法制化體系的保障或切割？以都蘭阿美人的歌舞實踐為例談無形文化遺產法制化體系與原住民文化主體性的展現

Protection or Excision? Legal System of Intangible Cultural Heritage and the Representation of Indigenous Cultural Identity, a Case Study on the Songs and Dances of 'Atolan Amis

林芳誠(Lin Fang-chen)

《民俗曲藝》 196期 (2017/06) Pp. 15-83

摘要

本文試圖從臺灣現行《文資法》與UNESCO《護衛無形文化遺產公約》無形文化資產項目中，對於「傳統藝術」的認定基準切入：以都蘭阿美族的歌舞為例，探討其實踐與展演，在文化遺產法制化體系與原住民族社群（com munity）自我認知之間的差異。都蘭阿美人自1995年因文化斷層而推展復振運動迄今，歌舞不僅作為青少年接觸母體文化的初步媒介；同時在年齡組織日益發揮其功能，無論是對內部公共事務（如kiloma'an祭典）或面對與國家力量抗衡（如爭取傳統領域主權），都蘭阿美人的歌舞實踐均緊扣其社群思維，呈現不同於文化遺產法制體系的認知。歌舞不但是都蘭阿美人對外發聲的橋樑，也是自身文化內涵與主體性的展現。筆者自2005年起，觀察都蘭阿美人進行內部與外在社會公共事務時，歌舞實踐在過程中所扮演的角色及其創造力；並進一步與臺灣《文資法》及UNESCO《護衛無形文化遺產公約》對於文化遺產的分類邏輯與認定基準進行比較，指出現行法制體系所獲得指定、登錄之項目與原住民族實際生活文化實踐的落差；並提出應以全貌式觀點，多元地看待應受保障的無形文化遺產。

關鍵字

都蘭阿美族 ； 文化遺產 ； 歌舞實踐 ； 全貌式觀點 ； 創造力

並列摘要

The discussion of this study is based on the concept of ＂traditional arts＂ in the Cultural Heritage Preservation Act (Taiwan) and the Convention for the Safeguarding of the Intangible Cultural Heritage (UNESCO). Using songs and dances of 'Atolan Amis, I explore the differences between the legalization of cultural heritage and self-cognition in Taiwanese indigenous communities. The 'Atolan Amis' cultural revitalization movement started in 1995. Since then, songs and dances have become the youth's first encounter with tradition. They also play a prominent role in the age organization. Either when participating in internal community affairs (such as kiloma'an) or challenging the power of the nation (when fighting to regain sovereignty of traditional territory), the songs and dances of 'Atolan Amis adhere to their community's conception, revealing a cognition different from that in the Cultural Heritage legalization system. Songs and dances are not only a medium with which the 'Atolan Amis voices their sentiments, they also demonstrate their own culture essence and subjectivity. I have witnessed the significance and creativity of 'Atolan Amis' songs and dances both within the community and in external social public affairs. After examining them according to the logic of cultural heritage classification and criteria of by-laws in Taiwan and UNESCO, I point out the discrepancy between the legalization system of assigned and registered cultural heritage and that of actual practices among the indigenous people. The protection of intangible cultural heritage requires a holistic and multiple perspective.

並列關鍵字

'Atolan Amis ； cultural heritage ； songs and dances ； holistic perspective ； creativity

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