「挪用」與「傳統」－平埔族巴宰支族音樂文化複層次性探源

本文是針對中部臺灣平埔族巴宰支族祭祖歌謠傳統與「本真性」(authority)探討的發現與思考。黃叔璥在〈番俗六考〉(1722-1736)的平埔族歌謠記載中，有第一則類似巴宰族祭祖歌謠特徵的重要描述；這一則距今將近280年的珍貴史料，同時帶來更多有待探討的問題。首先，「…度曲『…歌先以欸噫鳴』…」的描述，是出現在黃叔璥於半線社音樂見聞的詩作，而不是針對巴宰族的社群。其次，相對於半線社似乎從此銷聲匿跡，巴宰族的音樂記載，自1897年伊能嘉矩紀錄岸裏大社的「祭祖公之歌」（兩首）開始，所見的祭祖儀式歌謠，始終使用母語，以類似半線社「欸噫」的「挨焉」('ai-yan')為歌頭傳唱，是巴宰族群認同的象徵與記號(code)。顯然，要對這種「共享傳統」現象有客觀的解釋，必須對於「傳統」形塑過程中隱藏的種種因素加以分析。本研究擬以巴宰族音樂文化的實際調查為基礎，藉助其它領域學者的研究成果，透過十九世紀中部平埔族三次跨社群集體移墾埔里的事實，分析中部平埔族群在面臨環境受威脅、調適的過程中，跨越單一的部落認同的可能性；並結合實證資料推測，類似巴宰族歌謠傳唱的方式，歷史上曾經在中部平埔族之間「流行」或受到普遍「認同」。「歷時性」與「共時性」的研究分析，不但可以為巴宰族複層次(stratification)音樂文化和「本真性」提供新的詮釋角度，更可以觀察到，「傳統」在形成的過程中，實際上充滿「挪用」(appropriation)與再定義(resignification)的可能性。

關鍵字

巴宰族；本真性；挪用；挨焉

並列摘要

This work aims to discuss the authority and the musical tradition of veneration songs by the Pazeh of the Pingpu people in the middle Taiwan. Record on the music of Pingpu people, which is similar to the veneration song by the Pazah people first appears in Huáng Shú-jǐng's book ”Six notes on the culture of aboriginal people” (1722-1736). The 280 years old historical note is not only precious but also brings us many questions, which remain to be investigated.First, the description of ｢The song was first sung using 'ai-yi'｣ appears in Huáng Shújǐng's poem about his experience on Ban-sian-she's music and was not talking about Pazeh people in particular. Furthermore, in relation to the disappearing of Ban-sian-she, the first known record of Pazeh's music appear in Kanori Ino's note on two songs of ”The Song of Veneration of the Ancestors” of An-li-da-she in 1897. The veneration songs observed by Kanori Ino always use Pazeh's mother tongue. Its usage of 'ai-yan' is similar to the usage of 'ai-yi' by the Pingpu people and represents the symbol and code of Pazeh identity. Apparently, to properly interpret such a phenomenon of ”shared tradition”, it is necessary to analyze various hidden ingredient in the process of tradition formation.By studying the trans-tribe mass migration of Pingpu people of middle Taiwan to Puli in the 19th century, this study aims to analyze the possibility of identity forming beyond a single tribe when the Pingpu people are facing and adjusting to the environmental threat. We will base on field study of the musical culture of the Pazeh people and incorporate the research from other fields. Furthermore, from the empirical data we speculate that: Once in the history, musical tradition, which is similar to the Pazeh's traditional songs, was used to be ”popular” and was widely regarded as part of ”identity” among Pingpu people in middle Taiwan.By using the idea of ”Diachronicity” and ”Synchronicity” to study the subject, not only we can provide novel prospective to interpret the stratification of Pazah's musical culture, but also to observe the possibility of appropriation and resignification in the process of the tradition forming.