【亚洲·韩国】绳索舞 Namsadang Nori（2009年）

Namsadang Nori，字面意思是“全男性流浪小丑剧院”，是一个多方面的民间表演传统，最初由旅行艺人广泛实践，现在由大韩民国的专业剧团保留。表演由六个部分组成：一段“农民音乐”强调金属锣和兽皮鼓的敲击声；面具舞呈现了四个喜剧场景，描绘了不同社会阶层的人；走钢丝的表演中，一名杂技演员站在高高的钢丝上，与下面的小丑进行诙谐的交流；在木偶戏中，五十多个木偶与叙述者和音乐家一起表演七个场景；杂技部分结合了在地面上表演的身体壮举、相声和音乐；而一个复杂的展示，用一根木棍旋转铁环，使整个表演更加完美。除了在户外舞台上围绕着表演者娱乐农村观众外，南沙当·诺里还传递了一个重要的社会信息。尤其是面具舞和木偶戏，在一个男性主导的社会中，表现出对下层阶级和女性的压迫。通过讽刺，这些表演为那些没有政治发言权的人提出了问题，体现了平等和自由的理想，支持和激励穷人。

2009年度列入人类非物质文化遗产名录。

来源：联合国教科文组织亚太地区非物质文化遗产国际培训中心

Namsadang Nori, literally the ‘all-male vagabond clown theatre’, is a multifaceted folk performance tradition originally practised widely by travelling entertainers and now kept alive by professional troupes in the Republic of Korea. The performance is made up of six components: a segment of ‘farmers’ music’ emphasizes the percussive sounds of metal gongs and animal-hide drums; a mask dance presents four comic scenes depicting people from different social classes; a tightrope walking act sees an acrobat on a high-wire engaged in witty exchanges with a clown below; in a puppet play, more than fifty puppets act out seven scenes together with a narrator and musicians; an acrobatic segment combines physical feats performed on the ground with comic dialogue and music; and an intricate display of hoop spinning with a wooden stick rounds out the performance. In addition to entertaining rural audiences that would surround the performers in outdoor arenas, Namsadang Nori carried an important social message. The mask dance and puppet plays in particular enacted the oppression of the lower classes as well as women in a male-dominated society. Through satire, these performances raised issues on behalf of those with no political voice and manifested ideals of equality and freedom, sustaining and inspiring the poor.

Included in the list of human intangible cultural heritage in 2009.

Source: UNESCO International Training Center for intangible cultural heritage in the Asia Pacific Region