1950年代「山地歌舞」之形成與發展

Abstract

「山地歌舞」是一個廣為人知的詞彙，亦是臺灣原住民的象徵之一。然而，現今對「山地歌舞」歡愉、同樂的印象，在1950年代卻有著反共抗俄之愛國意識的特殊意義。戰後山地行政以「山地平地化」為方針，政府瞄準原住民喜好歌舞，遂選定「山地歌舞」進行改進，使之成為含有政宣、康樂功能，亦背負國語推行任務之表演藝術，並成為國民黨利用臺灣原住民來與對岸共產黨進行文藝競逐。國家控制下的「山地歌舞」，除了經過1952年的全面統一改進外，至1956年改為賺取觀光外匯之工具，讓「山地歌舞」在文明與原始間擺盪不定。單就1950年代期間，「山地歌舞」即經歷強大變動，改變了山地社會原有的傳統樣貌，年青人不再以身為「山胞」感到驕傲，而是拋棄傳統、加快平地化腳步，以融入一般社會為榮。 本文旨在還原1950年代「山地歌舞」形成之過程，同時呈現當時同為政治與經濟服務之雙軌樣貌，由此針對其成為一歷史詞彙來探究，試圖為1950年起至原運前之「山地歌舞」下一定義，使其在既統一又混雜之時期訂立框架，能與原運後注重個別部落、族群性格作區別。

“Aboriginal Song and Dance” is a well-known word and also a symbol of Taiwanese aborigines. However, in contrast to the joyful and pleasant imagine this days, “Aboriginal Song and Dance” carried a patriotic significance of Anti-Communism and Sovietism in the 1950s. Administration on the mountain area focused on assimilating the mountain aborigines into Han Chinese (Mountain Aborigine Flatization) after the War. Since music and dance are aborigines’ favor, Government targeted “Aboriginal Song and Dance” for reformation, and made it a performing art with policy advocacy and recreation functions, carrying out with a mission of promoting Taiwanese Mandarin. Taiwanese aborigines were used by the KMT to compete on literary and artistic fields with the Communist Party on the other side of the strait. In addition to the comprehensive unification in the 1952, “Aboriginal Song and Dance” changed into atool of earning tourism foreign exchange by 1956 and swung between primitive and civilization under the control of the nation. Within the 1950s alone, “Aboriginal Song and Dance” went through an enormous transformation which changed the traditional form of mountain tribes. Young people no longer felt proud of being a mountain compatriot; instead, they abandoned their tradition, sped up for assimilation and rejoiced over integrating into the plain society. This essay aims to restore the formation of “Aboriginal Song and Dance” in the 1950s and presents its dual purpose track serving for both political and economic function. Therefrom, the essay explores how “Aboriginal Song and Dance” became a historical word and tries to characterize “Aboriginal Song and Dance” between the 1950s to the time before Taiwan Aboriginal Movement and establish its framework in a time of both unity and intermixing in order to draw a distinction from the characteristics that focus on individual tribes and tribal features after the Aboriginal Movement.