摘要
巫在商代殷墟甲骨文中,以神鬼的面貌出现,而“■”和“■”为甲骨文中特有的合文。行巫——跳巫的甲骨字形的创造,既表达了殷商巫舞的形态意义,又表达了巫舞的社会意义。这表明了,殷人的巫、行巫和跳巫,是一种具有时代性、社会性的巫、行巫与跳巫。商代的跳巫——行巫时的舞蹈,是殷商王朝神权与王权统一的代表与标志。这种身份的特殊性,决定了巫在商代,既不可能在大规模的祭祀仪式中以群舞者的身份参与,只能以领舞者的身份存在;又不可能为祈雨被暴或被焚;更不可能成为“恒舞于宫”的商王朝的专职“娱人”舞人。在商代,跳巫的特殊性在于,其是神、人、鬼之间的三位一体,是天、人、地之间的三位一体,是帝、人、王之间的三位一体。作为特殊的女性,巫以中国早期奴隶制最后的女性特权,躲在奢华的面具背后,以身体的动作,进行着神界与人界的通道联系。这是身体权力在中国先秦时期的表达。可以这样说,跳巫是商代王权的权力之一,它是商代神权与王权相结合的身体权力表达;我们更可以这样说,跳巫是商代舞蹈中的一种具有权力生产的舞蹈现象。
In the oracle bone inscriptions of the Shang Dynasty Yinxu,witches appeared in the form of gods and ghosts,and“■”and“■”became unique combinations in oracle bone inscriptions.Witchcraft—the creation of the witches dance oracle bone inscriptions shape,not only expresses the morphological significance of witchcraft dance,but also expresses social significance.It indicates that the witches,and witch dance of the Yin people were a type with epochal,social,and special characteristics.Witch dance in the Shang Dynasty,was a representative symbol of the unity of divine and royal power in the Shang dynasty.The particularity of this identity determined that in the Shang Dynasty,witches could not participate in large-scale sacrificial ceremonies as group dancers,but could only exist as the dance leaders.It is impossible to be exposed or burned for the rain praying ceremony or become an official dancer of the Shang Dynasty,who was“constant dance in the palace”.In the Shang Dynasty,the particularity of witch dance was that it was a trinity between gods,humans,and ghosts,a trinity between heaven,humans,and earth,and a trinity between emperors,humans,and kings.As a special woman,witches used the last female privilege of early Chinese slavery to hide behind a luxurious mask and carry on the channel connections between the divine and human realms through body movements.This is the earliest expression of physical power during the Pre-Qin period in China.We can say that witch dance was one of the powers of the Shang Dynasty monarchy,and it was a physical expression of power of the combination the divine power and royal power of the Shang Dynasty.We can say that witches dance was a dance phenomenon with power production in the Shang Dynasty dance.
出处
《当代舞蹈艺术研究》
2022年第4期25-38,共14页
Contemporary Dance Research
关键词
商代跳巫
神权与王权
权力生产
身体权力表达
witches dance in the Shang Dynasty
divine power and royal power
power production
body power expression
作者简介
蓝凡,上海大学上海电影学院二级教授、博士生导师、博士后流动站合作导师。主要研究方向:艺术学、音乐与舞蹈学。
