鄒族口傳故事之行動研究及繪畫創作

研究者本身為阿里山鄉達邦部落鄒族族民，從小在部落長大，因深刻體悟到語言背後所代表族群的文化傳統儀式、祭典、社會制度及耆老所述說著神話傳說故事正面臨一點一滴的消逝。另外，部落年輕人也因為求學、工作的關係逐漸的離開部落到都市生活，甚至漸漸遺忘了自己的語言，也產生了文化傳承的斷層危機。故此，文化傳承乃成為了原住民迫切需面對的問題。然而原住民在遠古時代沒有文字可記載當時的生活，神話傳說故事主要是以口耳相傳的方式流傳，其內容會因個人的想像以及身處不同的部落而產生不同的變化與口述傳承，因此造成文化故事或神話傳說沒有一個固定的文字版本。研究者也在創作與展覽過程中，因傳說神話故事與他族相似，卻又無法有其依據去證實故事來源。有鑑於此，本研究透過行動研究之田野調查與深度訪談，針對達邦部落文化符號元素、神話故事、歷史事件進行第一手實況紀錄並詳實收集資料，運用紮根理論編碼與譯碼建構出口述傳說故事資料庫，最後再應用故事資料庫選取元素作為研究繪畫創作參考之應用。經研究成果歸納以下五點：(1) 經田野調查實地參與紀錄，共計彙整出十項達邦部落文化符號元素、六項小米豐收祭文化符號元素與五項達邦部落傳說故事文化與符號。(2) 運用紮根理進行論編碼與譯碼以建構出口述傳說故事，共計分析得到280個概念與106個範疇，及最後經彙整成九項要素及兩大構面分別為文化與口述歷史。(3) 鄒族口述傳說故事建構可區分成十一項故事分類，主要以鬼怪神話故事最多，而氏族故事次之。(4) 研究應用所建構鄒族口述傳說故事資料，經主題選取創作出吳家存亡故事繪畫作品。 (5) 本研究透過口述傳說故事脈構元素並應用於歷年繪畫中，共計有九幅作品可代表達邦部落故事。另外因阿里山鄉的鄒族具有八個部落，建議後續研究者可再針對其他七個部落進行口述傳說與故事搜集以備資料能更具齊全。

關鍵字

鄒族；行動研究；口述傳說；故事；原民繪畫

並列摘要

As a Tsou clansman who grew up in the Tapangu community in Alishan Township, the author deeply understands that the cultural traditions, rituals, and social system of the ethnic group represented by his language and the myths and legends orally dictated by elder chiefs are fading away. On the other hand, young tribal people leave the tribe one by one to study or work in the city. Not only has the more youthful generation gradually forgotten their mother tongue, but a crisis of cultural inheritance has come to shape and become a problem that must solve immediately. Nevertheless, in ancient times, the Taiwanese indigenous people did not have words to record their lives. Therefore, most of their myths and legends were passed on as folktales by word of mouth; the contents could vary according to individuals’ imaginations, the tribe they were in, and how they told them. Consequently, the cultural stories, myths, and legends of the Tsou people do not have a fixed textual version. Moreover, during the creation and exhibition process, the author also noticed the similarity of Tsou myths and legends with other indigenous stories, but was challenged to identify the source of these stories. In witness thereof, this study has adopted field works and in-depth action research interviews to make first-hand records of the Tapangu community’s cultural and symbolic elements, myths, and historical events; and to collect all relevant data in detail. Then, based on the grounded theory, the said records and data were encoded and decoded to build a Tsou folktale database, from which specific elements were selected to facilitate the study of Tsou’s painting creations. The study results summarize the following five points. First, cultural and symbolic symbols collected from field works can categorize as symbols of the Tapangu community (10 in total), Homeyaya (literally refer to “Harvest Festival”; totally 6), and Tapangu community’s folktales (5 in whole). Second, based on the storylines obtained from encoding and decoding, the community’s folktales with the grounded theory can divide into 280 concepts and 106 categories, which summarize into nine elements and two aspects (i.e., culture and orally dictated history). Third, the storylines of Tsou’s folktale can divide into 11 story categories, most of which are ghost and fairy tales, followed by clan stories. Fourth, based on the folktale storylines constructed in this study, the paintings themed on the survival of the “Niya-uyongana” clan (a clan of the Tapangu community) were selected. Fifth, the elements constructed through the folktale storylines applied in paintings over the years, and 9 of them can represent the story of the Tapangu community. Moreover, as there are 8 Tsou tribes in Alishan Township, researchers are suggested to collect folktales and stories of other 7 tribes to complete the database