2014-12-26

消逝的將藝:稻江霞海八將會

鍾秀雋。〈消逝的將藝:稻江霞海八將會〉。《民俗曲藝》186 (2014.12): 231-302
Chung Shiu-chun. “The Lost Art of Martial Troupe: Daojiang Xiahai Bajiang Troupe.” Journal of Chinese Ritual, Theatre and Folklore 186 (2014.12): 231-302.

 Abstract

俗諺「五月十三人看人」,描述的是臺北大稻埕迎霞海城隍的盛況,當地因歷史背景所發展出的經濟成就,連帶將該場祭典之規模及名聲,發展至巔峰,內含富有城隍濃厚司法性格之信仰元素,是臺灣民間信仰文化中,極具份量的代表性廟會。
其中以人裝扮為神明部將,是臺灣陣頭文化中重要的一環,於司法神系統的慶典中愈見顯著,而由往昔負責霞海城隍祭典的「臺北大稻埕霞海城隍祭典委員會」相關人士所組之「稻江霞海八將會」,便是一團由信眾向城隍爺還願而扮成其麾下部將的陣頭,後發展為專屬城隍神輿前擔任護駕任務的組織,不同於臺南什(八)家將或新莊官將首等編制較固定的將團,稻江霞海八將會的角色、陣法、裝備等的擴展性與開創性,於臺灣陣頭文化中獨具特色,亦為地方驕傲。
由地方力量發起籌組的八將會,歷時二十餘年,卻在民國80年代無預警地瞬間解散,留給後人無限懷念與疑問,至為重要的駕前部將組織,何以倏忽消失在其主神霞海城隍的慶典舞臺﹖民國101年(2012)於大稻埕展出的「迎神賽會大稻埕特展」中,只見分別展出介紹源起新莊、臺南的官將首、什(八)家將及外地的八將團,全然不見曾名聞遐邇之地方將團,極為突兀,引人發起探究之動機。
筆者以田野調查的方式,詳實紀錄該團之源起、發展、內涵乃至散團的過程與事件,研析這項「消逝的將藝」於當年被譽為「臺北三大廟會之首」的慶典中所被賦予的意義,並探討其在興衰起落的過程中,所延伸出的地方故事與歷史。
As the old saying goes, “On the thirteenth of the fifth month, people watch people.” It describes the spectacular event of Xiahai City God’s festival in Dadaocheng, Taipei. The economic boom in Dadaocheng, born out of a particular historical background, propelled the festival’s scale and popularity to its pinnacle. With a strong judicial character, the Xiahai City God’s festival was among the most important temple festivals in Taiwan.
One significant part of the culture of the performance troupes in Taiwan is for people to dress up as guardian generals of deities. This is even more obvious in judicial deities’ temple festivals. The Daojiang Bajiang Troupe, organized by the Xiahai City God Festival Committee, was a troupe composed of followers who would redeem their vow to the City God by serving as his guardian generals. It later developed into a troupe chosen to escort the City God’s palanquin. Unlike other martial performance troupes in Tainan or Xinzhuang, the growth and creativity of Daojiang Xiahai Bajiang’s characters, choreography, and paraphernalia were unique in the performance troupe culture and a pride of local people.
The Bajiang Troupe, organized and funded by local powers, had been active for more than twenty years. It was disbanded in the 1990s abruptly, leaving many questions behind. Why did such an important escort troupe of guardian generals suddenly disappear from the Xiahai City God’s festival stage? The Dadaocheng Temple Festival Exhibition in 2012 displayed several guardian general troupes like guanjiangshou and shijiajiang, bajiang, etc. However, there was no trace of the once-famous local troupe. The weird absence aroused my curiosity.
In this study, I did field investigation to describe in details the troupe’s origin and development, intention, and the process of its break-up. I investigate this troupe, its significance in the Xiahai City God festival, as well as local stories born out of decades of its vicissitude.