彰化梨春園子弟曲館與地方關係的變遷

Abstract

學習北管音樂的子弟音樂團在過去的地方社會中是很重要的團體，在彰化南瑤宮的信仰圈內，幾乎每個聚落都有自己的子弟團體。彰化梨春園是台灣歷史可考成立年代最早的北管團體之一，梨春園擔任南瑤宮老大媽會的駕前曲館，與民間信仰具有緊密的連結關係，也因為北管的傳藝讓梨春園成為園派的主要曲館，與集樂軒為首的軒派曾有互相競爭的紀錄。然而隨著時代變遷，許多農村內已經不再有子弟曲館的存在，曲館與地方的關係也有相當程度的改變。現在的梨春園以及北管音樂受到政府的補助計畫繼續活動。本研究欲以文獻整理、參與式田野調查、深度訪談為主要方法，探討梨春園的形成背景、探討梨春園在地方社會中扮演的角色、分析梨春園曲館在現代社會的變遷與轉化。試圖對上述的問題提出解答。研究結果有以下三點：一、梨春園曲館位於彰化市南門區域，成立於嘉慶十六年（1811年）。梨春園在彰化的北管音樂與戲曲發展中扮演了重要角色。梨春園的北管音樂也具有許多傳統儀式性的內涵，如扮仙、唱曲、演子弟戲等，是台灣民間重要的傳統文化。二、梨春園曲館在彰化地方社會中扮演了多重角色，不僅是音樂藝術的傳承者，也是地方信仰活動的重要參與者。戰後因社會流行文化的改變，北管音樂曾面臨人才流失的困境。三、1980年代後因為政府介入，讓新鮮人進入團體，並打了軒園兩派以及性別的藩籬。梨春園與地方的廟宇仍然維持互動，但演奏的儀式性質逐漸大於娛樂性質。現代的北管不再是日常娛樂，演出機會更多依賴政府補助。

In the past, zidi(子弟) music troupes—groups of apprentices learning Beiguan(北管) music—played a vital role in local society. Within the religious network of Changhua’s Nanyao Temple, nearly every village maintained its own troupe. Lichunyuan(梨春園) in Changhua is one of Taiwan’s earliest historically documented Beiguan Music Troupe. As the official troupe serving the Laodama(老大媽) organization of Nanyao Temple(南瑤宮), Lichunyuan has long been deeply intertwined with local folk religion. Through its dedication to Beiguan traditions, it became the main representative of the Yuan faction(園派), once actively competing with the Xuan faction(集樂軒), led by Jilexuan(集樂軒).However, with the passing of time, zidi music troupes no longer exist in many rural areas, and the relationship between music troupes and local communities has significantly changed. Today, Lichunyuan and Beiguan music affected by government subsidy programs.This study uses literature review, participatory fieldwork, and in-depth interviews to research the origins of Lichunyuan, its role within the local community, and how the troupe has evolved and transformed in nowadays. The findings are summarized as follows:1. Lichunyuan is located in the area of Changhua City and was founded in 1811. It has played a crucial role in the development of Beiguan music in Changhua. Lichunyuan’s musical practices are rich in ritual elements—such as banxian (扮仙), and zidi opera(子弟戲)—marking it as a key bearer of Taiwan’s traditional folk culture.2. Within Changhua’s local society, Lichunyuan has fulfilled multiple roles: as a preserver of musical arts and as a key participant in religious activities. Following World War II, changing popular culture led to a decline in the Beiguan music.3. Since the 1980s, government has brought new members into the troupe and helped break down the divisions between the Xuan and Yuan faction, as well as gender barriers. While Lichunyuan continues to maintain ties with local temples, its performances have become more ritualistic than entertaining. Nowadays, Beiguan is no longer part of everyday entertainment, and performance opportunities now rely heavily on government subsidies.