消逝的祝禱－女巫文化採集計畫
Disappeared Prayer:
Searching for Shaman
計畫緣起 | Project Origin 2017 年，偶然與相識多年的 Conny 老師一起認識了位於花蓮 縣豐濱鄉的新社國小，與 Masa 主任開始討論生態教育，以及 部落的公民科學家願景。2019 年，藝術家謝思盈和美國藝術家 Givens Par，一起踏上尋找新社部落女巫文化的旅程。 In 2017, artist Iris and her long-time acquaintance Conny, a teacher, learned of the Sinshe Primary School, which is located in Fengbin Township, Hualien County. They opened a dialogue with Administrator Masa about ecological education as well as the tribal vision for cultivating civil scientists. In 2019, Iris was joined by American artist Givens Parr on a journey to explore the shamanic culture of the Sinshe tribe.
| 和新社部落的孩子相遇 Meet kids in Sinshe Primary School 新社國小位於台 11 線上，背山面海，這裡除了有豐富的海洋生態，更 有美麗的山林風景與生物，全校 29 名孩子以噶瑪蘭佔多數。豐富而美 麗的山海環境，孕育著獨特而特殊的平埔族噶瑪蘭文化，耆老與家長 既是農民也是漁民；除了噶瑪蘭語言教學之外，這裡更有全台獨一無 二的香蕉絲工藝和僅存的祭師成巫儀式 (kisaiz)。 Sitting in front of the mountains and facing the sea, Sinshe Primary school is located on Provincial Highway 11. The majority of the school’s 29 students are Kavalan. Fengbin not only boasts a seaside ecosystem but also the beautiful scenery and diverse wildlife of mountain forests. The lush mountain-sea environment has fostered the unique culture of the Kavalan plains indigenous group. Here, the Kavalan elders and heads-of-household are farmers as well as fishers. In addition to Kavalan-language education, this area is home to a one-ofa-kind banana-silk textile workshop. It is also the only site where Kavalan shamans perform the shamanic initiation ritual (kisaiz).
計畫構成 | Project Elements | 藝術家的駐地研究 The Artists’ On-site Research 藝術家進駐當地，與族人們共同生活，參與部落的生活和活動事務，進行深度交流。最 後邀請族人們共同創作文化繪本，連結地方知識與文化內涵，將女巫祭儀和泛靈信仰， 從藝術參與中探索與傳遞噶瑪蘭歷史文化。 The artists settled into the village. They participated in Sinshe tribal life and activities, and they pursued deep exchanges. Finally, they invited the tribespeople to join them in creating a picture book that would showcase local knowledge and culture, including shamanic ceremonies and pan-spiritual beliefs. Through the practice of participatory art, they hoped to record and transmit Kavalan history and culture.
| 部落文化傳承 Inheritance of Tribal Culture 噶瑪蘭族祭師文化，受到現代化、基督教進入與經濟影響逐漸消逝。藝術家們透過讓孩 子了解書寫創作、繪本構成，與長輩互動交流，嘗試串連傳說歌謠與圖畫，找回失落的 記憶，與族人一同守護噶瑪蘭的文化與認同。 Under the influences of modernization, the entrance of Christianity into tribal life, and economic forces, Kavalan shamanic culture has been gradually disappearing. The artists aimed to collaborate with the tribespeople to retrieve and preserve tribal memories, culture, and identity. To accomplish this goal, they led workshops on writing and storytelling with local children. They also facilitated interactions between the children and their elders, trying to draw connections between the content of these conversations and local legends, songs, and visual art.
計畫構成 | Project Elements | 人類學家的視野 The Anthropological Perspective 藝術家們進入部落進行田野調查，訪談地方耆老關於神話、食用植物、捕魚文化，以建 立噶瑪蘭祭師文化之全貌觀。透過與耆老的訪談，了解女巫的生平、祭祀和傳統禁忌， 蒐集歌謠、傳說，並輔以前人研究之紀錄片、文史資料，作為先備知識。 The artists arrived in the village and began preliminary field investigations. They interviewed the Sinshe elders about local mythology, edible plants, and fishing culture. They strove to form a complete picture of the establishment of Kavalan shamanic traditions. Through these discussions, they gained an understanding of the shamanic life path, including sacrificial rites and traditional ascetic practices. The artists also collected folk songs, legends, documentary films based on former research, and literary and historical materials in preparation for their project.
行動｜ Process 本創作計畫是一個活化的、流動性的、依地性的研究計畫呈現，藝術家作為田野中的 參與觀察者，進行深度訪談社區參與者、合作者和執行者三方，並討論其建立的「藝 術教育」、「藝術服務」、「社區藝術」及「社區培力」四項行動類型發展的行動論述。 The project plan was fluid, mobile, and research oriented. The artists established themselves as participant observers, conducting in-depth interviews and immersing themselves in local activities. Their actions were based on the three-pronged role of participation, collaboration, and action. In their work, the artists also continuously examined the theory and implementation of arts education, arts-based service, community arts, and community development. 藝術家將研究並蒐集相關文獻進行歸納討論，從地方角度出發，與社會大眾分享行動 經驗，在跨文化溝通中探求與地方共生的駐地模式，於參與的歷程中尋找藝術的實踐 意義，是為一場在地的藝術實踐。 The artists conducted preliminary research and gathered relevant documents to open their investigation, trying to work from the local perspective as a starting point. They shared every step of their action and experience with the people of Sinshe. Through cross-cultural exchange and their homestay in the village, they sought the meaning of art-in-practice, that is, site and context-specific art.
| 女巫文化繪本及動畫
Picture Book and Animation About Shamanic Culture
花蓮縣豐濱鄉的新社部落是保存噶瑪蘭女巫文化的重要地區，2019 年 1 月高齡 94 歲的主祭巫師潘烏吉阿嬤過世，使得部落的祭師文化保存及傳承更顯迫切與 重要。「女巫見習生」一片，由新社國小的孩子與阿嬤們共同創作，從訪談部 落耆老到演唱噶瑪蘭傳統歌謠，從自身文化構思故事內容到創作圖畫，最後經 錄製旁白和配樂並製作成動畫。
The Sinshe Tribe Village of Fengbin Township, Hualien County, is an important preservation site for Kavalan shamanic culture. In January of 2019, master shaman Pan Wuji passed away at 94 years old, increasing the urgency of efforts to document and protect the tribe’s ritual practices. The film “The Shaman’s Apprentice” was the result of creative collaboration between the children and female elders of Sinshe. Interviews with older members of the tribe, singing traditional Kavalan songs, personal story creation and picture drawing, and recording narrative and music were all part of the process culminating in this animated short. The plot of the film is summarized subsequently.
| 女巫見習生
The Apprentice Shaman
為了尋找治癒疾病的女巫阿嬤，星星 和亮亮姊妹二人一同經歷了冒險與學 習之旅，在現代文明衝擊和祖靈召 喚的矛盾中，星星最終踏上了巫師之 路，發揮自身的天賦，撫慰人心，服 務更多需要幫助的人們。
To find a legendary Kavalan shaman who can cure illnesses, sisters Xing Xing and Liang Liang embark together on a journey of risk and learning. Later, Xing Xing has the opportunity to become a shaman herself, and struggles with the conflicting messages from modern society and her ancestors about the choice. She eventually decides to follow the path to shamanhood, developing her talents so that more and more people can be helped and healed.
| 國際文化交流 International Cultural Communication 藝術家謝思盈邀請美國藝術家 Givens Par 共同加入藝術計畫，並一同進行駐地 研究，同時與新社國小進行教育合作，結合族語、音樂、美術課程，並嘗試融 入英語、美國文化的互動交流，從西方、漢文化中觀看噶瑪蘭部落之社會制度 及人際網絡。 Artist Irish Hsieh invited American artist Givens Parr to collaborate on this project. Together, they conducted on-site research and worked with the Sinshe Primary School to integrate Kavalan language, music, and fine arts classes, as well as English language and American cultural exchange. The artists brought Western and Han (Chinese) cultural perspectives to their exploration of the Kavalan social system and network.
藝術團隊 | Team members
協力 | Collaborators
謝思盈 Iris HSIEH/ 台灣藝術家 Artist, project organizer, Taiwan
王正雄 / 花蓮縣新社國小主任 Director at Sinshe Primary School
茶潔雯 Givens Parr/ 美國藝術家 Artist, project co-coordinator, US
Conny Cheng/ 教育部訪學教師 Ministry of Education case researcher and teacher
林玉妃 / 族語教師 Local collaborator, Kavalan language teacher, Taiwan
| 噶瑪蘭文化研究 Kavalan Cultural Research 噶瑪蘭族語早先並無文字，在西方殖民國家的傳教需求下，借用羅馬拼音系統， 成為書寫文字。族人們的母語，承載著噶瑪蘭的文化及生活方式，在海邊生態、 動植物的形容詞及名詞多樣性，反映原住民對於自然環境的高度敏感度。 Historically, the Kavalan language did not have a corresponding written system. To meet the needs of their work, missionaries from western colonial countries began using the Roman alphabet to transcribe Kavalan. The tribespeople’s mother tongue carries their culture and way of life. The abundance of Kavalan descriptive words for seaside ecology, plants, and animals reflect the sensitivity of the native people to the natural environment.
新社部落最後一位女祭師潘烏吉過世後，新社已無資深的祭師，故研究材料缺了 最重要的報導人，是故轉而從族語學習、文獻蒐集開始，採用前人研究之觀點， 分析歷年來噶瑪蘭女巫文化的發展。由於噶瑪蘭族人曾因與清朝之「加禮宛事 件」躲進阿美族部落，從宜蘭遷居至花蓮，故在女巫歷史上，對照阿美族的祭師 文化能找到深刻之關連性。 After Sinshe tribe’s last living shaman, Pan Wuji, passed away, the tribe lacked a shamanic authority. The present research was originally planned with Pan Wuji in mind as a critical source. After Ms. Pan’s passing, the project coordinators shifted their focus to studies of the Kavalan language and the collection of documents, building upon the findings of previous researchers to analyze the development of Kavalan shamanic culture. These sources showed that the Kavalan shamanic traditions are patterned on the shamanic ritual culture of the Amei tribe. Following tribal uprising against Qing Dynasty colonizers in 1878, Kavalan people were persecuted by the Qing Dynasty. To survive, many Kavalan people hid among Amei tribes and migrated with the Amei from Yilan to Hualien. The development of Kavalan culture reflects the influence of this period of proximity between Amei and Kavalan people.
| 偏鄉教育服務 偏鄉學校教育功能受到教養因素影響，使得學校老師扮演缺乏家庭照顧的孩子們， 成長過程中的支持角色。 藝術家是教師、姐姐也是居民，在多重身分下和學員互 動，服務需要幫助的孩童，為跨領域、實驗課程之先聲。課程設計包含： (1) 集體繪畫創作 (2) 繪本角色、分鏡、故事創作 (3) 動畫設計與拍攝 (4) 角色配音及歌謠配樂 Education in the rural school is influenced by factors in the students’ home lives. As a result, teachers in the school must step in to play the part of parents in watching over and supporting the children as they grow up. In this project, the artists were not only teachers but also “big sisters” and neighbors. Under this multi-faceted identity, the artists used interdisciplinary and experimental teaching methods. The course design comprised the following elements: · Collective picture drawing · Creating picture book characters and storyline and dividing the story into scenes · Designing and filming the animated story · Recording audio for character dialogue, narration, and background music
回饋｜ Reflection | 在地化的教育模式 Localized Mode of Education 社會參與性藝術是一種觀念性的過程藝術，仰賴與人互動溝通並處理差異間的 理解，以互為主體為基礎，交流 (encounter) 為核心的藝術形式。本計畫結合 藝術和教育的跨領域合作和實踐，依循著關係美學脈絡，以批判教育學，辯證 藝術家與參與者共同建構的地方改變歷程。 Socially-engaged art is a type of conceptual, process-based art that depends on interpersonal interactions. The foundation of this practice is in communication and bridging differences. The process of the “encounter” is central to the form. The project design presented herein combined the fields of fine arts and education through practical action. In the vein of relational aesthetics and critical pedagogy, the dialectic between artists and participants transformed co-created place into process.
| 文化衝擊－部落共生 Culture Shock: Living with the Tribe 祭師文化噶瑪蘭族的傳統信仰，代表著與萬物大地共生共存的靈魂觀，更是整 個部族的精神象徵。隨著時代變遷，部落裡的女巫相繼過世，祭儀也漸漸失傳。 藝術家雖各自有不同的文化認同，仍嘗試與在地族人合作，理解生態、歷史、 飲食文化，嘗試開闢一條與社會大眾對話的文化路徑。 Socially-engaged art is a type of conceptual, process-based art that depends on interpersonal interactions. The foundation of this practice is in communication and bridging differences. The process of the “encounter” is central to the form. The project design presented herein combined the fields of fine arts and education through practical action. In the vein of relational aesthetics and critical pedagogy, the dialectic between artists and participants transformed co-created place into process.
| 藝術與社群連結 Art and Society Link 藝術家透過與部落、非營利組織、學校等多方協作，共同致力於祭儀文化保存、 環境藝術創作、影音文史記錄，牽起了在地的人脈、互動網絡。在族人們的歌謠 傳唱中，尋找與祖靈曾經的對話記憶，尋回幾近消音於當代社會的祝禱聲。 The artists collaborated with the Sinshe Tribe, non-profit organizations, and Sinshe Primary School in their efforts to preserve Kavalan shamanic ritual culture, engage in environment-based creative work, record literary and historical materials, and immerse themselves in the daily lives and interactions of the local people. Amid the songs of the tribespeople, the artists searched for connections with and memories of the ancient spirits, recovering the prayers that are disappearing in modern society.
贊助｜ 文化部 花蓮縣政府文化局
Supporters | Ministry of Culture Hualien County Cultural Affairs Bureau