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1、中南民族大学 硕士学位论文 大理白族“绕三灵“中“执树舞“的文化解读 姓名：杨红梅 申请学位级别：硕士 专业：民俗学 指导教师：何红一 2011-05 中南民族大学硕士学位论文 I 摘 要 “绕三灵”是白族独有的娱神娱人的民间狂欢节；是白族人民在大理苍山洱 海独特的自然景观和文化历史环境中， 在长期耕作生活和稻业习俗中形成的别具 特色的一种“文化空间”形式。 “绕三灵”队伍通过长期的实践，形成了相对固定的模式。而作为前导部分 的“执树舞” ，是“绕三灵”活动的开始，也是“绕三灵”活动重要的组成部分 之一。它由“一男一女”组成，有时也为“两男两女” ，称为“花柳老人” ，他们 手执柳树枝 （有时
2、也为桑树枝） 和牦牛蚊蝇帚， 分别在树的左右两边， 两面相对， 边走边唱。 “执树舞”中的“执” ，无论从其内容、动作形式、内涵、精神实质，以及 服饰、道具还是角色构成以及音乐构成上，都体现出浓厚的白族特色。然而作为 “绕三灵”前导部分的“执树舞”多年来却没有得到很好的研究，没有从“绕三 灵”中独立出来作为研究对象，甚至在民间曾一度被误会为“一夜情” 。 “执树舞”涵盖了“绕三灵”中包含的原始农耕崇拜、神树崇拜、社祭、女 阴崇拜、生殖崇拜等多方面内容，是“绕三灵”的高度概括与浓缩。其中作为白 族“女阴”崇拜与“神树”崇拜的重要体现，其价值不容忽视。它所包含的舞步， “脚勾脚” 、 “胯合胯”
3、、 “心合心” ，摇柳树枝、桑树枝，甩牦牛尾等动作，曾出 现在新石器时代的苍山岩画中，这说明“执树舞”与原始的巫觋祭祀舞蹈有着密 切的联系；同时这些舞蹈动作也是对男女交媾动作的模拟。而“执树舞”中的男 女合舞， 男女对歌以及情人相会等， 则表现出白族文化中对人性自由的最大尊重。 本文共五个部分： 第一章为绪论部分。笔者阐述本文的选题缘由以及研究意义，研究现状、理 论方法及其研究思路。笔者选择“执树舞”作为研究对象，希望通过对其特征及 其价值的研究，为“执树舞”的保护、传承作出贡献。 第二章对大理白族 “执树舞”的文化生态环境进行阐述和分析，从“绕三 灵”的历史源流；白族“执树舞”与白族人文地理
4、的关系； “执树舞”的起源及 别称这三个方面详细叙述了“执树舞”的起源，以及“执树舞”又称为“桑林舞” “花柳舞”的原因。 大理白族“绕三灵”中“执树舞”的文化解读 II 第三章是大理白族“执树舞”的艺术构成，从“执树舞”的节拍；舞步；舞 蹈特征；音乐及唱词；独特的对唱曲目； “执树舞”舞蹈服饰、表演道具等七方 面进行阐述，展现出“执树舞”舞步的独特性，以及舞蹈服饰的特殊性，尤其突 出了女性舞者的重要地位。对舞蹈道具的叙述，分析出其中所蕴含的特殊意义。 第四章是大理白族 “执树舞”的文化内涵。从白族 “执树舞”与白族农耕 习俗的关系； “执树舞”中的“神树” ； “执树舞”中“太阳膏”与“葫芦
5、”的农 业象征意义； “执树舞”与白族的生殖崇拜习俗； “执树舞”与白族婚恋习俗这五 个方面进行分析， 其中对 “执树舞” 中柳叶、 桑叶与女阴崇拜的分析， 是以往 “绕 三灵”研究中未曾提及的。 第五章是白族 “执树舞”的文化价值。从“执树舞”的民俗学价值、艺术 价值、社会价值、 “执树舞”的传承与保护这四个方面进行阐述和分析，尤其是 文章最后提出的白族“执树舞”的娱乐价值和社交价值，以及“执树舞”的传承 与保护，对“执树舞”的传承与保护起到了一定的参考价值。 关键词：大理白族； “执树舞” ； “绕三灵” ；文化解读 中南民族大学硕士学位论文 III Abstract “Rao San L
6、ing”, the folk carnival of Bai ethnic group to entertain gods and people, is the unique “cultural space“ form, which is evolved in Cangshan Mountain and Erhai Lake, a landscape with special natural environment and distinctive culture, and cultivated in the long history of farming life and rice indus
7、try custom. Through long-time practice, the carnival dancing troop has developed into a fixed form. The first part, called “Holding Tree Dance”, is the important part of the “Rao San Ling”, which is performed by “one man and one women” or sometimes “two men and two women”the dancers are called “Flow
8、er-willow Elders”who together hold up a willow branch (or sometimes a mulberry branch) in the middle, at the same time, singing face to face the lyrics woven by the dancers themselves. The action(s) in the “Holding Tree Dance” reflect the prominent characteristics of Bai people in almost every aspec
9、t such as the content, form, connotation, spiritual essence, and the clothing, props or role composition, music form. However, up to now, the “Holding Tree Dance”, which is the opening part of the “Rao San Ling” Dance, has not been well researched as an independent subject, or even worse, the dance
10、is pitifully misunderstood as a kind of “One Night Stand” by some people. and few researchers have noticed its reflection to the worship among Bai people for the Vulvae and the Fairy Tree; The “Holding Tree Dance” is a general and concentrated reflection to the cultural connotation of “Rao San Ling”
11、 Dance, which embraces the primitive farming worship, fairy tree worship, community sacrifices to land gods, female vulva worship and reproductive worship. So, we cant ignore its value to be researched, especially its reflection to the worship among Bai people for the Vulvae and the Fairy Tree. The
12、special pas of “foot hooking foot”, “hip against hip”, and “heart to heart”, and the action of shaking the willow/mulberry branches or oxtails which also appeared in the neolithic rock arts of Cang Shan Mountain, reveals a close relation between the “Holding Tree Dance” and the original witch/wizard
13、 sacrificing dance, besides, these dancing movements can also be viewed as simulations of humans sexual intercourse. Moreover, the form, in which men and women can dance and sing together and the lovers can easily meet each other, manifests the highest respect to humanness in the Bai culture. This p
14、aper consists of five parts: 大理白族“绕三灵”中“执树舞”的文化解读 IV The first chapter is the prolegomenon, to introduce some background information such as the reason for choosing this topic, the value to study it, the research situations, as well as the academic means and ideas to work out the paper. The most imp
15、ortant reason for the author to select the “Holding Tree Dance” as the object of study is hoping to contribute some efforts to protect and inherit the “Holding Tree Dance” by discovering its characteristics and value. The second chapter describes and analyzes the cultural environment of the “Holding
16、 Tree Dance”. It consists of three parts: the historical origins of the “Holding Tree Dance”, the relationship between the “Holding Tree Dance” and the Bai peoples human environment, and hence the other names of the “Holding Tree Dance” is the “Mulberry Dance” and “ Flower-Willow Dance”. The third chapter explains the art formation of the dance, containing the beats, pas, dance characteristics, music and libretto, unique duet track, dance costumes, performing props, and so on. It s
