做國寶的家人：Kaviyangan文化復振中的物質實踐

Abstract

本研究以2015年佳平舊社zingrur頭目家四面木雕祖靈柱muakai被指定為國寶，並與臺灣大學結為親家的故事為出發點，追溯佳平部落提議舉辦婚禮的契機。同時也追問在與博物館結盟後，雙方是否造就比單純返還文物更密切的合作？這些被創造、延續的關係，又是如何與當今社區文化復振的脈絡結合，幫助佳平人找尋對於部落的認同，以及在排灣族之中的自我定位。 本研究著眼在物質與人的關係，指出若能注意文物性質與生命史帶來的能動性，及其所發揮的促進或抑制效果，將有助於更細膩地分辨博物館和部落協調時各種為與不為中隱含的限制及權力。再者，透過全面地觀察圍繞祖靈柱的生活空間、衍生產品等各式物質，本文也討論在焦點事件之外，博物館文物如何融入當地的日常。 其次，本研究以組裝體作為核心概念，主張博物館和部落都是人、規範、物質、設施等的組裝，以此重探博物館與部落合作中的情感及摩擦。此外，在佳平天主信仰和傳統文化結合的脈絡下，本文亦討論部落內muakai相關物質和空間的組裝，如何拼湊出當代佳平文化復振複雜而動態的面貌。

This research is about the story of an ancestral wooden pillar called muakai, which is owned by the zingrur family, the leader of Kaviyangan tribe. Muakai was designated as a national treasure and married with National Taiwan University in 2015. This research explores how the Kaviyangan people came up with the idea of the wedding. It also explores whether the museum and the tribe created better cooperation than directly repatriate the pillar. How these created and continued relationships are combined with the context of the Kaviyangan's cultural revitalization contemporary, helping the local people find their collective identity and their self-position among Paiwan? This research focuses on the relationship between things and people. It argues the importance to notice the dynamism brought by the materiality of muakai and its cultural biography, and the promotion or inhibition effect it exerts in the cooperation between the museum and the tribe. In addition, the materiality of muakai helps to delicately discuss the power relationship between the two units. By observing the related spaces and objects of the ancestral pillar, this study also discusses how the pillar was intertwined with the Kaviyangan's daily life. This research takes assemblage as the core concept. By viewing both the museum and the Kaviyangan tribe as the assemblage of people, norms, materials, facilities, etc., this study re-examines the emotions and frictions in the cooperation between the museum and the tribe. In the context of the combination of Catholicism and traditional Paiwan culture in the Kaviyangan tribe, the assemblages of muakai’s related artifacts and spaces in the tribe, and how do they piece together a complex and dynamic contemporary Kaviyangan culture are also discussed here.