青蛙
(青蛙)
傳奇人物
UID 1750
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積分 7442
帖子 5757
現金 2967 元
存款 485708 元
鮮花 1667 朵
閱讀權限 10
註冊 2008-1-12 來自 逸姿
狀態 離線
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繁體化 簡體化
這幾天讀到一位以色列資深學者的文章,其中一些有關於以色列傳統老舞的觀點跟我很接近,
節錄於下供大家參考: (因為該文章已經翻譯成英文了,大家應該都看得懂,我就偷懶一下,不翻譯成中文啦. )
Israeli Folkdance
Traditional dances find new values.
By Dr. Dan Ronen
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An Uncertain Future
And yet the future of Israeli folkdance is not certain. Some fear that folk dancing will become important only to a marginal group of people, as is the case with similar dance in many other countries. The fact that most Israeli folk dancers (professional and amateur) are older than 30 is hardly promising. Folk dancing aficionados commonly express the concern that the next generation of Israelis prefers bars and discos, with the contemporary forms of dance that come with them.
Other supporters of Israeli folkdance worry that the social and national values symbolized in Israeli dance are quickly becoming extinct, and that this is emblematic of a larger problem: the shared values of Israeli society as a whole are in danger.
[青蛙註:此乃起因於上一段的最後一句話,因為年輕人prefers bars and discos......]
Then and Now
No doubt, Israeli folkdances were created for Zionist reasons. After 1948, as the first generation of children born in the state of Israel began to mature, the new society searched for authentic cultural material to call its own. Gurit Kadman, one of the seminal figures of the Israeli folkdance movement, maintained that "for people who fervently wished to have dances of our own in our lifetime, there was no choice" than to break with the traditional view that folk dance takes generations to create.[青蛙註:原來兇手是他! ]
Israel's first choreographers created folkdances based on no existing tradition. They worked with some basic elements--Hasidic, Balkan, Russian, Arabic, and Yemenite dance steps--but the dances they created conveyed a distinctly modern Zionist outlook. The pieces emphasized what one might call a classical Zionist ideal of returning to the land of old, of reviving the spirit of the days of the Bible, and of deepening love for the country and its landscape.
Perhaps the most well-known of these early folkdances is Mayim Mayim (Water, Water[青蛙註:水舞]), created by dancer Ilse Dubon in the late 1930s, when water was discovered at Kibbutz Na'an. Gurit Kadman's folkdance creations include Yasem Midbar Le'Agam Mayim (He'll Turn Desert Into Lake, 1944) and Etz Harimon (The Pomegranate Tree, 1948[青蛙註:石榴])--whose titles allude to their themes of Israeli agriculture productivity. Rivka Sturman, one of Israel's most prolific and successful folk dance creators, produced countless other classics including Kuma Eha (Rise Up, Brother, 1945[青蛙註:奮起舞]), Dodi Li (My Beloved is for Me, 1948[青蛙註:多地利]), and Zemer Atik (Ancient Song, 1955[青蛙註:珠曼阿鐵克]).
What about the newer folkdances? Contemporary Israeli folkdances rely on the same basic elements as the dances composed by such choreographers as Dubon, Kadman, and Sturman. The formula that experts believe has preserved and will continue to preserve Israeli folkdances is a balancing of continuity and change; a balance necessary for the preservation of any tradition and folklore.
Musical Trends
For example, the songs used in folkdance today are very different from the songs of the past. Gone are the references to shepherds, camels, and herds of old. But newer songs still continue to express love for the country and its beautiful landscape, and love for all living things.
Some of the new songs called "Mediterranean Pop" are a mixture of Greek, Turkish, and Arabic music. Despite their eclectic background, these songs are not removed from the hopes and anxieties of Israelis. And in spite of a shallowness in their language and banal themes, many of these songs express the old desire to be Israeli and experience "normality"--with a new awareness that there is no consensus about what it actually means to be Israeli or to be normal.
Old Dances, New Dances
An abundance of new dances also reflects both continuity and change. Dancers today are used to constant stimulation; they resent stagnation and they produce new dances at a frenzied rate. The fact that in recent years a not-for-profit movement, Reyim, was founded to preserve the old Israeli folkdances, combined with special evenings devoted to "old circle dances," proves that dancers feel the need to preserve the basic roots of their art. The past evokes a variety of relevant memories that help dancers deal with their present and future.
And of course, nostalgia is not strictly an expression of old people. Some young people are also intrigued by the past. They want to know what their parents felt and believed, and they want to experience what they consider to be primary and basic feelings. [青蛙註:這類人畢竟不多]
Combining Continuity and Change
Today some dance instructors manage to capitalize on both the elements of continuity and change in Israeli folkdance by teaching old folkdances in an atmosphere of liberation, ecstasy, enthusiasm, and relaxation--the same atmosphere that draws young people to dance clubs.
Continuity and change also converge at "Teimaniada" dance events. At these gatherings, hundreds of people, young and old, dance one traditional Yemenite step for hours on end. They dance to new, rhythmic beats of contemporary songs inspired by traditional Yemenite music.
[青蛙註:就我手頭上近幾年(至2011年止)以色列發表的新編舞資料約2000多首,其中有作者所謂 "continuity"傳承者,數量非常少,比例小到幾乎可以略去]
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有興趣的舞友可以到以下網頁閱讀文章全文:
from: http://www.myjewishlearning.com/ ... ael/Folkdance.shtml
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青蛙的窩部落格: http://blog.udn.com/frankflin01/article
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