CONCERT
CONCERT
2022/07/11
2022/10/29
<b><br>Taiwan Indigenous Music and Dance 臺灣原住民樂舞饗宴</b>
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"title": "Bunun Cultural Association in Xinyi Township of Nantou County “Voice of Lileh”: Bunun Polyphonic Singing南投縣信義鄉布農文化協會「Lileh之聲」:布農族複音歌唱 ",
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"desc": "<div>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.</div><div><br>\"Lileh” refers to Chinese silver grass in the Bunun language, which is a common plant used</div><div>by indigenous Bunun communities. Lileh is also the old name of a Bunun tribe in Ming-de Village of Xinyi Township. The group adopted the name to express the vitality of silver grass.</div><div><br>\"Sound to Heaven - Lileh of Bunun Tribe” is a chorus group dedicated to preserving the</div><div>Bunun's oral tradition of an eight-part polyphony known as pasibutbut. Without flamboyant</div><div>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.</div><div><br><div>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」。</div><div><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。</div><div><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。</div><br><br></div>",
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"title": "Chu-Yin Cultural and Arts Troupe: Amis Polyphonic Singing 杵音文化藝術團：阿美族馬蘭部落複音歌唱",
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"desc": "<div><span>Amis polyphonic songs, transmitted by Falangaw village, Taitung <img width=\"440\" alt=\"\" src=\"https://lh5.googleusercontent.com/wtlP5Jvlr7f9dZXdrUtwMzjo9NH0PEhIqLOben9AtA1BBE3trioOmHQ26eAHZBBZTOOjCsP5mrA40EeIgabxYD5qYR-ZSUXFl4lABorsrJCEkR8WFEVAwqpJHtu3GHy1mYGPm8ZhMF8pF7nEtrrZGg\" height=\"291\"><br><br>There are 16 indigenous ethnic groups officially acclaimed by the Taiwan authorities with moderately more than two percent of Taiwan’s population and the Amis is the largest one with a population of approximately 216,747 (February 2022), scattered through the southeastern coast of Taiwan. The social organization of the Amis is dominated by kin organizations of matrilineal heirs. Traditionally, the hostess decides all matters in the home, and tribal political activities, fishing, and construction are men’s jobs.Among all the Amis music and dance, the polyphonic songs circulated in the Falangaw village, located in Taitung city, are the most well-known by the world. Due to the population expansion, immigration of Han people and the expansion of the city, the Falangaw Amis as well as their polyphonic singing spread to the neighbor villages. Therefore, in the so-called “pan-Falangaw area,” people share the same culture and music. In 1996, a copyright infringement event related to Falangaw polyphonic singing occurred, which is, the audio archive of Mr. and Mrs. Kuo Ying-nan (Difang Duana) from Falangaw were applied by the band Enigma in their creation for the Atlanta Olympics promotional video Return to Innocence without authorization. Ironically, this upsetting event caused a world-wide attention to the beauty of Falangaw polyphonic singing. In this unique type of polyphonic singing, usually two or more people forms the ensemble group. One is the leading singers and the rest is follower singers. The leading singer starts the singing with the main melody with improvised lyrics, and then the follower singers join at certain point with one or more highly embellished counter-melody, which is called \"ikung\" (meaning, bending) by the Falangaw Amis, to correspond the main melody while the musical emotions are enhanced at the same time. Both main and counter-melodies are based on the same skeletal melody but performed in various way, thus forming a polyphonic texture and an extremely ornamental singing style. <br><br><br><br><br><br><br>臺東縣阿美族馬蘭複音歌謠在台灣原住民族中，阿美族的社會組織有別於其他族群，以母系繼嗣的親屬組織為主，一旦有孩子出生，他即與母親同屬一個家族、宗族與氏族。傳統上，家裡的大小事情均由女主人作決定，而部落性的政治活動或捕魚、建築才是男子的工作。在阿美族的所有方言群中，中部的海岸阿美與南部的卑南阿美在音樂上最為人所注目。早在黑澤隆朝1943年的音樂普查中，就提出海岸阿美（田埔社）具節奏感的豐年祭歌舞以及卑南阿美（馬蘭社）的複音歌唱，在音樂上的突出性。阿美族馬蘭複音歌謠，學界稱為「對位式複音歌唱」(Counterpoint style of polyphonic singing)，1996年經亞特蘭大奧運會的宣傳短片傳播全球；吟唱時最少需要2名或2名以上的壯年族人，領唱與隨唱者發揮技巧去變換旋律即興填詞；阿美族複音歌謠以臺東馬蘭一帶的傳唱為主要代表。在其獨特的「彎曲」(’ikung) 歌唱技巧中，歌者依據相同的骨幹旋律，即興加入饒富裝飾性的對應旋律，因而形成複音歌唱的現象。此技巧的運用，形成了南部阿美族複音歌唱的花腔競逐風格。<br><br></span></div>",
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"title": " Shui-Neng Xie, Wei-hong Zheng, Han-yue Sun: Paiwan Nose Flute Lalingdan & Mouth Flute Pakulalu Playing 謝水能、鄭偉宏、孫漢曄：排灣族鼻笛Lalingdan與口笛Pakulalu演奏",
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"desc": "<span>According to Official Document Pingfu Literature and Art No. 0990159236 issued on June. 30th, 2010, the Pingtung County Government announced Mr. Shui-neng Xie was added as the cultural bearer of the traditional art of Pingtung County “Paiwan Mouth-Flute and Nose-Flute,” and Shui-neng Xie officially became the County Art Master.<span>In March of 2011, Shui-neng Xie was selected as the artist in residence for the 3rd Aboriginal Artists Residency Program of the Indigenous Peoples Committee of the Executive Yuan. September 14th, 2011, he was selected as the \"Important Preserver of Traditional Art\" (commonly known as the Worldly National Treasure) designated by the Cultural Development Council of the Year 2011, and County Mayor Cao issued souvenirs in recognition of his achievements.<br></span><br><b>Paiwan Round-hole Double-pipe Nose Flute & Lalingdan Mouth Flute Advanced Art Apprentice -- Dremaljig Paqalius (Wei-hong Zheng), Cugagang Pacekelj (Han-yue Sun)<br></b><br><span><b>Dremaljig Paqalius (Wei-hong Zheng)</b>, an Art Apprentice, has been following the Art Master Shui-neng Xie for five years, taking the transmission courses and then advanced transmission courses since 2012, and has been following the art master for the promotion, observation and performance from time to time. During the five years of transmission project, although having a job for living, he not only participates in the art apprenticeship, but also the promotion teachings with the art master industriously. Although the process of learning was hard, his love for the nose flute and his sense of mission has never been reduced. In 2017, he was awarded the honor of a Paiwan double-pipe mouth and nose flute graduate by the Ministry of Culture, and his skills were affirmed.</span><br><br><span><b>Cugagang Pacekelj (Han-yue Sun) </b>started to have contact with the nose flute due to the promotion courses in elementary schools. He began to learn from master Shui-neng Xie since the fifth grade and has always maintained a strong love for the nose flute. Since 2012, he took a five-year apprenticeship from Art Master Shui-neng Xie, including basic transmitting courses and advanced courses. When participating in the transmitting project, he was the youngest of all the traditional art apprentices. The process of transmitting courses was rigorous and the apprentice had to be evaluated twice each year. In 2017, Han-yue Sun was awarded the honor of being a Paiwan double-pipe mouth and nose flute graduate by the Ministry of Culture.<br></span><br><b>The Cultural Background and Musical Art of </b><b>Paiwan Round-hole Double-pipe Nose Flute Lalingdan & Mouth Flute <i>Pakulalu</i></b><br><span>The Paiwan double-pipe nosed flute Lalingdan is derived from the hundred-step- snake “kamavanan”, who is said to be the guardian god of the Piyuma tribe. According to the legend, kamavanan symbolizes rich-harvest and prosperity. Every year, the villagers of the tribe look forward to the direction where the kamavanan will make a sound this year. The sound of the kamavanan represents whether the tribe’s life is smooth and stable this year and the products are abundant. In the life style of ancient tribes, the more children they had, the more abundant they were. Because the ancestors made their living mainly by agriculture and hunting, the prosperity of the population brought more manpower, so they believed that kamavanan would bring the tribe a harvest year after year.<br><br> </span><span>According to legend, in ancient times, a young man from the Piyuma tribe found that kamavanan came out of the bamboo forest, so he picked up the bamboo in the bamboo forest and tried to imitate its sound, but there was no sound after trying and trying again. He bowed his head in disappointment and sighed, and sighed inadvertently into the bamboo pipe. However, beyond his expectation, the bamboo to make a sound! He found the sound of kamavanan came from his nose, so he imitated its sound with his nose raising high and moving left and right... From that day on, he began to use bamboo to search and imitate the sound of kamavanan again and again. He hopes to hear the sound of kamavanan frequently, because it represents the blessing of kamavanan guardian god to the tribe and villagers.<br></span><br>The double-pipe nose flute consists of two bamboo tubes, one is a fingerless hole and the other with finger holes. The fingerless tube represents the voice of the gods, called \"zemengzer\", the sound of praise, while the one with finger holes represents the voice of young people, called \"cemikecekn\", the sound of weaving. The nose flutes with carvings are musical instruments used by nobles, and those without carvings are musical instruments used by civilians. In this way, the tradition of the double-pipe nose flute playing has been passed down from generation to generation in the Piyuma tribe, until this day.<br><span><br>The single-pipe flute of the Paiwan tribe is called pakulalu. In Paiwan traditional culture, it was a tool often carried by warriors. It was used as a signal for clashes between tribes, foreign invasions, or the success of head-hunting of the enemy. Due to social changes, the relationship between tribes has become peaceful, so in modern times the mouth flute has become the favorite instrument of tribes in their leisure time. The single-pipe mouth flute is different from the polyphonic presentation of the double-pipe nose flute. The organization of six-finger hole makes the melodic expression wider, and therefore are favored by young people a lot.</span></span><span> <br><br>奉屏東縣政府2010年6月30日屏府文藝字第0990159236號函，公告增列謝水能先生為屏東縣傳統藝術--排灣族口鼻笛保存者，謝水能正式成為本縣藝師。2011年3月，謝水能被遴選為行政院原住民族委員會第三屆原住民藝術工作者駐村計畫音樂表演類之駐村藝術家。2011年9月14日入選民國100年度文建會指定的「重要傳統藝術保存者」（即俗稱的人間國寶），曹縣長頒發紀念品表彰其成就。<br><br>排灣族雙管鼻笛<i>Lalingdan</i>源自於百步蛇(kamavanan)，它是Piyuma部落的守護神。傳說中，百步蛇是代表物產豐富、多產的神明，每年部落村民期待百步蛇今年發出聲音的位置，百步蛇的聲音代表今年部落是否生活平順穩定、物產豐盛。在古早部落的生活型態中，生越多孩子代表越豐盛，因先祖以農業、狩獵為主，人丁興旺帶來更多的人力，因此他們相信百步蛇必帶給部落年年的豐收。<br><br><b>排灣族雙管圓孔雙管口、鼻笛保存者進階藝生-鄭偉宏 孫漢曄</b><br> 鄭偉宏藝生自2012年起，隨謝水能藝師進行五年的傳習計畫課程與進階傳習課程，並不定期的跟隨藝師推廣、觀摩演出。五年傳習課程與進階課程，鄭偉宏藝生雖有職在身，不但參與習藝也隨藝師推廣教學，非常認真。學藝過程雖然辛苦，但他絲毫不減對於鼻笛的喜愛與傳承的使命感。2017年獲得文化部頒佈為排灣族雙管口、鼻笛結業藝生的榮譽，技藝受到肯定。<br><br> 孫漢曄因國小推廣課程學習，開始與鼻笛有所接觸，並從五年級開始師承謝水能老師，學習迄今，始終對鼻笛保持濃厚熱愛。自2012年起，隨謝水能藝師進行五年傳習課程與進階課程。參與傳習時，他是傳統習藝生中年齡最輕的。傳習技藝的過程嚴謹，每年傳習的課程安排有二次的評鑑，在2017年獲得文化部頒佈為排灣族雙管口、鼻笛結業藝生的殊榮。<span> <br></span> <br><b>排灣族圓孔雙管鼻笛的文化背景和音樂藝術<br></b> 相傳遠古時Piyuma部落的一位年輕人，他發現百步蛇從竹林中走出來，於是他在竹子林中拿起竹子來試著模仿百步蛇的聲音，但試了又試仍然沒有聲音，他失望地低下頭嘆了一口氣，嘆息不經意地注入到竹管裡，沒想到竹子竟然能夠發出聲音！他發現百步蛇聲音從鼻子發出來，於是他模仿百步蛇的鼻子抬得高高的，動作左右移動…。從那天起他開始用竹子一次、又一次地尋找、模仿百步蛇所發出來的聲音。他希望能夠常常聽到百步蛇的聲音，因為百步蛇的聲音代表著百步蛇神明對部落、村民的祝福。<br> 雙管鼻笛是由二根竹管組成，一個是無指孔、一個是有指孔。無指孔的代表神明的聲音，被稱為“zemengzer”，讚美的聲音，有指孔的代表年青人的聲音，被稱為“cemikecekn”，編織的聲音。而有刻雕紋者為貴族所使用的樂器，沒有雕紋則為平民所使用的樂器，就這樣傳於Piyuma部落的世世代代，一直到今天。<br> 排灣族的單管口笛稱作<i>pakulalu</i>，在過去的排灣族傳統文化中是勇士手中常持有的器具，作為部落與部落發生衝突、外侮入侵、或獵到敵人首級時的暗號。因著社會的變遷，部落與部落之間的關係化暗為明，因此口笛在近代已成為部落族人閒暇時最喜歡吹奏的樂器。單管口笛有別於雙管鼻笛複音音樂的呈現，六個指孔的型制，使得旋律的表現空間更寬廣，年輕人非常喜愛吹奏。<div><br></div></span>",
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"desc": "<div><div><span> Lmuhuw is the crystallization of Atayal language, which presents the desired message in a symbolic and metaphorical manner in various occasions such as meetings, negotiations, marriage proposals, marriages, ancestral sacrifices, and friends gathering. The ethnic history, habits and ecological environment of the Atayal are passed on through the Lmuhuw. Amongst, the Msgamil epic chanting retaining ethnic identities such as ethnic origin, ethnic migration, ancestral legacy, stands the essence of the Atayal’s traditional wisdom. <br> Watan Tanga (Ming-fu Lin) is one of the few elders in the Msbtunux dialect group of who can perform Lmuhuw. He is also familiar with the manufacturing and playing of the Atayal traditional instruments, such as the head-hunting flute and the Jew's harp.<div><br><span> Lmuhuw是泰雅族語言智慧的結晶，係以口說或吟唱的方式，在開會、談判、提親、結婚、祖靈祭、交誼等各種場合，將所欲傳遞的訊息以象徵、比喻的手法呈現。泰雅族的族群歷史、慣習與生態環境乃是透過Lmuhuw而傳承下來，其中尤以Msgamil 史詩吟唱保留了族群起源、族群遷徙、祖先遺訓等族群認同要素，具高度文化資產價值。 \t<span> <br> Watan Tanga（林明福）是大嵙崁群(Msbtunux dialect group)少數還能吟唱Lmuhuw的耆老，其Msgamil史詩吟唱更為Lmuhuw精髓。他亦熟稔泰雅傳統樂器縱笛、口簧琴的製作及吹奏，為族群保留傳統技藝與文化，且戮力傳承。</span></span><span><br><br></span></div></span></div></div>",
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"desc": "<span>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.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.<div><span>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。今日，在蘭嶼與世界接軌的半世紀後，傳統歌曲也受到台灣原住民，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></div></span>",
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"desc": "<span>Taking pairairaw (the chant of the Great Hunting Ritual), tremilratilraw (the skipping dance) and emayaayam (the chant of the gathering after weeding the millet field) as examples, I describe characteristics of Pinuyumayan traditional music, and discuss how Pinuyumayan people create, express and convey cultural meanings in their musicking. The term “musicking” was coined by the musicologists Christopher Small, who considered “music” a verb, rather than a noun. He pointed out: “To music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practicing, by providing material for performance (what is called composing), or by dancing” (1998: 9). Adopting his idea of musicking, I describe the structure and content of musical examples in this lecture, and, by means of video clips and a live demonstration, explore how Pinuyumayan people perform these musical pieces in their musicking events.<br><br>Those who give the demonstration in this lecture are members of Pakawyan Study Group on Puyuma Language from Puyuma and Papulu villages. These two villages belong to Pinuyumayan group, one of the 16 Austronesian-speaking ethnic groups in Taiwan. All Pinuyumayan villages are located in Taitung County in southeast Taiwan—besides Puyuma and Papulu, the others are Danadanaw, Mulivulivuk, Alripay, Tamalrakaw, Likavung, Katratipulr, Kasavakan and Pinaski. Puyuma and Papula, both of which were established around 1930 after villagers moved out from the old Puyuma village, have close kin relationships and cultural affinity. Pakawyan Study Group on Puyuma Language was established in 2015, in memory of the late elder Gilrasay Pakawyan of the Pakawyan Family. Members of the Pakawyan Family, aware of the loss of traditional culture, voluntarily meet weekly to learn their mother tongue and traditional culture under the instruction of the Puyuma elder Akawyan Pakawyan and are actively involved in rituals and village events.\t<br><br>The examples presented here are chants and dances appeared in special occasions and celebrations, at the turn of seasons, or rites of passage in Puyuma and Papulu Villages. Different tunes used in these examples are based on the similar structure: parallelism in lyrics and call-and-response forms in singing. The couplets of these chants represent principles of parallelism, and by means of alliteration and synonymous words the couplets show unity and contrast both in form and content. In the chanting at the Great Hunting Ritual and the gathering after weeding the millet field, the “call” of the vocal part temgatega is followed by the “response” of the temubang part and supported by the dremiraung<span> part. Although the chant of the skipping dance is only sung by an elder, those who participate in the dancing respond to the elder’s “call” with body movements to form a special form of call and response between voice and body. Through collaborative singing and dancing, Pinuyumayan people explore, affirm, and celebrate relationships among participants again and again at musicking events. By so doing, they strengthen social solidarity within families and villages, and promote their ethnic identity.<br><br></span></span>\t本講座以卑南族傳統歌謠pairairaw (大獵祭祭歌)、tremilratilraw (跳躍之舞)及emayaayam (小米除草完工祭歌)為例，介紹卑南族傳統音樂特色，以及討論族人在「樂動」(musicking)中如何創造、展現及傳遞文化意義。「樂動」(musicking) 是音樂學者Christopher Small提出的概念，他將music視為動詞，而非名詞，指出：「樂動（to music）是在一個音樂表演中以任何身分參與其中，不管是表演、聆聽、彩排、練習、為表演提供材料（也就是作曲）或舞動」(1998: 9)。借用「樂動」的概念，本講座不僅介紹音樂曲例的結構與內容，更透過影片與現場示範，讓聽眾了解這些音樂如何實際運用在卑南族人祭儀與生活中。\t<br><br>擔任本講座示範的卑南族人為Pakawyan家族母語班成員，來自南王部落及寶桑部落Pakawyan家族。卑南族人居住於台東縣，分布在十個部落，即知本、建和、利嘉、泰安、下賓朗、阿里擺、初鹿、龍過脈、南王與寶桑。其中，南王與寶桑都是1930年左右由卑南舊社遷出後建立的部落，在親緣及文化上有很緊密的關係。Pakawyan家族母語班成立於2015年，為紀念已故家族長老林仁誠 (Gilrasay Pakawyan)，並有感於族群文化的快速流失，家族成員自發性地每週固定聚會一次，在南王部落耆老林清美老師 (Akawyan Pakawyan) 指導下，學習母語及傳統文化，並積極參與部落祭儀的吟唱與各類聚會活動的表演。本講座示範的曲例用於南王與寶桑部落慶賀場合、時序交替或生命階段的轉換之際。使用的曲調雖不同，但都建立在類似的結構上：在歌詞方面強調對偶，在音樂方面以不同的啟應 (call and response) 形式呈現。歌詞的對偶原則體現在每節兩句的詩歌上，以頭韻 (alliteration) 以及諧義的不同字詞鋪陳形式與內容的統一與對比。在大獵祭祭歌及小米除草完工祭歌的演唱中，藉由temgatega (提詞聲部)、temubang (回應聲部) 與dremiraung (和腔聲部) 的分工，呈現領唱與答唱間的啟應。跳躍之舞雖然只由一位長老吟唱，參與跳舞的族人卻藉著肢體動作的回應，形成吟唱與肢體間的特殊啟應關係。透過共歌共舞，族人在這些樂動行為中，一再地探索、肯認和讚頌參與者之間的人際關係，凝聚了家族與部落的向心力與族群認同。<br>",
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