Author Affiliations: Co-editor, British Journal of Ethnomusicology; committee member, British Forum for Ethnomusicology; lecturer, anthropology of performance, Department of Social Anthropology, University of Cambridge.
摘要
This paper is based on the multiple voices of bards of different ethnic groups, visited during fieldwork in West Mongolia in 1989 and 1990. It looks briefly at the brutal demise of heroic epic performance under the Soviet regime (1921-90) and questions Vladimirtsov's contention that the steppe aristocracy was the creator, bearer, preserver and disseminator of Oirad epics. It suggests instead that epic performance was a ritual and magical activity within the homes of ordinary Mongolian herders as well as in monasteries. This paper presents for the first time the folk and shamanist beliefs and activities surrounding the performance of West Mongolian epics, as well as the power of the epic text, the musical instrument (tovshuur) and the bard. It looks at the religious syncretism within the texts--the object of bowdlerisation by the communists-and at worship of the epic hero as deity. Finally, it contributes to the oral and textual traditions debate by considering the ritual performance of epic texts.
目次
I. INTRODUCTION: THE SOVIET ERA (1924-90) 77 II. MULTIPLE VOICES: CONTEMPORARY EPIC BARDS 79 A. Altai Urianhai: Avirmed 79 B. Zahchin: Enhbalsan 80 C. Bayad: Getsel, Lhagva, Düüdei 81 D. Dörvöd: Damia 82 III. CONTEXTS OF PERFORMANCE IN "OLD" MONGOLIA 83 A. Ritual and magic in the herders' homes: folk and sham 83 a. The power of performance 84 b. Efficacy of the text 86 c. Conveying the lute (tovshuur) 87 d. The bard as healer and fortune-teller 89 B. Patronage of epic traditions by monasteries and lamas 91 IV. RELIGIOUS SYNCRETISM IN EPIC TEXTS 92 A. Shaman and Buddhist universes 93 B. The soul outside the body 94 C. The folk, shaman and Buddhist hero or god 95 D. The ritual performance of texts 96 V. CONCLUSION 96 ACKNOWLEDGEMENTS 97 INTERVIEWS (IN) 97 REFERENCES 98
