消失與重現 : 烏來泰雅族織布復振與當代織女的民族誌研究

Abstract

位於新北市烏來區的泰雅族屈尺群，早期受日本殖民政府管理，以及\n1950 年代國民政府來台後觀光產業興盛，泰雅族傳統織布技藝早已失傳。\n1980 年代後，全台原住民族傳統工藝復振風潮的興起，烏來於 1990 年代起也開始進行泰雅族織布文化復振工作，並解決婦女就業問題，並於2002年成立烏來編織協會。目前烏來泰雅族織布復振的發展上，烏來編織協會佔有重要的地位，長期以發揚及傳承泰雅族織布文化、推廣教學及培養織布人才，及推動在地經濟與文化產業為目的。烏來編織協會的婦女們在長期投入織布傳承工作後，以發展烏來織布在地特色為目標，形成一種專屬於當代的文化認同。然而，烏來織布文化復振已推動二十年，烏來編織協會成員呈現高齡化趨勢，文化傳承的瓶頸也是當地織女和在地社群將要面對的困境。本研究以本民族青年視角，為長期投入復振工作的烏來編織協會婦女留下民族誌的紀錄，透過田野調查，描繪出烏來婦女的生命圖像並探索當代織布的意涵，呈現出烏來泰雅族織布復振的意義與價值。

The traditional weaving culture of the Tranan group of Tayal living in Ulay District, New Taipei City was becoming lost after facing the dual threats of Japanese colonial rule in the early days and the booming tourism industry under the ROC government in the 1950s. But with the rise of a nationwide revitalisation movement of Indigenous traditional art in the 1980s, Ulay began to revitalise the local Tayal weaving culture and tackle the issue of women’s unemployment, which led to the creation of the Ulay Weaving Association in 2002.\n\nAt present, the Weaving Association plays a vital role in the regeneration of the Ulay Tayal weaving culture. For a long time, it has been carrying forward and passing down the art form through intergenerational learning, cultivating a new generation of weavers, and stimulating the local economy and cultural industry. After a longterm investment in the work of passing down weaving knowledge by the women of the Weaving Association, in addition to developing the unique characteristics of Ulay weaving culture, they have also formed a cultural identity exclusive to the contemporary era.\n\nHowever, after two decades of revitalising efforts, the members of the Weaving Association are showing an ageing trend. The bottleneck of cultural inheritance is also a predicament that the local weavers and community will face. This research hopes to tell the stories of the Ulay women who have been advocates for their weaving culture. Through anthropological fieldwork, it also aims to depict the life images of the weavers and explore the meaning of modern-day weaving and show the significance and value of the revitalisation of Ulay’s Tayal weaving culture.