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首页> 外文期刊>Journal of Maritime Studies and National Integration: JMSNI >Music, Dance and the Sama-Bajau ‘Diaspora’: Understanding Aspects of Links among Communities through Ethnochoreomusicological Perspectives
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Music, Dance and the Sama-Bajau ‘Diaspora’: Understanding Aspects of Links among Communities through Ethnochoreomusicological Perspectives

机译：音乐，舞蹈和Sama-Bajau的“散居者”：通过民族舞蹈音乐学的观点理解社区之间的联系

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Rituals in establishing the cultural as well as links among Sama-Bajau communities across? Nusantara or the region that we know as maritime Southeast Asia.??Ritual, however, cannot be fully understood unless it is broken into component parts of tangible (material) and intangible (non-material) properties. In this paper, I argue that an ethnochoreo-musicological approach, particularly through the examination of specific music pieces and dance forms or styles, can help scholars understand how the seemingly disparate and widely-spread Sama-Bajau communities in? Nusantara are related to each other. Three cases are presented revolving around ritual, music, and dance. The first case is about the? magpai-bahau or ritual of the new rice which is shared by most Sama-Bajau communities in the Sulu-Sulawesi region. Rice from one community is passed on to another, constituting a virtual chain link that reaffirms the bonds between two groups of people. Corollary to this shared ritual practice is the shared repertoire of music(s) and dance(s). The second case concerns the musical model of? Titik Tabawan , a? kulintangan (aka? tagunggo’an ) graduated bossed-gong ensemble music piece composed of a distinct combination of melodic and rhythmic patterns that is observed as a ‘universally-shared’ intangible property in the central region of? Nusantara .??Although known by different names across communities, this music piece, which is used for accompanying secular forms belonging to the Sama-Bajau? igal or? pansak (aka? pamansak ) dance traditions, retains its distinct qualities of rhythmic patterns and remains discernible as a musical model to both practitioners and scholars alike.?Finally, the third case illustrates how variants of? Igal Tarirai , a percussive dance using bamboo clappers called bola’-bola,’ may be used to glean relative distance or proximity in terms of dance performance practice.
机译：在整个萨摩巴影社区之间建立文化联系以及建立联系的仪式？努桑塔拉（Nusantara）或我们称为海洋东南亚的地区。但是，除非将仪式分解为有形（物质）和无形（非物质）属性的组成部分，否则无法完全理解其仪式。在本文中，我认为，一种民族舞蹈音乐方法，特别是通过检查特定的音乐作品和舞蹈形式或风格，可以帮助学者们了解看似分散且广泛分布的萨玛-巴茹社区。 Nusantara彼此相关。提出了三个与仪式，音乐和舞蹈有关的案例。第一种情况是关于？ magpai-bahau或新米的仪式，苏鲁-苏拉威西地区的大多数Sama-Bajau社区都共享。来自一个社区的稻米被传递到另一个社区，构成了虚拟的链环，重申了两组人之间的纽带。这种共同的仪式实践的必然结果是音乐和舞蹈的共同曲目。第二种情况涉及音乐模型？蒂蒂克·塔巴万（Titik Tabawan），对吗？ kulintangan（aka？tagunggo’an）毕业于独奏合奏音乐作品，由旋律和节奏模式的独特组合组成，被视为“中部地区的”普遍共享”无形财产。 Nusantara。尽管这首乐曲在各个社区都有不同的名字，但它还是用来伴奏属于Sama-Bajau的世俗形式的？伊加尔还是？ pansak（aka？pamansak）的舞蹈传统，保留了其独特的节奏模式特征，并且仍然是从业人员和学者均可识别的音乐模型。最后，第三种情况说明了其变化形式？ Igal Tarirai是一种用竹拍板叫bola’-bola的打击乐器舞蹈，可以用来收集舞蹈表演中的相对距离或接近度。

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