博物館與慶典：人類學文化再現的類型與政治

Museum and Festival:Genre and Politics of Culture Representation

博物館的傳統，過去長久以來予人的印象就一直是操弄著「文化移植手術」的工具，利用收藏品的轉喻藝術，虛構一種鳥托邦性質的「展示空間」，自稱扮演著「儲存歷史記憶」的機構角色，以及肩負著「文化宣傳」的教育大任而合法化其自身的存在價值。慶典則是一種沒有設牆立壁的博物館，性質上卻不似博物館所強調的訓誨主義及文本主義，而是以一種超現實主義（surrealism）及劇院式的美學方式，呈現開放性及活生生的文化展示，創造參與者應用自身的知識、技術及智慧去組合和詮釋文化和生活經驗的機會空間。慶典民族誌（festival ethnography）由於它溝通性的文化實踐方式，加上自由表達的藝術性向度,因此遠離了博物館固定及物化的文本製造過程，也把博物館的視覺呈現轉化為體現式的呈現（performative presentation），以更有效的方式來再現文化。本文即是以博物館和慶典的這種對立差異，二者的換喻對比，用卑南族南王（Puyuma）的猴祭basibas、大獵祭mangayau和相關祭典，下賓朗（Pinaski）「復甦」的猴祭體現、利嘉的八社聯合豐年祭，討論人類學文化再現的博物館呈現、慶典呈現與相關的文化政治議題。這三個案例的慶典都處於社區轉型的中介狀態之中，藉由慶典文化的體現、詮釋、再現、批判、解構及延伸各自的「傳統文本」，由於「共享的文化文本」一向是不完全的以致於這些部落的體現溝通過程都充滿著各種形式的聯繫、斷裂、曖昧及衝突的修辭及政治策略。南王文化再現中的審美學及彈性的調適機制，減低了歧異的惡化，也因而拉近「傳統文本」與「現代文本」之間的聯繫程度；下賓朗的再現文化，用的是模仿少數長者記憶中的文本，引發反諷及批評這種「發明性」文本的現象是在所必然的事，並進而增加傳統與現代論述之間的政治及社會距離；利嘉選擇性的文化再現，所再現的是一個政治性質的主客關係，締造一個卑南族聯合性質的國族儀式，合法化現代國家過程中界定一個卑南族的正式官方分類系統。於此，博物館與慶典，這兩種不同人類學文化再現的類型，具有不同演化及發展的條件及方向，他們彼此衍生不同的解決問題的修辭學及政治學。

A museum's choices in how material objects are displayed has itselfbecome, when viewed by socially diverse but politically aware visitors a fieldof contention. On the one hand, museum staff need to develop internal consensusabout and clearly defined objectives with regard to presentation matters. On theother hand, festivals are one of several options available to counter thehegemonies, politicizations, and essentialisms to which cultural traditions havealways been exposed. While agreeing with the need for museum staff to creativelymeet its obligations, this essay explores critically the degree to which suchresponsibilities have been successfully executed in the ritual ceremonies andfestivals of four local cultures. Firstly, the ritual ceremonies of thePeinan(in Peinan township, Taitung county), concerned with warfare and huntingas well as with the success of harvests, nowadays serve cultural politics.Secondly, the festivals of the Puyuma (the modern-day Nan-Wang) evade externalrestrictions and successfully serve as a vehicle for cultural continuity.Thirdly, the Pinaski, under the guidance of a 'cultural director,' are trying torediscover festival forms where few of their features remain within theircommunity settings. Fourthly, the festivals held at Rikavong (the modern-dayLi-Chi) have been modified, sanitized, controlled and adjusted to meet theexigencies of official harvest ceremonies and to respond to demands that suchfestivals create a positive image of a unified Peinan culture. In comparisonwith museum representation, these cases looks as if they are encouragingexceptions,the dominant tone implicit in the performative representation ofthese festival rituals is still that cultural politics has made itselfextensively felt through diverse means.