寻找艾衣提：抗议和诗歌的火种在维族音乐中燃烧

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寻找艾衣提：抗议和诗歌的火种在维族音乐中燃烧

EIL STRAUSS2019-02-12 16:10:56
First published on Feb 7, 1999.编注：本文最初发表于1999年2月7日。KASHGAR is a town tangled up in two time zones. Nestled in the northwest of China, less than 200 miles from the borders of Afghanistan, Tajikistan, Pakistan and Kyrgyzstan, the legendary Silk Road oasis is run by the Han Chinese, who follow the clock of their capital, two time zones away in Beijing. Meanwhile, the Uighurs, Turkic-speaking Muslims who make up more than 80 percent of Kashgar's population, live according to the local clock, two hours earlier than Beijing's. This disparity makes Kashgar a confusing town to navigate -- and it made the task of tracking down Abdurahim Heet, one of the most important contemporary Uighur composers and musicians, extremely difficult.喀什是一个纠结在两个时区中的城镇。这座丝绸之路上的传奇绿洲位于中国西北部，距阿富汗、塔吉克斯坦、巴基斯坦和吉尔吉斯斯坦边境不到200英里（约合320公里），由汉人管理。汉人遵行的是两个时区之外首都北京的时间。与此同时，占喀什总人口80%以上的维吾尔族——讲突厥语的穆斯林按照当地的时钟生活，它比北京时间晚两个小时。这种差异让喀什变成了一个探索起来令人感到困惑的城市，寻找当代维吾尔族最重要的作曲家和音乐家之一阿卜都热衣木·艾衣提(Abdurahim Heet)这个任务也变得更加困难。Like Kashgar, Mr. Heet leads a double life. On one hand, he is famous in the region for his performances of traditional Uighur (pronounced WE-goor) poetry and music. These are sung in a deep, resonant, nasal voice and accompanied by the dutar, a two-stringed lute. The music is available as cassettes manufactured and distributed by the Chinese Government.和喀什一样，艾衣提也过着一种双重生活。一方面，他以表演传统维吾尔族诗歌和音乐闻名于世。他的演唱深沉、充满共振、带着鼻音，并且伴随着两弦琴都塔尔的伴奏。这些音乐收录在由中国政府生产和发行的盒式磁带中。On the other hand, there are the privately manufactured cassettes. These contain Mr. Heet's original compositions, pieces like ''Stubborn Guest,'' an old man's plea to a lodger who has overstayed his welcome -- and a thinly disguised analogy for China's presence in the surrounding Xinjiang region, which was made a province of China in 1884. Traditionally, Uighur music deals with love, morality and criticisms of misconduct. But Mr. Heet -- known as the ''Rooster of Xinjiang'' because of his voice -- is the first Uighur musician to write about life under Chinese rule. As a result, he has to pay extra money to the private manufacturers of his cassettes to compensate them for the risk they are taking. He distributes these tapes for free.另一方面，还有私下制作的磁带。其中包括艾衣提的原创作品，比如《固执的客人》，唱的是一位老人在恳求一位留宿过久、已经不受欢迎的的房客——这几乎是赤裸裸地影射中国在新疆一带的存在。新疆于1884年成为中国的一个省。传统上，维吾尔族音乐涉及爱情、道德和对不当行为的批评，但是艾衣提是第一位创作关于中国统治下生活的维吾尔音乐家，因为他的声音，人们称他为“新疆的雄鸡”。因此，他不得不向私人磁带制造商支付额外费用，以补偿他们所冒的风险。他把这些磁带免费分发出去。A master of folk tradition with a fire for protest and poetry, he has become a local Bob Dylan, spurring many musicians to follow in his footsteps (and in at least one case to get arrested for a politically charged performance). Songs like ''Stubborn Guest'' and ''Silk,'' a paean to Uighur culture, have become anthems and sources of pride in Kashgar, where donkey carts are still the main mode of transportation.他是传统民歌的大师，抗议和诗歌的火种在他的歌中熊熊燃烧，他成了当地的鲍勃·迪伦(Bob Dylan)，激励许多音乐人追随他的脚步（他至少有一次因为带有政治色彩的演出而被捕）。像《固执的客人》和赞美维吾尔文化的《丝绸》这样的歌曲，在驴车仍然是主要交通工具的喀什，已经成为它的颂歌与骄傲的源泉。The search for Mr. Heet began in Kashgar's busy Sunday market, where the stalls selling local cassettes had his three-tape series of traditional tunes, ''Regret,'' on prominent display. There Abdul Ghenee, a Newbie trader Uighur who had discarded the traditional skullcap in favor of a baseball cap worn backwards, promised he could help track the composer down.Continue reading the main story''We have a saying,'' he said, rubbing his bandaged eye, a result of a fight with a Chinese man who had insulted a Uighur woman. ''When a Uighur child can walk, he can dance. When a Uighur child can speak, he or she can sing.''寻找艾衣提始于喀什繁忙的周日集市，在那里，贩卖本地音乐磁带的摊位上，醒目地摆放着他的三盘磁带一套的传统曲目专辑《遗憾》。摊位上，年轻的维吾尔人阿卜杜勒·吉尼依(Abdul Ghenee)头上没有戴传统的无檐小帽，而是倒扣着一顶棒球帽，他许诺，可以帮忙找到这位作曲家。“我们有句老话，”他揉着用绷带包起来的眼睛说道，这是他和一个侮辱维吾尔族女性的汉人男子打架的结果。“维吾尔的孩子一走路就会跳舞。维吾尔的孩子一说话就会唱歌。”The next stop was an open storefront on a dirt road. The shop belonged to the Emin family, which has been making and selling instruments there for five generations. The store was a reminder of Kashgar's duality. On the outside was a gold-covered plaque designating the shop's proprietor, Muhammat Emin, as a model member of the local Communist league. But inside, traces of modern Kashgar disappeared. The walls were lined with elaborately decorated hushtars, a violin-like instrument that had disappeared from Uighur music until it was discovered during an excavation in the nearby Taklaman desert some 50 years ago. The snakeskin heads of rewap lutes and dop drums were also scattered around the dusty room. Mr. Emin picked and pounded melodies and rhythms on each, explaining the Uighur oral tradition. There is no notation in Uighur music, which is perhaps a good thing, since what little was written about the music was burned along with as many instruments as could be gathered during the Cultural Revolution.下一站是一条土路上一家开着的临街店铺。这是依明家的店，他们在这里制作和销售乐器已有五代之久。店铺让人想到喀什的双重性。外面是一块镀金匾额，上面指明店铺的主人麦麦提依明是当地共产主义同盟的模范成员。而在里面，喀什的现代痕迹消失了。沿墙排列着精雕细琢的胡西塔尔，这种形似小提琴的乐器曾从维吾尔音乐中消失，直到约50年前，在附近塔克拉玛干沙漠一次挖掘中被发现。有蟒皮琴头的热瓦普琴和达甫鼓也散布在落满灰尘的房间里。依明在每个上面弹拨、击奏出了旋律和节奏，一边解释着维族的口头传统。维族音乐没有曲谱，这或许是件好事，因为有关这种音乐不多的书面记载在“文革”中都被烧掉了，凡能搜集到的乐器也被付之一炬。''Ten years ago, modern music was very popular,'' Mr. Emin said. ''But these days folk music has the most important place in Uighur society. I think it's because during the Cultural Revolution people didn't have the freedom to choose what they listened to, and many famous musicians were killed.''Mr. Emin gave Mr. Ghenee the phone number of Mr. Heet's sister, a music teacher, explaining that Mr. Heet does not have a phone. At Mr. Heet's sister's house, her nephew, Marat, wearing a T-shirt emblazoned with the logo of the Western heavy-metal band Kreator, offered to lead us to the small house where the composer lives with his parents.“十年前，现代音乐很流行，”依明说。“但如今民族音乐在维族社会占有最重要的位置。我认为这是因为在‘文革’期间，人们无法自由选择听什么，很多著名的音乐家也遇害了。”依明说艾衣提没有电话，他把艾衣提妹妹（或者姐姐）的电话给了吉尼依，她是一名音乐教师。在艾衣提妹妹家，她的侄子马拉特(Marat)主动带我们前往这位作曲家和父母一起居住的小房子，他身上的T恤印有西方重金属乐队创造者(Kreator)的标识。Mr. Heet was dressed in jeans, a neatly pressed white button-down shirt and a dapper mustache. A finely handled Uighur dagger hung from a leather sheath hooked to one of his belt loops. He sat on an elevated, bright red carpet in an otherwise empty room and had his family bring out flat bread, melon, tea and a bowl for hand-washing. He then leaned over and whispered something to Mr. Ghenee who explained, embarrassed, that Mr. Heet had never spent time with an American before.艾衣提穿着牛仔裤，上身是一件熨得整整齐齐、领尖有纽扣的白衬衫，蓄着整齐的胡须。皮带环系着一个皮套，上面挂着一把精美的维族短刀。在一间空空荡荡的房间里，他坐在架高的鲜红色地毯上，让家人端出了馕饼、甜瓜、茶和一只洗手碗。然后，他倾身向前，向吉尼依耳语了些什么，吉尼依尴尬地解释，艾衣提从未跟美国人打过交道。FOR the next hour, Mr. Heet (with Mr. Ghenee serving as translator) explained the history of the music, the dozens of marathon four-hour concerts he performs annually and the book he was completing on classical Uighur music, the first of its kind. ''Music is one of the most important parts of Uighur culture,'' he said. ''People here can wear American T-shirts, but their hearts stay the same. The music, because it's such a symbol of the heart, changes slowly.''在接下来的一小时里，艾衣提（吉尼依在一边当翻译）讲述了维族音乐的历史，讲到他每年举行几十场长达4小时的马拉松式音乐会，还有他正在完成的关于维族古典音乐的书，那是第一本关于这种音乐的书。“音乐是维族文化最重要的组成部分之一，”他说。“这里的人们可以穿美国T恤，但他们的心还是和过去一样。维族音乐——由于它是心灵的象征——变化很缓慢。”Nonetheless, Mr. Heet has been changing the music. Influenced by Persian, Arabic and Turkish music, Uighur songs are as jubilant as they are complex, soaring and dipping along the Arabic scale known as the maqam and helping to give the Xinjiang region the nickname ''the land of song and dance.'' Generally thought to have been brought to the area in the ninth century, Uighur music wound up influencing Chinese court music when it became a favorite among Tang emperors.即便如此，艾衣提一直在改变维吾尔音乐。受波斯、阿拉伯和土耳其音乐的影响，维族歌曲循着被称为木卡姆的阿拉伯调式，既节奏欢快，也复杂、高亢、激越，令新疆地区获得了“歌舞之乡”的昵称。一般认为维吾尔音乐是在9世纪时传到这里的，后来它因成为唐朝皇帝的最爱而影响了中国的宫廷音乐。One of the highlights of Mr. Heet's latest recording and first CD, ''Inheritance,'' is a song called ''Rooster,'' a story about a rooster awaking his people from darkness to welcome a new dawn.艾衣提最新的录音，也是他首张CD作品《传承》(Inheritance)最大的亮点之一是一首名为《雄鸡》(Rooster)的歌，它讲述一只雄鸡将人们从黑暗中唤醒，迎接新的黎明。''The Government hasn't said anything to me about the political songs yet,'' he said, ''so I don't know if I have a problem.''“政府还没有就我的政治歌曲说过什么，”他说，“所以我不知道我是否会有问题。”That night, Mr. Heet brought us to a local teahouse, where he sat in the back room, door shut to prevent the sound of the restaurant's one-man synthesizer band from leaking in. After dinner, Mr. Heet found a dutar in the restaurant. It was warped and out of tune. But when his fingers started sliding and twiddling with heavy-metal speed up and down the long neck -- nearly twice the size of a guitar's -- the instrument's defects seemed to disappear. Wailed rooster-voiced lyrics of love reverberated off the walls, the strings crackled brightly beneath his calloused fingers, uptempo melodies flowed out of the door. Mr. Heet went on for minutes, or hours; it was hard to tell. For a moment, Kashgar was one, keeping time to a single clock, the dutar.那天晚上，艾衣提把我们带到了当地一家茶馆，他坐在里屋，把门关上，以免餐厅里单人合成器乐队的声音传进来。晚餐过后，艾衣提在餐厅找到了一把都塔尔。它已经变形，也走调了。但当他的手指开始以重金属速度沿着琴颈上下滑动、抚弄——它的琴颈有吉他两倍长——这把乐器的缺陷似乎消失不见了。雄鸡般的声音恸哭着唱出的爱情歌词在墙壁之间回荡，琴弦在他布满老茧的手指下发出细碎爽朗的声响，快速有节奏的旋律流淌到门外。艾衣提一连唱了几分钟，或几个钟头，也说不清了。有一刻，喀什合而为一，时间都聚到了唯一的一个时计——这个都塔尔上。翻译：李建芳、晋其角点击查看本文英文版。

Source: 寻找艾衣提：抗议和诗歌的火种在维族音乐中燃烧