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研究生:楊馥如
研究生(外文):Yang Fu Ju
論文名稱:神所寵愛的莎蘭佳之祭典傳說- 非洲鼓創作表演
論文名稱(外文):The Legend and Ceremony of God's Beloved Saran Keyni —Djembe Creation and Performance
指導教授:盧明德盧明德引用關係
指導教授(外文):Lu Ming-Te
學位類別:碩士
校院名稱:國立高雄師範大學
系所名稱:跨領域藝術研究所
學門:藝術學門
學類:綜合藝術學類
論文出版年:2015
畢業學年度:103
語文別:中文
論文頁數:86
中文關鍵詞:西非曼丁部落文化非洲鼓節奏譜劇団Africa
外文關鍵詞:West African Tribal Drum and DanceAfrican drum musical score sheetGekidan Africa
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綜觀西非曼丁鼓舞在台灣至今發展超過十餘年,目前台灣北中南的在地非洲鼓舞團也漸次成立茁壯,其中作者為台南「非洲太暘鼓舞劇團」之鼓手、舞者並身兼主唱一職,接觸西非曼丁部落文化已有數餘年。作者在本論文中,首先於第一章中觀察並比較傳統西非曼丁國家鼓舞團、日本知名非洲鼓舞團「劇団Africa」與台灣北中南各大非洲鼓舞團的展演形式,做一個初步的比較。其後於第二章介紹西非曼丁鼓舞文化背景,並更為詳細檢視作者自身參與的創作及演出,並與日本非洲鼓舞團「劇団Africa」做比較,而後發現該非洲鼓舞團給予整個表演故事性,並加以融入日本當地藝術文化,因此引發作者反思,以此為發想,目的為創作出與目前台灣既有展演模式不同的非洲鼓舞表演。
第三章中作者先追溯根源回最原始、傳統的西非曼丁部落鼓舞,了解其部落文化背景與每一首曲子擁有的文化意涵,而後挑選一個主題故事,也就是「神所寵愛的莎蘭佳之祭典傳說」,以其為主軸,再加入多首能搭配故事進行、意義相近的樂曲,透過由說書人串起一段戲劇一段鼓舞表演的方式,完成一部意圖打破表演者與觀眾之間距離、營造出類似西非曼丁部落氛圍,讓觀眾在欣賞演出同時也能更進一步了解何謂西非曼丁部落文化以及每一首曲目隱藏的意涵之作品。於最末兩章節,分別為作品分析與結論中,作者就其創作發表、當日觀眾的反應與回饋,檢視分析是否達到作者原先的期望透過自身的創作,能將西非曼丁部落鼓舞文化之美,傳達給在場的每一位觀眾,達到分享、推廣的目的。

West African drum and dance has been introduced to Taiwan for more than 10 years. There are several African drum and dance groups over different places in Taiwan. The author belongs to one of the groups, “Le Telee Ballet”, which is located in Tainan. As the drummer, dancers and main vocal, the author has been learning West African Malinke culture for several years. In this essay, the author mentions and compares the differences among performing styles between traditional West African Malinke drum and dance group (Ballet), well-known Japanese drum and dance group, Gekidan Africa and Taiwanese local African drum and dance groups. Later in Chapter 2, the cultural background of West African Malinke is introduced and a closer look at the creations and performances of the author herself during the past few years will be given. In addition, a more detailed comparison and observation of the performing style of Gekidan Africa will be provided. It serves as the inspiration for the author since it gives the idea of a complete story that functions as a theme to better explain and introduce cultural background to the audience. Meanwhile, the fusion of Japanese local culture and art into the original West African Malinke culture encourages the author to consider creating a performance which is completely new and unique to both the performers and the audience in Taiwan. As in Chapter 3, the author traces back to the origin of West African Malinke drum and dance to understand the meaning behind each songs and chooses a rhythm with the story of Saran Keyni as the main theme for the creation of the performance. With the help of the storyteller to connect songs, dances as well as to tell the story, the author picks 5 to 6 more songs with similar meaning to pair with the story. The goal of the author is to create a unique West African drum and dance performance that could break the boundaries between the performers and audience in common theater, and to bring the distance between the two closer with the atmosphere that resembles to West African Malinke. The performance of the author aims to have the audience enjoy African drum and dance and learn the meaning of each songs and the overall cultural background. The author will analyze her creation together with the response and feedback of the audience who attended the performance in the chapter that follows. In the last 2 chapters, including analysis and conclusion, the author will review her creation and the feedbacks of the performance given by the audience to see if she has reached her goal of spreading and sharing the beauty and culture of West African Malinke through her creation.
目錄........................................................................................................................................I
圖目錄..................................................................................................................................III
第一章 緒論....................................................................................................1
1.1 創作動機與背景.................................................................................................2
1.2 創作目的..............................................................................................................4
1.3 問題意識..............................................................................................................5
第二章 文獻探討............................................................................................................8
2.1 非洲鼓的歷史文化、製作方式與表演編制..................................................8
2.1.1 非洲鼓的起源與歷史背景........................................................8
2.1.2 非洲鼓的製作方式與表演編制.............................................10
2.2 相關作品分析..................................................................................................17
2.2.1 個人創作回顧..........................................................................17
2.2.2 歷年參與之非洲鼓演出..........................................................28
2.2.3 相關「非洲鼓樂」作品分析..................................................33
第三章 神所寵愛的莎蘭佳之祭典傳說.....................................................35
3.1 創作方法....................................................................................................35
3.1.1 空間規劃設計...........................................................................37
3.1.2 表演故事文本..........................................................................39
3.1.3 服裝道具................................................................................40
3.2 神所寵愛的莎蘭佳之祭典傳說............................................................49
3.2.1 Denadon-Kanin ...........................................................................50
3.2.2 Yankadi-Makru...........................................................................53
3.2.3 Sorsornet.....................................................................................56
3.2.4 Sofa.............................................................................................58
3.2.5 Dunungbe...................................................................................60
第四章 作品分析..........................................................................................62
4.1 形式內容....................................................................................................62
4.1.1 空間分析...................................................................................62
4.1.2 表演內容分析...........................................................................64
4.2 展演特性....................................................................................................66
4.3 座談會暨觀後分享..........................................................................73
第五章 結論..................................................................................................75
附錄 ..................................................................................................78




















圖目錄
圖1-1 Kassa 節奏譜例............................................................................................................................7
圖2-1-1 非洲羊皮手鼓 Djembe示意圖...............................................................................................12
圖2-1-2 非洲牛皮大鼓(高音) Kenkeni示意圖......................................................................................13
圖2-1-3 非洲牛皮大鼓(中音) Sangbang示意圖....................................................................................14
圖2-1-4 非洲牛皮大鼓(低音) Dundunba示意圖................................................................................15
圖2-1-5 非洲牛皮大鼓(套鼓) Dundun Set示意圖..............................................................................16
圖2-2-1 《模仿,找尋,你是誰?》,2011........................................................................................19
圖2-2-2 Moribayassa 還願之舞 影像作品截圖.....................................................................................21
圖2-2-3 作品:旗津砲台傳說之馬馬迪與小楊兒 上半部.........................................................26
圖2-2-4 作品:旗津砲台傳說之馬馬迪與小楊兒 下半部.........................................................27
圖2-2-5 金門戰地藝術節 06Africa 非洲鼓團 活動照片....................................................................28
圖2-2-6 花蓮原聲音樂節 06Africa 非洲鼓團 活動照片.....................................................................29
圖2-2-7 全國非洲鼓舞聚 Opera 非洲鼓團 活動照片.....................................................................30
圖2-2-8 《初昇太暘-曼丁之歌首部曲》Le Telee 非洲太暘鼓舞劇團 活動宣傳照..................32
圖2-2-9 初昇太暘首部曲 Le Telee 非洲太暘鼓舞劇團 活動照片.....................................................32
圖2-2-10 《一夫多妻》日本 劇団Africa................................................................................................34
圖3-1-1 《神所寵愛的莎蘭佳》非洲鼓創作表演 活動場地布置.....................................................37
圖3-1-2 Bazen服飾..................................................................................................................................41
圖3-1-3 傳統蠟染布服飾..........................................................................................................................43
圖3-1-4 一般印花布料服飾......................................................................................................................44
圖3-1-5 Seragaedonma服飾.......................................................................................................................45
圖3-1-6 Ballet服飾....................................................................................................................................46
圖3-1-7 一般印花布料直筒褲.................................................................................................................47
圖3-1-8 一般印花布料飛鼠褲.................................................................................................................48
圖3-1-9 流蘇飾腳長褲..............................................................................................................................48
圖3-2-1 Denadon 節奏譜例..................................................................................................................51
圖3-2-2 Kanin 節奏譜例..................................................................................................................52
圖3-2-3 Yankadi 節奏譜例..................................................................................................................54
圖3-2-4 Makru 節奏譜例..................................................................................................................55
圖3-2-5 sorsornet 節奏譜例..................................................................................................................57
圖3-2-6 sofa 節奏譜例..................................................................................................................59
圖3-2-7 dunungbe 節奏譜例..................................................................................................................61
圖4-2-1 台南樂齡幸福非洲鼓團.............................................................................................................67
圖4-2-2 高雄青山國小非洲鼓團.............................................................................................................67
圖4-2-3 恆春十八ㄐㄧㄣˋ非洲鼓團.....................................................................................................68
圖4-2-4 高雄第一社大 Balakan非洲鼓團.............................................................................................68
圖4-2-5 說書人與舞者演出故事內容.....................................................................................................69
圖4-2-6 神所寵愛的莎蘭佳 非洲鼓創作表演 活動照片...................................................................71
圖4-2-7 神所寵愛的莎蘭佳 非洲鼓創作表演 活動照片...................................................................71
圖4-2-8 神所寵愛的莎蘭佳 非洲鼓創作表演 活動照片...................................................................72
圖4-2-9 神所寵愛的莎蘭佳 非洲鼓創作表演 活動照片...................................................................72

參考文獻
中文參考書目
1. 李保平(1999)。非洲文化史。台北市:亞太圖書出版社
2. 蔡百銓譯,Kevin Shillington原著(1995)。非洲通史。台北市:國立編譯館
3. 艾周昌、舒運國(2008)。非洲黑人文明。福州:福建教育出版社
4. 蔡宗德(2002)。伊斯蘭世界音樂文化。台北市:五南圖書出版股份有限公司
5. 沐濤、張忠祥(2000)。非洲的智慧。台北市:林鬱文化


英文參考書目
1. Billneier, Uschi (1999). Mamady Keita: A Life for the Djembe, Traditonal Rhythms of the Malinke.Engerda: Arun- Verlag
2. Keita, Mamady (2014). Nankama, The Tradition Continues
3. FamoudouKonate, Thomas Ott(1997). Rhythms and songs from Guinea. Institut fur DidaktikpopularerMusik

參考期刊論文
1. 翦建(2010)。《論舞蹈表演中音樂的重要性》,當代教育與實踐,第二卷第五期。


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