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2o2o
卑南族祭典歌舞
Pinuyumayan Ritual Music and Dance
本講座以卑南族傳統歌謠pairairaw (大獵祭祭歌)、tremilratilraw (跳躍之舞)及emayaayam (小米除草完工祭歌)為例，介紹卑南族傳統音樂特色，以及討論族人在「樂動」(musicking)中如何創造、展現及傳遞文化意義。「樂動」(musicking) 是音樂學者Christopher Small提出的概念，他將music視為動詞，而非名詞，指出：「樂動（to music）是在一個音樂表演中以任何身分參與其中，不管是表演、聆聽、彩排、練習、為表演提供材料（也就是作曲）或舞動」(1998: 9)。借用「樂動」的概念，本講座不僅介紹音樂曲例的結構與內容，更透過影片與現場示範，讓聽眾了解這些音樂如何實際運用在卑南族人祭儀與生活中。
擔任本講座示範的卑南族人為Pakawyan家族母語班成員，來自南王部落及寶桑部落Pakawyan家族。卑南族人居住於台東縣，分布在十個部落，即知本、建和、利嘉、泰安、下賓朗、阿里擺、初鹿、龍過脈、南王與寶桑。其中，南王與寶桑都是1930年左右由卑南舊社遷出後建立的部落，在親緣及文化上有很緊密的關係。Pakawyan家族母語班成立於2015年，為紀念已故家族長老林仁誠 (Gilrasay Pakawyan)，並有感於族群文化的快速流失，家族成員自發性地每週固定聚會一次，在南王部落耆老林清美老師 (Akawyan Pakawyan) 指導下，學習母語及傳統文化，並積極參與部落祭儀的吟唱與各類聚會活動的表演。
本講座
示範的曲例用於南王與寶桑部落慶賀場合、時序交替或生命階段的轉換之際。使用的曲調雖不同，但都建立在類似的結構上：在歌詞方面強調對偶，在音樂方面以不同的啟應 (call and response) 形式呈現。歌詞的對偶原則體現在每節兩句的詩歌上，以頭韻 (alliteration) 以及諧義的不同字詞鋪陳形式與內容的統一與對比。
在大獵祭祭歌及小米除草完工祭歌的演唱中，藉由temgatega (提詞聲部)、temubang (回應聲部) 與dremiraung (和腔聲部) 的分工，呈現領唱與答唱間的啟應。跳躍之舞雖然只由一位長老吟唱，參與跳舞的族人卻藉著肢體動作的回應，形成吟唱與肢體間的特殊啟應關係。透過共歌共舞，族人在這些樂動行為中，一再地探索、肯認和讚頌參與者之間的人際關係，凝聚了家族與部落的向心力與族群認同。
“Musicking” in Ritual Music & Dance of Pinuyumayan People, Taiwan (示範講座:卑南族祭典歌舞中的「樂動」)
Chun-bin Chen with Pakawyan Study Group on Puyuma Language
陳俊斌與Pakawyan家族母語班
Taking pairairaw (the chant of the Great Hunting Ritual), tremilratilraw (the skipping dance) and emayaayam (the chant of the gathering after weeding the millet field) as examples, I describe characteristics of Pinuyumayan traditional music, and discuss how Pinuyumayan people create, express and convey cultural meanings in their musicking. The term “musicking” was coined by the musicologists Christopher Small, who considered “music” a verb, rather than a noun. He pointed out: “To music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practicing, by providing material for performance (what is called composing), or by dancing” (1998: 9). Adopting his idea of musicking, I describe the structure and content of musical examples in this lecture, and, by means of video clips and a live demonstration, explore how Pinuyumayan people perform these musical pieces in their musicking events.
Those who give the demonstration in this lecture are members of Pakawyan Study Group on Puyuma Language from Puyuma and Papulu villages. These two villages belong to Pinuyumayan group, one of the 16 Austronesian-speaking ethnic groups in Taiwan. All Pinuyumayan villages are located in Taitung County in southeast Taiwan—besides Puyuma and Papulu, the others are Danadanaw, Mulivulivuk, Alripay, Tamalrakaw, Likavung, Katratipulr, Kasavakan and Pinaski. Puyuma and Papula, both of which were established around 1930 after villagers moved out from the old Puyuma village, have close kin relationships and cultural affinity. Pakawyan Study Group on Puyuma Language was established in 2015, in memory of the late elder Gilrasay Pakawyan of the Pakawyan Family. Members of the Pakawyan Family, aware of the loss of traditional culture, voluntarily meet weekly to learn their mother tongue and traditional culture under the instruction of the Puyuma elder Akawyan Pakawyan and are actively involved in rituals and village events.
The examples presented here are chants and dances appeared in special occasions and celebrations, at the turn of seasons, or rites of passage in Puyuma and Papulu Villages. Different tunes used in these examples are based on the similar structure: parallelism in lyrics and call-and-response forms in singing. The couplets of these chants represent principles of parallelism, and by means of alliteration and synonymous words the couplets show unity and contrast both in form and content. In the chanting at the Great Hunting Ritual and the gathering after weeding the millet field, the “call” of the vocal part temgatega is followed by the “response” of the temubang part and supported by the dremiraung part. Although the chant of the skipping dance is only sung by an elder, those who participate in the dancing respond to the elder’s “call” with body movements to form a special form of call and response between voice and body. Through collaborative singing and dancing, Pinuyumayan people explore, affirm, and celebrate relationships among participants again and again at musicking events. By so doing, they strengthen social solidarity within families and villages, and promote their ethnic identity.
