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人間佛教音樂與非佛教徒中之影嚮研究-以菲律賓“佛陀傳-悉達多太子”為例=The Study of the Impact of the Influence of Humanistic Buddhism Music on the Participants of the “Biography of the Buddha” Musical Production in the Philippines |
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| Author |
Marie Antoinette R. Gorgonio (著)
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| Date | 2010 |
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| Pages | 116 |
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| Publisher | 佛光大學 |
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| Publisher Url |
https://website.fgu.edu.tw/?locale=zh_tw
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| Location | 宜蘭縣, 臺灣 [I-lan hsien, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 英文=English |
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| Degree | master |
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| Institution | 佛光大學 |
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| Department | 佛教學系 |
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| Advisor | 姚玉霜=Yao, Yu-hsuang |
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| Publication year | 98 |
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| Keyword | Fo Guang Shan Humanistic Buddhism; modern religious musical; missionary; Biography of the Buddha Musical Production Philippines; ecumenism; in-depth interview; Venerable Master Hsing Yun |
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| Abstract | This thesis directs to probe the influence of the Humanistic Buddhism music of Fo Guang Shan to the participants of the “Biography of the Buddha” musical production and its general influence in the Philippines. To make the thesis feasible, a descriptive qualitative research was employed with the use of in-depth interview. The core questions that propelled in the process of this query are: 1) how did these participants encounter the FGS Chu-un temple and this musical production, 2) where there challenges and adaptations made by the organizers towards its non-Buddhist participants and, 3) what is the impact of the modernization of the music of FGS Humanistic Buddhism in Cebu Philippines, as in the case of the participants of “The Biography of the Buddha” musical production? There were twelve questions that were formulated in advance basing from the core questions and the kind of respondents that this thesis has gathered. This group was intently chosen to be researched since the kind of activity that they have been performing is the first and only kind that Buddhism has offered in the Philippines and this group is composed of non-Buddhist performers, thus it is interesting to research. In addition, the aim of this research is to provide information not only to the organizers of the musical production but also to researchers that will do a query which is more or less the same in the future.
Basing from the result, acculturation and certain discoveries like ecumenism and missionary actions were found out. The participants were not acculturated by transforming to Buddhism but they were acculturated by the values they have learned basing from the faith of Buddhists. This kind of faith meant the belief and application of the Buddha’s teachings, and the participants of the musical production have acquired this kind of faith effectively, not only through stage performances but as well as through their daily life’s performances as Christians. Furthermore, Fo Guang Shan don’t use any force to invite or convert people to Buddhism, it has a gentle approach of introducing its teachings. This is applied through Venerable Master Hsing Yun’s cultural and artistic activities in a modern approach wherein the mission, not only for the self improvement and spiritual advancement of the individuals but also of the whole community, aimed for oneness regardless of religion, age, culture, and race that seemingly is imperative in this era.
Mainly, the acculturation of the Buddhist faith was not only applied to the participants, it also reached out to the audience who has experienced the same faith then shared their feedbacks to the organizers as evidenced by the reviews cited in this research. More artistic and musical activities followed after the first few shows of the musical drama and these don’t only mean to serve the participants inside the group alone but to the outside community in the Philippines as well.
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| Table of contents | ABSTRACT i
ACKNOWLEDGEMENTS iii
TABLE OF CONTENTS v
LIST OF FIGURES viii
LIST OF TABLES viii
CHAPTER 1. INTRODUCTION 1
Statement Problem 1
History 5
Research Aim 8
Purpose of the Study 10
Research Methods 10
In-depth Interview 11
Sampling 12
Data Collection 13
Confidentiality 14
Validity and Reliability 14
Researcher’s Background 14
Research Procedure 15
Challenges and Weakness 16
Limitations and Solutions 17
CHAPTER 2. LITERATURE REVIEW 19
Venerable Master Hsing Yun 19
History of Fo Guang Shan Humanistic Buddhism Music 20
Fo Guang Shan Chu-un Temple Cebu, Philippines 23
The “Biography of the Buddha” Musical Production 25
Acculturation Theory 28
CHAPTER 3. HUMANISTIC BUDDHISM IN PHILIPPINES 31
Interview Summary 31
Discussions and Implications 40
Gender and Occupation Role 40
Religious Attraction through Modern Means 41
Missionary Action 44
A History of Cultural Influence 46
Blending of Values between Religions 48
Ecumenism and Oneness 55
CHAPTER 4. CONCLUSION 61
Encounter and Contact 61
Conflicts, Resolutions and Adaptations 62
The Impact on the Participants of the “Biography of the Buddha” Musical Production 64
Recommendations and Further Research 67
BIBLIOGRAPHY 69
APPENDIX 74
Appendix A Categorization of the Participants of the Musical Production 74
Appendix B Consent Form 75
Appendix C Questions for the Cast 76
Appendix D Questions for the Directors 78
Appendix E Questions for the Organizers 80
Appendix F Questions for the Crew 82
Appendix G Activities of the FGS Chu-un Temple, Cebu from 1990-2007 84
Appendix H Additional Activities of the FGS Chu-un Temple, Cebu 84
Appendix I Photos of the Early Accounts in Buddhist Performing Arts 85
Appendix J Photos of the History of Fo Guang Shan 86
Appendix K Photos of the History of Development of FGS Music and Culture 88
Appendix L Photos of FGS Temples in the Philippines 91
Appendix M Photos of the “Biography of the Buddha” Musical Production 94
Appendix N Photos of Present Activities of the Fo Guang Shan Philippines 96
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| Hits | 356 |
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| Created date | 2023.04.13 |
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| Modified date | 2023.04.13 |
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