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ICTM 簡介 http://ictmusic.org/
ICTM是一個國際性的學術組織，旨在研究、實踐、保存及傳播所有國家的傳統音樂及舞蹈，並且是和聯合國教科文組織UNESCO具有正式顧問關係的非政府組織。
國際傳統音樂學會ICTM（The International Council for Traditional Music）原稱「國際民俗音樂學會」IFMC（The International Folk Music Council）該組織1947年9月22日由一些學者和音樂家創建於英國倫敦，1981年更名為ICTM。
ICTM 組織
【研究小組】
研究小組由ICTM成員組成，旨在針對某一研究地區、研究領域、研究主題共同切磋研究心得而成立的學術單位，任何國家的成員均可加入某一個、或是多個研究小組，因此研究小組本身具有跨國研究單位之性質。目前共有23個研究小組（如下列）。研究小組共享成員之研究成果，每兩年定期召開相關主題的研討會(偶數年,如2020)，並於隔年ICTM年會上正式報告研究成果(奇數年,如2019)。目前ICTM已成立的研究小組請參考ICTM官網。
【分會】
ICTM在全世界許多國家及地區均有成立分會，由該分會的成員負責推行ICTM的宗旨及活動，截至2016年共有124個分會組織。臺灣分會則於2006正式成立。
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「ICTM 原住民及後殖民語境樂舞研究小組」成立過程
在2019年由曼谷朱拉隆功大學所主辦的第45屆ICTM 世界大會中，一群來自各界各地的原住民研究學者為了使原住民樂舞研究能受到世界各地研究者的關注與重視，共同提議在國際傳統音樂學會(ICTM, The International Council for Traditional Music)的架構下成立一個新的研究小組'ICTM Study Group for Music and Dance in Indigenous and Postcolonial Contexts'「ICTM 原住民及後殖民語境樂舞研究小組」，藉以增進各國研究者彼此之間的學術交流與研究成果分享的機會。
學者們共同認為：如此舉足輕重的國際研究組織，成立72來以來竟無專注於全世界各地原住民族的研究小組，是一個非常大的研究盲點。在上述的共識下，小組發起成員包含臺灣、奧地利、英國、巴西、澳洲等國家之研究學者經2019年7月17日於曼谷朱拉隆功大學的會議決議：除正式向 ICTM 委員會提出申請，亦決定第一屆研討會之主辦國為臺灣，將於 2020 年 6 月 29 日至 7 月 2 日於臺灣東華大學舉辦。
「ICTM 原住民及後殖民語境樂舞研究小組」成立宗旨
本小組的成立已醞釀多年，自2008 年以來，成員歷經多次討論，於 2019 年 7 月於泰國朱拉隆功大學國際年會中確定小組目標宗旨，並正式向ICTM總會提案。本研究小組研究宗旨如下：
在世界各地，原住民生活在由過往全球殖民擴張行動所造成的各式後殖民語境或國家中，他們通常透過保存具有族群特色的音樂、舞蹈和儀式來維持自身、在文化、歷史與政治上的區辨性。在曾被殖民強權統治過的地區，有些原住民形成國家的主要人口群，而有些原住民則在殖民者後裔成為多數人口的國家中，成為二等公民，為爭取認同和正義而掙扎著。殖民者強加於原住民身上的霸權制度仍持續至今，並且繼續取代與原住民音樂、舞蹈及儀式原為一體的既有知識生產和運作系統。
在這樣的前提下，本研究小組關注於研究和保存原住民與後殖民背景下各式音樂、舞蹈和儀式，包含曲目、認識論及其應用面向，並欲透過會議、出版、表演和通訊使這個小組成為一個合作平台， 讓學者和原住民文化工作者可以在這樣的環境下分享並討論音樂、舞蹈、儀式及其與背後文化支撐系統之間的關聯。因此，能夠加深對原住民樂舞及儀式的認識、 加速對其所存在的全球後殖民語境的啟發性對談、以及能夠增進這些學術談話之貢獻度的各式合作，皆受到高度鼓勵。
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Introduction to ICTM Study Group in the Making for
Music and Dance in Indigenous and Postcolonial Contexts
Throughout the world, indigenous peoples live in a diverse array of postcolonial nation-states shaped by the legacy of global colonial expansion. They commonly distinguish themselves culturally, historically and politically by maintaining distinctive repertoires of music, dance and ceremony. In some cases, these peoples comprise the populations of countries that were once ruled by colonial powers. In others, they have become subalterns struggling for recognition and justice in countries where the descendants of colonists now comprise the postcolonial majority population. In both cases, however, the hegemonic state institutions that colonisers imposed upon indigenous peoples endure to this day and continue to displace pre-existing systems of governance and knowledge production to which indigenous repertoires of music, dance and ceremony are often integral.
This Study Group is concerned with research and documentation into repertoires, epistemologies and applications of music, dance and ceremony across the fullest array of indigenous and postcolonial contexts worldwide. Through meetings, publications, performance and correspondence, it serves as a forum for cooperation among scholars and allied practitioners to share and discuss music, dance and ceremony in these contexts, as well as their connections to underpinning indigenous epistemologies and processes of knowledge production, the mediation of national and subaltern aspirations, conceptualisations of community and place, and strategies for cultural sustainability and survival. Collaborations that deepen epistemological understandings of indigenous music, dance and ceremony, facilitate informed discussions about the global postcolonial contexts in which they are situated, and advance contributions of this research to scholarly discourses are encouraged.
This study-group-in-the-making is concerned with research and documentation into repertoires, epistemologies and applications of music, dance and ceremony across the fullest array of indigenous and postcolonial contexts worldwide. This includes national contexts in which indigenous peoples still struggle to have their sovereignty and rights recognised, as well as those from which former colonial powers have withdrawn, yet their institutional structures remain. The study-group-in-the-making is a forum for cooperation among music and dance scholars and practitioners to share and discuss music, dance and ceremony in these contexts, as well as their connections to underpinning indigenous epistemologies and processes of knowledge production, the mediation of national and subaltern aspirations, conceptualisations of community and place, and strategies for cultural sustainability and survival. It encourages research into indigenous music and dance from a broad range of performative, theoretical, methodological and applied perspectives. This can include, but is not limited to, studies concerning composition, performance, dissemination, community cohesion, wellbeing, policy, resourcing, human rights, equity, collections, formal and informal learning, maintenance, and the environment.
