林芳誠。〈法制化體系的保障或切割？以都蘭阿美人的歌舞實踐為例談無形文化遺產法制化體系與原住民族文化主體性的展現〉。《民俗曲藝》196 (2017.6): 15-83。
Lin Fang-chen. “Protection or Excision?
Legal System of Intangible Cultural Heritage and the Representation of Indigenous
Cultural Identity, a Case Study on the Songs and Dances of ‘Atolan Amis.” Journal of Chinese Ritual, Theatre and
Folklore 196 (2017.6): 15-83.
Abstract
本文試圖從臺灣現行《文資法》與UNESCO《護衛無形文化遺產公約》無形文化資產項目中，對於「傳統藝術」的認定基準切入：以都蘭阿美族的歌舞為例，探討其實踐與展演，在文化遺產法制化體系與原住民族社群（community）自我認知之間的差異。
都蘭阿美人自1995年因文化斷層而推展復振運動迄今，歌舞不僅作為青少年接觸母體文化的初步媒介；同時在年齡組織日益發揮其功能，無論是對內部公共事務（如kiloma’an祭典）或面對與國家力量抗衡（如爭取傳統領域主權），都蘭阿美人的歌舞實踐均緊扣其社群思維，呈現不同於文化遺產法制體系的認知。歌舞不但是都蘭阿美人對外發聲的橋樑，也是自身文化內涵與主體性的展現。
筆者自2005年起，觀察都蘭阿美人進行內部與外在社會公共事務時，歌舞實踐在過程中所扮演的角色及其創造力；並進一步與臺灣《文資法》及UNESCO《護衛無形文化遺產公約》對於文化遺產的分類邏輯與認定基準進行比較，指出現行法制體系所獲得指定、登錄之項目與原住民族實際生活文化實踐的落差；並提出應以全貌式觀點，多元地看待應受保障的無形文化遺產。
The discussion of this study is based on the concept of
“traditional arts” in the Cultural
Heritage Preservation Act (Taiwan
The ‘Atolan Amis’ cultural revitalization movement started in
1995. Since then, songs and dances have become the youth’s first encounter with
tradition. They also play a prominent role in the age organization. Either when
participating in internal community affairs (such as kiloma’an) or
challenging the power of the nation (when fighting to regain sovereignty of
traditional territory), the songs and dances of ‘Atolan Amis adhere to their
community’s conception, revealing a cognition different from that in the
Cultural Heritage legalization system. Songs and dances are not only a medium
with which the ‘Atolan Amis voices their sentiments, they also demonstrate
their own culture essence and subjectivity.
I have witnessed the significance and creativity of ‘Atolan
Amis’ songs and dances both within the community and in external social public
affairs. After examining them according to the logic of cultural heritage
classification and criteria of by-laws in Taiwan