江桂珍。〈織織不倦：烏來泰雅族服的經緯之間〉。《民俗曲藝》217
(2022.9): 27-65。
Chiang Kuei-chen. “Between Warp and Woof: The Invention of Ethnic Costume of Ulay Atayal.” Journal of Chinese Ritual, Theatre and Folklore 217 (2022.9): 27-65.
Abstract
新北市烏來區泰雅族，與漢文化接觸的時間甚早，且受到觀光產業的影響，傳統文化流失嚴重，織布技藝的傳承中斷已久。然而近年來，族群意識擡升，族人著力於我群文化的復振，尤以衣飾文化面向為最。歷經開辦織布研習班、參訪臺大人類學系民族學標本陳列室、及成立「烏來織藝工作坊」與「烏來鄉原住民編織協會」等過程，烏來織女從學習傳統地機織布、找尋泰雅屈尺群傳統織紋到重現泰雅屈尺群傳統織藝，進而配合「2020新北市烏來區泰雅編織節」的舉辦，自發性織做專屬的「族服」。
服飾研究的面向豐富多元，其涉及了技術、社會結構、意識形態、認同等不同研究範疇。服飾既是具象的物質表徵，也是抽象的溝通符碼。在歷史進程中，人們往往透過服飾的生產與再製，定位自我，標誌認同，傳達族群的集體價值。然而，文化是動態的，人類亦具能動性，認同也是多重的，文化樣態不會故步自封於制式的「傳統服飾」之中。在流變時空中，不同文化的相遇、互動、協商與妥協，作為區辨身分和形塑認同的服飾元素，更可能面臨更動、挪用與重組。
本文討論烏來泰雅「族服」的製作緣起、發想動機，織者對「族服」的想像與界定，「族服」對烏來泰雅的族群認同、族群邊界的建構、流動與共融、織藝復振與織女話語權，所體現的象徵意涵與集體價值；以及當代「族服」的生產，與烏來泰雅衣飾文化的再創和歷史想像的連結。
The native Atayal people of Ulay, New Taipei City,
encountered Han culture at an early stage. In addition, the impact of
commercial tourism caused serious loss of traditional culture. Their heritage
of weaving discontinued as a result. In recent years, however, heightened
ethnic awareness engenders an ethnic cultural revival, particularly in that of
ethnic clothing. The Ulay Atayal people has offered courses in traditional
weaving, organized visits to the Artifacts Exhibition Room in NTU Museum of
Anthropology, launched “Ulay Weaving Workshops” and set up “Ulay Weaving
Association.” The Ulay weavers learn how to operate a traditional loom,
rediscover traditional woven patterns of the Kusshaku (Quchi) Atayal and
re-present its weaving art. Furthermore, they designed and woven their
exclusive “ethnic costume” to participate in the Weaving Festival of Ulay
Atayal 2020.
The study of costume involves various dimensions,
ranging from its techniques, social structure, ideology, and identity. Clothing
is both a physical representation of material culture, and also an abstract
code for communication. Throughout history, people define themselves, reveal
their identity, and convey collective ethnic values with the production and reproduction
of clothing. However, cultural dynamics coincides with both human agency and
multi-layered identities. Cultural patterns are not confined within the normal
concept of “traditional clothing.” In this changing time and space, different
cultures encounter, interact, negotiate, and compromise with each other. As a
means to identify oneself and formulate senses of identity, elements of
clothing will be changed, appropriated, and reformulated.
In this paper, I analyze the production of “ethnic costume” of Ulay Atayal, its origin and motivation, how the weaver envisions and conceptualizes “ethnic costume,” the significance of ethnic costume in terms of ethnic identity, construction, fluidity and merging of ethnic boundaries. I also examine the revival of weaving arts, the discourse power of weaving women, and the symbolic meanings and collective values embodied in ethnic costume. Finally, I illustrate how the production of these contemporary “ethnic costume” is connected to the invention of Ulay Atayal clothing culture and their historical imagination.