都蘭阿美人的文化再生產：以護衛舞的傘與矛為例

本文從都蘭阿美人的護衛舞（kulakul）對於使用傘（linay）或矛（kutang）引發爭議的例子當中，探討Pierre Bourdieu提出的遲滯現象（hysteresis）與再生產觀點，並且與聯合國教科文組織（UNESCO）無形文化遺產（intangible cultural heritage）對於社群「再創造」（recreation）的觀點進行對話。雖然UNESCO認為無形文化遺產得以延續的關鍵在於人類的再創造行為，但卻未對此提出明確的定義，而都蘭阿美人的儀式物件：傘與矛，涉及不同世代對於物件的認知與記憶，反應出都蘭阿美人依據慣習、資本相互建構的文化場域，以及呈現了國家力量介入後造成的遲滯現象，在既有慣習、資本已無法於場域發揮作用，年齡組織各群體（如：意見領袖、年齡組織不同世代階層）如何於重新建構的場域中，繼續運用既有資本與慣習而投入競爭，進而形成文化的再生產。透過都蘭阿美人護衛舞使用物件的轉變，作為反思UNESCO的無形文化遺產與護衛（safeguarding）制度，提供有關「再創造」定義之參考。

關鍵字

都蘭阿美人；文化遺產；再生產；再創造；護衛舞

並列摘要

In this study, I investigate the 'Atolan Amis' dispute of using either umbrella (linay) or spear (kutang) in their warrior dance of kulakul. The dispute serves as a basis for discussing Pierre Bourdieu's concept of hysteresis and reproduction theory. I also bring in the idea of recreation from UNESCO's intangible cultural heritage for a dialogue. Although UNESCO considers the perpetuation of intangible cultural heritage hinges on human ＂re-creation,＂ there is not yet a clear definition. 'Atolan Amis' ritual objects, umbrella and spear, are not only associated with different generations' recognition and memory but also reflect the cultural sphere Amis construct according to their habitus and cultural capital. They are indications of the hysteresis caused by the government's intervention. When the significance of current habitus and capital no longer carry weight, opinion leaders and leaders of age groups pick them up to compete in a new field, hence the cultural reproduction. The choice of using umbrella or spear in the kulakul ritual dance can provide the UNESCO a reference when defining ＂re-creation＂ for enacting a system to safeguard intangible cultural heritage.