模仿中的期盼——以湄洲岛元宵“闹妈祖”舞蹈“耍刀轿”的乩童为例

Expectation out of Imitation——A case of Ji Tong's (Shaman's) dance Shua Dao Jiao in dances of MaZu in Meizhou Island at Lantern Festival

妈祖信仰和妈祖民俗是寄附于妈祖文化的表现形式。每一个仪式过程都承载着千年来海洋民族对人的生命关怀,这种关怀既通过庄严的祭礼来感恩妈祖对人生的保护,又通过歌舞"耍刀轿"来实现人与神(妈祖)的沟通和共娱。然而,无论是庄严的祭礼,还是以歌舞娱神和娱人,都体现了湄州岛民众借舞寄情、借神祈愿、情中抒怀、愿中祝福的情怀。本文以舞蹈"耍刀轿"的乩童为例,对这一地域"耍刀轿"民俗舞蹈的现存形态进行初步授附。

For thousands of years the marine nationals have always been concerned with lives of people through both solemn worship expressing gratitude to MaZu for her protection and songs and dances Shua Dao diao （dance on knife-sedan chair） to achieve communication between human and gods and to amuse them both. Whether it is the case of ceremonies or songs and dances amusing gods and human, people in Meizhou Island will express their feelings through dances and pray for blessing. The essay generalizes the existing modality of folk dance Shua Dao Jiao in the area of Meizhou Island by studying the particular dance Shua Dao Jiao performed by Ji Tong （the shaman）.