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Books and Arts
《圖書與藝術》版塊
Art, gender and conflict
藝術、性別和沖突
The puppet-mistress of Mali
馬里的木偶女王
The struggles of the only female practitioner of a venerable art form
古老藝術形式唯一女性傳承者的奮斗史
Each Morning Maoua Koné wakes beneath the black-eyed gaze of masks and marionettes on the walls of her cramped one-room flat in Bamako.
每天早晨， Maoua Koné都在巴馬科狹小的人單人公寓墻上的面具和牽線木偶的黑眼睛的注視下醒來。
When Ms Koné, Mali’s only female marionettist, manipulates the shiny forms, her male counterparts tremble.
Koné是唯一的女性木偶表演藝術家，當她操縱閃亮的小玩意兒，男性表演家都為之震顫。
“The men are scared of me because they think I have a lot of magical powers,” she says.
“男性都懼怕我因為他們認為我有魔力，”她說。
“They think it is not possible for a woman to be a marionettist.”
“他們認為女性不可能成為木偶演奏家。”
Her career has overcome chauvinism, only to be stifled by another stubborn obstacle: violent conflict.
她的事業克服了大男子主義，最終卻被另一頑固障礙壓制：暴力沖突。
Mali’s marionette theatre originated centuries ago in the villages of Bozo fishermen and Bambara hunters in southern and central regions.
馬里的木偶戲劇院起源于幾個世紀前中、南部地區博佐漁民和班巴拉獵人的村莊。
The custom co-existed with Islam, the main religion, which has historically forbidden figurative representation of human beings.
這一習俗與主要宗教伊斯蘭教共存，而伊斯蘭教禁止用比喻形象代表人類。
Performances explore communities’ histories, tell morality tales and limn the roles of men and women.
木偶戲表演探索社區歷史、講述道德故事，并限定男女角色。
They celebrate the coming of the rains and of the harvest.
主要為慶祝雨季和收獲的到來。
Masks and puppets stand in for people and animals, but also character traits, spirits and ancestors.
面具和木偶代表著人和動物，也代表著人物特征、幽靈和祖先。
The country’s rich cultural life has always been segregated by gender.
馬里豐富的文化生活總是被性別隔離開來。
In the renowned music scene, for example, women rarely play the djembe, a kind of drum, or the kora, a lute-like instrument.
例如，在著名的音樂界，女性很少演奏金貝鼓（非洲手鼓）或科拉琴（類似琵琶的樂器）。
Women have traditionally been forbidden from operating marionettes, or even making them, a craft that entails complex rituals, conducted under cover of night and involving kola nuts and roosters.
傳統上，女性不允許操作木偶，甚至制作也不被允許，制作包含復雜的工藝，要在夜幕的掩護下，原料涉及可樂果和公雞。
In these ceremonies, says Broulaye Camara, a fellow marionettist, male initiates determine whether a puppet’s spirit will be benevolent.
在這些儀式上，木偶表演家布勞萊卡馬拉說，男性制作人會決定木偶的靈魂是否仁慈。
Women are barred, Mr Camara maintains, because they have not been initiated, and because they are gossips.
卡馬拉先生堅持認為，女性被禁止是因為他們還沒有基本的知識，還因為她們愛說長道短。
“Women talk too much,” he says. “They don’t keep secrets.”
“女性話太多，”他說。“他們不能保守秘密。”
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