岳子威。〈作為制度的身體：習樂與作樂的經驗感知——基於對瑤族度戒儀式音樂的多點觀察〉。《民俗曲藝》233 (2026.9): 17–63。
Yue Ziwei. “Body as Institution: The Experiential Perception of
Music-Learning and Music-Doing–
Based on Multi-Sited Observations of the Music of the Yao Ethnic Group’s Dujie Initiation Ritual.” Journal of Chinese Ritual, Theatre and Folklore 233 (2026.9): 17–63.
Abstract
在社會學的身體議題中，身體常被概念化為一種具有象徵意義的符號系統，或是一套社會實踐體系，而在宗教社會學的研究中，對於身體的研究被布萊恩•透納（Bryan Turner）看作是宗教社會學中的生成問題。這意味着，將身體「還原」至儀式中則更能夠深入的發現宗教儀式、身體與社會的種種反映與關聯。同時，應該意識到的是，身體作為社會經驗的連續體（continuum），是在與社會的互動中不斷生成、建構的。梅洛龐蒂（Maurice Merleau-Ponty）「身體—主體性」的提出為觀察身體本身提供了新的視角，而克勞德•李維史陀（Claude Levi-Strauss）由二元對立結構所深化出的三元結構，也為此種觀察給予了進一步的支撐。
在上述理論基礎上，本文通過對瑤族度戒儀式音樂的多點觀察，指出度戒儀式在表徵層面是一場由執儀者與受戒者共同完成的儀式音樂表演，其目的是社會性的；而在深描層面，本文將分析儀式音樂在儀式展演過程中，如何為執儀者、受戒者及其他所有參與者提供重要的作樂（music doing）與習樂（music learning）的知覺感知和經驗感知積累，以及此種經驗累積如何經由身體得以實現，進而指出建構於此種儀式經驗上的身體獲得社會共同體的認同，其本質是社會化的，因此也是制度化的。
In sociological discourse concerning the body, the body is often
conceptualized as a symbolic system or a set of social practices. In the
sociology of religion, Bryan Turner views the study of the body as a generative
problem. This means that “reducing” the body to ritual allows for a deeper
exploration of the various reflections and connections between ritual, the
body, and society. At the same time, it should be recognized that the body, as
a continuum of social experience, is constantly generated and constructed
through interaction with society. Merleau-Ponty’s formulation of
“body-subjectivity” provides a new perspective for observing the body itself,
while Claude Levi-Strauss’s triadic structure, by supporting this observation,
further reinforces this perspective.
Based on the above theoretical foundation, this paper, through multi-sited observation of the music of the Yao ethnic group’s dujie 度戒 ritual (an initiation rite into full social membership, determined by social maturity rather than chronological age), points out that the dujie is a ritual music performance completed jointly by the ritual officiant and the recipient, and its purpose is social in nature; at the level of thick description, this paper will analyze how ritual music contributes to important perceptual awareness as well as the experiential accumulation of music making and learning for the ritual performer, the recipient, and all other participants during the ritual performance, and how such experience accumulation is realized through the body. It further points out that the body constructed during this ritual experience is recognized by the social community: its essence is socialized, and therefore institutionalized.