none

• Main Authors: Shu-Chuan Kao, 高淑娟
• Other Authors: Chao ying Lee
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/77573099840515199284

碩士 === 國立東華大學 === 族群關係與文化研究所 === 97 === This research aims to include the background of performers into considerations when discussing cultural performance. Performance itself is not a neutral social behavior, but a social practice that carries cultural meanings. Therefore, this article follows the processes of an Amis artistic and cultural performing group from fields to stages, to present the functionality of cultural performance. In the past, research conducted on indigenous performing groups was limited. The author of this article offers an insider perspective on the internal dynamics of preparation before the music and dance performance “Chuyin, Thunder, and Mahengheng.” It is hoped that this first-hand information can be referenced by other indigenous performance groups. The thesis mainly researches the music and dance performance group “Chuyin, Thunder, and Mahengheng,” presenting rich indigenous musical and dance culture in Taitung, and the mutual beneficial relationships among various groups. Based on the author's experience and interactions with group members, learning taboos when collecting things in the field, to cultural status in rehearsals, gender differences, and application and borrowing of different sad songs; all of these show the uniqueness of the training and performance of the indigenous group. This research was initiated by a member and the leader of a group; hoping to provide personnel and scholars who manage the support of artistic groups, a perspective from different ethnicities, to balance ethnocentrism. It should not be done based on a fixed module, to evaluate and preselect types of organization and performance. For example, the proposal evaluation process only requires specification in categories of music or dance, while neglecting a category for combined music and dance. In fact, only the combined category of music and dance can present the ethos. In a time when artistic cultures are gaining popularity, it is hoped that the indigenous performing arts no longer remain peripheral, and related issues regarding promoting indigenous performing arts can offer diverse ways of thinking in the future.