傳統與創新的層疊－談巴里島克差(kecak)的發展

The Stratification of Traditions and Innovations-Discussing the Development of Balinese Kecak

10.29873/GMJ.200806.0004

李婧慧(Ching-Huei Lee)

克差 ； 人聲甘美朗 ； 巴里島音樂 ； 觀光與音樂 ； 傳統與創新 ； kecak ； gamelan suara ； Balinese music ； tourism and music ； tradition and innovation

關渡音樂學刊

8期（2008 / 06 / 01）

51 - 76

繁體中文

造訪印尼巴里島的觀光客所看到的表演節目克差(kecak)，是一種包括合唱、說唱與舞蹈，而以合唱伴唱著取材自印度史詩《拉摩耶那》(Ramayana)的舞劇；其中的合唱係源自於島上一種驅邪逐疫的宗教儀式桑樣(sanghyang)中，以人聲模仿甘美朗(gamelan)來伴唱一種入神舞(trance dance)的合唱樂「恰克」(cak)或「克差」(kecak)。這種合唱樂於1930年代脫離儀式脈絡，加上說唱與舞蹈，層層疊上新的形式與內容，形成一個既傳統又創新的舞劇。此後島內外的藝術家們，以及村子的表演團體不斷地嘗試克差的改變與創新，然而無論它如何地被創新或改變，它都穩固地根植於「傳統」－亦即以「交織」(kotekan，或譯為「連鎖樂句」)為主要原則而構成的人聲甘美朗(gamelan suara)的合唱樂；這種合唱樂是構成克差的核心要素。本文從桑樣儀式中的恰克合唱的形成談起，分析克差舞劇的形式與內容，重點在恰克合唱的結構分析，並從90年代以來克差的創新作品中，以薩多諾(Sardono W. Kusumo)的《恰克莉那》(Cak Rina)、第比亞(I Wayan Dibia)的《肢體恰克》(Body Tjak)，以及嘉雅(I Nyoman Chaya)的首度採用樂器伴奏，首演於「005亞太藝術論壇」的《聖潔的畢瑪》(Kecak Bima Suci)等作品為例，探討克差於1930年代從桑樣儀式中的合唱發展為舞劇至今，其間所經歷的傳統的確立、多重的變革與創新、新舊要素的層疊等，以顯示出克差的變與不變，以及形式與內容的多樣化。

Formed in 1930s, kecak has been one of the most attractive types of performance for tourists in Bali. The story is an excerpt from the Indian epic Ramayana and is performed through vocal chanting, storytelling, and dancing. The vocal chanting cak or kecak was derived from the vocal accompaniment of the trance dance in the exorcistic sanghyang rituals. It is a male chorus imitating gamelan music and is called gamelan suara which literally means the vocal gamelan. Since its initiation in the 1930s, kecak has undergone various innovations and changes in regards to its music, texts and body movements. It is noteworthy to acknowledge that no matter which changes are made, it is still firmly rooted in its tradition of interlocking rhythmic vocal chanting which forms the core of kecak.Starting with the cak chorus used in sanghyang rituals, this paper analyzes the structure of kecak, focusing on the cak chorus. Also discussed are kecak new works including Sardono W. Kusumo's Cak Rina, I Wayan Dibia's Body Tjak, and I Nyoman Chaya's Kecak Bima Suci (The Holy Bima, premiered for ”2005 APAF” at TNUA) as case studies for examination of the development and changes of kecak since the 1930s. Using these examples, details of the challenge and maintenance of tradition, a stratification of old and new elements manifesting the changeable and unchangeable, show the extreme diversity of kecak.

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1. 李婧慧(2014)。巴里島中烏布村（Desa Ubud Tengah）婦女克差（Ke-cak Wanita）之性別與創新問題探究。關渡音樂學刊，20，67-84。
2. 李婧慧(2016)。交織（Kotekan）與得賜（Taksu）─巴里島藝術之核心精神及對表演藝術之影響。關渡音樂學刊，23，55-76。