靈力作為方法：尪姨形象的文化資產化與國族寓言化

Shamanism as Method: Siraya Ong-I as National Allegory and Cultural Heritage

本文以西拉雅尪姨形象為例，探討尪姨施法附身所形成的社會關係如何參與台灣主體的建構。台灣原住民族的巫宗教在政策與社會型態改變下，被視為落後與迷信，史料中的尪姨形象尤其如此。然而，這些長期被貶抑的女性巫師祭儀與靈力，在九○年代之後成為文化復振與推廣的對象，靈力賦予台灣主體建構一個新的「關係性」想像。文學作品延續此一關係性所展開的和解敘事，強化尪姨附身隱喻，形成國族寓言的張力。本文以史料中的尪姨形象出發，進一步展開二個層次的論述：一、關注九○年代以降尪姨形象「文化資產化」之過程。透過檢視文獻與文化活動，梳理該形象從族群特殊性轉變至國家文化資產概念的可能脈絡。二、延伸文化資產化之效應，考察西拉雅尪姨形象與國族寓言的交織。尪姨的附身靈力疊加個人、家族與群體歷史與記憶，透過和解敘事呈現國族與國族寓言的辯證。

This article examines the Siraya Ong-I (female medium) as a critical lens for understanding how relational formations generated through Shamanism practices contribute to the making of Taiwanese subjectivity. Historically, Indigenous shamanic traditions were marginalized as primitive or superstitious under shifting political regimes, and archival representations of the Ong-I exemplify this devaluation. Since the 1990s, however, the ritual knowledge and spiritual agency associated with the Ong- I have been revalorized within cultural-revitalization efforts. Their spiritual power fosters alternative relational imaginaries that increasingly inform contemporary articulations of Taiwanese identity. Literary works draw on this relationality to construct reconciliatory narratives, amplifying the metaphoric of possession and generating tensions that function as national allegory.
The study pursues two main lines of inquiry. First, it analyzes the Ong-I’s post- 1990s transformation into an object of“heritage-making.”Through reviewing documentary materials and cultural programs, the article traces how an ethnic-specific ritual figure becomes incorporated into state-defined cultural-heritage frameworks, revealing how heritage discourse selectively appropriates Indigenous practices in service of national cultural identity. Second, it examines the national-allegorical implications that arise from this process. The Ong-I’s spiritual efficacy overlays personal, familial, and collective memories, linking disparate histories through reconciliatory narrative structures. In doing so, the Ong-I becomes both an ethnographic figure and an allegorical medium through which contested histories, cultural imaginaries, and notions of nationhood are negotiated.