臺灣女性參與傳統南北管館閣活動之研究

A Study on Taiwanese Females Participating in Traditional Lâm-kuán (Nanguan) and Pak-kuán (Beiguan) Music Clubs

潘汝端(Ju-Tuan Pan)

《臺灣音樂研究》 25期 (2017/10) Pp. 1-26

摘要

參與北管或南管，曾是農業社會下部分臺灣男性在工作之餘的休閒選擇，而「北管曲館」或「南管館頭」，便是這些業餘音樂參與者所共同聚會的場域，是一群自稱為「子弟」者所建構而出的有形空間。傳統的子弟，是一種身份階層的象徵，他們該謹守館閣中的倫理分際，也不能把這些習得的技藝拿來當成賺錢維生的工具。最初，「子弟」一詞僅能冠在臺灣漢族男性的身上，但就近五十年的發展來看，傳統館閣參與者在性別比例上不斷改變，有越來越多的女性成為館閣成員，或甚至是變成了館先生。本文將依以下幾個面向，來探討當代臺灣女性參與傳統館閣的各種樣貌。首先，討論傳統館閣對於子弟身分及性別的思維，並透過文獻整理，來梳理女性進入館閣的開始與初期發展。其次，透過兩位館閣女性參與者的生命歷程為敘事架構，理解她們是如何經由個別的技藝展現與傳承，去改變傳統館閣中的人際互動與組成生態。最後，通過性別意識與應對上的差異，可以看出在女性參與者出現後，傳統館閣中的性別關係正在發生變化。

關鍵字

性別 ； 臺灣傳統音樂 ； 南北管 ； 館閣（曲館或館頭） ； 子弟

並列摘要

To play lâm-kuán (南管) or pak-kuán (北管) music with others in spare time was a popular pastime for the Ho-lóh males in Taiwan's agricultural society. A ＂Kuán-Koh＂ (館閣，an amateur music club) was a place where amateur practitioners, so-called ＂tsúte＂ (子弟), gathered. ＂Tsú-te＂ was a symbol of identity in the traditional society. Those who called themselves ＂tsú-te＂ should adhere to the ethical borders ruled by the music clubs and could not perform their music as a tool for making money. Originally, the term: ＂tsú-te＂ could only be applied to Han Chinese males; but over the past fifty years, the gender demographics of participants in the lâm-kuán and pak-kuán genres has been changing. More and more frequently, women have become performers in the music clubs and some have even become masters. This article will explore how contemporary Taiwanese women participate in the traditional music clubs in the following ways: First, I will analyze the identity and gender awareness of participants in traditional music clubs and explore how women initially entered music clubs through a literature review. Secondly, by using the life history of two female practitioners as a narrative structure, I will look at how they transformed interpersonal relationships and the composition of the members in the traditional music club scene with their individual music skills and came to be the successors. Finally, by illustrating the differences in gender awareness and interactions, I will show how the gender relationships of the traditional music clubs are changing due to the emergence of female participants.

並列關鍵字

gender ； Taiwan traditional music ； lâm-kuán and pak-kuán (nanguan and beiguan, 南管與北管) ； kuán-koh (khik -kuán/kuán-thâu 曲館/館頭) ； tsú-te (子弟)