聯合國人類口傳與非物質文化遺產UNESCO Intangible Cultural Heritage

觀看全文...

博遜地區的文化空間
The Cultural Space of the Boysun District
時間：2001
地區：亞 太
國別：烏茲別克斯坦
類別：文化空間
博遜，現有居民82000人，是世界上最早有人類居住聚落地之一。
此地區，座落於東西交流的要衝之小亞細亞至印度的通道上，因此，博遜至今仍保留著古老多元的文化，從拜火教、佛教和八世紀時傳入的伊斯蘭教以及前伊斯蘭信仰，均在此交滙，至今薩滿教和圖騰崇拜等諸多宗教遺跡仍然有跡可尋。
很多傳統儀式至今仍然持續傳承不斷，如在春節除夕，以食物作為播種儀式的供品。製作木偶，再把它浸入水中的祈雨儀式，應是由拜火教演變而來。家庭習俗也流傳下來，如新生兒出生40天後，以火和灰燼驅鬼，嬰兒行割禮的風俗，伴有鬥羊和其他遊戲。薩滿儀式此的婚禮、葬禮及治病等等。
在民間傳統節慶中的歌舞表演，傳統的牧歌、史詩傳說的民族舞蹈歌曲。歌謠的風格中可見塔吉克和烏茲別克傳統的相互影響。史詩裡的神話題材常出現在歌詞裡，也和同的儀式有關，常然也有些抒情歌曲和歌頌唱大自然的歌謠，歌曲以烏茲別克傳統鼓樂或弦樂伴奏。
獲Unesco後行動：當地的民歌樂團已展開田野調查，經收集了一些可貴的民歌民謠。並有音樂學家、考古學家，對傳統樂器、史詩和古樂，進行考查和記錄的工作，未來也將出版、表演、慶典的設計和組織行動。




觀看全文...

能樂
Nogaku Theatre
時間：2001
地區：亞 太
國別：日本
類別：表演藝術
日本能樂 (亦稱能劇)全盛時期在幕府時代的14~15世紀，能樂，在日語裡原意為“有情節的藝能”，是最具有代表性的日本傳統藝術形式之一。事時上，能樂早在八世紀，就己從中國散樂(含歌舞、器樂、相聲、摔腳、武術、雜技、魔術以及雜劇等，範圍因時而略異；表演場所，先秦以宮廷為中心，南北朝時開始擴展到寺廟，宋代進一步擴展到城市到鄉間)傳入日本後，逐漸和融入日本社會，也和當地的藝術相互交流、演進，發展成為日後我們熟知的能樂。如今能樂對日本表演劇場、木偶戲、歌舞劇的影響和日後之發展有重大所影響。
能樂表演內容往往來自傳統文學，使用面具，稱能面、服裝和各種道具，以優雅緩僈動作為基本表演形式。能樂對演員和樂師都有很高的素質要求。因此，能樂的養成嚴峻。事眞上能劇表演，包括兩種戲劇類型：“能”和“狂言”，二者要在同一空間表演。舞臺並不需很大，但舞臺需伸向觀眾區中間，舞臺與後臺之間由一條演員出場通道連接，後臺又裝有許多玻璃鏡。能樂中的情感通過傳統的制約規範動作來表達。主人公通常是具超自然的神的形象，但以凡人身形講故事，具神祕感，乍隱乍現。能樂的特點是面具，通常是扮演鬼魂、婦女、兒童和老人時使用。狂言，是從散樂滑稽表演派生出來的，類似我國之相聲，極少用面具。劇本用中世紀口語寫成， 是對12~16世紀的民間庶民生活的寫照。
引自unesco
Its subsequent adaption to Japanese society led to its assimilation of other traditional art forms. Today, Nôgaku is the principal form of Japanese theatre and has influenced the puppet theatre as well as Kabuki.
Often based on tales from traditional literature, Nôgaku theatre integrates masks, costumes and various props in a dance-based performance. Moreover, this theatre requires highly trained actors and musicians. Nôgaku encompasses two types of theatre: Noh and Kyôgen, which are performed in the same space. The stage projects into the audience and is linked by a walkway to a “hall of mirrors” backstage. In Noh, emotions are represented by stylised conventional gestures. The hero is often a supernatural being who takes on human form to narrate a story. The distinctive masks for which Noh is renowned are used for the roles of ghosts, women, children and old people. Kyôgen, on the other hand, relies less on the use of masks and is derived from the humorous plays of the Sangaku, as reflected in its comic dialogue. The text is written in ancient language and vividly describes the ordinary people of the twelfth to sixteenth centuries.
In 1957 the Japanese Government designated Nôgaku as an Important Intangible Cultural Property, which affords a degree of legal protection to the tradition as well as its most accomplished practitioners. The National Noh Theatre was founded in 1983 and stages regular performances. It also organizes courses to train actors in the leading roles of the Nôgaku.


觀看全文...

宮廷宗廟祭祀禮樂
Royal Ancestral Rite and Ritual Music in Jongmyo
時間：2001
地區：亞 太
國別：韓國
類別：禮儀與節慶活動
在首爾(漢城)的宗廟祠堂之儒教的祭祀儀式傳統，可追述到14世紀。這種祭祀儀式，有莊嚴的中國的雅樂和舞蹈。這禮儀與節慶活動，於每年5月的第一個星期天舉行，由王室後裔組織祭典活動。
在祖先靈魂安息的處所，祈求永恆平安保太平，出自中國儒家敬祖孝宗之傳統思想。直到今日，祭祀形式仍沿用15世紀的典籍所記載的規章制度，如主祭身穿禮服，頭戴王冠以代表國王，其餘等眾則著冠冕，捧著盛有食物和奠酒的祭器供品。古樂隊編制有鑼、鐘、絃樂器、長笛和舞蹈，由64位舞者，排成8行，按儒家思想中，表達宇宙的兩極定律的陰陽，和宇宙的靈性力量平衡的對應陣勢。
象徵國王文功武業和“陽”力的舞蹈“文舞”，以充滿風的雅樂 “保太平”音樂伴奏，第一舞步向左；而象徵“陰’’力的“武舞”，用小調音樂“定大業”伴奏，第一舞步總是向右邁出。
從孔子去世第二年，西元552年，中國開啟的祭孔活動，由於歷代皇室的帶動下，成為「國之大典」。祭孔祀典禮儀式，於公元372年的三國時代(高句麗、百濟、新羅)傳到韓國後，歷經代王朝的變遷，在音樂和舞蹈以及規模、勢必有所變遷，但堅持嚴格採用古禮的韓國人，基本程序仍保有中國周代雅樂的規範。自從中國共產黨建國後，中國已不再舉行。改革開放後，近年來也開始祭孔，但商業色彩太濃，台灣2008祭孔大典，穿古衣學生還見漏餡的牛仔褲，不夠莊重。中國近年來眼見源自老祖宗的文化遺產被韓國拔樁，憤憤不平之餘是否也深入探究，韓國人的認眞和持着，也警惕台灣人如何正確看待文化遺產。
unesco原文
The Jongmyo Shrine in Seoul is the setting for a Confucian ritual dedicated to the ancestors of the Joseon dynasty (14th to the 19th century) that encompasses song, dance and music. The ritual is practised once a year on the first Sunday in May and is organized by the descendants of the royal family. It offers a unique example of a Confucian ritual, which is no longer celebrated in China. The tradition is inspired by classical Chinese texts concerning the cult of ancestors and the notion of filial piety. It also includes a prayer for the eternal peace of the ancestors’ spirits in a shrine conceived as their spiritual resting place.

The order of the ceremony was defined in the fifteenth century and most elements have remained unchanged until today. During the rite, the priests, dressed in ritual costume with a crown for the king and diadems for the others, make offerings of food and wine in ritual vessels. The Jongmyo Jerye is music played to accompany the rituals and is performed on traditional instruments, such as gongs, bells, lutes, zithers and flutes.
The dances are performed by 64 dancers in 8 lines representing the opposing yet complementary forces of Yin and Yang as set out in the Confucian texts.The Munmu dance, accompanied by the harmonious and soothing Botaepyong music, is characterized by a first step to the left. While the Munmu dance symbolizes the force of the Yang, the Mumu dance, accompanied by Jeongdaeeop music and characterized by a movement to the right, represents the force of the Yin.
The ancestral ritual is nowadays often considered to be devoid of meaning, especially in the context of the growing importance of Christianity. However, the ritual and its music are protected through the National List of Intangible Heritage and the 1982 Law for the Protection of Cultural Property.


觀看全文...

名稱： 薩那歌樂 Songs of Sanaa
類別： 傳統音樂 國家： 葉門 (Yemen)
薩那歌曲，指的是一種盛行於葉門的傳統音樂形式，內容包括整套歌曲系列。這種歌曲源自於14世紀以來的各種詩歌，通常是在慶典、重要的社會活動、婚禮守夜和每天午后的朋友、同事的聚會上表演。
薩那歌曲由一位獨唱歌手演唱，兩種古樂器伴奏，葉門魯特 lute 琴，另外還有一種銅盤。樂手用兩隻大拇指頂著銅盤，用其他8個手指輕輕敲擊。音樂旋律豐富，各具特色，有固定的調性，演唱者的才華在於加強唱詞的表意，修飾旋律，打動聽眾。這種音樂也可以為當地傳統的民族舞蹈伴奏。
唱詞用葉門當地方言和古代阿拉伯語寫成，感情激蕩，有著大量的雙關語。葉門人民把詩歌看作是文學的最高形式，而薩那歌曲的歌詞則是詩歌的精髓，在葉門廣為引用。儘管這種歌曲得名於葉門歷史名都薩那，但是在全國各個城鎮，廣受歡迎，因此，從城市到鄉村，都能夠聽到薩那歌曲演唱。事實上，薩那歌曲充滿詩意的歌詞，經常是從全國各地的方言當中萃煉出來的，而傳統曲調，則是歌手從其他音樂中借用而來的，特別是民間舞曲和當代音樂。
引用 UNESCO 原文
The Song of Sana’a, also known as al-Ghina al-San’ani, designates a group of songs that belongs to a rich musical tradition practised throughout Yemen. Derived from various poetic traditions dating from the fourteenth century, this genre constitutes an integral part of social events, such as the samra marriage evenings and the magyal, the daily afternoon gathering of friends and colleagues.
The songs are interpreted by a solo singer accompanied by two ancient instruments: the qanbus (the Yemeni lute), and the sahn nuhasi, a copper tray which is balanced upon the player’s thumbs and lightly struck with the other eight fingers. There are a large number of melodic types. Modulation from one to another within a single performance is rare, but the artistry of a performer is judged by his ability to embellish a melody in order to highlight the meaning of the text and to move the listeners. The poetic repertory, written in both Yemeni dialect and classical Arabic, abounds in wordplay and is renowned for its emotional content. The texts of the songs constitute the most revered and frequently quoted body of poems in Yemen. Although the songs are directly associated with Yemen’s historical capital, Sana’a, they can be heard in many towns and rural areas throughout Yemen. In fact, the poetic repertory often draws on dialects from different parts of the country. In addition, traditional melodies are regularly borrowed by performers of other genres, including rural dances and contemporary music.
Although Yemenis remain very proud of the Song of Sana’a tradition, attendance has dwindled and today’s musicians – despite their growing numbers – know only a handful of old songs, which they interject in their performances before moving on to lighter contemporary pieces. It is just a few elderly musicians who have preserved the breadth of the Song of Sana’a tradition and the subtleties of its interpretation.

名稱： 不丹王國面具舞
The Mask Dance of the Drums from Drametse
類別： 表演藝術 / 社會習俗 / 儀式
國家： 不丹 (Bhutan)
不丹曾與尼泊爾、錫金，並稱為喜馬拉雅山的隱士國，在9世紀始成立獨立部落，12世紀藏傳佛教噶舉派逐漸掌權實行政教合一。16世紀西藏喇嘛拿旺越山而來，成為不丹法王，以輪迴轉世方式傳承王位；19世紀初不丹長期內亂，曾為英國保護國，1907年巴羅省總督UgyenWangchuck平亂後成為第一任國王，由此開始君主世襲。
位於東不丹的蒙戈爾區德拉邁茨村，藏傳佛教之著名的南卓爾確林(Namdroel Choeling)寺院。每年於不丹歷的五月和十月，在德拉邁茨分別有兩次大的節慶活動,紀念藏傳佛教之領袖蓮花生大士(Padmasambhava)。包括德拉邁茨村的村民，和附近村莊和地區的人，全都参加這慶典，聚集一堂，期望這活動中的舞蹈、祭典中得到祝福。
節慶中最重要的舞蹈Drametse Gacham,一種宗教面具舞，可追述到公元16世紀，直至今日仍然表演如昔。每年節慶持續三天的節慶，藏傳佛教歷法而定。面具舞起源於一種宗教祭祀，內容以勸人向善、驅鬼、祈福、警世為主，舞者全為喇嘛，會戴上各種神祇面具，並穿上顏色鮮豔的服飾，然後在大小皮鼓、鑼鈸和長長的法器葛雷當的吹奏下起舞。各寺廟裡均有專門舞師傳授面具舞，舞步皆沿襲中世紀流傳下來的動作。而樂器服飾也都屬於寺廟所有，只能在慶典時才拿出來使用，尤其是面具節。
祭典中的舞蹈表演，充份展現大乘藏傳佛的教義，並被尊為精神力量和不丹民族身份的象徵。
引用UNESCO原文
The mask dance of the Drametse community is a sacred dance performed during the Drametse festival in honour of Padmasambhava, a Buddhist guru. The festival, which takes place in this eastern Bhutanese village twice a year, is organized by the Ogyen Tegchok Namdroel Choeling Monastery.
The dance features sixteen masked male dancers wearing colourful costumes and ten other men making up the orchestra. The dance has a calm and contemplative part that represents the peaceful deities and a rapid and athletic part where the dancers embody wrathful deities. Dancers dressed in monastic robes and wearing wooden masks with features of real and mythical animals perform a prayer dance in the soeldep cham, the main shrine, before appearing one by one in the main courtyard. The orchestra consists of cymbals, trumpets and drums, including the bang nga, a large cylindrical drum, the lag nga, a small hand-held circular flat drum and the nga chen, a drum beaten with a bent drumstick.
The Drametse Ngacham has been performed in the same monastery for centuries. Its form has both religious and cultural significance, because it is believed to have originally been performed by the heroes and heroines of the celestial world. In the nineteenth century, versions of the Drametse Ngacham were introduced in other parts of Bhutan. For the audience, the dance is a source of spiritual empowerment and is attended by people from Drametse as well as neighbouring villages and districts to obtain blessings. Today, the dance has evolved from a local event centred on a particular community into an art form, representing the identity of the Bhutanese nation as a whole.
Although the dance is highly appreciated among all generations, the number of practitioners is dwindling due to lack of rehearsal time, the absence of a system for training and the gradual waning of interest among young people.

名稱： 韓國江陵端午祭 Gangneung Danoje Festival
類別： 社會習俗 / 節慶 國家： 韓國 (Republic of Korea)
江陵端午祭:Gang Neung Danoje Festival
江陵端午祭是太白山脈以東的朝鮮半島上的江陵及附近地區的節日。
節日主要透過在大關嶺舉行之薩滿教的儀式，祭拜山神以及男國師和女國師，儀式中有傳統音樂和插央(Odokddegi)民歌、官奴仮面劇舞、農民之即興朗詩之口占詩和各種各樣的娛樂活動。南江集市是朝鮮最大的戶外集市，在這裡有各式當地特產和手工藝品的買賣、比賽、遊戲和馬戲表演，這一系列之活動串成的具有特色的節慶活動。
每年，長達四周的祭典是，從農曆四月五日釀造神酒開始。同時舉行達諾薩滿教儀式，儀式中的主角是神木(Sinmok)和一種用羽毛、鐘鈴和竹子做成的法器(華蓋Hwagae)。
最早記載了這一活動可追述到，三世紀的中國文獻，近代節慶呈現方式，仍包括其中的一些元素，朝鮮王朝的京宗時代(1720~1724)的《異名紀.Imyeong》中亦有記述。本端午祭將中國的儒教、薩滿教和佛教儀式融為一體，是活動的最大特色。
當地居民相信萬物皆有靈，惡靈也無所不在，透過這獻神靈儀式祭，能確保當地居民豐衣足食保平安。
每年，江陵端午祭由舞蹈、薩滿祭祀、民間藝術展示等活動，吸引了有大量遊客來參訪，居民並積極參與儀式的準備活動：做端午祭扇、釀造聖酒、製作假面、包粽子、吃粽子、用黃花鳶尾又名黃菖蒲洗頭。
江陵端午祭是不分貧富、不分階級全民可參與的平民化的節慶和祭典。歷經千餘年，對傳統文化的傳和維繫社區住民的向心力，有不可抹滅的貢獻。
引自unesco原文
The annual Gangneung Danoje Festival takes place in the town of Gangneung and its surroundings, situated east of the Taebaek Mountain Range on the Korean peninsula.The festival includes a shamanistic ritual on the Daegwallyeong Ridge, which pays tribute to the mountain deity and male and female tutelary deities. It encompasses traditional music and Odokddegi folk songs, the Gwanno mask drama, oral narrative poetry, and various popular pastimes. The Nanjang market, Korea’s largest outdoor marketplace, is today a major element of the festival, where local products and handicrafts are sold and contests, games and circus performances take place.
The four-week long festival begins with the brewing of a sacred liquor and the Dano shamanistic rituals, in which a central role is played by a sacred tree, the sinmok, and the hwagae, a ritual object made of feathers, bells and bamboo wood. One of the specific features of the festival is the coexistence of Confucian, shamanistic and Buddhist rituals. Through the rituals devoted to the deities, the region is believed to remain unaffected by natural disasters, allowing all its residents to live in peace and prosperity. Every year, a large number of visitors attend the various ritual performances and actively participate in events such as making Danoje festival fans, brewing the sacred liquor, drawing masks for the Gwanno Mask Drama, preparing and eating Surichiwi rice crackers and washing their hair in Iris water.
The Gangneung Danoje Festival enjoys immense popularity. However, cultural standardization and increased media coverage over the years have resulted in the loss of some traditional elements of the festival. In the traditional context of the festival, one of the functions has been to transcend social differences by allowing people of all social classes to participate.

名稱： 西西里島提線偶戲
Opera dei pupi, Marionettistica Fratelli Napoli - Catania".
類別： 表演藝術
國家： 義大利 (Italy)
19世紀初期的發展西西里木偶劇，廣受西西里島中平民階層的愛載。
表演的故事通常取材於中世紀的騎士文學、文藝復興時期的義大利詩歌，以及聖徒或江洋大盜的傳奇故事，但大部分對白，都是木偶藝人在演出中，自由即興發揮的。
引用Unesco
The puppet theatre known as the Opera dei Pupi emerged in Sicily at the beginning of the nineteenth century and enjoyed great success among the island’s working classes. The puppeteers told stories based on medieval chivalric literature and other sources, such as Italian poems of the Renaissance, the lives of saints and tales of notorious bandits. The dialogues in these performances were largely improvised by the puppeteers. The two main Sicilian puppet schools in Palermo and Catania were distinguished principally by the size and shape of the puppets, the operating techniques and the variety of colourful stage backdrops.
These theatres were often family-run businesses; the carving, painting and construction of the puppets, renowned for their intense expressions, were carried out by craftspeople employing traditional methods. The puppeteers constantly endeavoured to outdo each other with their shows, and they exerted great influence over their audience. In the past, these performances took place over several evenings and provided opportunities for social gatherings.
The economic and social upheavals caused by the extraordinary economic boom of the 1950s had a considerable effect on the tradition, threatening its very foundations. At that time, similar forms of theatre in other parts of Italy disappeared, some of them to re-emerge some twenty years later. The Opera dei Pupi is the only example of an uninterrupted tradition of this kind of theatre. Owing to current economic difficulties puppeteers can no longer make a living from their art, prompting them to turn to more lucrative professions. Tourism has contributed to reducing the quality of performances, which were previously aimed at a local audience only.

名稱： 瓦揚偶戲 Wayang Puppet Theatre
類別： 表演藝術
國家： 印尼 (Indonesia)
這種古典偶戲以精工製作的木偶和複雜的音樂風格而聞名，起源於印尼爪哇島的古老的神話故事。這皮影偶戲藝術在爪哇和巴厘島宮廷以及農村非常盛行。直到今天，印尼皮影不僅在爪哇、巴厘島流傳，如今在龍目、馬都拉、蘇門答臘和南婆羅洲等島嶼，也同樣受到人們喜愛。。歷經近千年的歷史的演革，各地方的表演風格和伴奏音樂，各有其在地的特色。
引自Unesco
UNESCO proclaimed the Wayang Puppet Theatre as a Masterpiece of Oral and Intangible Heritage of Humanity on 7th November 2003. It was proclaimed, with 28 other masterpiece around the world, enhancing the first list of 19 cultural spaces and expressions selected in May 2001. The Proclamation of Masterpiece of the Oral and Intangible Heritage of Humanity programme was created in 1997 at the 29th session of the General Conference of UNESCO.
Wayang is an ancient form of story telling originated on the Indonesian island of Java. For ten centuries wayang flourished at the royal courts of Java and Bali as well as in rural areas. Today, wayang is practiced not only on Java and Bali, but also on the islands of Lombok, Madura, Sumatra and Borneo, where various local performance styles and musical accompaniments have developed.
Traditionally, Wayang performances took place not only in the courts of kings and noblemen, but also in the compounds of temples or of private families, in village squares and even in theatres. Wayang performers, the dalangs, musicians and singers performed for whoever wished to invite them. Today, as the pressures of modern, urban society are contributing to a disintegration of community and family life, the traditional family rituals which would have included Wayang, are celebrated less frequently, and less elaborately.
In the past, puppeteers were regarded as cultivated literary experts who transmitted philosophical, moral and aesthetic values through their art. The words and actions of comic characters representing the �common man� have provided an acceptable vehicle for criticizing sensitive social and political issues, and it is believed that this special role may have contributed to wayang�s survival over the centuries.
In October 2004, responding to the urgent need to safeguard the traditional Wayang Puppet Theatre, UNESCO proposed a project entitled "Implementation of the First Phase of the National Action Plan for the Safeguarding of the Wayang Puppet Theatre of Indonesia, a UNESCO Masterpiece of the Oral and Intangible Cultural Heritage of Humanity".
The objective is to encourage Indonesia to undertake concrete action to safeguard, revitalize, and promote this traditional puppet theatre. Over its 3-year duration, the project will focus on the three main activities, Research & Documentation, Training, and Dissemination. Japanese Funds-in-Trust supports the project for the Preservation and Promotion of Intangible Cultural Heritage. The Intangible Heritage Section (ITH) at UNESCO Headquarters, SENA WANGI (the national implementing agency) and UNESCO Office Jakarta are all involved in its implementation.
SENAWANGI, the national implementing agency, is working together with PEPADI (Indonesian Pedalangan Union), private Wayang training centres (PDM & Habirando), STSI (Indonesian Arts University), and ISI (Indonesian Arts Institute). They will establish sanggars in Palembang and Banjarmasin, in order to make inventories and update documentations on sanggars and Wayang practitioners of the five kinds of Wayang such as Wayang Kulit Purwa Surakarta, Wayang Kulit Purwa Yogyakarta, Wayang Kulit Parwa Bali, Wayang Kulit Malangan, Wayang Golek Sunda, Wayang Kulit Banjar and Wayang Kulit Palembang.
SENAWANGI will continue conducting field research and surveys in close cooperation with PEPADI by visiting selected locations such as: Denpasar, Malang, Surakarta, Yogyakarta, Bandung, Sukabumi, Karawang, Jakarta, Palembang and Banjarmasin. As well as inviting the wayang master practitioners and experts from each location to assist in taking inventories and to update documentation on sanggars and wayang practitioners for the five kinds of Wayang.
More information of the Masterpiece of Oral and Intangible Heritage of Humanity on First Proclamation, Second Proclamation and Third Proclamation.
For more information regarding activities on wayang www.wayang-indonesia.com.

名稱：苦替牙坦梵文劇 Kutiyattam，Sanskrit Theatre
類別： 表演藝術
國家： 印度 (India)
喀拉拉邦的梵文劇——苦替牙坦是印度最古老戲劇傳統的活化石。該劇原本只能在印度教神廟中的庫坦巴拉姆演出。具有2000多年歷史的苦替牙坦梵文劇，是梵文古典戲劇，但對喜劇中的喬段，只以馬拉亞拉姆方言表達。
精緻的化妝，影響其他如卡達卡利和其他喀拉拉邦的表演藝術。豐富多變的面部的表情(尤其是眼睛)、動作和姿態，整合成為精確和嚴僅規範的舞蹈和表演語彙。
苦替牙坦演員的角色，仍保留著神性，演出前要舉行敬天點灯儀式，整個演出過程中，舞臺油燈長明不熄，象徵神明在場。
男性演員(均出自恰吉亞階級)的表演教材都是由師父單獨密傳的，且極其具體。直到近期，這些教材仍然由某幾個家庭密藏不漏。古典梵劇一般為獨幕劇，情節非常細微具體，以致演出全劇可持續40天。苦替牙坦梵文劇是印度唯一男演員恰吉亞階級(Chakyar)女南吉亞階級(Nangiars)合作演出，並有打擊樂南比亞(Nambiars)鼓樂伴奏的表演梵文劇。
Kutiyattam is the oldest theatrical tradition of India. It is Sanskrit in origin and is found in Kerala, performed in Kuttampalams, theatres found in Hindu temples. The tradition dates back to at least 2000 years ago. Originally sacred and tightly-controlled, Kutiyattam is now more accessible, though spiritual elements remain, with actors being purified and an oil lamp constantly burning during performances to symbolize the divine presence. Techniques are highly stylized and governed by strict rules were, until very recently, codified in manuals that were kept secret by specific families.
Koodiyattam - Balivadam

名稱： 伊富高族的呼得吟唱
Hudhud Chants of the Ifugao
類別： 口述傳統
國家： 菲律賓 (Philippines)
名稱： 伊富高族的呼得吟唱
Hudhud Chants of the Ifugao
類別： 口述傳統
國家： 菲律賓 (Philippines)
伊夫高是一個以耕種梯田種水稻而著稱的族群。他們在播種和收穫季節以及守喪儀式上，都要詠誦哈德哈德聖歌。聖歌可能在7世紀之前已經存在，有200多個故事，每個故事含40個篇章，全部吟誦需要3至4天。由於伊夫高人是母系氏族文化，妻子通常在聖歌中擔任主角，其兄弟的地位在丈夫之上，所以哈德哈德具有獨特人類學價值。聖歌的敘事語言，充滿形象片語和重複句，多用象徵、明喻和暗喻等修辭手法，所以很難用文字記錄。詩人在族群中佔有很重要的地位，他們既是歷史學家又是神父，詠誦者多為上年紀的婦女。聖歌交替以領誦、合誦的形式表現出來。所有的聖歌通篇只有一個曲調，每個曲調在當地是耳熟能祥，直至目前，這伊富高族的呼得吟唱至今仍然以口述傳統來博。
The Ifugao community is known for the ancient hudhud chants that date from at least the 7th century. There are more than 200 chants in total, each composed of 40 episodes; there is only one melody for all the hudhud verses. The primary performer is a woman, whose brother plays a more important part than her husband. These chants employ complex literary techniques including onomatopoeia, metaphor and metonymy.
act1 intro


觀看全文...

名稱： 尼亞加索拉的索索巴拉文化區
The Cultural Space of Sosso-Bala in Nyagassola
類別： 文化場域
國家： 幾內亞 (Guinea)
1893.幾內亞成為法蘭西殖民地，稱法屬幾內亞French Guinea. 1958獨立，成立幾內亞Guinea共和國。位於非洲大陸西部的凸角上，突出於大西洋中。因境內景色優美，有「非洲小瑞士」之美名。非洲最重要之河流——甘比亞河、尼日河，都發源於此。
The Sosso-Bala is a sacred instrument of the Mandingue people, and has been an important symbol of their culture since the old Malian Empire in the 13th century. The Sossa-Bala is an ancient balafon most closely associated with the Dökala of Nyagassola. The patriarch of the family, the Balatigui, plays the Sosso-Bala on special occasions and teaches its use to children. The instrument accompanies ancient epic poems dedicated to the ancient Malian heroes like Sundiata Keita and villains like Soumaoro Kantè.

名稱：阿奉卡哈部落的橫木號音樂及文化空間
The Gbofe of Afounkaha: the Music of the Transverse horns and the cultural space of the Tagbana Community
類別：傳統音樂
國家：科特迪瓦(象牙海岸)
“格波非”(Gbofe)主要流行在塔格巴納族群的阿封卡哈村莊。“格波非”既指橫吹的木號，涵蓋音樂、舞蹈、歌曲的綜合表演。“格波非” 橫木號製作材料是樹根外護一層牛皮。6個50~70CM不同的月牙形木形吹號同時吹奏，產生的音階有如塔格巴納語中的詞彙，這些詞彙又被婦女合唱團用歌聲銓譯出來。橫木號吹奏的音樂和歌手搭配打擊樂，節奏强烈，是“格波非”的獨特風格。“
“格波非”表演藝術主要在傳統慶典儀式，也適用各種婚喪喜慶，感恩、頌讚、譏諷、愛情外並秉負，倫理道德教育等社會教化等功能。
在當地社群擁有此傳統技藝的人，普遍受尊敬和名望。“格波非”的藝人都要經過嚴格的學習，通常是父傳子代代相傳世襲制。如今已對外開放。
原Unesco介紹
Gbofe is a kind of transverse trumpet as well as the performances which utilize them among the Tagbana people. These performances use six trumpets with a varying length, as well as song and dance. In addition to the trumpets, there is a Gbofe percussion section which provides structure for the performance, which is played at a variety of ceremonies and rituals.



觀看全文...

觀看全文...

名稱： 加利芬那的語言舞蹈音樂
The Garifuna Language, Dance and Music
類別： 口述傳統
國家： 貝里斯/宏都拉斯/尼加拉瓜/瓜地馬拉 (Belize/Honduras/Nicaragua/Guatemala)
加利芬那人(Garifuna)，是幾世紀前來自奎及利亞的非洲奴隸，在聖文遜登陸後和當地加勒比海的人混血後，又移往中美洲的族群，大部份住在宏都拉斯。加利芬那的音樂原素主要來自非洲原鄉，融合了當地印地安人的音樂，如圈圈舞(circle dances)諷刺和勞工及多種不同在地風格的歌舞，是非常獨特的音樂形態。加利芬那語也屬於蘇利南、蓋亞那之Arawak 語的一分支。
引用Unesco原文
The Garifuna are a people descended from Nigerian slaves shipwrecked on Saint Vincent mixed with the native Carib islanders. Later, the Garifuna moved to Central America, and are now most numerous in Honduras. Garifuna music and dance combine African and indigenous elements, and include a variety of circle dances, satirical, work and a cappella songs and popular paranda and punta music. The Garifuna language is considered to be a part of the Arawak family。
Livingston tour, Guatemala



觀看全文...

名稱： 傑利地口傳和儀式節慶遺產
The Oral Heritage of Gelede
類別： 口述傳統 / 儀式節慶
國家： 貝寧(奈及利亞/多加兩國支持)
貝寧共和國、東哥、奎及利亞三國之傑利地Gelede的慶典，其中魯巴Yoruba族，慶祝智慧之母和年長婦女的母親節。活動中有帶頭頂主朝天面具及女頭巾，男扮女裝的舞蹈，唱歌、擊鼓、手足舞蹈，這儀式稱EFE，通常是在傍晚入夜之前舉行。
回顧百年來，貝寧共和國的Yoruba-nago族, Fon族 and Mahin族的族人，不論是慶助豐收、抗乾旱或傳染疾病橫行，族人總會在村落聚集一堂，以儀式和熟練的擊樂舞蹈來慶助。
在聚落之表演活動前，由通常由獨占的婦女社群，負責制作活動中使用之獨特的木彫刻面具，唱約魯巴語的歌曲，曲中敘述民族的歷史和傳奇神話故事。唱歌伴奏以打擊樂及鼓為主。在日落後活動才開始進行，由鼓樂中開啟，参加演出人帶上不同的面具，不論男女，均載上女姓為主的面具，吟唱來祖先傳統神話故事及嘲笑戲弄的嘲諷劇，特別是對不正常的男女越軌行為的憤世嫉俗之鳴。據聞起源於從母系社會到父系社會的過渡時期，族人借助這種舞蹈，以安撫失落的母權的母親們。並向女祖先依亞•尼亞的神靈表示敬意。魯巴Yoruba人是動物崇拜的民族，諸如蛇——權力的象徵，鳥—“母親們”的使者。
引用Unesco原文
Benin(supported by Nigeria and Togo )
Gelede is an annual festival which celebrates the wisdom of mothers and female elders among the Yoruba people. The festival includes headdresses worn by men who masquerade as women to placate the elder women of the tribe. Dance and music are integral parts of the ceremony, which utilizes traditional elements of Yoruba music including complex percussion and singing. The Gelede is preceded by a ceremony called Efe, which takes place the night before.



觀看全文...

名稱： 歐魯羅嘉年華
The Oruro Carnival
類別： 儀式節慶
國家： 玻利維亞 (Bolivia)
波利維亞的歐魯羅Oruro位於玻利維亞西部山區，在哥倫布發現新大陸以前，此地是一個宗教儀式的重要聖地。
西元1606年，西班牙殖民政府時代，Oruro的儀式，一度被西班牙殖民政府禁止。但聰明的烏魯人，烏魯人把安第斯神祗，藏在基督教聖徒的畫像底下，以基督教禮拜儀式的護下，持續不斷的膜拜本土的信印。安第斯諸神，變成了基督聖徒，誏自己的信仰得到延續。
“伊托”節披上了基督教儀式的外衣，每年借用2月2日聖燭節的這一天開展慶祝活動。傳統的舞蹈“拉馬拉馬”或“迪亞布拉達”變成奧魯羅狂歡節的主要舞蹈。
如今，該節每年在四旬齋前舉行一次，持續10天。集民間藝術的大成，包括面具、紡織品和刺繡等工藝。狂歡節的主要活動是“安特拉達”大遊行，融合了基督教誕節慶結合和中世紀而來的神秘劇元素。遊行舞蹈的隊伍，綿延四公里長，持續不斷地表演長達20個小時。参加遊行人數，超過有28000多位舞蹈者和10000多名樂手参予，非常壯觀。
引用Unesco原文
Oruro was a ceremonial site in the pre-Columbian era and was refounded by the Spanish in 1606. It was the site for the Ito festival, which was banned by the Spanish in the 17th century but continued ostensibly as a Christian celebration wherein ancient Andean gods were recast as saints. It became associated with Christmas, and was celebrated on February 2, Candlemas. It is now an annual festival held before Lent and lasting for ten days. The most important event is the entrada, which is a procession of more than 28000 dancers and 10000 musicians who march for four kilometres for more than twenty continuous hours as part of the ceremony.


觀看全文...

名稱： 崑劇
Kunqu Opera
類別： 表演藝術
國家： 中國 (China)
崑劇-牡丹亭之遊園驚夢

崑劇或稱昆曲，是中國南方冮蘇昆山發展出來的表演藝術。他的歷史發展不算長，始於約明代隆慶、萬曆之交開始，到清代嘉慶初年（1570-1800）是崑劇最輝煌時代。
兩岸於60年代開始又得到重視，各自得到不同的發展。歷代流下的崑曲劇碼非常豐富，文字婉約淒美，典雅華麗，具有很高很文學價值。
崑曲對中國的京劇和川劇、湘劇、越劇、黃梅戲等影響很大，因此，人稱們崑劇為"百戲之祖"的美譽。崑曲的演員也很容易跨界串演，特別是京劇。
崑劇集合劇本、音樂歌唱舞蹈、化妝美術、舞台演員、樂團編制、嚴刻的養成訓練，使崑劇成為中國最完備的表演藝術。崑劇於2001年已獲UNESCO的非物質世界遺產。
引自Unesco介紹文
The Kunqu opera is one of the oldest extant forms of Chinese opera, dating back to the Ming Dynasty of the 14th to the 17th centuries. Kunqu utilizes a stock cast of two leads, one male and one female, as well as an old man and a number of comic roles. Performances include song and dance, accompanied by a variety of string, wind and percussion instruments.

♣ 名稱： 美拉部落聖靈兄弟會的文化空間
The Cultural Space of the Brotherhood of the Holy Spirit of the Congos of Villa Mella
類別： 文化場域
國家： 多明尼加共和國 (Dominique Republic
♣ 2001年多明尼加的UNESCO的非物質文化遺產。來自16世紀的的非洲裔傳統的康果(Congod)鼓，在不同的節慶葬禮中擊鼓舞蹈，最特別的是 Holy Spirit and the Banko ceremony 是在Mella村落中，親人死後擊鼓奏樂吟唱繪畫舞蹈，結合了天主教，在教堂迎靈的聖靈儀式和聚會，莊嚴、快樂另類的追思活動。
原UNESCO的英文介紹
The Brotherhood of the Holy Spirit of the Congos of Villa Mella is an organization composed of musicians who specialize in the conga drums. The Brotherhood dates back to the 16th century, and has become an essential part of Dominican culture. These musicians play at religious festivals, funerals and other occasions, such as the Festival of the Holy Spirit and the Banko ceremony which occurs three years after the death of an individual.



觀看全文...

名稱： 喬治亞複音歌唱
Georgian Polyphonic Singing
類別： 傳統音樂
國家： 喬治亞 (Georgia )
喬治亞共和國從4世記紀複音歌唱 Georgian Polyphonic Singing，又稱複調音樂，一種「多聲部唱腔」。於2001年被指定為非物質文化遺產，是一種有別於土瓦的Overe tune。林懷民1994年流浪者之歌，採取之主題音樂就是喬治亞共和國的。
喬治亞共和國的複音唱腔共分四種：持續音複音唱法，對位複音唱法，平行複音唱法， ostinato 音唱法。喬治亞西北方山區之Svanetia 是屬於和弦的對位複音唱法。西部是岳得爾yodel對位複音唱法........各地區皆有其不同特色的複音唱法。
引用Unesco原文
Singing Polyphonic singing is an ancient tradition in Georgia, consisting of four main types (drone polyphony, contrapuntal polyphony, parallel (or "chordal unit)polyphony, and ostinato polyphony). The northwest region of Georgia, the most mountainous Svanetia has the "chordal unit" polyphony, while western Georgia is known for contrapuntal polyphony with the yodel, and eastern Georgia Kakhetia is home to dialogue of two soloists with melismatic melodies with the pedal drone accompaniment. Ostinato polyphony is present in all regions of Georgia. Kakhetian traditions include the unique Chakrulo song, from the category of so called "long table song". Polyphonic traditions in Georgia were present at least by the 4th Century (by the time Chistianity was adopted as the state religion).




觀看全文...