國泰民安︰非物質文化遺產新媒體展覽
展覽日期﹕ 9月14日至10月10日
開放時間: 星期一至日 上午9時正至晚上8時正
費用: 免費入場
地址: 香港大會堂低座1樓展覽廳
如有任何查詢,歡迎致電 +852 2114 2658聯絡蔡小姐或電郵至info@kungfufestival.com
SAFEGUARDING THE COMMUNITY: AN INTANGIBLE CULTURAL HERITAGE NEW MEDIA EXHIBITION
Date: 14th September to 10th October 2018
Opening hours: Monday to Sunday 9:00am to 8:00pm
Entry Fee: Free
Exhibition Hall, 1/F, Low Block, Hong Kong City Hall
For enquiry, please contact Ms. Angela Choi at +852 2114 2658 or email to info@kungfufestival.com
Introduction
簡介

Introduction

Communities’ response to these threats is twofold. On the one hand, reacting to endemic social violence, civilian and military martial artists of the Ming and Qing dynasties reformed their way of combat, which eventually gave rise to the Minnan martial arts system. On the other hand, confronted with the invisible threats of epidemics and famine, local communities came up with spiritual strategies – in the form of ritual performances and ceremonies, such as Jiao Festivals, fire dragon dance and parade, and Hakka unicorn dance – to appease the deities and drive away malignant spirits.

簡介

沿海地區對這些威脅採取兩方面的措施,首先對於地方社會暴力,明清時期的民間及軍事武術家革新其技擊方法,最終形成了閩南武術體系。另一方面,為了抵抗瘟疫、饑荒等無形威脅,當地居民採用宗教方法,比如太平清醮、舞火龍和舞麒麟等節慶儀式,以安撫神靈,避邪禦惡。

Minnan Martial Arts
閩南武術
Minnan Martial Arts

Minnan martial arts are the oldest martial arts system in southern China. They also influenced development in neighbouring countries and regions including Japan, Ryukyu (Okinawa), Taiwan, and Southeast Asia.

During the Ming dynasty (1368–1644), raids by Wokou pirates on the poorly defended coast became a catalyst for military and martial art reform. In particular, innovations by Generals Yu Dayou and Qi Jiguang, who combined the fighting methods from the civilian and military domains, lay the foundation for the classical Minnan martial arts system.

In the Qing dynasty (1644–1912), while piracy became more subdued, armed conflicts between villages and lineages, and social violence organized by heterodox organizations, such as sworn brotherhoods and secret societies, became the main bane to social harmony. Accordingly, martial arts development largely took place in the civilian domain.

閩南武術

閩南武術是華南武術體系中最為古老的,推動了鄰近地區的武術發展,包括日本、琉球(沖繩)、臺灣和東南亞。

明朝年間(1368-1644),沿海倭寇為患,海岸防守不善反催化軍事和武術改革。特別是俞大猷將軍和戚繼光將軍,二人結合民間和軍事武術智慧,為傳統閩南武術體系打下堅實的基石。

在隨後的清朝(1644-1912),海盜受到鎮壓,但村莊和宗族之間的械鬥、兄弟會及秘密社團等非法組織引起的社會暴力行為,變成危害社會和諧的一大禍根。因此,清朝的武術發展主要見於民間領域。

Arming the Community against Invisble Forces
凝聚社群,以武抗邪
Arming the Community against Invisble Forces
凝聚社群,以武抗邪

Diseases and wars were the dual banes to society. Parades and performances of the fire dragon and Hakka unicorn dance were strategies by communities in coastal southern China to defend against malignant invisible forces.

疾病、戰爭,是危害社會的兩大禍根。如果說閩南武術是社群抵禦實體威脅的方法,舞火龍和舞麒麟則是華南沿岸社群對抗邪氣的策略

Village traditions in ZhangZhou
漳州地區的鄉村傳統

Underpinning the outward manifestation of the fire dragon parade is the spiritual power to ward off disease and harmful supernatural forces. Likewise, looking beyond the performative aspect of unicorn dance is communities’ profound desire for peace and, as a ritual dance of regular occurrence, it both serves to drive off baneful spirits and manifests as communal enactment of cosmic harmony.

舞火龍作為一種外在呈現,其基礎在於舞火龍是具有重要辟邪功能的宗教表演,可以去病驅邪。同樣地,舞麒麟除了是一種藝術表演,還體現了社群對和平的殷切盼望,既可驅除惡靈,又表現出萬物和諧的法則。

In case of extreme social distress, villages in South China sometimes have recourse to large-scale communal cleansing known as Jiao Festivals. Both fire dragon and unicorn dance are vital elements in Jiao Festivals, particularly within a Hakka context, though they do not exhaust the range of ritual performances which could sometimes take the form of dragon-boat racing (as in the case of Tai-O village) or assume other guises.

當社會陷於水深火熱之際,華南村落有時會求助於打醮這種大規模社區淨化活動。舞火龍和舞麒麟都是打醮的重要元素,特別是在客家社區中,有時候還會上演其他儀式表演,比如龍舟競賽(例如大澳村),或採用其他方式。

Credits
鳴謝
鳴謝
主辦機構:
Presented by:
中華武學會有限公司
Institute of Chinese Martial Studies Limited
非物質文化遺產地脈協會有限公司
Intangible Cultural Heritage Earthpulse Society Limited
合作伙伴:
Partners:
康樂及文化事務署
Leisure and Cultural Services Department
香港城市大學互動媒體與電算應用中心
Centre for Applied Computing and Interactive Media, City University of Hong Kong
中華國術總會有限公司
International Guoshu Assoication Limited
項目計劃資助:
Project Grant:
本計劃獲香港特別行政區政府 「藝能發展資助計劃」的資助
This project is financially supported by the Arts Capacity Development Funding Scheme of the Government of the HKSAR
全力支持:
Fully Supported by:
非物質文化遺產辦事處
Intangible Cultural Heritage Office
資助:
Supported by:
香港藝術發展局
Hong Kong Arts Development Council
Prizm
鳴謝:
In Association with:
客家功夫文化研究會
Hakka Kung Fu Culture Research Society
策展:
Curated by:
趙式慶
Hing Chao
邵志飛
Jeffrey Shaw
策展合作伙伴:
Curatorial Consultant:
Sarah Kenderdine
策展顧問:
Curatorial Consultant:
李剛
Kong Lee
藝術家:
Artists:
又一山人
anothermountainman
黃宏達
Victor Wong
設計及建築:
Design & Construction:
N7 Communication.
項目管理:
Project Manager:
蔡子慧
Angela Choi
主編:
Main Editors:
趙式慶
Hing Chao
李剛
Kong Lee
編輯事務:
Editorial Support:
傅薇
Christie Fu
蔡子慧
Angela Choi
製作及技術支援:
Production & Technical support:
李遣証
Lee Hin Ching
攝影:
Photography:
鄧明東
Tang Ming Tung
圖象設計:
Graphic Design:
N7 Communication.