曹曉康 依力哈木·熱依木

曹曉康： 維吾爾喀群賽乃姆的保護(hù)和傳承現(xiàn)狀

莎車縣非物質(zhì)文化遺產(chǎn)種類較多，在樂舞方面被列為國家級(jí)非物質(zhì)文化遺產(chǎn)的有三類，分別是維吾爾十二木卡姆、維吾爾喀群賽乃姆、烏孜別克艾希萊·葉萊，其中維吾爾喀群賽乃姆是維吾爾十二木卡姆的一部分。

賽乃姆是維吾爾民間最為普遍的一種歌舞形式，是一種集歌、舞、樂、詩為一體的綜合性藝術(shù)，為了區(qū)別各地方的賽乃姆，人們習(xí)慣性地在賽乃姆前冠以地名以作區(qū)分?？θ嘿惸四肥巧嚿絽^(qū)（達(dá)木斯、霍什拉甫、喀群鄉(xiāng)）獨(dú)有的一種樂舞藝術(shù)，因在喀群鄉(xiāng)最為集中、傳承發(fā)展得比較好，故稱為喀群賽乃姆。

維吾爾喀群賽乃姆是在喀群等山區(qū)人民獨(dú)特的婚慶娛樂活動(dòng)和麥西來甫活動(dòng)場所中逐漸形成并發(fā)育成熟的，在類似娛樂活動(dòng)的基礎(chǔ)上保持了原始的風(fēng)格，體現(xiàn)了當(dāng)?shù)厝罕姵缟凶匀坏拿篮闷焚|(zhì)和對(duì)幸福生活、愛情的追求，對(duì)研究喀群等山區(qū)維吾爾民族史、民俗學(xué)有著十分重要的價(jià)值。同時(shí)維吾爾喀群賽乃姆是喀群等山區(qū)最古老的民間文藝形式之一，有著自己獨(dú)特的演唱、彈奏、舞蹈技藝，是研究喀群等山區(qū)民間文學(xué)藝術(shù)的重要“活態(tài)”文化，具有重要的藝術(shù)價(jià)值。

維吾爾喀群賽乃姆唱詞既有民間故事和民間諺語，也包括民間歌謠，其延存也是以口頭教授方式進(jìn)行。因傳承人目前年齡偏大、生活條件和身體狀況較差等問題，以及年輕人中愿意學(xué)習(xí)和傳承的人越來越少的原因，能夠完整表演喀群賽乃姆的藝人幾乎絕跡，維吾爾喀群賽乃姆亟待保護(hù)和傳承。

為切實(shí)做好維吾爾喀群賽乃姆這一獨(dú)特藝術(shù)的延存保護(hù)和傳承工作，莎車縣委、縣人民政府按照國家、自治區(qū)“非遺”保護(hù)的有關(guān)要求，主要做了以下幾方面的工作。一是將其納入“非遺”保護(hù)規(guī)劃和議事日程，由縣文化體育廣播影視局文化館“非遺”辦公室具體負(fù)責(zé)指導(dǎo)和開展保護(hù)與傳承研究及實(shí)施相關(guān)工作。二是積極申報(bào)國家“非遺”名錄項(xiàng)目和代表性傳承人。2003年對(duì)維吾爾喀群賽乃姆開展了搶救性記錄和保護(hù)，2006年申報(bào)自治區(qū)第一批非物質(zhì)文化遺產(chǎn)代表作，當(dāng)年喀群鄉(xiāng)被喀什地區(qū)命名為“民間藝術(shù)之鄉(xiāng)”，2008年申報(bào)國家級(jí)第四批非物質(zhì)文化遺產(chǎn)代表作，每年下?lián)?0萬元的保護(hù)傳承經(jīng)費(fèi)。三是積極推動(dòng)維吾爾喀群賽乃姆傳承學(xué)習(xí)，在縣文化體育廣播影視局設(shè)立傳承中心?？θ亨l(xiāng)文化站設(shè)立喀群賽乃姆傳承站（傳承基地）。組建維吾爾喀群賽乃姆民間文藝隊(duì)。鄉(xiāng)中學(xué)設(shè)立喀群賽乃姆專業(yè)班，推薦喀群賽乃姆參加各級(jí)各類文藝展演和比賽，每年舉辦喀群賽乃姆培訓(xùn)班。四是積極培養(yǎng)和發(fā)展傳承人。莎車縣共有四級(jí)維吾爾喀群賽乃姆民間傳承人，目前各級(jí)傳承人有一百余名，鄉(xiāng)級(jí)傳承人優(yōu)先享受國家惠民政策，縣級(jí)傳承人由縣財(cái)政給予每月800元生活補(bǔ)助，自治區(qū)級(jí)和國家級(jí)傳承人每年也領(lǐng)取相應(yīng)的傳承人補(bǔ)助。五是豐富保護(hù)形式，主要采取了編寫教材、拍攝教學(xué)視頻、配置保護(hù)傳承所需的用具、利用文藝場所和節(jié)慶日組織文藝活動(dòng)等措施，為傳承保護(hù)提供保障。

在國家、自治區(qū)“非遺”保護(hù)中心的支持、幫助和指導(dǎo)下，通過莎車縣委、縣政府的積極保護(hù)和推動(dòng)傳承，目前維吾爾喀群賽乃姆越來越被重視，在各級(jí)各類文藝活動(dòng)中均被列為展演節(jié)目之一，代表性傳承人的政治、生活等待遇逐步提升，參與保護(hù)傳承的積極性不斷提高。

但是，因受人員、資金、能力等多方面的限制，維吾爾喀群賽乃姆傳承和保護(hù)仍存在一些問題： 如傳承保護(hù)范圍仍有限，除喀群傳承站和縣傳承中心外無擴(kuò)展延伸；傳承挖掘和保護(hù)創(chuàng)新做得還不夠，還需深入推進(jìn)，特別是在傳承保護(hù)上沒有比較系統(tǒng)、規(guī)范的教學(xué)資料；代表性傳承人以樂器演奏和演唱為主，舞蹈類沒有同步納入申報(bào)，致使在傳承人保護(hù)中沒有體現(xiàn)樂舞一體化的特點(diǎn)；樂器演奏傳承難度大、培養(yǎng)周期長，傳承人越來越少；另外，傳承人的待遇還有待進(jìn)一步提升，特別是縣鄉(xiāng)級(jí)傳承人。我們將繼續(xù)在國家、自治區(qū)“非遺”保護(hù)中心的支持、幫助和指導(dǎo)下，在莎車縣委、縣人民政府的領(lǐng)導(dǎo)下，努力克服這些困難，應(yīng)對(duì)挑戰(zhàn)，進(jìn)一步完善和深入維吾爾喀群賽乃姆的保護(hù)與傳承工作，滿足當(dāng)?shù)孛褡迦罕姷木裥枨螅腿嗣袢罕婟R心協(xié)力，共同創(chuàng)造更加美好幸福的生活。

依力哈木·熱依木： 維吾爾喀群賽乃姆的技藝特點(diǎn)與傳承

對(duì)于喀群賽乃姆的保護(hù)，我們十分注重并強(qiáng)調(diào)對(duì)其技藝特點(diǎn)的傳承。

喀群賽乃姆是新疆莎車縣山區(qū)維吾爾族群眾在手鼓、都塔爾、笛子、艾捷克、熱瓦普、彈拔爾、嗩吶等民族樂器伴奏下進(jìn)行表演的傳統(tǒng)歌舞，強(qiáng)調(diào)的是一種集體協(xié)作眾人皆歡的集體精神，其表演曲調(diào)、方式與十二木卡姆最為接近，亦是十二木卡姆的組成部分。它的地方性和民族性特色很強(qiáng)，具有很深的文化內(nèi)涵和很強(qiáng)的藝術(shù)感染力。

莎車縣作為古絲綢之路南道重鎮(zhèn)，東西方文化的交融交匯及碰撞，使得當(dāng)?shù)匚幕亩嘣蝗谛员憩F(xiàn)明顯，而喀群鄉(xiāng)地處昆侖山腳下、古絲綢之路交通要道，因而喀群賽乃姆文化交融特性和山區(qū)文化特性也比較明顯。從男女演員的一顰一笑、一顧一盼和相互傳情逗趣的場面，可以想象喀群賽乃姆與龜茲樂舞有著一脈相承、水乳交融的關(guān)系；從歌舞熱烈奔放、節(jié)奏歡快的特點(diǎn)似乎可以領(lǐng)略到疏勒樂舞的風(fēng)味；歌舞粗獷古樸、矯健剛勁似乎又有著于闐樂舞的神韻；歌舞動(dòng)作上既有維吾爾傳統(tǒng)動(dòng)作形態(tài)，又有塔吉克族鷹舞的動(dòng)作形態(tài)，其樂舞包容多樣。

維吾爾喀群賽乃姆由4個(gè)木卡姆、9個(gè)賽乃姆（喀群賽乃姆、塔基汗賽乃姆、維薩力賽乃姆、孜巴賽乃姆、庫依卡甫賽乃姆、珠拉賽乃姆、薩巴賽乃姆、圖依賽乃姆、山賽乃姆等），9套旋律、51個(gè)調(diào)（曲子）、500首內(nèi)容豐富的庫夏克（詩歌）組成。表演形式分木卡姆、賽乃姆、塞勒克曲許爾格（尾段）、麥西來甫（共有15個(gè)單曲調(diào)的麥西來甫，含有200多首庫夏克）等部分表演，在麥西來甫演奏間隙穿插具有娛樂性的民間游戲來烘托映襯氛圍，其音樂節(jié)奏始終以8/7為主。

喀群賽乃姆中的木卡姆、賽乃姆和麥西來甫將山區(qū)人的生活習(xí)俗、田間勞作、狩獵、男歡女愛的情感表白等融合到歌舞中，表現(xiàn)得淋漓盡致。從木卡姆、賽乃姆、麥西來甫的詩歌中可以感受到山區(qū)民眾對(duì)美好生活的向往、對(duì)情感的流露、對(duì)封建權(quán)貴勢力的憎恨，曲調(diào)時(shí)而低吟、時(shí)而高亢、時(shí)而起伏連綿，盡顯原生態(tài)曲調(diào)之風(fēng)格；在舞姿上主要體現(xiàn)出“柔、穩(wěn)、快、熱烈”的特色。柔，指女演員在舞蹈動(dòng)作上，表現(xiàn)出細(xì)膩、輕盈、小巧的女人柔情，似水風(fēng)格；穩(wěn)，要求舞者動(dòng)中求穩(wěn)，以顯舞姿之美，如舞蹈中的頂碗、托碗表演，動(dòng)中有穩(wěn)，穩(wěn)中有靜，給人一種動(dòng)與靜完美結(jié)合的藝術(shù)享受；快，是指舞姿以扣人心弦的快節(jié)奏，展現(xiàn)舞蘊(yùn)；熱烈，一般是在歌舞進(jìn)入高潮（麥西來甫演奏）時(shí)，呈現(xiàn)出的熱烈氛圍——眾人載歌載舞、熱烈奔放、豪情四射，用歌聲、用旋律、用舞姿，創(chuàng)造出一片歡樂天地。

因此，我們在“喀群賽乃姆”保護(hù)中注重和強(qiáng)調(diào)對(duì)其技藝特點(diǎn)的傳承，從而有效地推動(dòng)了對(duì)“喀群賽乃姆”地方特色和民族特色、文化內(nèi)涵和藝術(shù)魅力，以及其中的集體主義精神和民族團(tuán)結(jié)精神的保護(hù)和傳承。

莎車縣“非遺”中心負(fù)責(zé)人依力哈木·熱依木與“非遺”傳承人和民間藝人一起表演木卡姆攝影： 柴廣育

Uyghur Kachung Sanam: Characteristics and Protection

Cao Xiaokang & Elham Reyim

[Abstract]

Yarkant County boasts many items of intangible cultural heritage, amony which at the national levd, the dance categories include: Uyghur Twelve Muqam, Uighur Kachung Sanam and Uzbek Eichley Yelai, in which the Uyghur Twelve Muqam including Uyghur Kachung Sanam.

Sanam is the most popular form of ethnic Uyghur music and dance.In fact, it is a comprehensive art that integrates song, dance, music and poetry.Sanam is usually distinguished by the source region and named after the place.

Kachung Sanam is a unique music and dance art in the Yarkant Mountains (Damus, Hosrap and Kachung Townships).Because Sanam is most concentrated and active and best preserved in the Kachung Township, it is popularly called Kachung Sanam.Safeguarding Kachung Sanam is a priority of Yarkant County to develop its cultural wealth.Great progress has been made while some old difficulties still linger and new challenges continue to come up.This paper is based on an interview with Cao Xiaokang and Elham Reyim, both officials of Yarkant County responsible for intangible cultural heritage protection and promotion.

Elham Reyim: Kachung Sanam’s technical characteristics and inheritance

For safeguarding Kachung Sanam, we attach great importance to the inheritance of its techniques.

As a hub or a key link on the South Trail of the ancient Silk Road, Yarkant County has a blend of Eastern and Western cultures and boasts cultural diversity and inclusiveness.Kachung Township, located at the foot of the Kunlun Mountains and on the ancient Silk Road,is a classic example of cultural diversity.The facial expressions of the performers and the flirting actions have clear connections with the tradition of Kucha music and dance; its cheerful tempo suggests Shulig music and dance;its strength resembles the music and dance of Khotan; the dancing movements bear the characteristics of both Uyghur traditional dance and Tajik eagle dance.In short, Kachung Sanam represents a great diversity of cultures.

Uyghur Kachung Sanam is composed of 4 Muqams,9 Sanams (Kachung Sanam, Taji Khan Sanam, Weisali Sanam, Ziba Sanam, Kuyika Sanam, Zhula Sanam,Sabah Sanam, Tuyi Sanam, Mountain Sanam), 9 melodies, 51 tunes and 500 poems.The forms of performance include Muqam, Sanam, Salek Qusulge(tail section) and Mesgrep (15 single tunes, including more than 200 poems).Between Meshrep performances,entertaining folk games are played to keep the audience enthusiasm.The music beat is always 8/7.

Muqam, Sanam and Meshrep in Kachung Sanam integrate the mountain people’s customs, field work,hunting and love affairs into the music and dance to make the performance vivid and exciting.The poems of Muqam, Sanam, and Meshrep express the local people’s longing for good life and their emotions and their hatred of the feudal rulers.The tunes are original,sometimes low-pitched, sometimes high-pitched, and sometimes undulating.The dance movements are soft,steady, and fast and enthusiastic.Softness refers to the actresses’ delicate, light and tenderness; steadiness means dancers must seek stability in some special dance, such as dancing with a bowl on the head which is a perfect combination of movement and stillness; a fast rhythm makes the dance attractive; and enthusiasm comes to the climax during the Meshrep which will create a heated atmosphere with exciting songs, melody, and dancing.

In short, the inheritance of its technical characteristics is key to preserving the local and ethnic characteristics of Kachung Sanam, as well as its cultural content and artistic charm.It is therefore helpful for continuing and increasing its role as a collective and national spiritual cohesive.

Cao Xiaokang: Protection and lnheritance of Uyghur Kachung Sanam

Uyghur Kachung Sanam is a unique form of performance for wedding and Meshrep activities of people in the mountain ous areas.It maintains the original style while catering to emerging entertainment needs.The local people admire the beauty of nature and pursue happy life and love, which is expressed in their Sanam.It offers significant clues to the study of the Uyghur history and folklore in the mountainous areas.Kachung Sanam is also the oldest form of folk art in the mountains, with unique singing, instrument playing and dancing skills.It is a living culture with high artistic value.

Kachung Sanam lyrics include both folktales,proverbs, as well as folk songs.It has been passed down mainly through oral teaching, but this art is facing a huge challenge due to the aging of inheritors and the limit of their living and physical conditions, as well as the lack of enthusiasm among the young people to learn and pass on this art.Kachung Sanam is in urgent need of protection.

The CPC Committee and the People’s Government of Yarkant County have taken various measures to safeguard, continue and promote this unique intangible cultural heritage.First, heritage safeguarding is made a priority on the government’s agenda.The Culture,Sports, Radio, Film and Television Bureau of the County has set up a special office to be responsible for directing and carrying out research and implementation of heritage safeguarding projects.Second, the county is working hard to identify and register items and inheritors of cultural heritage.In 2003, the county began to record performances of Kachung Sanam.In 2006, it got Kachung Sanam on the list of intangible cultural heritage of Xinjiang Uyghur Autonomous Region and Yarkant County was named a “Folk Art Center” of the Kashgar Region.In 2008, Kachung Sanam became an item on the national list of intangible cultural heritage, which means the art would be given a safeguarding fund of 300 000 RMB yuan each year.Third, the county actively promotes the teaching and learning of Kachung Sanam.The Culture, Sports, Radio, Film and Television Bureau set up a Kachung Sanam inheritance center; Township Cultural Stations set up Kachung Sanam inheritance bases and formed Kachung Sanam performance teams;the township middle schools open Kachung Sanan classes, send performers to competitions at various levels and organize Kachung Sanam trainings.Fourth,the county actively cultivates and develops inheritors.At four levels, Yarkant County now has more than 100 Kachung Sanam inheritors who enjoy corresponding government benefits.Fifth, the county takes various protection measures, mainly including preparation of teaching materials, making teaching videos, deploying facilities and equipment needed for protection and inheritance,organizing festivals and various cultural activities.

Thanks to the support, assistance and guidance of intangible cultural heritage protection centers at the national and regional levels, and mainly the protection and promotion efforts of Yarkant County CPC Committee and government, Kachung Sanam has made more and more presence in cultural activities of various levels.It is now a valued performance program in many events, and the number of inheritors has gradually increased, and their living conditions are improving,which is generating a greater enthusiasm among learners.

However, due to personnel, funding and capacity limits, there are still some problems with the inheritance and protection of Kachung Sanam.The scope of inheritance is still limited as protection efforts are limited to the inheritance stations and the County inheritance center; excavation and protective innov ation are limited,and teaching materials should be more systematic and standardized; the inheritors only play instruments and sing while dance is not included, so the inheritance project does not realize the integration of music and dance; it takes much more and longer to cultivate instrument players,so the inheritors will dwindle; moreover, allowances and economic incentives for the inheritors should increase,especially for the county and township-level inheritors.Efforts are now being made to overcome these difficulties and further improve and deepen the protection of Kachung Sanam, to meet the spiritual needs of the local people.

[Keywords]

Uyghur Kachung Sanam, technical characteristics,protection, inheritance