本文對中國廣西靖西壯族末婆(meh moed)在儀式旅程中，所經過的四種海之描 述，展現出「過海」對壯族個人、社會與儀式專家團體的延續，所扮演的關鍵作用，以及相對應的宇宙觀，甚至歷史背景。這四種海，分別是龍花海(Haij Lungz Va)、湖中海(Haij Taem Gyang)、花王海(Haij Yah Va)與祖師海(Haij Zoj Slay)。對末婆來說，過海一方面是展示其儀式能力，另一方面也是加強其法力。對壯族整體社會來說，過龍花海、湖中海與花王海，能確保壯族個人生命的延續與順利地傳承，過祖師海是確保儀式專家團體的法力可以強化與延續。在分析為什麼是用漢借詞「海」隱喻著危險的空間，或可以獲得威力或法力的地方，筆者建議要思考整個區域的歷史，才能獲致對壯族儀式吟唱更全面的理解。

This paper describes four seas that are traversed bymemoed (female ritual specialists) during rituals among the Zhuang in Jingxi,Guanxi, China. It describes the different meanings of “crossing seas” to Zhuang individuals, Zhuang society, and Zhuang ritual specialists. At the same time, it discusses how “crossing seas” plays contributes to the continuity of the Zhuang people as a group, and represents important parts of their cosmology and historical background. The four seas are Haij Lungz Va, Haij Taem Gyang, Haij Yah Va, and Haij Zoi Slay. Formemoed, crossing seas demonstrates their ritual ability and is a means to strengthen their powers. For Zhuang society, the first three seas serve the role of guaranteeing safety through transitions and the continuity of the Zhuang people. The fourth sea is where the power of ritual specialists is strengthened and renewed. In analyzing the choice to use the borrowed Han Chinese term “hai” (sea) as a metaphor for a dangerous place or a place where one can gain strength and power, I argue one must consider the context of the area’s history before we can have a complete understanding of Zhuang ritual chanting.