‼️原住民族音樂與舞蹈系列講座‼️
GIM Conversations with Indigenous Music and Dance
總共四場～詳細資訊如下⬇️

🖋第一場：
Radiw no orip 那個用歌說故事的人（Radiw的阿美族觀點）
The Man Who Told Stories Through Songs
🌐時間：11/23/2022 （Wed）16:00
🌐地點：臺大共同教學館308
🌐講者：阿洛
阿洛的父親是來自高寮部落的民族音樂學者林信來先生，曾經參與1960年代的民歌採集運動，而後又自費踏查無數個部落豐年祭，採集歌謠，進而分析研究，出版了『台灣阿美族民謠謠詞研究』獲得中山文藝獎，為了留下父親一生的文化成就，阿洛也踏上探訪當代歌者的旅程，過程中見證了不同時代背景，各個部落豐年祭的衰敗，又如何重新復振，思辨著Radiw如何乘載著阿美族的歷史、生命、記憶及情感，對於不同世代阿美族人的生命意義，並與父親展開了一場兩代對話。
_
🖋第二場：
找路、相遇與航行：臺灣、沖繩與夏威夷的跨島嶼音樂協作與串連
Wayfinding, Encounter, and Navigation: Interisland Collaboration and Musical Solidarity in Taiwan, Okinawa, and Hawaiʻi
🌐時間：11/29/2022 （Tue) 18:30
🌐地點：臺大樂學館105
🌐講者：官元瑜
在二戰後自由主義的脈絡下，以歐美為首的世界流行音樂產業自1960年代起陸續借用非西方樂舞元素作為表達多元文化主義的具體實踐。其中，最耳熟能詳的例子就是英國搖滾樂團披頭四在其作品中採用印度西塔琴。搭乘全球化與後殖民主義的浪潮，音樂上的跨域合作雖然數次涉及浪漫化及文化挪用等議題（例如：馬蘭阿美的〈歡樂飲酒歌〉），但也在世界各地逐漸形塑出各種強調親疏關係、本體文化脈絡與能動性的「遊歷音樂」（traveling musics），在我者與他者樂音互動與混雜的過程中，建構出音樂新思維、新位置、新的結構與活動。從南島臺灣、沖繩及夏威夷的當代音樂協作與串連談起，本講座梳理跨文化聲景交織的情境中，島嶼音樂人如何藉由「樂動」（musicking）與他者聲音知識體系（acoustemology）產生共鳴、迴響與再現。運用南島與太平洋研究中的「找路」 、「航行」與「浪潮」等意象為理論依據，本講座檢視兩個案例：一、強調東臺灣與沖繩文化連結的「H.O.T Islands Music Festival 島嶼音樂季」二、阿美音樂人藉著唱夏威夷歌曲聲援當地原民運動；進一步探討在跨島嶼音樂協作的場域中：樂音如何被聽見？樂音如何被理解與內化？樂音在什麼動機下、透過什麼方式被展演與再現？從臺灣音樂人的視角出發，本講座畫出臺灣與其他島嶼聲識體系（即沖繩及夏威夷）相遇的路徑與過程，並討論「樂動」在社群結盟政治彰顯的文化意涵。
_
🖋第三場：
聲與身的啟應: 一個臺灣南島樂舞展示的社群認同
Call and Response between Voice and Body: Expressing Village Identity Through an Austronesian Taiwanese Chant-and-Dance
🌐時間：12/9/2022 （Fri）14:30
🌐地點：臺大普通506
🌐講者：陳俊斌 (Taipei National University of the Arts)
This paper examines how music and dance facilitates solidarity among community members from choreomusicological perspectives, by offering an analysis of the tremilratilraw chant-and-dance of the Pinuyumayan people, one of Taiwan’s sixteen Austronesian-speaking Indigenous groups. The focus of the paper is twofold, one on the structure of the tremilratilraw, and the other on the values, meaning, and judgments that the chant-and-dance embodies. In the performance of the tremilratilraw, chant and dance are inseparable. The chant is not an incidental music for the dance; rather, we may consider the chanting a “call” and dancers’ movements the “response.” In a couplet form with a vocable-driven introduction, the chant is sung by an elder. Led by a male member, male and female dancers hold hands to form a semicircle, crouching, jumping, and kicking to punctuate melodic phrases. Since the chant is non-metric, the chanter, the dance leader, and other participants must collaborate closely to move in unison; a sense of solidarity and emotional power is fostered consequently. Participants thus use the power of togetherness to publicly support or honor certain members who have experienced difficulties or reached significant achievements recently, or to complete initiation rites for males. The tremilratilraw can be used as a gift or a means for removing misfortune and it works not only because of its structure, but also because, in the process of performing the chant-and-dance, the religious views and notions of age and gender that define the Pinuyumayan are highlighted. With this case study, I aim to theorize an integrated approach to the study of the music-dance relationship in Taiwanese Indigenous society. This case study may seem peculiar, but I hope that it can lead to a broader understanding of how participants communicate through musicking and dancing so that they can create, convey, and perceive notions of community identity in the music-dance performance.
_
🖋第四場：
在聲詞裡的口白探討
A conversation with Rahic Talif about ''Amis lyric improvisation and making installation art
🌐時間：12/13/2022 （Tue）18:30
🌐地點：臺大樂學館105
🌐講者：拉黑子·達立夫（Rahic Talif）
從聲音的轉譯做為創作 Transducing Sound as Creative Practice
🔆以上演講皆以中文進行
All events will be conducted in Mandarin, but English interpretation will be available if needed
🔆報名連結：my.ntu.edu.tw/actregister/sessionList.aspx
🔆策劃人 ：施永德 副教授（DJ W. Hatfield)
🔆主辦單位：音樂學研究所 Graduate Institute of Musicology(GIM)
🔆注意事項：11/29與12/13的演講地點（樂學館105），教室空間較小，座位有限。敬請提早入座
🔆活動頁面：www.facebook.com/events/476806944427025/