藝術與心性－臺灣原住民文化的新時代價值

Arts and Mentality - On New Formulated Value of Culture in the Indigenous World of Taiwan

李莎莉(Saalih Lee)

《國立臺灣博物館年刊》 47卷 (2004/12) Pp. 25-52

https://doi.org/10.6548/ANTM.200412_47.0003

摘要

本文前言部分先對愈來愈受重視的廣泛原住民藝術文化史作一概觀性的敘述，其中討論到包括原始藝術、部落藝術、族群藝術、及觀光藝術等各自關鍵顯形藝術形式的界說與出現景況。接著以2000至2003年台灣原住民於部落族群藝術、觀光文化現象、文化藝術展演、及文化產業與泛第四世界藝術等諸場域上的發展為主要內容，陳述近三、四年來謝世忠教授筆下自九○年代中葉啟始之「第二波原住民全民文化運動」二十一世紀初的形貌。謝氏界定了原運的進程屬性從第一波的政治至第二波的文化藝術，而筆者則進一步發揮，企盼對此一文化運動所反映出之主事者原住民身上流露的特定心性或價值觀有所說明。本文的部落族群藝術、觀光文化現象、文化藝術展演、及文化產業與泛第四世界藝術等四大類，已然反映了當代台灣本土的一種「新時代藝術文化價值」。在此一價值的指引下，各類屬彼此共存，甚至交互穿越。吾人或可稱之為正在進行中的「暢流型文化」原住民新價值。內山部落的傳統藝術可以隨時成為觀光或展演項目，工作室與物藝專家的作品成了新傳統，而觀光藝品亦常回流族內，變成族人賞心的伴品。暢流型的原住民新時代價值觀，使文化在被普遍認定的多樣風貌下，潛現著一種原住民特定心性。這份包容的心性，使顯形文化範疇可交相暢通，使泛第四世界得以形成，使觀光、傳統、與創作之間不相互歧視，也使原住民成為「單一整體」。

關鍵字

我族場域 ； 文化展演 ； 顯形文化 ； 泛第四世界藝術 ； 暢流型文化

並列摘要

In this paper, I, in the first place, have described a general history of indigenous culture of art which refers to the development of major expressive forms of primitive art, tribal/ethnic art, tourist art, cultural performances, and cultural production and pan-Fourth World art. Then I re-interpret the second cultural movement among the indigenous peoples that Professor Shih-chung Hsieh has defined a few years ago for indicating its advanced development from the first political movement. I suggest that a new cultural value of art has been formulated in indigenous community since the end of the twentieth century. Based on such a cultural value all art forms from various arenas of tribe, tourism, performance, enterprise, and the Fourth World are interchangeable. In other words, we may be able to consider a culture with interchangeable essence having planted on the ground of indigenous world. Therefore it is acceptable to transfer a tribal art to a touristic item, or to put a popular art in the inventory of neo-traditional art. The interchangeability of new cultural value reflects a particular kind of indigenous mentality that makes all aspects of expressive culture can mutual-communicate smoothly, and evaluates different artistic creation and mechanism of preservation under a premise with indiscrimination. I thus maintain that such an idea of value urges formation of the mini-Fourth World in Taiwan, and drives indigenous people to express an explicit wholeness.

並列關鍵字

self-group arena ； cultural performance ； expressive culture pan-Fourth World arts ； interchangeability of culture