大溪干樂活動之研究—一個台灣民俗體育的發展與變遷

A Research on Top game in Ta-hsi —The Development and Change of Taiwan Ethnic Sports

蔡榮捷(Jung-Chieh Tsai)

指導教授 ： 溫振華 ； 方進隆

國立臺灣師範大學/運動與休閒學院/體育學系/博士(2006年)

摘要

摘 要
干樂活動存在世界各國的文化中，臺灣的干樂活動也多采多姿。本論文採取歷史學與運動人類學研究角度，探討戰後桃園大溪民俗或民族體育—干樂的發展與變遷。大溪干樂活動的發展，以當地人簡武雄催生的「陀羅王」為關鍵，在地方廟會組織、興盛的木器業及其工藝技術的優厚背景下，再加上大溪人的創造力、勇於嘗試，使得原本僅各地一般童玩的干樂，由大溪發展出獨特的活動。這些條件匯集於福仁宮附近，使打干樂幾乎成為大溪的代名詞，並將日後的臺灣干樂活動推入新紀元。本研究發現：
1975年後，民俗體育在官方主導下，沈寂多時的干樂活動在大溪普濟堂繞境活動中復甦，「大溪一代陀螺王技藝俱樂部」成立，掀起了一股全國性的大溪干樂風潮。1981-1983年中秋節舉行盛大的干樂比賽，並在器材與打法上不斷的改良，歷經強化組織功能、各地展演、媒體傳播、及商業活動的涉入…等，轟動全國。後來，有些成員分道揚鑣，轉而干樂藝品創作、教學研究，或推展「制式陀螺」運動等，傳承並推展干樂活動使其發揚光大，甚至終生以此為業。
進而，臺灣本土化運動促使鄉土教育的理念逐步施行，王茂田等人承接大溪干樂活動的轉型角色，研發器材、打法與表演型態後，也加入小型干樂的展演。透過干樂教材教法的編擬成為學校教育一部份，再次活化干樂文化的傳統，成為臺灣民俗體育的特色，並在體育課程中傳承，最後成為全民運動會中的比賽項目。
1996年起，大溪的社區總體營造，在「造景、造產、造人」理念與認同地方文化的「尋寶、識寶、惜寶」呼籲下，「大溪陀螺節」因應而生。陀螺節有效地整合社會各界的資源，使干樂活動成為大溪文化創意產業的核心價值，為促進地方產業升級和觀光收益作出貢獻。此時，美華國小在本位課程及學校社區化的理念下，負起傳承大溪干樂活動的使命，在干樂的器材、展演型態及理念上推陳出新，使大溪干樂活動再次迎向新頁。
大溪「創造」出獨特的干樂文化，是世界文化與國族歷史的一環，是E. Hobsbawm與B. Anderson等學者所主張的「發明傳統」、「想像共同體」論述之實踐。干樂在器材與型制及精神內涵上，緊密地與臺灣社會連結，干樂活動已成為社會中普遍認知、熟悉的社會現象。基於「產業文化化、文化產業化」的理念，並接續「大溪陀螺節」的效應，成為文建會所推動「地方文化館」的「美華陀螺展示館」因應而生。在永續經營理念下，透過干樂的教學與展演，不僅帶動社區新文化活力，並創建出干樂民俗體育與文化產業結合的獨特性，其後續發展依然值得吾人密切注意。

關鍵字

大溪 ； 干樂 ； 陀螺 ； 民俗體育 ； 文化創意產業

並列摘要

Abstract
The game of Top, or Gan-le（干樂）in Taiwanese, is shown in almost every culture in the whole world. Taiwan also has rich Gan-le activities which were quite well developed. My paper, taking post-war Taiwan as the historical background, is aimed at studying the development and change of Gan-le activity in Ta-hsi town. Chian, Wu-Syong（簡武雄）, who gave birth to Top King, is the key person contributed to the development of Ta-hsi Gan-le activity. Moreover, due to the creative and courageous human resources, the temple organizations as well as the prosperous wooden industry and art performance, the tradition of Gan-le finally got a new life again. The neighborhood of Fu-Ren Temple（福仁宮）offered opportunities mentioned above and then made Ta-hsi a substitute term of playing Gan-Le. Therefore Taiwan Gan-le‘s new page was opened. My study has found out facts as follows:
In the year 1985, the KMT government strongly advocates folk sports and then Gan-le activity got a new revival. ‘Ta-hsi Number One Top King Art and Show Club（大溪一代陀螺王技藝俱樂部）’ was established. As a result, Ta-hsi Gan-le activity became a nation-wide activity. In the years 1981-1983, the grand Gan-le games were held during moon festival. The equipments and the ways of playing were improved a lot. Afterwards, the club got a institute reform and the Gan-le show was shown everywhere around Taiwan. The media also plays an important part to transfer the games and shows of it. The commercial activity involved in the activity too. Things went on and on, and Gan-le has become a national activity. Later, the club was split and some of the members tried to make Gan-le a kind of craft art; the others tried to help pupil to learn it and thus Gan-le became a subject in the school curriculum.
Taiwan localized movement made the idea of folklore education become reality. The masters , like Wang, Mao-Tian, Lin, Sin-Syong, Liou, Yong-He, and Cai, Bo-Ci all played important parts to the transition of Gan-le activity into one of Taiwan ethnic sports and Gan-le was been taught in PE classes since then. Now it has been seen in national competitions.
In 1996, Ta-hsi Top Festival was opened in cooperate with the Total Community Shaping idea. The idea made Gan-le activity the core value of Ta-hsi creative culture industry. And it consequently upgraded the local productive business and the sightseeing industry. Mei-Hua Elementary（美華國小） made it the characteristic subject of school curriculum and thus shouldered the load of passing Gan-le activity to the next generation. Ta-hsi Gan-le’s new page was then been rewritten.
Ta-hsi created unique Gan-le culture. The culture not only linked worldwide culture with our national history, but also was the reality of E. Hobsbawm and B. Anderson’s invented tradition and imagination consortium. The materials, rules, and psyche aspects of Gan-le linked with Taiwan society tightly and made Gan-le activity the general knowledge and a familiar social phenomenon. Mei-Hua Top Display Cabinet, stands on the idea of culturalized industry and industrialized culture, has become a local culture cabinet. Hopefully, through Gan-le teaching, Gan-le show, and the new culture energy, the unique character of Gan-le activity can bring a new creative culture industry to whole Taiwan.

並列關鍵字

Ta-hsi ； Gan-le ； Top ； Ethnic sports ； creative culture industry