PANEL
PANEL
2022/07/08
2022/10/25
展覽頁面呈現形式
縱式
展覽封面
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"desc": "Panelists (in alphabetic order):<br>Bukun Ismahasan Islituan & Bunun Cultural Association Member (Wen-Xin Jin,Ming-Fu Jin, Chuan-Ching Jin, Chen-Xin Jing, Guo-Ching Wang),Chien-Ping Kuo, Matthias Lewy<div>發表者：卜袞．伊斯瑪哈單．伊斯立端＆布農文化協會成員（金文献、金明福、金全慶、金宸炘、王國慶）、郭建平、Matthias Lewy (依英文姓氏排列)</div>",
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"desc": "<span><b>Name:Dr. Matthias Lewy <br></b><b>Biogra</b><b>phical note:<br></b> Matthias Lewy is a comparative musicologist, cultural and social anthropologist (Free University of Berlin) and cultural and media manager (Academy of Music «Hanns Eisler» Berlin). His PhD focused on music rituals of indigenous groups in the border region between Venezuela, Brazil and Guyana. In a subsequent post-doctoral research project at the University of Brasilia (UnB), he intensified his research on indigenous sound ontologies in the Guyanas and further developed his theory on auditory anthropology.<br> Other areas of research are ecomusicology and sound ecology, sound ontologies in indigenous cultures, the popular music of Latin America and the Caribbean, music and politics, the music industry (world music scene) and the music archive. He also deals with ethno-historical sources of music in ancient Mexico.<br> In the field of applied ethnomusicology he worked as a sound curator for exhibitions in ethnographic museums in the Humboldt Lab Berlin (Dahlem) and at the Musée d'ethnographie de Genève. <br> He is currently entrusted with an interactive exhibition concept for the Humboldt Forum Berlin.He was a lecturer in musicology / ethnomusicology at the University of Brasilia, at the Martin Luther University Halle-Wittenberg and at the Humboldt University in Berlin. In the field of cultural and social anthropology, he taught at the Latin American Institute of the Free University of Berlin and at the universities of Marburg and Bonn. At the Viadrina University Frankfurt (Oder) he worked as a lecturer on cultural and media management.<br> Since 2019 he is senior researcher at the Lucerne University of Applied Sciences and Arts.<br><b><br>Affiliations</b>: Senior researcher at Lucerne University of Applied Sciences and Arts.<br><br><b>簡歷</b>：<br> Matthias Lewy是一位比較音樂學家，文化和社會人類學家（柏林自由大學）以及文化和媒體管理者（柏林“漢斯·埃斯勒”音樂學院）。他的博士學位主要研究委內瑞拉，巴西和圭亞那之間邊界地區的原住民群體的音樂儀式。在隨後的巴西利亞大學（UnB）博士後研究項目中，他加強了對圭亞那原住民聲音本體論的研究，並進一步發展了他的聽覺人類學理論。<br> 其他研究領域是生態音樂學和聲音生態學，原住民文化中的聲音本體論，拉丁美洲和加勒比地區的流行音樂，音樂和政治，音樂產業（世界音樂範疇）和音樂檔案。他還研究古代墨西哥的民族歷史音樂資源。<br> 在應用民族音樂學領域，他曾擔任柏林洪堡實驗室（達勒姆）和日內瓦民族志博物館各式展覽的聲音策展人。目前，他受委託為柏林洪堡論壇提供互動展覽概念。<br> 他曾在巴西利亞大學，馬丁·路德大學Halle-Wittenberg和柏林的洪堡大學擔任音樂學/民族音樂學講師。在文化和社會人類學領域，他在柏林自由大學拉丁美洲研究所以及馬爾堡大學和波恩大學任教。在法蘭克福Viadrina大學（奧德），他擔任文化和媒體管理講師。<br> 自2019年以來，他是琉森應用科技大學的高級研究員。所屬機構：琉森應用科技大學的高級研究員<br><br><b>Name:Dr. Wei-Ya LinBiographical note:<br></b> Wei-Ya Lin, an ethnomusicologist and a violist, is co-leading together with Johannes Kretz the PEEK-project in artistic research creative (mis)understandings (2018-2021) at the University of Music and Performing Arts Vienna (MDW). At the same time she is research fellow and adjunct lecturer at MDW and University Vienna.She is initiator and curator of aNOther festival Vienna since 2010; she is leading the interdisciplinary and intercultural summer camp iKultLab since 2014; since 2013 she been involved in planning and developing projects based on scholarly research results, which are implemented by artistic inventions and activist and socio-political approaches.<br> In 2006 she completed her M.A. in viola performance with distinction, in 2007 the postgraduate curriculum in chamber music, and she studied composition from 2005 to 2007 at the MDW. In 2015 she received her PhD in Ethnomusicology from the same university for the thesis Music in the Life of the Tao (Taiwanese indigenous ethnic group): Tradition and Innovation, graduation with distinction.<br><b><br>Affiliations:</b> Research fellow and adjunct lecturer at University of Music and Performing Arts Vienna (MDW) and University Vienna<br><br><b>姓名：Dr. 林維亞<br>簡歷：<br></b> 中提琴家及民族音樂學家，目前於國立維也納音樂暨表演藝術大學（MDW）和約翰內斯·克雷茨（Johannes Kretz）共同主持由奧地利國家科學研究基金所委託為期三年的藝術本位研究計劃 – 《創意性的理解與誤解》（2018-2021年）。同時，她也是MDW和維也納大學的博士後研究員及兼職講師。研究興趣為藝術本位研究、應用民族音樂學、弱勢群體音樂、臺灣原住民音樂、聽覺知識、音樂與移民、雙重音樂性。\t<br> 2006年，她以優異的成績取得MDW的中提琴演奏碩士學位，2007年繼續修習室內樂，也在2005年至2007年間於MDW學習作曲。 2015年，她在同一所大學獲得民族音樂學博士學位，論文的主題是《達悟生活中的音樂：傳統與創新》 。自2010年以來，林氏擔任維也納aNOther Festival的發起人和策展人，自2014起，領導跨學科和跨文化的夏令營iKultLab；自2013年，透過融合藝術表現及學術研究成果，致力達到社會反饋的期待。所屬機構：國立維也納音樂暨表演藝術大學<br><br><b>Name: Prof. Dr. Yuh-Fen Tseng <br>Biographical note:</b> <br> Yuh-Fen Tseng, received her Ph.D. from Taipei National University of the Arts, majoring in Musicology, and the Master of Arts degree from New York University, majoring in piano Performance. She is currently the professor at the music department of National Chiayi University in Taiwan, and also served as the chairman of this department. <br> As a music professional spanning the field of musicology and piano performance, she has been devoted herself to the piano teaching and the related academic subjects such as Music Aesthetics and Western Music History. Meanwhile, as a professional ethnomusicologist, Yuh-Fen Tseng realized the urgency of preserving the music traditions that are quickly vanishing and she therefore devoted herself to the field-investigation of Taiwanese indigenous music. She recorded, transcribed and researched the music from various indigenous groups and tribes in Taiwan in order to keep them transmitted among their own cultural context.<br> Having devoted herself into the academic resaeach and writing, and also the creation & performance projects of Indigenous music for decades, she has representational works in various professionall fields, such as: <ul><li><i>The Appreciation of Western Classical Music—on Music Styles from the Medieval Times to Baroque Era (2001) in the field of Western Music History.</i></li><li><i>Exploring the Possibilities of Musical Analysis from Musical Aesthetic View (2003), Eclectic Aesthetics and Music Criticism--Philosophical Path, Critical Method and Practice (2020) in the field of Music Philosophy.</i></li><li><i>I Sing with My Life: A Music Story of Bunun People, Taiwan (2007); Legend of White-Stone Mountain: A Video Recording on the Oral Music Traditions of Seediq People and Truku People (2007); An Improvisational Study on the Vocal Music of Seediq & Truku (2011); Songs, Music and Life of Bunun : An Analysis and Interpretation of Bunun Musical Actions Based on a General Survey (2015); Tultul, Hunghung, Latuq, and Balinka—the Tribal Memories of Bunun Traditional Musical Instruments (DVD & Booklet, 2015). </i></li><li><i>Works of Music Theatre : ”Seediq Balay, Let’s Dance Together!” (2018); “Crossing Ridges—Appreciating the Music Story of Bunun” (2019, 2020)</i></li></ul><b>姓名：Prof. Dr.曾毓芬<br>簡歷：<br></b> 國立臺北藝術大學音樂學博士、美國紐約大學鋼琴演奏碩士，現任國立嘉義大學音樂學系暨研究所專任教授。<br> 曾毓芬的音樂專業範疇跨越音樂學和鋼琴演奏兩個領域，並長年累積大量表演藝術行政實務經驗，亦有豐富的古典音樂廣播節目之製作主持經歷。1993年自美國返國後即投入音樂演奏與教學領域，亦專精於音樂美學及西洋音樂史等學門。之後，專業領域進一步擴及民族音樂學，研究主題包含台灣原住民音樂、南島音樂與世界音樂，田野調查足跡遍及台灣全島、東南亞諸國與法國。2008年獲國立臺北藝術大學音樂學哲學博士學位，發表博士學位論文《賽德克族與太魯閣族的歌樂系統研究兼論其音樂即興的運作與思惟》。<br> 長年投注於音樂學術研究及寫作，同時亦致力於原住民傳統音樂和當代音樂的跨域創作，曾毓芬在學術及創作各領域皆有代表作品，如：<ul><li>古典音樂領域的《古典音樂賞析─從中世紀至巴洛克時期之音樂風格探微》</li><li>音樂哲學及評論領域的《從音樂美學角度論音樂分析的可能性》、《音樂美學:兼容主義視角下的理論與實踐》、《兼容美學與音樂評論─哲學路徑、批評方法與實踐》</li><li>民族音樂學領域的《我用生命唱歌─布農族的音樂故事》、《白石山下的傳說－南投賽德克族與花蓮太魯閣族的口傳音樂紀實》、《賽德克族與太魯閣族的歌樂即興系統研究》、《撒奇萊雅族樂舞》、《布農族樂舞》、《布農族人的歌‧樂‧與生命 ── 一部建立於音樂普查基礎之上的布農族音樂行為分析與文化詮釋》</li><li>跨界音樂劇場作品《賽德克．巴萊，大家一起來跳舞吧！》以及《越嶺～～聆聽布農的音樂故事》</li></ul><br><b>Name: Bukun Ismahasan Islituan <br>Biographical note:<br></b> Bukun is a Bunun poet who has published a collection of bilingual poems such as The Place Where the Sun Whirls, and has devoted himself to the preservation of aboriginal culture. <br> He is committed to education and cultural promotion. The rhythm of his poems is strong. However, instead of heavy tempos, it remains light and feathery. The poem contains strong features of the Bunun culture, trying to retrieve and recall the gradually disappearing tradition. The poem has a slight touch of mourning, but at the same time gives a soothing sense of gentleness.<br><b><br>Affiliations: </b>Independent Bunun cultural practitioner<br><br><b>姓名：卜袞．伊斯瑪哈單．伊斯立端<br>簡歷：<br></b> 布農族詩人。2015 年以論文《Na Asa Tadau Sumbang 我想要呼吸─ 從自我生命經驗暨其書寫探討布農族語文學創作》取得國立中正大學臺灣文學所碩士學位，2016 年起擔任原住民族文化事業基金會董事長，著有《太陽迴旋的地方》等雙語詩集。<br> 卜袞熱愛自己的布農族身分，熱愛母語，熱愛布農文化，致力於教育文化推動。他的詩節奏力強，卻非拍子沉重，而是淡且輕盈，詩中帶有濃濃布農文化特色， 試圖找回、喚回逐漸消失的傳統，有著淡淡哀愁，卻也予人溫柔撫慰之感。<br> 秉持對母語─ 布農族語的珍惜，卜袞也全力奉獻於語言傳承：一群孩子圍坐在長輩身邊，一邊聽老人家以母語說著古老傳說、故事，一邊寫下。這是文化傳承，也是訓練孩子找回語言文字的方式。尋根，不懼路途艱難，祈求祖靈庇護， 試圖找回族群過去的文化。<br><b>所屬機構：</b>布農族文化工作者<br><br><b>Bunun Cultural Association in Xinyi Township of Nantou County</b> \t<br> The Bunun Cultural Association established the group in 1999 to officially promote and preserve pasibutbut and other ancient tunes of the Bunun. Consisting of mainly Bunun people from Ming-de community, the group has been led by several directors who also researched, collected, and taught traditional Bunun music. \"Lileh” refers to Chinese silver grass in the Bunun language, which is a common plant used by indigenous Bunun communities. Lileh is also the old name of a Bunun tribe in Ming-de Village of Xinyi Township. The group then adopted this word to name their chorus group as “The Voice of Lileh”, to express the vitality of silver grass.<br> “The Voice of Lileh” chorus group have been dedicating to preserve the Bunun's oral tradition of pasibutbut and other polyphonic singing repertoire. Without flamboyant dance and music, the group has brought the most primeval and pure sounds of Bunun tribe to countries including the Netherlands, Belgium, France, Poland, and Japan. Lileh was designated as a National Preservationist of Traditional Arts by the Ministry of Culture in 2010.<br><b><br>南投縣信義鄉布農文化協會<br></b> 南投縣信義鄉布農文化協會所屬的明德部落，因為文化傳承的使命感，期許能夠將布農 族的音樂代代傳承，部落中的幾位耆老自發性地組成音樂展演團體，定期練唱，1999 年正式成立南投縣信義鄉布農文化協會，並組成「Lileh 之聲合唱團」。<br> 「Lileh」為現明德村布農族之舊部落名稱，意即為「菅蓁」，是當地居民應用在生活中 相當廣泛的一 種植物，以此為名，除取其生命力旺盛之意，更表現出合唱音樂在布農族人生活中的重要性。 <br> 「南投縣信義鄉布農文化協會 Lileh 合唱團」為臺灣少數獲頒為「國家級重要傳統藝術保存團體」 之一，該團由南投縣信義鄉明德社區布農族人所組成，每位團員有著豐富的演唱經驗與絕佳的音樂默契，演出足跡踏遍荷蘭、比利時、法國、波蘭、日本等多國。 <br><br><br><b>Music and Dance from Iraraley village of Tao</b> <br> The traditional Tao songs are like books, which record all stories of the island’s inhabitants since several hundred of years, including individual emotions, life circles, family properties and territories, collective labour experiences, seasonal changes of the living environment and taboos and rules based on ancestors’ life experiences. These are sung, transmitted, and recreated generation by generation. <br> Today, half a century after Lanyu has been opened up to the world, the traditional songs are influenced by Taiwanese indigenous peoples, Han-Taiwanese and popular music genres from the west. Even though the traditional repertoires are slowly replaced by other music styles, its artistic value continues surprising composers and music researchers from the world.<br><b>達悟族朗島部落樂舞</b> <br> 達悟族的古謠如文字書籍，記載了數百年來居住在蘭嶼島上居民們的點點滴滴。從個人的喜怒哀樂，生老病死，家族的財產與地域，團體的農漁勞動，大自然中季節的交替與循環，乃至經過數幾世紀依前人經驗留下的規範與禁忌，世世又代代地被承傳，複誦，詮釋與創造著。 <br> 今日，在蘭嶼與世界接軌的半世紀後，傳統歌曲也受到臺灣原住民，漢人及西洋流行音樂的影響。雖然古謠因島嶼時空變化而漸漸地被其他音樂所取代，但其中深厚的藝術性仍然不斷地驚豔著長期接觸蘭嶼古謠的中西作曲家與音樂學家們。<div><br></div></span>",
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"desc": "<span> This panel discusses possible socio-cultural meanings and practical applications of historical song recordings from the Tao and Bunun indigenous groups of Taiwan in comparison with the AreTauKa indigenous group from Venezuela. <br> The papers of team members Kuo and Lin from the artistic research project “Creative (Mis)Understandings” (2018-2021) will tackle the issue of contemporary interpretations and possible applications of historical song recordings by Veronique Arnaud, Chien-Ping Kuo, Chien-Hsiang Lin, Wei-Ya Lin and Yu-Hsiu Lu.<br> Matthias Lewy will show how indigenous sound recordings from 1911 made by the German anthropologist Theodor Koch-Grünberg generated an intensive interaction between institutions and individual scholars/cultural workers located in Germany and Venezuela. The comparison of the researcher’s experiences aims to show how historical recordings perceive agency, establishing a continual process of interactions beyond geographies and times. <br> The results acquired from the constant collaboration between Bunun Culture Association and Yuh-Fen Tseng will be presented through the creation process of a Bunun music theatre in epic style, which is based on the audio archives acquired from the 1940s to the 2010s by scholars such as Kurosawa Takatomo, Tsang-Houei Hsu, Bing-Chuan Lv, Rung-Shun Wu and Yuh-Fen Tseng. <br> The contributions will show dynamic processes of collaboration and constant role shifting between academic and non-academic researchers/institutions, and between cultural and ontological bearers.<div><br><span> 這個小組旨在探討比較臺灣達悟族、布農族與委內瑞拉的AreTauKa原住民族，在歌曲歷史錄音裡可能包含的社會文化意涵和實際應用。<br> 來自郭建平和林維亞執行的藝術本位研究計畫「創意理（誤）解」（2018-2021）的論文，將探討Veronique Arnaud、郭建平、林建享、林維亞及呂鈺秀所記錄的歷史錄音的當代詮釋以及可能的應用。<br> Matthias Lewy將展示，由德國人類學家Theodor Koch-Grünberg自1911年來的原住民聲音紀錄，如何啟動德國和委內瑞拉兩地的研究機構與獨立研究者/文化工作者之間的密切交流。研究者經驗的比較，旨在展示這些歷史錄音如何激發起一個超越時空的持續互動過程。曾毓芬與南投縣信義鄉布農文化協會之長期合作的成果，將透過一部史詩式布農音樂劇場的創作過程而呈現。此部劇場的創作是植基於1930年代到2010年代間，由黑澤隆朝、許常惠、呂炳川、吳榮順、曾毓芬等學者持續採集而得的歷史錄音檔案。<br> 本小組的學術貢獻在於：呈現出學術與非學術研究者/機構之間、文化與本體傳承者之間，動態的協作過程以及持續的角色移轉。<div><br></div></span></div></span>",
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"title": "Paper#1 Transforming Historical Song Recordings for Transmission 歷史歌曲錄音在傳習上的轉化運用",
"desc": "<span><b>Wei-Ya Lin (the University of Music and Performing Arts Vienna)</b><br></span><b>林維亞（國立維也納音樂暨表演藝術大學）<br></b><span><br> Among the Tao, an indigenous group of Taiwan, the vast majority of young and middle-aged people is not proficient in their native language. In addition, traditional singing practices have been almost completely abandoned. These dramatic changes are the result of discriminatory policies implemented by the Taiwanese government in the period between the 1950-80s. For example, most of the traditional houses used as primary cultural transmission sites by the Tao were demolished during the 1970 and 80s and preplaced by cheap concrete buildings. Within the national school curriculum there is only little space for the transmission of traditional indigenous knowledge and skills as it is designed according to the necessities of the Han Chinese majority population. Despite local concern about the demise of traditional culture new forms and spaces for transmitting Tao knowledge have not yet been established. <br><span> In the course of the collaborative project “Creative (Mis)Understandings” (2018-2021), financed by the Austrian Science Fund, an Austria-based international team of composers working together with local Tao song makers produced and compiled contemporary materials which can be used for the recreation of sustainable Tao cultural practices. In alliance with the needs articulated by Tao representatives, this project aims at supporting sustainable transmission of traditional indigenous knowledge and skills to younger generations.<br></span> In this paper, I will focus on how project members use historical audio-visual recordings complemented with interviews as resources for suggesting new forms for transmitting traditional Tao knowledge.<div><br><span> 在臺灣原住民達悟族中，大多數的年輕人和中年人不懂自身的本土語言，而傳統歌唱形式也已近乎絕跡，這些戲劇化的轉變是1950至1980年代臺灣政府實施的歧視性政策所導致的結果。比如當時達悟族傳統房屋被拆毀，取而代之的是廉價的混凝土建築。在國民教育中，因應絕大部分的漢民族所需來設計課程，只留一小部分空間給原住民傳統知識和技能。雖然當地人擔心傳統文化滅絕，但是依然沒有建立新的傳播知識管道。<br> 在由奧地利科學基金所資助的合作計畫「創意理（誤）解」（2018-2021）中，奧地利國際團隊與達悟在地歌曲創作者的共同合作，產出並編纂出可以用來作為達悟文化實踐及復振的素材。依據達悟族代表所發出的需求，該計畫旨在支持將傳統原住民知識與技能持續傳承給下一代。<br> 本文中，我會著重介紹計畫成員是如何將歷史視聽紀錄結合訪談來作為傳習教材，以建議傳習達悟族傳統知識的新形式。<div><br></div></span></div></span>",
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"title": "Paper#2 Beautiful Mistakes – a Case Study about the Socio-Cultural Meanings of Historical Recordings with Tao People 美麗的錯誤──有關達悟族歷史錄音社會文化意義的個案研究",
"desc": "<span><b>Syaman Vongayan (Chien-Ping Kuo) /Tao Cultural Practitioner</b><div><b>Syaman Vongayan (郭建平)／達悟族文化實踐者<br></b><br></div></span><span> During 1970s-1990s, the French socio-cultural anthropologist and linguist Veronique Arnaud collected around 500 hours of audio-visual material from the Tao people. This collection is currently archived and published online at the Centre for Research in Ethnomusicology (CREM) in Paris.<br> When I started to listen to the songs in the first audio track by Arnaud, made in 1971, I was confused and astonished how aggressively the singers sang and talked into the recorder of Arnaud. After talking to my brother-in-law, Shih Ching-Yu, I understood that these recordings were related to a battle between the villages of Iraralay and Yayo in 1965. My brother-in-law was involved in these confrontations and told me in full detail about this village war. <br> This paper aims to discuss the precise socio-cultural meanings of these songs and the role of Arnaud as a recorder at that particular time in Tao society from an insider’s point of view.<br><br><div><span> 1970至1990年代間，法國社會文化人類學家兼語言學家Veronique Arnaud收集了近500小時的達悟族視聽素材，目前被收錄並出版在線上巴黎民族音樂研究中心（CREM）。<br> 當我開始聽這些歌曲，第一個音頻Arnaud在1971年製成的，我當時感到困惑與驚訝，這些樂者不論唱歌或與錄音員交談都非常積極。在與我的姊夫Shih Ching-Yu談論過後，我了解這些錄音都是與一個1965年時Iraralay和Yayo村落之間的戰爭有關，我的姊夫當時也在這場抗爭中，他告訴我當時發生的所有細節。<br> 本文旨在探討這些歌曲的準確社會文化意涵，以及Arnaud錄音員從內部文化來看待地社會論點。<div><br></div></span></div></span>",
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"title": "Paper #3 The Project “Sharing Knowledge” – Indigenous Sound Ontologies at the Ethnographic Museum Berlin and in Their Source Community 「共享知識」計畫──存在於柏林民族誌博物館及其來源社群之間的 原住民聲音本體論",
"desc": "<span><b>Matthias Lewy (Lucerne University of Applied Sciences and Arts -Music)</b><div><span><b>Matthias Lewy （琉森應用科學與藝術大學音樂系）</b><div><br><span> This paper discusses the interaction between the Berlin Dahlem Ethnographic Museum and the AreTauKa Pemón indigenous people (Arekuna, Taurepán and Kamarakoto) in La Gran Sabana, Venezuela. A short description of the author's 15-year-long experience with the restitution process of Koch-Grünberg's 1911 wax cylinder recorded in that region is followed by reflections on his long-standing cooperative relationship with the indigenous researcher Balbina Lambós. Examples will be given from the joint listening sessions with older indigenous specialists, as well as from several discussions about theorizing in anthropology and ethnomusicology.<br> The paper will then turn to the Project “Sharing Knowledge”. This project, undertaken by the Ethnographic Museum Berlin, invites indigenous people in Venezuela to view museum-objects and hear recordings from their region via an online database. It is possible, if the indigenous peoples from Venezuela wish, to enter comments on this online database. I will explore, how these forms of institutionalised knowledge transfers and interactions revealed ontological differences, and how workshops offered in Berlin and La Gran Sabana, Venezuela were perceived by the local indigenous younger generations in Venezuela. This paper ends with theoretical reflection on sound recordings as agents.<div><br><span> 本文討論柏林達勒姆民族誌博物館與委內瑞拉大薩瓦納地區（La Gran Sabana）的AreTauKa Pemón原住民（Arekuna、Taurepán 與Kamarakoto）之間的互動。簡短描述作者長達15年針對一批Koch-Grünberg1911年於該地區以蠟統式留聲機錄製的音樂檔案的返還過程之後，我接著反思他與原住民研究者Balbina Lambós的長期合作關係。案例來源包括與原住民耆老專家的共同聆聽會議，以及幾項關於人類學和民族音樂學的學理式討論。<br> 接下來討論重點將轉移到「共享知識」計畫。這個計畫由柏林民族誌博物館發起，邀請委內瑞拉的原住民瀏覽博物館展品，並透過網路資訊聆聽來自該地區的歷史錄音，而委內瑞拉的原住民若想要在線上書寫評論，也是可以的。我會探討這些制度化的知識型態是如何轉移，以及彼此的互動所揭示的本體論差異，以及委內瑞拉當地的原住民年輕人，是如何看待在柏林及委內瑞拉大薩瓦納地區進行的工作坊。本文以音檔作為媒介的理論化思考作為總結。<div><br></div></span></div></span></div></span></div></span>",
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"title": "Paper #4： Rethinking the Ontology of the Bunun through a Creation Project Based on Historical Sound Recordings 透過一項以歷史聲音檔案為基礎的創作計畫 反思布農族的本體論",
"desc": "<span><b>Yuh-Fen Tseng (Professor/ National Chiayi University, Taiwan)</b><div><b>曾毓芬（國立嘉義大學音樂系教授）<br></b><br><span> In the contemporary post-colonial society of Taiwan, quite a few efforts have been done by indigenous societies, sovereign governmental institutes and academic circles to remedy the huge loss of indigenous cultures, caused by the consequent colonial governance since the 17th century, which is used to be diverse and vivid in this land. Among all the efforts stated above, the autonomous reviving actions initiated by the respective indigenous tribes were sometimes enhanced and accelerated by the joint efforts of scholars and governmental institutions, but sometimes not, and even going reversely. Whatsoever, the audio-video archives very often stood in the core of various transmitting processes. <br> In terms of applying audio-video archives to help transmitting, a representative case in recent decades of years is the preservation work of “Bunun Cultural Association in Xinyi Township of Nantou County.” Apart from trying to restore or rebuilt their traditional singing, instrumental playing and even the ritual practice according to the oral narration of the elderly who still keep historical memories in mind, the historical sound recordings have been playing an important role in the process of their culture revival and regaining the ethnic identity. <br><span> This paper aims to relate, and reflect upon a story about the long-term collaboration between the author and the Bunun Culture Association; how we have developed an experimental creating acts sponsored by and collaborating with National Chinese Orchestra, Taiwan, and eventually came out with an epic-style music theatre <i>Crossing Ridges</i> – <i>Appreciating the Music Story of Bunun</i> (premiered in 2019); and also how a total of more than two hundred historical sound recordings of Bunun ethnic group collected during 1940s-2010s have been brought to a new existence via the way of composition and performance. <br></span><span><br>Keywords: Bunun Cultural Association in Xinyi Township of Nantou County; National Chinese Orchestra, Taiwan; Bunun historical sound recordings; music theatre <i>Crossing Ridges – Appreciating the Music Story of Bunun; </i>Ontology</span><div><br><span> 在當代臺灣的後殖民社會中，原住民社群、政府主管機構和學術界各自投注不少努力來搶救這塊土地上原本多元鮮活的原住民文化，此巨大消亡乃是起因於17世紀以來接踵而至的殖民統治。在上述所有努力中，原住民部落自主發起的文化復振行動，有時藉由學者和政府機構的共同努力會被強化且加速發展，但有時則不然，甚至適得其反。但無論如何，歷史視聽檔案經常在傳習過程中扮演著核心角色。<br> 有關運用視聽檔案協助傳習方面，近幾十年來的一個典型案例為「南投縣信義鄉布農文化協會」的保護工作。除了依據仍保有歷史記憶之少數耆老的口述來嘗試恢復或重建傳統歌唱、器樂演奏甚至祭儀形式，在他們的文化復興和重獲族群認同的過程中，歷史音樂檔案也一直發揮著重要作用。<br> 本文旨在敘述並反思有關作者與布農文化協會之間的長期合作故事；我們如何在國立臺灣國樂團的支持並與之合作下，發展出一個實驗性的創作行動，最終推出一部史詩風格的音樂劇場《越嶺—聆聽布農的音樂故事》（首演於2019年）；以及一批1940至2010年間所採集、共超過兩百首的布農族歷史聲音檔案是如何透過創作及表演而被帶入另一個新的存在。<br><br>關鍵字：南投縣信義鄉布農文化協會；國立臺灣國樂團；布農族歷史聲音檔案；《越嶺—聆聽布農的音樂故事》；本體論<div><br></div></span></div></span></div></span>",
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"desc": "<span><b>Amiel Kim Q. Capitan (Philippine Women’s University) <br></b>Amiel is an Assistant Professor at the Philippine Women’s University School of Music. As a music educator, he works on developing materials for classroom use based on Philippine indigenous music. He has presented at the ICTM Study Group on the Performing Arts of Southeast Asia and the Asia-Pacific Symposium on Music Education Research. He has a BS in Music Education from the Philippine Normal University and an MA in Ethnomusicology at the Philippine Women’s University. He has a certificate in teaching Kodaly from the Philippine Kodaly Society. <br><b>Amiel Kim Q. Capitan（菲律賓女子大學）<br></b>Amiel是菲律賓女子大學音樂學院的助理教授，作為一位音樂教育者，他致力於開發菲律賓本土音樂的上課教材。並且曾在ICTM東南亞表演藝術研究小組和亞太音樂教育研究研討會上演講。他在菲律賓師範大學取得音樂教育學士學位；在菲律賓女子大學取得民族音樂學碩士學位，並且擁有菲律賓Kodaly學會頒發的Kodaly教學證書。<br><br><b>Celeste M. Romulo (Philippine Women’s University) <br></b>Celeste is an Associate Professor in Music Education at the Philippine Women’s University. She is a frequent resource person/ lecturer in teachers’ seminars and workshops for elementary and high school teachers in different regions in the Philippines. She has presented at the Asia-Pacific Symposium for Music Education Research (APSMER) and at the International Society for Music Education (ISME) World Conference. She continues to engage in research on the traditional cultural practices of Marinduque with the aim of developing classroom materials from these. Celeste finished her graduate degree in Music Education at the Centro Escolar University. <br><b>Celeste M. Romulo（菲律賓女子大學）<br></b>Celeste在菲律賓女子大學音樂教育系擔任副教授，她經常於菲律賓不同地區的中小學擔任講師，亦曾在亞太音樂教育研討會（APSMER）和國際音樂教育學會（ISME）上演講。她持續研究Marinduque傳統文化並致力於開發上課教材。她在菲律賓中央大學完成音樂教育的碩士學位。<br><br><b>Earl Clarence L. Jimenez, PhD (Philippine Women’s University) <br></b>Dr. Jimenez has participated in research projects among different ethnolinguistic groups in the Philippines, most notably among the Tboli of Lake Sebu, South Cotabato. He has presented at the ICTM Study Group on Music Instruments, the Asia-Pacific Symposium on Music Education Research (APSMER), and the Philippine Studies Conference. He has likewise published his papers. His research interests include organology, sound archiving, acoustemology of religion, music and the body, and ethnomusicology and music education. Earl finished his PhD and MA in Ethnomusicology at the Philippine Women’s University where he is also Associate Professor at the School of Music. <br><b>Earl Clarence L. Jimenez博士（菲律賓女子大學）<br></b>Jimenez博士曾參與過菲律賓不同民族音樂團體的研究，其中最受矚目的是關於是南哥達巴托省塞布胡地區特的波利人之研究。他曾在ICTM研究小組，亞太音樂教育研討會，及菲律賓研討會上演講，並發表論文。他的研究興趣包含樂器學、聲音歸存、音樂與身體的宗教聲響意義學、民族音樂學及音樂教育。他早期在菲律賓女子大學完成民族音樂學的碩士與博士學位，現今在此大學擔任副教授。<br><br><b>Lilymae Franco Montano (Philippine Women’s University)</b> <br>Lilymae is a PhD candidate in Music major in Ethnomusicology at the Philippine Women’s University School of Music where she is an Associate Professor. She finished her Master's degree in Musicology in 2008 in the University of the Philippines. She has done extensive research and presented her papers about the music culture of the Ifugaos in Banaue for ICTM (Singapore 2010) and (Manila 2012); Philippine Studies Conference (2014); and Cordillera Studies International Conference (2017). She also presented her dissertation and was awarded a grant by the National Commission on Culture and Arts in 2018-2019. <br><b>Lilymae Franco Montano（菲律賓女子大學）<br></b>Lilymae is是菲律賓女子大學民族音樂學的的博士候選人，同時具有該校副教授的身分。她於2008年取得菲律賓女子大學音樂學系的碩士學位。她的研究範疇廣泛，並曾於ICTM（新加坡2010、馬尼拉2012），菲律賓研討會（2014）和科迪勒拉國際研討會（2017）上發表有關巴拿威地區伊富高人的音樂文化之論文。她發表的論文，曾在2018至2019年獲得國家文化藝術委員會的計畫經費。<div><br></div></span>",
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"title": "Sustainability through Changing Musical Expressions: Case Studies from the Philippines 透過改變音樂表現來實踐永續性──來自菲律賓的案例研究 ",
"desc": "<span> Indigenous communities of the Philippines inhabit the intersection of two social and cultural worlds—that of their own space and the larger external world. Cognizant that their world has forever changed and will continue to do so, communities are confronting their own traditions, negotiating among themselves and with the social forces around them in order to sustain their traditions. The result is tradition as a process of creative transformation (Bakan 2007). This panel looks at four case studies in which indigenous communities have reconfigured particular musical practices to assure its sustainability in the future. In the process of transformation, issues of compatibility of the old and the new, the appropriation of modern elements, and the invention of new tradition are negotiated as new epistemologies and ontologies are constructed. Amiel Kim Capitan scrutinizes a Negrito choral group in Bataan who de-marginalize themselves through popular music. Celeste Romulo’s project transforming the putong of Marinduque demonstrates how tradition can be made meaningful with the Gen Z generation when constructed within their experiences. Earl Clarence Jimenez’s work on cultural memory among the Calamianes Tagbanua shows an unconventional way of harvesting ethnographic musical data from which he discovers how the youth can seamlessly weave the modern and the traditional together through sablay singing. Lilymae Montano takes on the transformation of the Imbayah Festival from a public display of wealth of the elite class to a public festival integrated into the lives of ordinary Ifugao showcasing adaptations in musical cultures reflective of social changes.(Please see the abstract of the individual papers below)<div><br><span> 菲律賓原住民族生活在兩種不同社會和文化的交界處——他們自已的空間及外面的世界。意識到他們的世界不再一樣而且會持續改變，所以他們回過頭正視自己的傳統，並且與外面的社會持續做協調以延續自身傳統，其結果，將其傳統成為創造性轉變的過程（Bakan 2007）。我們的小組研究了四個案例，其中原住民社區重新定義了特定的音樂形式，以確保其未來的延續性。在轉型的過程中，兼容並蓄，且加入現代要素的適用性，以及新傳統的發明，建構了新的本體論和認識論。Amiel Kim Capitan觀察了在巴丹的矮黑人合唱團體，其透過流行音樂消除被邊緣化的狀況。Celeste Romul的馬林杜克人之Putong儀式轉變計畫，根據他們的經歷，在Z世代中保留傳統的重要性。Earl Clarence Jimenez針對卡拉棉群島的Tagbanua族歷史記憶的研究呈現了一份非常規的音樂民族誌資料，他發現年輕人如何能夠以sablay演唱來將現代與傳統毫無接縫地做連結。Lilymae Montano觀察到Imbayah 節慶的改變，從公開宣示菁英階級的財富，轉變為能融入一般伊富高人的大眾慶典，展現音樂文化的適應反應著社會的變遷。<div><br></div></span></div></span>",
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"title": "Paper # 1:Koro Bangkal Magbikin: The Voice of the Ayta Magbukun Today Koro Bangkal Magbikin：現代Ayta Magbukun的聲音",
"desc": "<span><b>Amiel Kim Q. Capitan (Philippine Women’s University)</b><div><br><span> In 2008, a choir composed of some twenty to twenty-five young indigenous Ayta Magbukun people of the Bangkal community were established and called the “Koro Bangkal Magbikin.” Since then, the choir has often been invited to perform in government-sponsored activities and a few private functions in the province becoming instant music celebrities and attractions as they perform choral covers of local and international hit songs. Following their performance for Southeast Asian leaders during the 2018 ASEAN summit in Manila, the choir garnered multiple media exposures most notable of which was a short documentary feature and a live performance of the Koro aired over a popular television noontime show. Despite the success of the group, some of the Ayta community members criticize the performance repertoire due to its non-inclusion of Ayta Magbukun folksongs and other traditional vocal genres. I look at issues that the performance of the choir has generated within the community and among the members themselves. I examine how it affects young people’s perception of their own music and its impact on its vitality and continuity. I discuss how a sense of Ayta Magbukun aesthetics are embedded in performance practices which can be seen as new expressions of their indigeneity thereby allowing for a continuity of Ayta Magbukun social and cultural identity, albeit reconfigured. This pioneering concept of an all-indigenous choir with unique performance practices therefore gives them particularity among the other groups of Negritos while gaining social recognition from the general public, conditions valued by the Ayta.<div><br><span> 2008年，一群20到25歲的Bangkal原住民族Ayta Magbukun人組成了一個合唱團體成立，被稱之為 “Koro Bangkal Magbikin”。自此，這個合唱團體經常被邀約參與由政府贊助的活動，一些出席過的私人場所也成為當地的知名景點。而在2018年馬尼拉東盟峰會上演出後，該合唱團體被許多媒體報導，其中最引人注目的是一部簡短的紀錄片，以及在流行午間電視節目播出的Koro現場表演。儘管如此成功，部分Ayta社區成員卻批評其表演曲目中缺少了Ayta Magbukun的民俗歌曲與其他傳統演唱類型。我關注的議題是該合唱團已在社區內部及自身成員之間的造成改變，我檢視它如何影響年輕人對自己音樂的認知及其衝擊下所產生的活力與持續性。我討論Ayta Magbukun美學是如何深植於這類被認為是其原住民性之新表現的表演實踐，並從而鼓勵了Ayta Magbukun社會與文化認同的延續。然而仍將的傳統文化得以延續，儘管已經過重新組合。因此，這個具有獨特表演形式、清一色由原住民所組成得合唱團體之前鋒概念，在矮黑人中顯得獨樹一格並獲得社會大眾的認可 -- 而這是Ayta人所看重的條件。<div><br></div></span></div></span></div></span>",
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"title": "Paper #2: The Putong’s Transformational Journey Putong的轉化之旅",
"desc": "<span><b>Celeste M. Romulo (Philippine Women’s University)</b><div><br><span>The putong is a traditional religious practice in the island of Marinduque in central Philippines wherein the celebrant of any occasion is crowned like a king or a queen in a simple ceremony accompanied by singing and dancing. Originally, meant as a performed prayer, the ceremony expresses thanksgiving to God for all the blessings the crowned person has received. The tradition has since evolved into a cheerful welcome ritual offered to first time visitors to the island as a unique experience reflective of the people’s hospitality. In the past few years, the putong has gradually been taken hold of by a youthful generation of practitioners keen to explore the future direction of the age-old practice. Central to this are locally-initiated programs that encouraged the current generation to explore traditional putong musical practices using popular music styles and techniques. I map out of the transformation process of the putong from a religious ritual associated with the elderly to a more modern one reconstituted by the current generation within the habitus of their own conceptions about tradition and its location within their own domains of experience and everyday life. I aim to demonstrate how the youth can actively engage and own traditional practices by making them active mediators of change and allowing them to space to position their own musical tastes while acknowledging and maintaining less flexible elements of tradition.In this way, they become true stakeholders of the endurance of the putong.<div><br><span>Putong是一個在菲律賓中部Marinduque島的宗教儀式，其中，主持者會在一個由歌唱舞蹈伴奏的簡單儀式中，如同國王和皇后般被加冕。其原意是為了被加冕者所得到的所有祝福表達對神的感謝。這項傳統後來演變成對首次造訪島嶼來客的歡迎儀式，反映出他們熱情好客的性格。過去幾年，Putong儀式逐漸由新一代的年輕人掌權，他們傾向尋求這個古老儀式的未來方向，其核心是一系列本地發起的計畫，鼓勵年輕世代將傳統的Putong儀式以流行音樂風格和技術來呈現。我歸納出Putong從一個結合年長者的宗教儀式，到年輕世代依據自身的傳統認知並將其落實於生活經驗和日常範疇而重構的新儀式，其間的轉變過程。我的目的是藉此展示出年輕人如何透過成為變革的積極調解者，以及尋找抒發自己音樂品味的發展空間又同時能認知並保存傳統較不具彈性的元素，進而主動參與並擁抱傳統。如此一來，年輕人便成為了傳承Putong文化中的真正利益關係者。<br></span></div></span></div></span>"
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"title": "Paper #3: Tagbanua Got Talent: Expressing Change and Continuity in the Sablay Tagbanua人具有天賦 : 透過Sablay歌唱表現改變與延續性",
"desc": "<span><b>Earl Clarence L. Jimenez (Philippine Women’s University)</b><div><br><span> One of the challenges facing the Tagbanua community in Calauit island, Palawan, is the disengagement of the youth with their own traditions. Being relatively undocumented compared to their counterparts in the Palawan mainland, community elders have partnered with the Philippine Women’s University and the Samdhana Institute in getting the youth involved in knowing and documenting their own culture, identifying six domains of knowledge one of which is music and dance. The result is a series of workshops on cultural memory through a program called Edukasyon Mulasa Kalooban (Education from the Inside). This paper reflects on the unconventional ways by which ethnographies through these workshops were shaped in order to bypass the community’s previous mistrust for researchers and research and, more importantly, to get the youth actively involved in it. Of equal value to the process of data collection was the reflexivity of it in which the participants made sense of their own culture and their ontologies. I show how the youth, made aware of the need to retain aspects of their culture, have recognized ways to confluent these with those of the outside world which finds expression in the singing of the sablay, a song used for a variety of purposes. By seamlessly weaving their desire for popular music in the traditional practices and elements of the vocal form, the Tagbanua youth themselves show how change is the key to the continuity of tradition and their participation as agents of it.<div><br><span> 年輕人漸漸脫離傳統，是在巴拉望的卡拉伊特島上Tagbanua族群所面臨的挑戰之一。與同樣在巴拉望大陸的其他族群相較，該族留存的紀錄明顯較少，於是年長者們與菲律賓女子大學及薩姆達哈納研究所合作，使年輕人能夠參與且紀錄自身的文化。在六項傳統領域中的一項，便是音樂和舞蹈。其最終成果是經由一個稱作Edukasyon Mula sa Kalooban（內部教育）的計畫，舉辦了一系列關於文化記憶的工作坊。本文反思這些非常規的方式；透過這些工作坊而建構民族誌以規避該族群先前對此研究及研究者的不信任；更重要的，使年輕人積極一同參與。與資料收集過程具有同等價值的是其反身效應，它使參與者認知到自身的文化和本體價值。我將展示這些年輕人是如何意識到保留自身文化的必要性，而同時發展出與外面文化的匯流方式，以一首多用途的歌曲——Sablay來表達。透過無縫接軌地結合他們對流行音樂的渴望、傳統實踐以及歌樂形式要素，來激起他們對流行音樂的好奇心，Tagbanua的年輕人展現出「變化」(change)是如何作為傳統延續的核心，以及他們的參與在其中所扮演的關鍵角色。<div><br></div></span></div></span></div></span>",
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"title": "Paper # 4: Festivalization: The Formation of Ifugao Society and Its Music Transformation 節日化－Ifugao社會的成形及其音樂轉化",
"desc": "<span><b>Lilymae Franco-Montano (Philippine Women’s University)</b><div><br><span> The integration of the American politico-cultural system in the lives of the Ifugao people since the early twentieth century has had a huge impact in the present music- cultural soundscape. Using the cañao, a grandiose feast that entails a ritualistic sacrifice of pigs, the recitation of prayers to deities and gods, and gong-music and dancing, as a mechanism for uniting the villages into a single political unit, Dean Worchester, Secretary of Interior of the Commission Government from 1901-1913, transformed the village form of the feast into a grand community festivity participated in by several villages. This allowed for more efficient assimilation of American influences in the cultural lives of the locals. In 1979, the concept of the cañao as a festival was again revived by John Chua, a Filipino-Chinese photographer smitten with the grandeur of the Banaue Rice Terraces and its people. Spearheaded the community festival named “Imbayah Festival” in Banaue in which native gong music is featured alongside Western country music, a genre adapted by the Ifugaos from the Americans. Through the years, the festival has undergone transformations and has likewise become a magnet for local and international tourists eager to experience Ifugao culture. Proud of their culture and heritage, changes in the presentation of the festival and its contents are not without its issues not least among them the re- contextualization of certain rituals and ceremonies, and the introduction of newer musical practices such as the singing of cowboy songs. In examining these issues, I argue how the continuity of culture is a process of negotiation between the locals and their changing society and culture in which adaption is a key process in bringing Ifugao culture into the 21st century as it confronts modern life and mass tourism.<div><br> 自20世紀以來，美國政治文化體系的融合對伊富高人的音樂表現文化產生巨大的影響。透過cañao，這個包含獻豬、祭祀神靈、誦經和歌舞的盛事，各村落會集結而成一個政治體，直到1901-1913年開始擔任委員會政府職務的內政大臣迪恩·沃徹斯特，將村落的祭典轉變為數個村莊共襄盛的節日，這使當地文化生活更加速地受到美國的影響。1979年，菲律賓籍的華裔攝影師John Chua迷上了宏偉的巴拿威梯田及當地人民，他以節慶的方式使cañao的概念再次復興起來，他在巴拿威地區率先舉辦了名為「Imbayah」的盛典，一同演奏本地鑼樂與西方鄉村音樂，這是由自美國返回的伊富高人所發展出的樂種。多年來，這個節慶經歷了變革，同時吸引當地與世界各國的遊客前來參觀伊富高文化。他們以自己的文化與遺產為傲，而當中的特定儀式經過重新語境化後成為嶄新的表現形式，如演唱牛仔歌曲。在研究這些議題時，我指出文化的延續是如何成為在地傳統與變動的社會和文化間的交涉過程——其中，「適應性(adaptation) 是將伊富高文化在面臨現代生活與大眾之際帶進21世紀的關鍵過程。</div><div><br></div></span></div></span>",
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