重要傳統表演藝術師徒制傳習的反思：以排灣族口笛、鼻笛傳習計畫為例

Abstract

《文資法》2005年進行整體性與結構性修法，2007年成立文化資產專責機構，並於2009年訂定「重要傳統藝術保存者暨保存團體傳習計畫」辦理保存維護相關傳習。該計畫以無形文化資產保存者技藝傳承為核心目標，參考「師徒制」學藝模式，由保存者遴選習傳習藝生參與傳習活動，展開四年一期傳承計畫，培育後繼傳人，為無形文化資產行政主要保護政策。2011年「排灣族口笛與鼻笛」獲文化部登錄為「重要傳統表演藝術」，並由謝水能與許坤仲兩位藝師，分別代表Ravar群口笛與Vuculj群雙管鼻笛保存者，納國家無形文化資產保護範圍，同時參與傳習人才推動工作，迄今邁入第8年。本文以兩個排灣族口笛、鼻笛師徒制傳習具體個案為基礎，運用實際田野訪查與文件資料蒐集、分析方法，就傳習制度發展與實踐，反思現行傳習計畫模式及排灣族口、鼻笛文化世代傳承的可能與限制，俾為後續人才養成與輔助行政修訂參考。

The Cultural Heritage Preservation Act was passed in 1982 to promote the training of traditional artists. In 2007, cultural asset agencies were established. In 2009, the Significant Traditional Performing Arts and Crafts Inheritance Project was formulated to assist people who preserve traditional performing arts and crafts; the project empowers these preservers to pass their skills on to the next generation. The preservers select apprentices to participate in the inheritance activities, which are hosted for four years per period. In 2011, the nose and mouth-blown flutes of the Paiwan tribe were registered by the Ministry of Culture as significant traditional performing arts. Artists Gilegilau PAQALIUS and Pairang PAVAVALJUNG were selected to represent the preservers of Ravar mouth-blown flutes and Vuculj double pipe nose flutes, respectively. These two performing arts were designated as nationally protected intangible cultural assets; for the eight following years, these instruments have been inherited through talent promotion activities. In this study, a field survey was conducted, and documents were collected and analyzed to investigate the practical effectiveness, characteristics, and limitations of the inheritance system as well as its promotion. Suggestions were formed for improving the existing inheritance system. This study serves as a reference for continuing and improving the inheritance project for Paiwan nose and mouth-blown flute artist development.