山中歲月與國家計畫的時空：試論拉庫拉庫溪布農族舊社石板屋修復的時間性與工作節奏

Practice Rhythm, Temporality, and Indigenous Cultural Heritage Plan: The Program for the Renovation of Stone-houses in the Mountain Area in Bunun Society

基於筆者於2017年至2018年參與「拉庫拉庫溪流域布農族傳統營建技術傳習暨佳心舊社地景修復試作計畫」的研究經驗，本文反思國家的文化復振計畫對於形塑原住民族文化景觀之時間性的影響與侷限。國家的原住民族文化景觀計畫蘊藏一組多重的線性時間觀，其一是線性的歷史感，強調殖民經驗與歷史轉型正義的重要性。其二，國家計畫期程是依照資本主義和國家治理的經濟理性的時間性而設定的。然而參與計畫之中的族人是否理解這樣的時間性？他們又是如何看待或對應這樣具有線性時間感的計畫呢？在實踐過程中，族人是否有可能改寫國家預設的時間框架？本文認為，要理解原住民族文化資產的時空特性，應從原住民族人的實踐邏輯、文化與社會脈絡的視野出發，並將國家、計畫團隊、山林環境與生態當成形塑文化資產時空特性的行動者，探尋多樣的行動者和多重的時間概念如何彼此交織，在特定的時空脈絡下形塑原住民族文化資產的時空特性與內涵。

This article looks at the implications of national projects of cultural heritage on the narratives of the past in contemporary indigenous society, and how, embedded in the process of participating in such plans, indigenous people make their own stories. This ethnographic research is based on my experiences of working with Bunun people to restore a ruined stone house in their ancestor’s land, the Qaising tribe, in the mountain area from 2017 to 2018. The Qaising tribe is in the eastern part of Taiwan. It used to be the Bunun people’s land, but is currently in Yu-Shan National Park. During the Japanese colonial period, Bunun people in Qaising were forced to resettle in the reservation areas in the plains. Since the government set up a cultural plan for the renovation of the stone-house in Qaising in 2017, it has become an important site for cultural transmission in Bunun society. In 2022, the Qaising tribe was officially assigned as a‘cultural landscape’in Taiwan. By comparing the senses of temporality within the national plan to the performance of working in the mountain areas, this article argues that it is not necessary to use linear chronology to think about the spatial-temporal frame of the indigenous cultural landscape. It may create a contradictory situation whereby the role of the indigenous people and culture are probably underestimated or even ignored, despite these cultural plans’initial attempt to contribute to cultural transmission and achieve empowerment. In this article, I illustrate that if we focus on practices of indigenous people involved in such plans, and on the interactions between human actors and non-human actors in the heritage site, we can understand that the temporality of the indigenous cultural landscape is diverse. Finally, it argues that when we see the Indigenous cultural landscape as an intersection between landscape, timescape and taskscape, we can empathize with social and cultural meanings of indigenous people’s practice in the processes of dealing with their own cultural heritage.