古川祭、博物館技術與文化展演

Hurukawa Matsuri, Museum Technologies and Culture Performance

温明儀(Ming-I Wen)

指導教授 ： 王嵩山

國立臺北藝術大學/文化資源學院學術論文/博物館研究所碩士班/碩士(2016年)

摘要

2003年10月聯合國教科文組織通過了「護衛無形文化遺產公約」，此項決議不僅重新界定了文化遺產的性質，使我們對於文化遺產價值的認定由物質性存在的、單線性的時間軸向度、普世的價值，轉而朝向知識、技法、思想等更多元的時空範疇，並強調尊重不同群體對自我文化的認同之文化多樣性。而護衛無形文化遺產的思維與實踐原則，同時也對作為保存與再現文化的主要機構的博物館，在博物館技術（蒐藏、展示、教育、治理）的概念和實踐上產生影響。本論文嘗試以無形文化遺產與博物館之間的相關論述為基礎，透過日本岐阜縣的飛驒古川祭與古川祭會館為實例，瞭解古川祭會館如何透過博物館技術的運作，在護衛祭典中所扮演的角色與功能，及其所面對的課題。
　　祭典中的展演元素，除了因應信仰而進行儀式性的展演之外，也常被運用作為該社群對外展現己身文化的特色，而以舞台表演或節慶活動的方式呈現。古川祭的內容首次在祭典期間之外展演的經驗，是1967年NHK在高山市舉辦「家鄉歌謠祭」節目錄製時，之後也曾在隧道開通、鐵道開通的紀念日、慈善音樂會等場合展演。2015年2月7日，在台灣辦了為期一個月的古川祭特展，於此建構古川祭展演的過程中，也將古川町的住民所強調的文化基本價值、以及對真實的古川祭樣貌的看法更清楚地顯現出來。本文同時將分析當古川祭作為在地居民對外表述的媒介時之背景，與展演的內容和方式，以瞭解文化內部的人對於展演祭典的觀點，以及其所具有的意義。

關鍵字

無形文化遺產、博物館技術、古川祭、飛驒古川祭會館、文化展演

並列摘要

In October, 2003, UNESCO (the United Nations Educational, Scientific and Cultural Organization) passed the Convention for the Safeguarding of the Intangible Cultural Heritage, this resolution not only redefined the essence of cultural heritage, made us turn to the multi-categories of time-and-space in knowledge, techniques and thoughts from our cognition of the value of cultural heritage from physically existing, unilinear timeline dimension, universal value, and emphasized respect on cultural diversities of different communities in self cultural identity as well. The thoughts and practice principles of intangible cultural heritage safeguarding have influenced the concepts and practice in museum technologies (collecting, exhibition , education, administration) while museum still as a primary institution in cultural preserving and representing. This research tries to approach the character and function in escorting ritual ceremony, and the issues they are facing, which is based on the discussion between the relationship of intangible cultural heritage and museum via the examples of Hida Hurukawa Matsuri and Hurukawa Matsuri Kaikan in Gifu prefecture, Japan.
　　Besides the ritual performance due to religious belief, the performance elements in a ritual ceremony are often used in representing to outsider as the self cultural characteristics by the community via presenting on the stage performance or in a festival. The first experience for performing Hurukawa Matsuri excepting the ritual duration was in recording a NHK (Nippon hōsō kyōkai) show of Takayama Hometown ballad Matsuri in 1967. And then it used to be performed in the occasions of the memorial days of tunnel and railroad open to traffic, charity concerts afterwards. In Feburary 7th, 2015, there was held a Hurukawa Matsuri special exhibition for one month long in Taiwan. In the process of constructing the performance of Hurukawa Matsuri, Hurukawa people’s emphasis on their cultural basic value, the viewpoints of a true image for Hurukawa Matsuri was presented more clearly as well. Meanwhile, this research will analysis the background of Hurukawa Matsuri as a media for local residents showing outward statements, the contents and manners of performance to understand people-from-inside-the-cultural’s viewpoints and meanings of performing ritual ceremony.

並列關鍵字

intangible cultural heritage, museum technologies, Hurukawa Matsuri, Matsuri Kaikan, culture performance.

參考文獻

林崇熙，2008。文化再生產：一個無形文化資產哲學芻議。文資學報（4）：01-26。 台北：國立台北藝術大學文化資學院。

胡台麗，1998。文化真實與展演：賽夏、排灣經驗。中央研究院，民族學研究所集刊，第八十四期。61-86頁。

陳茂泰，1998。博物館與慶典：人類學文化再現的類型與政治。中央研究院，民族學研究所集刊，第八十四期。137-181頁。

中文文獻

山腰明彥，2015。在台灣再現「真實」古川祭•古川祭之「魂」。新港文教基金會會訊(第311號)：10-12。嘉義：財團法人新港文教基金會。