Continuity in change: a restudy of Arnold Adriaan Bake's research on the devotional and folk music traditions of Bengal 1925-56

本文是对荷兰音乐学家和印度学家阿诺德·阿德里安·贝克（Arnold Adriaan Bake, 1899-1963）于1925年至1956年间在孟加拉地区进行的田野调查的重新研究。我的论文有两个主要目的。首先，我研究了贝克对五种不同类型的民间和宗教音乐和舞蹈的研究，通过调查他与孟加拉学者和表演者的互动。我认为，孟加拉学者塑造了贝克对社区及其表演艺术的看法，这些看法往往带有刻板印象和理想化的特征，他利用自己与公务员和传教士的关系来促进他的实地调查。其次，我研究了五种流派从二十世纪初到现在，在印度的西孟加拉邦和贾坎德邦以及孟加拉国的发展。在此背景下，我认为二十世纪上半叶对孟加拉民间音乐和舞蹈的学术重构影响了许多流派，直到现在。对于我的研究评论，我的方法是对贝克的声音和电影录音以及相关的已出版和未出版材料进行评估，这是我在印度和孟加拉国文化遗产社区的学者和表演者的帮助下进行的。为了研究流派的延续和变化，我在西孟加拉邦，贾坎德邦和孟加拉国进行了民族志观察，研究表演者的生活现状，并记录和分析他们的表演。此外，我还查阅了二手资料，包括当代档案收藏和网上的各种类型的视听文件，以更广泛地了解孟加拉地区当前的表演实践。

This dissertation is a restudy of the fieldwork that the Dutch musicologist and indologist Arnold Adriaan Bake (1899-1963) conducted in the Bengal region between 1925 and 1956. My thesis pursues two central aims. Firstly, I study Bake's research on five different genres of folk and devotional music and dance, by investigating his interactions with Bengali scholars and performers. I argue that Bengali scholars shaped Bake's views on communities and their performing arts with often stereotypical and idealised characterisations, and that he used his connections to civil servants and missionaries to facilitate his fieldwork. Secondly, I study the development of the five genres from the early twentieth century until the present, in the Indian states of West Bengal and Jharkhand, and Bangladesh. In this context, I argue that the academic reframing of Bengali folk music and dance in the first half of the twentieth century influenced many genres till the present. For my research critique, my methodology is an evaluation of Bake's sound and film recordings and related published and unpublished material, which I have carried out with the help of scholars and performers of cultural heritage communities in India and Bangladesh. For studying the continuity and change of the genres, I have conducted ethnographic observation in West Bengal, Jharkhand, and Bangladesh, to study the current living circumstances of performers, and to record and analyse their performances. Additionally, I consulted secondary sources, including the audiovisual documentation of genres in contemporary archival collections and online, to get a wider picture of current performance practice in the Bengal region.