Shawm Bands and Daoists in Performance: Funerals and Temple Fairs 鼓匠肖姆管樂班和道士演出：葬儀和廟會

原著： Stephen Jones導讀：陳美華（ Chern Meei-Hwa ） 南華大學宗教學研究所副教授

Thus even today, the ceremonial of funerals and temple fairs remains firmly in line with pre-Communist traditions. The yinyang rituals are plainly part of a complex ancient tradition, and their music remains relatively conservative.

What few pop pieces they do play are utterly in tune with their traditional style; they have not yet tried using sax or drum-kit. Beggars also still perform traditional pieces. Costumes and head-dresses still obey age-old convention. (Jones 2007: 86)

即使到了今天，葬儀和廟會儀式仍然嚴格遵循共黨統治之前的傳統。陰陽儀式說白了就是複雜的古老傳統的一部分，而他們的音樂仍然是相對的保守。

他們所演奏的幾首流行曲完全與他們的傳統風格是一致的；他們還沒有嘗試薩克斯管或鑼鼓配套。賣唱的還是演奏傳統曲子。服裝和頭飾還是遵照古老的傳統。（ Jones 2007 ： 86 ）

Even the gujiang are still bound by the ‘old rules’ of the ceremonials they serve. Their performances remain indispensable in accompanying every stage of what is still a complex ritual procedure, as even my brief and provisional notes above show.

These are variable perceived constraints on innovation; some gujiang feel that pop music is acceptable for processions, while others still play traditional pieces. (Jones 2007: 86)

即使是鼓匠也受到他們進行的儀式的「老規矩」約束。在這仍然是複雜的儀式程式，我在上面的簡短和有限的紀錄顯示了這一點的每一個階段，鼓匠的參與演出是不可少的。有一些可觀察之對於創新的束縛；一些鼓匠覺得流行樂可以被納入遊行，而其他的依舊演奏傳統曲子。（ Jones 2007 ： 86 ）

For a dozen years after the restoration around 1978 — happily coinciding with the Anthology fieldwork — tradition was again dominant. But now people prefer to hear pop music at ceremonies, and at last the traditional repertory is losing out.

Though we have to write a very different description for 2000 than for 1990, the recent invasion of pop may distract us from considering the more subtle changes from 1930 to 1990.

To be sure, the society, and the lives of the gujiang, had been transformed, but the appearance and even functions of the ceremonies performed had undergone a more subtle modification.

Compounding our hazy notions of ceremonial practice under Maoism, the new dominance of pop may further tempt us to overlook continuity and simplify the picture of modern change. (Jones 2007: 86)

在約 1978 年的興革後的許多年——令人欣慰的與《選集》的田野調查不謀而合——傳統再次占上風。不過，現在人們選擇在儀式聽流行音樂，傳統表演曲目最終是輸了。雖然相較於 1990 年，我們得以非常不同的描述來寫 2000 年，

最近流行音樂的入侵可能使我們分心，沒有去考量從 1930 到1990 年之間較微妙的變化。可以肯定的說，社會和鼓匠的生活已轉變，不過儀式的外表甚至是儀式演出的功能經歷了更加微妙的改變。

結合我們對毛思想統治下的儀式實踐之模糊概念，我們可能因為流行樂的支配地位而忽略了延續性，並簡化了現代變遷的圖像。（ Jones 2007 ： 86 ）