當「做花」成「做人」：施洞苗族非物質文化遺產之傳承與變遷

何兆華。〈當「做花」成「做人」：施洞苗族非物質文化遺產之傳承與變遷〉。《民俗曲藝》185 (2014.9): 51-114。

Ho Zhao-hua. “When 'Making Motifs' Becomes 'Making a Person': Continuity and Change of Shidong Miao Intangible Cultural Heritage.” Journal of Chinese Ritual, Theatre and Folklore 185 (2014.9): 51-114.

Abstract

本文從施洞苗族「做花」文化的角度切入，企圖從這個角度來理解「非物質文化遺產」傳承人列名一事，提供讀者窺見苗族服飾文化傳承與變遷的另一番視野。在中國西南少數民族之中，苗族最被稱道的，是口傳文學及物質文化。物質文化中，以表現生活的建築及繁華多樣的服飾為代表。然而，當女性普遍上學受教育、觀光與打工帶出人群接觸與流動後，其原先以「做花」所承載的集體文化，正逐漸轉型。隨着「非物質文化遺產」（簡稱非遺）項目獎金與光環的發燒，「苗繡」與「苗族銀飾鍛製技藝」傳承人的列名，成為地方人士競相角逐的頭銜。本文透過田野民族誌，從施洞苗族「做花」文化的角度切入，企圖從這個面相來理解「非物質文化遺產」傳承人列名一事，對苗族服飾文化的傳承與變遷有何影響，提供讀者窺見當地人群如何在國家政策下競逐的不同面貌。文中首先從記憶的角度看不同層面的歷史圖像，再者，從施洞苗族繡花與銀花的流動，看刺繡與銀飾在內部與外部流動上的差異，藉此來釐清施洞苗族繡片與銀飾的流動中，多層次與複雜的社會關係網絡。其次，以施洞三位女性及三位銀匠，說明在這場權力的競逐的歷程中，如何運用各種主客觀條件來創造自己的各種資本，以營造自己被國家「看見」且認可的條件。最後，理解傳承人的技藝如何扮演傳承與創新的角色，以及做為傳承者，如何在面對去脈絡化後的圖像，重新創造新的意義。過去苗族以口傳及圖像來做為承載記憶的媒介，然而，當女性普遍上學受教育或外出打工後，其原先以「做花」所承載的集體記憶，如何逐漸轉型成以「做人」為核心的方式，藉此觀看現今施洞苗族圖像文化的傳承與變遷。

This paper presents an ethnographic study on intangible cultural heritage of Shidong Miao society in Southeastern Guizhou Province. It aims to describe how Miao women and silversmiths transform themselves from local elites into transmitters of intangible cultural heritage. It also explores how these individuals construct cultural capital through making and promoting embroidery and silver accessories in Shidong Miao society. This paper explores the making of embroidery and silver accessory motifs which are the core traditional handicrafts of Shidong Miao and how, as a means to protect social status and achieve a higher social position, Shidong Miao people are strengthening their publicity and turning the production of intangible cultural heritage into businesses. Making money and training younger generation are two different duties for transmitters. In the production of embroidery, transmitters focus on both making money and trans­forming the system of transmittance from mother to daughter into a company network. Among silversmiths, transmitters pay more attention to passing techniques to the next generation via a father-son system and make efforts to contain these skills within a single household. This paper will present four aspects of intangible cultural heritage from Shidong. First, I will briefly recount the history of techniques for “making motifs” and decorative expression in embroidery and on silver accessories in the Shidong Miao tradition. Second, I will examine and analyze a number of embroidery and silver accessory images and explore the changes to motifs to provide an understanding of how classical images have been represented through different periods. Third, I will explore how transmitters portray their social and cultural capital through performance and in social relationships. Lastly, by situating Shidong Miao society within its historical context, I will provide an interpretation of the impact intangible cultural heritage transmitters have on Miao society through their political and economic advantages.