依類型 族群 主題   
 
 
2007.06.01 ~ 2008.06.01
民歌中的生活歷史-以都歷阿美族人吳之義的民歌為例 Life History in Folk Songs,Via folk songs by Wu Ze-i of Tulik village of Amis tribe
族群: 阿美族   
主題: 音樂、歷史  
作者 陳式寧
學校系所 國立東華大學兒童文學研究所
地點 台東縣 成功鎮    
研究內容

[ 摘要 ]

吳之義(1949~)是生長在台東縣成功鎮都歷社區的阿美族人,自小出生、成長於斯至今,平時以務農、漁撈維生,間以音樂伴奏為副業,其目睹時代與環境的變化,也在個人興趣─音樂伴奏與搜羅、創作─寫下在原鄉的所見所聞。本論文即以其作品中所呈現者做一深度分析。研究範圍方面,先以吳之義日常生活之自然地域、社會人文範疇建構其環境背景,後以1. 都歷阿美族人的日常生活與文化;2. 都歷阿美族人如何面對「外來文化」與「現代化」的衝擊,在吳之義作品上的呈現;3. 吳之義如何補足「現代化」、「工業化」後阿美族傳統生活文化的「空洞化」;4. 吳之義的音樂創作是否具備「使日常生活奇異化」的特質;5.吳之義的寫實風格與諷刺性,作為切入吳之義作品的特殊角度。

作品分析中可見吳之義在原鄉生活的觀察與描繪、對時代風潮的敏感度、個人心境與價值觀上的轉變,及都歷阿美族人生活文化變遷的痕跡。其最大特色是融合時代予其的「連鎖反應與改變」,呈現了當時的「生活文化歷史」,也給了吳之義作品「重要的意義」,驗證出文化的變遷與統合實是必然。尤其在特殊題材裡,看見族人努力將生活中的陌生化為熟悉,不斷地在做選擇與統合,直至滿足現實生活所需,價值觀也不斷地重複整合,以因應現代化生活的衝擊,以維持身心平衡等,這些都是其作品顯現的特奇之處,也是吳之義在反映時代與阿美族生活文化上的貢獻。

另外,其作品在當時提供了族人情感宣洩與心態表達的管道,可見其在族人生活進入「現代化」、「工業化」後,重新尋回屬於阿美族人文化精神的原生力量,及面對阿美族傳統文化與心靈生活「空洞化」所做的努力。在此,亦可顯見他是阿美族生活文化所培植出來的生活藝術家。

[ 英文摘要 ]

The purpose of this research is to obtain the life history represented in the form of folk songs via the exploration of the creations of an Amis song-writer, Wu Ze-i. Wu is an Amis indigene who has spent his whole life in his hometown, Tuilik village, Taidong County. Apart from doing farming and fishing as his way of life-surviving, Wu does music accompaniment as a sideline occasionally, and his creation has thus grown. Wu’s inspiration has always been what he has observed close by, especially the changing of time and circumstances that he witnessed.

The research first gives a description of the natural region, social and cultural circumstances that have constructed the song-writer’s background. This introduction prepares for the further detailed analysis of Wu’s works and how Amis life history has merged within, analyzed from 5 different aspects as follows: 1. Daily life of Amis indigenes in Tulik. 2. How Wu has displayed in his works the way his tribe people confronted impacts of "the exterior culture" and "the modernization". 3. How Wu’s works have recruited the “deterioration” of the traditional Amis life culture resulted from “the modernization” and “the industrialization.” 4. Whether Wu’s works acquire the quality of “making usual daily life exceptional.” 5. The descriptive style and the sarcastic tone adopted in Wu’s creation.

Through profound discussion, it can be seen that in his works, Wu shows his observation his keen sense of social tendency, the transit of his states of mind and the transit of his values. Above all those mentioned, Wu gives us a trace how the life culture of Tulik Amis indigenes has changed. The trace, which consists the “the chain-reaction and the changes” taking place in his time, is the most significant feature of Wu’s creation; the fruit of his creation has meanwhile proved that the transit and integration of culture is inevitable. All the features of Wu’s creation can be recognized in some particular themes, From the overview Wu provides in his works, the vivid images of people constantly trying to accommodate to the unfamiliar exterior impacts could be easily revealed- Wu’s tribe people have gone through the process of making choices, adjusting values and adapting to the impacts along came with modernization so as to fulfill their material lives and to maintain the basic balance, physical and mental. The unique virtue of Wu’s works, to sum up, is contributed by his illustrative reflection of time and of Amis life culture.

On the other side, Wu Ze-i’s works have provided an option of releasing fealings and expressing thoughts for his contemporary tribe people. Added to his contribution as a song-writer, what Wu has persistently pursued while confronted by modernization and industrialization is to revive the deleting traditional Amis culture, to refresh the exhausting minds of his tribe people, and to recover the original spiritual strength inhered in the traditional Amis culture. To conclude, Wu Ze-i is a life artist nurtured by the Amis culture itself.