idu lja vuvu先祖歸來兮——排灣族高士部落迎祖靈祭儀式與音樂研究
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2022
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迎祖靈祭（icacevung）為屬於南排灣paliljaliljaw群的屏東縣牡丹鄉高士部落近八十年來唯ㄧ每年固定舉辦之祭典，是排灣族中少見以「迎靈」、「送靈」為完整祭典，並在農曆除夕與初二舉辦。目前部落僅剩下一位靈媒張順枝女士有能力舉辦此祭典。本論文根據文獻與田野考察，分析迎祖靈祭與五年祭（maljeveq）、召亡靈儀式（zemala）之關係，指出迎祖靈祭相當可能為擷取自五年祭的部分儀式，又融合了靈媒召喚亡靈的儀式而成。在日據時期文獻記載中的高士五年祭，有「男祭司持祭竿面北招呼祖靈，靈媒瓢卜詢問祖靈是否到來」此項儀式，且此儀式為南排灣paliljaliljaw、tjakuvukuvulj兩個群體所特有，如今只見於高士迎祖靈祭。迎祖靈祭以音樂作為儀式的核心與媒介，以靈媒（pucemas）演唱的祭歌、男祭司（parakaljay）呼喊祭辭來招請祖靈，並透過歌舞來表達族人與祖先歡聚的心情。在迎祖靈祭歌的曲調上，高士部落的祭歌與現今舉辦五年祭的代表部落古樓、土坂部落的五年祭迎靈歌並不相似，而在樂曲結構上與土坂部落召亡靈儀式的召魂曲較接近。高士部落地處排灣文化的邊陲地帶，其文化也融合了鄰近的東排灣、斯卡羅、平埔族，客家人的特色，本研究除了記述迎祖靈祭之儀式與音樂，也梳理高士頭目家系與歷史脈絡，以此呈現高士傳統文化豐富美麗的樣貌。
“Icacevung” is a ceremony of kuskus tribewhich locates in Mudan township, Pingtung county, belonging to paliljaliljaw group of southern Paiwan people. “Icacevung” has been held in kuskus tribe annually for about eighty years. It features “icacevung” and “ipusau” as a complete ceremony, and takes place in Chinese New Year’s Eve and the Second Day of Chinese New Year. These are not seen elsewhere in Paiwan tribes. Nowadays, the kuskus tribe only has one pucemas, madam Chang, Shun-Chih, who has the ability to perform this ceremony. This thesis based on literature reference and field work research analyzes the relationship between “icacevung” and “maljeveq” (five-year ceremony), “zemala” (the ceremony to revive the spirit of the dead) and brings out the hypothesis that “icacevung” may be derived from “maljeveq”, and then combine the trance part of “zemala” into what we see today. Ethnographies written during Japanese colonization show that “maljeveq” of kuskus tribe in the time had a ritual that the parakaljay held a vuluq, facing north to invite the spirits of their ancestors by shouting, and then the pucemas would use a gourd and a soapberry to divine whether the spirits had come. This ritual was only seen in the past by two groups of southern Paiwan people: paliljaliljaw and tjakuvukuvulj, while nowadays merely seen in “icacevung” of kuskus tribe.“Icacevung” uses music as its core and medium. It contains the chants of pucemas, the shouting of parakaljay, and the singing and dancing of all village people to convey the merry feeling to be with their ancestors and relatives. Despite the similarities in rituals, the melodies of chants in “icacevung” seem to have different origins from kuljaljaw and tjuabar tribes, which are the representative models of “maljeveq”. The song structure of chants in “icacevung” has several characters that are more alike to the song of “zemala” in tjuabar tribe. Kuskus tribe seats on the border area of Paiwan ethnicity. Its culture combines the neighboring eastern Paiwan, seqalu, Pingpu and Hakka. This research not only records the ritual and music of “icacevung” but also draws an outline of kuskus’ chief families and historical advancements to display the richness and beauty of the tribe’s traditional heritage.
“Icacevung” is a ceremony of kuskus tribewhich locates in Mudan township, Pingtung county, belonging to paliljaliljaw group of southern Paiwan people. “Icacevung” has been held in kuskus tribe annually for about eighty years. It features “icacevung” and “ipusau” as a complete ceremony, and takes place in Chinese New Year’s Eve and the Second Day of Chinese New Year. These are not seen elsewhere in Paiwan tribes. Nowadays, the kuskus tribe only has one pucemas, madam Chang, Shun-Chih, who has the ability to perform this ceremony. This thesis based on literature reference and field work research analyzes the relationship between “icacevung” and “maljeveq” (five-year ceremony), “zemala” (the ceremony to revive the spirit of the dead) and brings out the hypothesis that “icacevung” may be derived from “maljeveq”, and then combine the trance part of “zemala” into what we see today. Ethnographies written during Japanese colonization show that “maljeveq” of kuskus tribe in the time had a ritual that the parakaljay held a vuluq, facing north to invite the spirits of their ancestors by shouting, and then the pucemas would use a gourd and a soapberry to divine whether the spirits had come. This ritual was only seen in the past by two groups of southern Paiwan people: paliljaliljaw and tjakuvukuvulj, while nowadays merely seen in “icacevung” of kuskus tribe.“Icacevung” uses music as its core and medium. It contains the chants of pucemas, the shouting of parakaljay, and the singing and dancing of all village people to convey the merry feeling to be with their ancestors and relatives. Despite the similarities in rituals, the melodies of chants in “icacevung” seem to have different origins from kuljaljaw and tjuabar tribes, which are the representative models of “maljeveq”. The song structure of chants in “icacevung” has several characters that are more alike to the song of “zemala” in tjuabar tribe. Kuskus tribe seats on the border area of Paiwan ethnicity. Its culture combines the neighboring eastern Paiwan, seqalu, Pingpu and Hakka. This research not only records the ritual and music of “icacevung” but also draws an outline of kuskus’ chief families and historical advancements to display the richness and beauty of the tribe’s traditional heritage.
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迎祖靈祭, 高士部落, 高士村, 排灣族, 五年祭, 召亡靈, 音樂研究, 南排灣, 張順枝, icacevung, kuskus, Paiwan, maljeveq, zemala, music, paliljaliljaw, Chang Shun-Chih