泰雅族Lmuhuw : 穿引於流域間的口述傳統

Abstract

傳統泰雅族社會原無文字書寫的傳統，因此對於社群的規約運作、歷史記憶與文化傳承媒介，便是以祖先所流傳下來的話語，透過口語述說或歌謠吟唱的方式來呈現與進行。Lmuhuw此一結合泰雅口語藝術、文化習俗、祖訓規範、遷徙歷史、生態環境知識…等面向的口述傳統，是泰雅語言智慧的結晶，亦是口傳文學與歷史記憶的寶藏，然而隨著社會文化的急遽變遷，Lmuhuw展演的場域、即興的能力與存續深受族語活力並語用環境所牽動。當代Lmuhuw口述文本因著被發現、研究紀錄並國家文化政策的保存維護，逐步開展出書面化的再現歷程。\n\n關於泰雅族Lmuhuw的相關研究記錄，首見於1918年佐山融吉《蕃族調查報告書》對於提親時所使用的言詞「ルモホーカイ」（lmuhuw ke’）的紀錄描述。晚近二十年來對於Lmuhuw的紀錄，則多以音樂研究的觀點切入，或觸及歷史記憶、文化資產保存的相關討論。\n\n本文以Pinsbkan-Sbayan神話傳說圈內所分佈的流域與社群為探討之對象與範圍，透過對歷來相關文獻的回顧，並當代田野訪談紀錄的歸納整理，針對Lmuhuw所指涉的意涵、內容與表現形式，進行區域間的比較研究。提供過往etic研究與當代由emic口語敘述所建立的文本一個反思對話的平台。Lmuhuw將遷徙祖先、地景、歷史記憶等元素串聯所構成的文化核心，在當代的展演與再現過程中，是民族建構最重要的認同象徵與符碼。期待透過文化資產之保存、傳習與研究，能為Lmuhuw理出一可供當代復振的模式。

The indigenous Tayal are traditionally non-literate, so creeds and agreements, historical memories, and the transmission of traditions were passed down orally from the ancestors, through verbal description or song. Lmuhuw combines Tayal oral arts, customs and traditions, ancestral teaching, historical records of migrations, knowledge of the environment, and other vital information in oral tradition. This is a crystallization of Tayal oral wisdom, and a treasure trove of not only oral literature but also historic memory. However, with swift metamorphosis of Tayal society and culture, the performance settings, ability to improvise, depth of knowledge of the Tayal language, and linguistic environment are all affected. With the discovery, research, and recording of Lmuhuw oral literature, and official protection under government policy, a new stage is developing, of this oral tradition in writing.\n\nThe first written records of Tayal Lmuhuw appear in the Report of Investigation into Savage Tribes by Sayama Sakichi (Japan) of 1918, which describes the use of 「ルモホーカイ」（lmuhuw ke’）in marriage proposals and negotiations. In the past twenty years, most research into Lmuhuw was centered on musicology, or studies of historical memories and cultural inheritance.\n\nThis thesis focuses on the river systems and communities encompassed within the cycle of the Pinsbkan-Sbayan legends. Through review of the literature and examination of contemporary field records, this thesis compares the meaning, contents, and methods of presentation of Lmuhuw in different areas, to establish a dialogue platform between contemporary emic oral narration and earlier etic research. The cultural core of ancestral migration, locations, and historical memories established by Lmuhuw is the most important identification symbol and code inherent in the contemporary resurge of performance. It is hoped that through the preservation of cultural heritage, transmission, and research, a contemporary model for the revival of Lmuhuw may be established.