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| The Javanese Court Bedhaya Dance as a Tantric Analogy | ||
| 作者 | Becker, Judith |
|---|---|
| 出處題名 | Metaphor: A musical dimension |
| 出版日期 | 1991 |
| 頁次 | 109 - 120 |
| 出版者 | Currency |
| 出版地 | Sydney, Australia [雪梨, 澳洲] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 附註項 | 290 |
| 關鍵詞 | Indonesia;Java;Dance;Bedhaya;Gamelan;Music;Religion;Tantra;Saivism;Vestiges;Ceremonies;Court;Accession;Ethnomusicology;Becker, Judith; |
| 摘要 | The central Javanese court dance bedhaya is performed by nine women，usually relatives of the ruler，on the anniversary of his accession to the throne. The long，slow performance is accompanied by a gamelan ensemble and is considered to be the most sacred and spiritually potent of court performances. Two different interpretations -- one exoteric and public，the other esoteric and restricted to the inner circle of the court -- are invoked to explain the meaning of the dance. Although Java is an Islamic region and -- since the earliest conversions in the 14th and 15th c. -- has become increasingly orthodox，echoes of the tantric Saivism (Siva worship) and tantric Buddhism of Java's medieval period remain. Centuries-old cultural memories resurface not only in the exoteric stories told to explain the bedhaya performance but also in the esoteric interpretation of the choreography itself. Both types of interpretation are rooted in tantric beliefs, and both are based on the similarities of the dance to some other aspect of the world. But the dance is also sacramental，since through the transformative power of the ritual it becomes that which it represents. |
| 點閱次數 | 402 |
| 建檔日期 | 2001.05.29 |
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