回溯《薩滿祭司》舞作的編創過程

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Title:	回溯《薩滿祭司》舞作的編創過程
Other Titles:	Babaylan Reimagined: The Process of Choreographing BBYLN
Authors:	賈西亞 GARCIA, AL BERNARD VELARDE
Contributors:	民族音樂學系林文中 LIN, WEN-CHUNG
Keywords:	薩滿祭司;創譯;菲律賓;現代舞 Babaylan;Transcreation;Philippines;Contemporary Dance
Date:	2021
Issue Date:	2022-08-10
Abstract:	Babaylan 是指菲律賓文化中具有靈性與智慧的人。本研究的主題是關於這些在菲律賓前殖民時期受人崇敬的領導人，並試圖向台灣及國外觀眾介紹與重述這部分的菲律賓文化。由於全球化與宗教原因，在菲律賓過去廿年之前，關於 Babaylan 的話題並沒有被廣泛討論，也幾乎在歷史的對話中消失。身為菲律賓少數年輕文化學者的目標，是在更大的表演藝術平台上，分享菲國豐富的傳統、文化與實踐，而我有責任透過我表達與藝術語言的媒介-舞蹈，來分享可聯繫當代與傳統間的故事。　　在本研究當中，我分享了我作為編舞者創作名為「薩滿祭司(BBYLN)」舞作的過程。標題 BBYLN 讀成沒有母音的 Babaylan。菲律賓是屬於南島語系，其獨特的書寫系統稱為“Baybayin”，這是一種母音附標文字，表示母音會因符號而被標示或改變，因此，Babaylan 在“Baybayin”文字中，即 Bby=ln+ (BBYLN)之意。　　本研究從文化舞蹈實踐者的觀點，專注於介紹菲律賓的部分文化，而非呈現特定民族語言學的團體。創作本作品時，我必須了解我所做的所有決定，避免對特定社區的剝削及傳奇化，根據我所知所學來進行創作。利用傳統的手勢與表達方式來作為深入動作探索的靈感與動力，而非依原樣貌呈現。本作品為權衡於研究、體現與藝術自由的創作。　　Babaylan is a spiritual or wise(wo)man in Philippine culture. As such, the Babaylans are considered among the respected leaders in pre-colonial Philippines, thus making them a central interest of this research study. This research attempts to introduce and retell a part of Philippine culture to Taiwan and foreign audiences. In the Philippines, due to religious reasons and globalization, topics about Babaylans were not widely discussed and rendered almost non-existent in history and conversations until about 20 years ago. As part of the few young cultural scholars in the Philippines whose goal is to bring back the country's rich traditions, cultures, and practices in the bigger performing arts platforms, the author has made it his personal responsibility to share stories that could link our history with the contemporary, perhaps through my medium of expression and language— dance.　　In this research, I shared my journey as a choreographer in creating the work entitled “BBYLN”. The title reads as Babaylan without the vowels. The Philippines being part of the Austronesian language family has its unique writing system called “Baybayin”, an alpha syllabary script which means vowels are denoted and altered by symbols, thus, Babaylan is Bby=ln+ (BBYLN) in Baybayin script.　　This research employs the point of view of a cultural dance practitioner, whose lens is focused on introducing a part of Philippine culture rather than representing the specific ethnolinguistic group. In creating this work, I had to carefully weigh all decisions that I make in order to avoid exploitation and romanticization of specific communities as applied to what I know and have learned. I used traditional gestures and expressions as inspirations and as an impetus to further movement explorations rather than presenting it as it is. This resulted in a balance of research, embodiment, and artistic freedom.
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