當代藝術作為部落傳統與記憶傳承之取徑：以森川里海濕地藝術季為例

Contemporary Art as Tribal Tradition and Memory Inheritance: The Case Study of Mipaliw Land Art Festival

當前在台灣，自2010年以來產生許多以地方藝術祭的取徑來重新認識在地傳統，並以當代藝術的思維賦予新的意義與傳承。以花蓮的「森川里海濕地藝術季」為例，將藝術季作為部落生產、生態復育及原住民文化價值推廣的媒介，其社會參與式的藝術歷程，以各種深入、由部落民眾主導的論壇、工作坊，探討與部落攸關的議題，以及由族人帶領藝術家對各種攸關在地文化歷史、與工藝的學習，使藝術季不再是短期的祭典式的盛會，能夠成為生活的一部份;藝術進駐讓地方生活如務農、林務以及部落歷史記憶、傳統成為藝術創作的表現與言說的內涵。本文將以2021年「森川里海濕地藝術季」為例，探討當代藝術如何介入部落傳統與記憶傳承，論述其與部落族人協力合作完成的創作計畫，此外，部落的文化傳統、耆老記憶如何透過與當代藝術的相互激盪來重新思考部落中有形與無形的文化資產，並使其重要傳統與記憶得以綿延。藝術家與策展團隊在協同社群、在地耆老的參與式藝術創作的歷程與展演的呈現中，確立部落的地方文化根植性、社群的賦權、文化傳承與永續，也為地方創生提供另一種思維與機會。

For more than ten years Taiwan has offered many ways of renewing our understanding of local traditions such as through art festivals and the engagement of contemporary art. Local traditions as inheritance have thus been ascribed a new meaning. This article takes the 2021 Mipaliw Land Art festival, in Hualien, as an example whereby contemporary art is used as a medium for tribal production, ecological restoration and the promotion of aboriginal cultural values. Forums and workshops led by tribal people were set up to discuss issues related to tribes as well as local culture, history and craftsmanship to inform the public. Here the art festival is no longer a short-term ceremonial event but can become part of life. Artist-in-residence schemes make local life such as farming, forestry, and tribal historical memory and tradition become the expression of artistic creation and language. This article discusses how contemporary art intervenes in tribal tradition and memory inheritance, including the participatory art projects of Chen Jianbei and Kang Yazhu and their cooperation with tribal people. The festival project, which in actual fact spans several years, explores how the tribe’s cultural traditions and memory of its elderly rethink its tangible and intangible cultural assets through interaction with contemporary art, thus making its important traditions and memories endure. The process of collaborative and participatory artistic creation involving the community, local elders, artists, and the curatorial team allow for the cultural roots of the tribe to be re-established. The project also contributes to the empowerment of the community, the renewed meaning of its cultural inheritance, and the strengthening of sustainability. It also provides a foundation for local creativity as well as an alternative way of interpreting and understanding and an opportunity for placemaking.