A Path to Reconstruct Culture Ethnic Identity - A Case Study of the Warrior Dance from An-Po Village.

• Main Authors: Chang, wei- kuang, 蔣偉光
• Other Authors: Yeh, Chin-Chia
• Format: Others
• Language: zh-TW
• Published: 2015
• Online Access: http://ndltd.ncl.edu.tw/handle/87483191486149920191

碩士 === 國立屏東大學 === 文化創意產業學系碩士班 === 103 === Music and dance is an integral part of most communities around the world, and no more so than amongst the indigenous peoples of Taiwan, where the influence of music and dance can be tracked across nearly all the elements of daily life. After the colonial influences of the Dutch, Chinese settlers, Japanese, and the Nationalist government from the Chinese mainland, the culture and life of the indigenous people of Taiwan was affected deeply, and so this paper will examine the development of indigenous cultures in Taiwan. Social and political changes will also be analyzed, all in the context of how the use of indigenous music and dance has also changed. The Paiwan people of Taiwan hold a festival, called ‘Masalut’, every year, and the 2014 celebrations saw more people express an interest in the traditionally male warrior dance. This thesis will focus on the existing functions of the warrior dance in traditional Paiwan society and consider the importance of the dance for the Paiwan people. Moreover, this thesis will also consider why the current generation of Paiwan people have fewer cultural events that expressly link with daily life or specific ceremonies. Within the context of discussing the role of dance and music within traditional and contemporary Paiwan society, this thesis will also examine the role of governmental support, either through financial or other means, in indigenous social development and the development of the indigenous cultural creative industry. With the paper’s examination of how the traditional warrior dance is passed down in An-Po village, a comparison will also be made with the Paiwan of Sandimen, were the various elements such as clothing, decoration, setting, and the comparative histories of the respective communities use of the dance will also be highlighted. With the conclusion of the paper, an alternative method for presenting indigenous music and dance will be stressed, and a consideration will be made if this alternative method will cause any conflicts or indeed calm existing ones, and can it be used to promote the cultures of Taiwan’s indigenous peoples not only within Taiwan, but abroad also.