許馨文。〈無形文化遺產的永續發展：臺灣客家八音的生態變遷與樂人、制度調節者、機構主事者的遺產化適應〉。《民俗曲藝》211 (2021.3): 59-116。
Hsu Hsin-wen. "The
Sustainability of Intangible Cultural Heritage: The Changing Ecology of Taiwan
Hakka Bayin, and the Adaptation of
Musicians, Scholars, and Government Officials
to Heritagization." Journal of
Chinese Ritual, Theatre and Folklore 211 (2021.3): 59-116.
Abstract
作為臺灣客家人歲時祭儀與喜慶活動中常見的領奏暨協奏者，客家八音早於2006年即被當時的高雄縣政府指定為地方的傳統表演藝術，2010年更進一步為文化部文化資產局指定為國家的重要傳統表演藝術。截至2019年為止，共有近10個八音團或個別樂師分別被指定為客家八音的保存團體或保存者。在客家八音被指定為無形文化遺產的建制化過程中，這些客家八音樂人除了在文資保存架構下進行傳習，也在持續變遷的傳統音樂生態中，以所學討生活、求發展。他們如何以不同的方式參與政府的文化資產保存工作？他們如何面對各自的困境與挑戰？在嘗試適應——或終究難以適應——「遺產化」與其衍生而出的生態變遷之際，他們如何於體制內╱外持續尋求參與客家八音實踐的各種可能性？在文資保存制度的發展過程中，制度協調者與機構主事者扮演了何種角色？他們的介入又如何影響文化實踐所處之環境與其存續方式？本文呼應近年來民族音樂學、人類學、民俗學對於無形文化遺產所採取的「由下而上」（bottom-up）的研究取徑，探討臺灣客家八音的實踐社群與政府無形文化遺產的保存單位，如何推動列為無形文化遺產之客家八音的永續發展：首先，我爬梳作為制度調節者的學者專家以及機構主事者，如何持續形塑國家的無形文化遺產保存框架。其次，我檢視客家八音樂人、制度調節者與機構主事者適應遺產化的過程。最後，我以受訪樂人的經驗，以及學者Huib Schippers等人所提出的「生態取徑」理論模型（2016）為依據，評估臺灣無形文化遺產保存框架可再修正以及框架內之社會能動者可再著力之處。
As the major musical element that ushers in and accompanies
Taiwanese Hakka people’s traditional ceremonies and festivities, the Hakka bayin has been designated as a regional
representative of Traditional Performing Arts by Kaohsiung City Government as
early as 2006. In 2010, Taiwan’s
Bureau of Cultural Heritage, Ministry of Culture also designated Hakka bayin as an Important Traditional
Performing Arts. Until 2019, there are 10 Hakka bayin ensembles or individual musicians designated as preservers of
this intangible cultural heritage. In facing the changes alongside the process
of heritagization, these bayin
musicians continue to make a living with their expertise, while at the same
time participate in governmental projects for cultural heritage protection. How
do they participate in different ways in these institutional initiatives and
activities? What kind of challenges do they face respectively and how do they
manage to overcome the challenges? In addition, how do scholars and government
officials engage in these projects,
contributing to the transmission of Hakka bayin?
In response to the bottom-up research approach commonly adopted in
ethnomusicology, anthropology, and folklore studies in recent years, this
article explores the ways members from Hakka bayin communities, scholars, and government agencies promote the
sustainability of a heritagized cultural practice in its changing ecology.
First I analyze how scholars and government officials
continue to shape the institutional framework for preserving Hakka bayin and other heritagized cultural
practices. Secondly, I examine how musicians, scholars, and government officials adapt to the heritagization of Hakka bayin.
Finally, on the basis of musicians’ accounts and the theory of ecological
approach to sustainability, I evaluate Taiwan’s existing institutional
framework for cultural preservation and propose some alternative ways to
enhance the sustainability of Hakka bayin.
Also in Journal of Chinese
Ritual, Theatre and Folklore:
許馨文。〈戰後臺灣客家音樂的建制化歷程：以《中原(苗友)》月刊(1962-1981)的再現為例〉。《民俗曲藝》171 (2011.3): 121-79。
Hsu Hsin-wen. “Institutionalization of Hakka Music in Postwar Taiwan: An
Analysis of Its Representation in Chuangyuan
(Miauyo) Monthly 1962–1981.” Journal
of Chinese Ritual, Theatre and Folklore 171 (2011.3): 121-79.
https://ritualtheatreandfolkloreat.blogspot.com/2011/03/1962-1981.html