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達悟族朗島部落樂舞
Music and Dance from Iraraley village of Tao
《四門房落成長子套藤圈古調 Ipapazaka》
Raod是祭典和落成使用的歌曲曲式，歌詞是艱深難懂的古老詩歌。在公共場合只能由男人吟唱。其實在私下日常生活場合，女人也有機會學習吟唱raod。Ipapazaka 四門房落成長子套藤圈古調屬raod。四門房在達悟族社會中，代表了一個家族的崇高地位 。自1951當時台灣政府的台灣省山地人民生活改進運動辦法至1966年社會福利計畫對蘭嶼傳統四門房的破壞殆盡， 如今達悟人因傳統建築的被破壞與四門房本身建造繁縟的程序，及每個程序的嚴謹規則和禁忌，已經無人再建，取而代之的是現代的水泥房建築。正因為如此，四門房落成歌已經在島上消失了蹤影，不再被公開傳唱。
Raod is a melody type, which is sung with the old Tao language during rituals and launching ceremonies. Only men are allowed to sing it in the public, but actually, women have also chance to learn road in the everyday life. Ipapazaka is a raod song, sung during the ritual „hanging the rattan ring“ in the launching ceremony of the house with four doors. A house with four doors symbolised in the Tao society the high social statue of a family. There are two policies applied by the Taiwanese government during 1951 and 1966, which destroyed almost all the traditional houses of the Tao, including the houses with four doors. Today, because of the complex steps and strict taboos and rules, nobody builds the house with four doors anymore. This is the reason why this song is lost, and cannot be heard anymore in the public.
《情歌 Omririna》
Omririna是傳統上描繪情歌的名詞，有婉轉悠揚之意。在達悟族社會生活裡被規範得很嚴格，絕不能在家人面前或在村裡大聲吟唱，是很不禮貌的。情歌曲調有好幾種，歌詞是易懂的口語。今日，最常聽到的情歌曲調是ayani，因其五聲音階的結構與蘭嶼古謠中的微音程，二音與三音之結構特色相差甚遠，所以可以確定的是其傳入蘭嶼時間較晚。ayani情歌深深被年輕一輩的達悟人喜愛，可以說是蘭嶼最具代表性的音樂圖騰。
Omririna is the general term for love songs, meaning melodious. This cannot be sung in front of the family members and in the village. There are a lot of types of love songs, the lyrics are easy to understand. Today, the most famous love song type is ayani, its melody structure is based on petatonic, which is a sign that ayani appears later than the other traditional song types. The young generation of the Tao love to sing ayani, it is Lanyu's most representative musical symbol.
《頭髮舞與竹竿舞 Hair Dance and Bamboo Dance》
據學術文獻記載，達悟女性專有的頭髮舞是日據時代開始興起的。田野調查中，耆老證實了頭髮舞和一樣是很傳統的竹竿舞，早已在日據時代前就盛行於蘭嶼各個部落。達悟頭髮舞是在飛魚季節與打小米慶祝豐收後閒暇時間所跳的舞蹈，其社會功能是娛樂和聯絡情感。今日，頭髮舞是蘭嶼的舞蹈圖騰，也是台灣原住民裡最俱有特色的舞蹈之一。
According to academic records, the hair dance of the Tao women began to emerge in the era of Japanese colonial time (1895-1945). However, the elders confirmed that hair dance and bamboo dance are both traditional dances during our fieldwork in 2015, and it has been popular in various villages on Lanyu long before the era of Japanese colonial time. Tao’s Hair Dance is a dance performed in the free time after the flying fish season and Mivaci (millet harvest ceremony) for celebrating the harvest. Its social function is to entertain and to connect every villagers. Today, Hair Dance is the dance symbol of Lanyu, and it is also one of the most distinctive dances among the Indigenous Peoples of Taiwan.
《拍手歌 Kariyag》
Kariyag，拍手歌是達悟族唯一的多聲部歌謠，歌詞是祖先留傳下來的古老詩歌，內容常與島嶼或村落的集體歷史，或是群體勞動的過程與經驗等有關，可以說是孕育傳遞達悟傳統知識的教室。拍手歌會依規定只能晚間在工作房舉行，季節是打小米祭 Mivaci 後的 apia vean－好月月份，為期三個月(大約六月到九月）。在這三個月，夜晚不定期的拍手歌會，也是每位未婚男女唯一可以在公共場合中肩靠肩，平起平坐的歌唱場合，也是老一輩長者，他們年輕時約會或對自己傾慕之人表白的場所。
傳說Kariyag是祖先從半人半鬼那裏學過來的，每個村都有類似的口傳故事。如今，拍手歌已經在漸漸消失中，其原因與傳統建築的被破壞也有關聯，中生代的族人已經不再傳唱，如何鼓勵年輕人再次對Kariyag產生熱情，進而保留歌謠所傳遞的集體口傳歷史及世代留傳下來的知識精髓和智慧，是值得族人與文化工作者思考的問題。
Kariyag means hand-clapping singing party, and it means also hand-clapping songs, which are the only multipart songs of the Tao. The lyrics are often transmitted from the ancestors, the content is often related to collective histories and processes of collective labours. So Kariyag is a kind of space and form of classroom for transmitting the Tao traditional knowledge. Kariyag can only be held during the nights between June and September at the traditional working houses. This is also the only occasion where every single man and woman can sing and sit equally together in the public. The Tao used often this chance to find their future partners.
There are tellings in every village, saying the Tao ancestors learned Kariyag from the half-man-half-ghost creature. Today, Kariyag is disappearing, the reason is related to the lost of the traditional houses. The middle-aged generation of the Tao are not singing it anymore. How to motivate the new generation to learn Kariyag in order to keep this tradition, is an issue worthing considering for the Tao and the cultural workers.
《唸歌 Chanting Song》
唸歌，只能由有家業的祖父級，甚至輩分更高的長老創歌與傳唱，歌詞也是簡單易懂的口語白話。創歌和傳唱者常有藉唸歌歌詞對某人開玩笑、諷刺，及激勵的動機。
Sprechgesang can only be created and sung by elders with certain social statues (at least grandfather). The lyrics are often easy to understand. Song creators and singers often have the motivation to joke, sarcasm, and encourage someone by singing the lyrics of the song.
達悟古謠介紹Introduction of the Tao Traditional Songs
達悟族的古謠如文字書籍，記載了數百年來居住在蘭嶼島上居民們的點點滴滴。從個人的喜怒哀樂，生老病死，家族的財產與地域，團體的農漁勞動，大自然中季節的交替與循環，乃至經過數幾世紀依前人經驗留下的規範與禁忌，世世又代代地被承傳，複誦，詮釋與創造著。
今日，在蘭嶼與世界接軌的半世紀後，傳統歌曲也受到台灣原住民，漢人及西洋流行音樂的影響。雖然古謠因島嶼時空變化而漸漸地被其他音樂所取代，但其中深厚的藝術性仍然不斷地驚豔著長期接觸蘭嶼古謠的中西作曲家與音樂學家們。
The traditional Tao songs are like books, which record all stories of the island’s inhabitants since several hundred of years, including individual emotions, life circles, family properties and territories, collective labour experiences, seasonal changes of the living environment and taboos and rules based on ancestors’ life experiences. These are sung, transmitted, and recreated generation by generation.
Today, half a century after Lanyu has been opened up to the world, the traditional songs are influenced by Taiwanese indigenous peoples, Han-Taiwanese and popular music genres from the west. Even though the traditional repertoires are slowly replaced by other music styles, its artistic value continues surprising composers and music researchers from the world.
郭健平與林維亞 合撰
written by Kuo Chien-Ping and Lin Wei-Ya
