台灣原住民樂舞與展演之動態關係研究－以原舞者舞團為例

Dynamic Relationslip Among Taiwan Aboriginal Music and Dance and Performance---A Case study on Formosa Aboriginal Song ＆ Dance Troupe

歐曉燕(Hsiao-Yen Ou)

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/藝術行政與管理研究所/碩士(2012年)

https://doi.org/10.6835/TNUA.2012.00052

摘要

原住民的祭儀樂舞表演，不僅是藝術與美感的體現，亦為向他者介紹自身文化的其一途徑。不管是「部落的祭儀性樂舞」或是「舞台上的展演實踐」，兩者之間是相互影響且具能動性。臺灣特殊的歷史背景下，政治、文化與社會發展，牽動原住民社會持續地變遷；當本土化浪潮的目光指向原住民社會，隨之而來的認同與復振運動的過程，部落族人有意識藉著傳統祭典儀式的恢復與觀光產業結合，蓬勃發展泛原住民化的歌舞與部落文化，原舞者即是此生態中孕育而生的團體。強調以「人」作為紀錄保存與傳承為素材，以延續傳統與展演形式的再現為使命，原舞者的存在，置於整個文化生態與藝術環境中，持續影響著對自身的認識與改變。

本研究從原舞者製作的展演－「矮人的叮嚀」及「牽INA的手」為例，原舞者在各領域專業人士的加入後，開始建構人類學的文化知識及舞台展演概念的學習。從差異族群的文化對話中學習與反思，並且透過舞台展演的形式，詮釋部落文化的內涵與精神。他們以何觀點、用什麼樣的方式來述說他者的文化？田野中的多元文化對話與交融，「轉譯」的實踐過程中，所涉及的是一個群體內在的文化概念。從田野到舞台、從神聖到世俗，文化實踐的過程中，內容取捨、舞碼選擇，可以看到「詮釋者」透露的訊息與角度；透過整齣祭儀性樂舞的演出，我們可以窺其背後有意識的隱喻及所建構的文化形式。本研究所關心的是身為一個原住民表演藝術團體，在社會發展中的存在意義與價值，一個舞團文化意識的建構持續地影響實踐的行動。

關鍵字

原舞者 ； 文化展演 ； 原住民樂舞

並列摘要

Ritual performances and music-accompanied dances of aboriginals are not just a reflection of art and aesthetics, but also a way of introducing their own cultures to others. There are many influences and dynamics between rituals and music-accompanied dances in tribes on the one hand and performances put into practice on stage on the other. Changes of Taiwan’s aboriginal societies are accompanied by political, cultural and societal developments and the special historical background of this island, and when the gaze of localization went over aboriginal societies, tribal people consciously combined the revival of conventional ritual ceremonies and tourism industry. This was followed by the processing of recognition and renaissance, and a thriving development of pan-aboriginal music-accompanied dances. It was under such circumstances that the Formosa Aboriginal Song and Dance Troupe was born. Emphasizing the “human element” as the material of records of preservation and heritage, the continuance of traditions and the reappearance of performance modus as their mission, the existence of the Formosa Aboriginal Song and Dance Troupe placed in the entire cultural ecology and art circumstances affects their self understanding and changes continuously.

This study illustrates two performances -“Taay’s Teaching” and “Taking Ina’s hand”- produced by the Formosa Aboriginal Song and Dance Troupe. Professional participants from different fields was involved with their knowledge of cultural epistemology and the stage performance concept of the anthropology, influenced their attitude and reflection about the understanding of cultural differences. However what kind of views of the culture of the other will be narrated by the members of the Formosa Aboriginal Song and Dance Troupe? The multi-cultural dialogue and merge in the field, and process of the “translation” involves the internal cultural concept of an ethnic group. From the field to the stage, and the divine to the secular, the information and viewpoints from the “interpreters” were shown in the processing of cultural practice through the choices of the contents and the choreographies. Besides, through the performance of ritual music-accompanied dances, we can see the conscious metaphors from behind and the constructed cultural formation. This study is concerned with the the meaning and value of an aboriginal arts team existence under the influence of the surrounding society, and how its movement will be influenced sustainedly by the construction of their cultural awareness.

並列關鍵字

Formosa Aboriginal Song and Dance Troupe ； cultural performance ； aboriginal’s music-accompanied dance

參考文獻

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芙代•谷木•母那烈

2008〈「狩獵•非去不可？」－阿美族太巴塱部落的傳統、儀式與文化〉。《臺灣原住民族研究季刊》1（4）：31-66。