,在空間中通過不同的行動,使得參與者有能力去執行及創造文化展演。本文運用文化人類學空間研究的觀點,以日本京都祇園祭中被稱為「宵山」的活動為例,從社會文化脈落具體分析以下諸項以解讀其空間建構的特性:物質性空間:實際發生的場所,其形式與意義;人在空間中的活動:如何執行展演,包括動態的行為與物質性物件的展示;區辨兩者相互結合運作的途徑;建構出的空間觀念;此空間建構反過來對於文化展演的影響。本文發現,宵山的會所飾與屏風祭有不同的空間建構,面對現代化衝擊的回應也不一樣,提示了某一項文化展演之中仍可能具有多樣的空間與維繫上不同的需求。透過個案也看到,當文化傳統被視為文化財,維持過去展演的空間形式與物件被認為是繼承祭禮的必要條件,一方面做為核心社群維繫認同感的媒介,一方面也成為傳統持續存在的象徵。

Space is where cultural performances are carried out; and through movements and actions within a space, people perform and create ritual or festival. This paper attempts to investigate space in the light of cultural anthropology to examine the socio-cultural context of the “Yoiyama” 宵山 in the Gion Festival in Kyoto, and to analyze its spatial construction through the following aspects: the material space, where this cultural performance was carried out, and the form and meaning of it; actions within the space, how people executed this rite and what objects were used; and lastly, how did space and actions relate and work together. This paper discusses the differences in spatial constructions of “Kaijokazari” 會所飾 and “Byobumatzuri” 屏風祭 in Yoiyama, and the differences of their reactions against modernization. We also see in this case study, as Gion Festival had been selected as a Cultural Property, that maintenance of the form of the space, the pattern of performance and some objects used in Yoiyama, are considered essentials to the inheritance of the festival, for their role as agents to maintain the identity of the core community, and as symbols of the continuation of tradition.