上演婆姐，表現臺灣：臺灣國家品牌下可愛藝陣的舞蹈景觀

Abstract

2012年，臺南市政府開始以「藝陣」作為發展藝文特色的項目，不僅將藝陣提升 為代表臺灣文化的象徵，也積極透過各種形象改造手段來擺脫臺灣人對陣頭的負面印 象。本文比較臺南麻豆地區兩個表演婆姐藝陣的團體，探討它們在藝陣發展計劃下產 生何種新的宗教信仰方式，而這些以女性為主的婆姐表演者在被動員為國家代表的過 程中又表現出何種有別於男性的策略。這兩團分別是南勢里保安宮和新生代舞蹈團: 前者作為麻豆代表的傳統婆姐陣，在藝陣發展計劃下開始有更多舞臺表演的機會;後 者則是以婆姐發展麻豆特色的舞蹈教室，在藝陣發展計劃下開始在國小等不同機構教 婆姐舞蹈。兩團都以女性表演者為主，都參與了廟埕和舞臺的演出，並且都在舞臺表 演上呈現出「可愛」的風格。 在本文中，我將從三個面向來討論這個主題:首先，我將以觀光表演的視角切入，說明她們如何從廟埕和舞臺兩地的演出經驗生產出新的道地性陳述，這又如何發展出她們以婆姐為對象的信仰模式。其次，我將分析在舞臺表演中呈現出的「可愛」風格，說明婆姐藝陣如何以表演者本身形象(而非神明)作為可愛表演的主題，並藉此凸顯出表演者和婆姐女神之間親密情感的連結。最後，我將回到臺灣國家品牌的脈絡，探討婆姐藝陣以「可愛」風格表現臺灣代表的策略所展現出的效果。我發現，婆姐藝陣不僅透過可愛風格來召喚觀眾的懷舊情感，更凸顯出母子連帶的母性女神特質，這與「台客文化」試圖翻轉負面印象來表達驕傲與認同的策略正好相反，表現出這些女性採用可愛風格的親近性來追求主流價值、尋求社會認可的可敬性特徵。

In 2012, Tainan City Government began to use “Yi-ziin(folk performance)” as a project to develop artistic and cultural characteristics, which not only promoted “Yi-ziin” as a new symbol of Taiwanese culture, but also actively used various image transformation methods to get rid of the negative impression of the “Tin-tau(processional troupes)”. This article compares two groups performing “Pojie(goddess of elder sisters)” folk performance in Madou area of Tainan, in order to explores what kind of new religious practices produced under the art development plan, as well as what kind of strategies are shown different from men in the process of being mobilized as national representatives among these female-dominated performers. The two groups are the Bao’an Temple in Nanshili and the New Generation Dance Company: the former is the traditional troup representing Madou, and there are more opportunities for stage performance under the development plan of “Yi-ziin”; the latter began to teach Pojie dance in elementary schools and other institutions in order to reconstruct Madou cultures. Both groups are dominated by female performers, both performed in the temple and stage, and both showed a 'cute' style on stage performances. In this article, I will discuss this topic from three aspects: First, I will take the perspective of tourism performances to explain how they produce new authentic statements from the performance experience between the temple and the stage, which develop their belief on Pojie goddess. Secondly, I will analyze the 'cute' style presented in the stage performances, and explain how the image of the performer (not the goddess) is used as the theme of the cute performance, so as to highlight the intimate emotional connection between performer and the Pojie goddess. Finally, I will return to the context of national branding in Taiwan to discuss the effects of the strategy of 'cute' expression of Taiwanese representatives in the case of the Pojie folk performance. I found that the Pojie folk performance not only summons the emotion of nostalgia from the audience through the cute style, but also highlights the characteristics of goddess of motherhood associated with mother and child. This is the opposite of the strategy of “Tai'ke culture,” which is trying to reverse negative impressions to express pride and identity; on the other hand, these women use the intimacy of cute style to pursue mainstream value and seek respectability characteristics recognized by society.