帛琉傳統音樂舞蹈的過去與現在──以山口修與阿貝爾斯之研究為例

The Study of Palau Traditional Music & Dance—based on studies by YAMAGUTI Osamu & Bigit Abels

帛琉傳統音樂與舞蹈之間，有著密不可分的關係，與許多其他南島語族原住民音樂相同，歌舞合一為其主要的音樂特色之一。隨著舞者性別、人數，舞蹈形式與舞蹈場域的不同，各種舞蹈有其不同的實質功用。自十九世紀末以降，帛琉傳統文化逐漸成為學術界關注目標。然而，對於與傳統社會功能息息相關，且佔有重要地位的舞蹈，卻一直缺乏完整的紀錄與研究。直到二十世紀末，包含美國夏威夷大學的芭芭拉史密斯（Barbara B. Smith）教授、日本民族音樂學者山口修（YAMAGUTI, Osamu），與德國音樂學者阿貝爾斯（Birgit Abels），陸續從音樂的觀點出發，對帛琉傳統音樂文化進行深度紀錄，也才開啟對傳統舞蹈的分析研究。本篇論文以比較山口修教授與阿貝爾斯教授，對於帛琉傳統音樂舞蹈的論述為主，試圖從兩者對舞蹈的研究與觀察，釐清帛琉傳統歌舞的不同面向與意義。同時也從兩位學者的不同論點，反映出從不同觀點出發的民族音樂研究，對「定義」與「分類」的不同看法。

As in many other Austronesian cultures, music and dance is an inseparable event in traditional Palau Society. Traditional dance of Palau, which functions as ritualistic proceeding, social status, relationship building, and so on, that plays an important role in Palau traditional society. Since late 19th century, more and more scholars interested in doing field research on Palau traditional culture. However, there are only few studies focus on or mention about traditional dance. Thus, this article is going to focus on comparing the researches of YAMAGUTI, Osamu and Birgit Abels. From the description and analysis, to the different points of view, this article points out the difficulties of identity establishing in field research, which also shows the lack of documents of traditional dance.