部落歌謠傳唱及歌謠意義的再生產：以松鶴部落為研究場域.

Singing of Tribal Chants and Re-production of Chant Meanings: Songhe Tribe as the Research Setting

本文以臺中市和平區松鶴部落（德芙蘭Tbulan）為主要場域，透過訪談不同年齡、族群、性別的居住者，進行以歌謠聽唱經驗為中心之文化記憶及其傳承的探索，藉此呈現部落居民對各個年代歌謠接受態度的轉變與差異，以及原住民族在環境變遷中的文化處境與回應策略，藉此提出一個有如切片、關於當代原住民歌謠意義再生產的田野報告。本文將部落理解為一個存在多重意涵的文化記憶場域，部落居住者以歌謠聽唱經驗而進行的言說敘事，揭示隱藏在歌謠之中的歷史記憶與認同建構，這些經驗織既保留在單一個體的生命經驗中，也潛伏在更大的集體記憶裡。從文化實踐與再生產的角度來看，松鶴部落歌謠的意義，來自能動主體在部落空間中的日常實踐，既是文化記憶的維護與建構，也是文化身分周而復始的確認。

This study takes Songhe Tribe (Tbulan in tribal language) in Heping Dist., Taichung City as the principal research setting. The study investigates cultural memory and heritage centering on chants singing by means of interviewing tribal residents of different ages, ethnicity, and gender. By doing so, the current study presents alterations and differentiations of tribal residents' attitude toward chants of different eras, as well as a cross-sectional field research on the re-production of the meaning of these contemporary chants of aborigines; it also demonstrates shifts of the aborigines' cultural situations and response strategies along with surroundings changes. The current article comprehends the tribe as a setting of cultural memory with multiple implications, where tribal residents creates discourses and narrative by singing and listening to tribal chants to uncover historical memory and identity construction hidden in the chants. These experiences of chants singing and listening are not only engraved in the life of an individual but also in the collective memory. From the perspective of cultural implementation and re-production, the meanings of Songhe tribal chants comes from the daily practice in tribal spaces by its agents; the practice is not merely the maintenance and construction of cultural memory, but also a repeated confirmation of cultural identity.