讓靈魂回家 Returning Souls

 ~尋找太巴塱靈魂；阿美族最神奇的一棟祖屋裂解與重建的故事~  

台灣母系阿美族文獻中最有名的太巴塱Kakita’an祖屋柱子上有許多圖紋，講述著這個太陽母神後裔包括大洪水、會發光女孩、兄妹婚、巫師降世，以及弒父與獵首起源等神奇傳說。1958年大颱風將祖屋吹倒後，這些柱子被搬移到中研院民族所博物館收藏。近年在太巴塱年輕人的積極推動下，透過女巫師的媒介，讓Kakita’an家族和村落代表與柱子中的祖靈接觸、對話，最終將祖靈請回部落並展開祖屋重建。在外來宗教影響、土地所有權爭議與複雜的部落文化生態中，年輕人想找回太巴塱祖靈及部落靈魂的文化復振夢想遭遇許多困難。這部紀錄片將神話傳說與現實、看得見的與看不見的交織，記述這個特殊而動人的歸還與重建事件。

In the historically most famous ancestral house of the matrilineal Amis tribe in Taiwan, the carved pillars tell legends, such as the great flood, the glowing girl, the descending shaman sent by the Mother Sun, and the father-killing headhunting event. After a strong typhoon toppled the house 40 years ago, the pillars were moved to the Institute of Ethnology Museum. Recently young villagers, with assistance from female shamans, pushed the descendants and village representatives to communicate with ancestors in the pillars. They eventually brought the ancestral souls（rather than the pillars）back and began reconstructing the house. In an environment highly influenced by western religions, national land policy, and local politics, the dream of the young people for cultural revitalization and to bring back not only the ancestral souls but also the soul of the village encountered many frustrations. This documentary interweaves reality and legends as well as the seen and the unseen as it records this unique case of repatriation. （85 minutes)                                       

                            (Director: Hu Tai-Li, taili@gate.sinica.edu.tw ) 

導演/製片 Director/ Producer： 胡台麗  Hu Tai-Li 

攝影 Camera： 李中旺   Lee Jong-Wang

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胡台麗為台灣資深紀錄片導演，國立台灣大學歷史系畢業，獲紐約市立大學研究中心人類學博士；現職為中央研究院民族學研究所研究員，國立清華大學人類學研究所兼任教授，並擔任台灣國際民族誌影展主席。編導製作紀錄片：《神祖之靈歸來》、《矮人祭之歌》、《蘭嶼觀點》、《穿過婆家村》、《愛戀排灣笛》、《石頭夢》、《穿過後》、《讓靈魂回家》等；並出版書籍：《媳婦入門》、《My Mother-in-law's Village: Rural Industrialization and Change in Taiwan》、《性與死》、《燃燒憂鬱》、《排灣族的鼻笛與口笛》、《文化展演與台灣原住民》、《排灣文化的詮釋》等。胡台麗的紀錄片作品曾獲得芝加哥國際影展紀錄片類銀牌獎、休斯頓國際影展金牌評審獎、金馬獎紀錄片首獎、台灣國際紀錄片雙年展評審特別推薦獎、法國Jean Rouch國際民族誌影展非物質文化傳承推薦獎；以及入圍荷蘭荷蘭阿姆斯特丹國際紀錄片影展競賽片、入圍法國馬賽國際紀錄片影展競賽片、入圍義大利日月國際紀錄片影展競賽片，和獲選參加世界各地著名民族誌影展等。胡台麗導演之《穿過婆家村》是台灣第一部在商業電影院放映的紀錄片，並創下票房佳績，掀起了日後台灣紀錄片在商業電影院公映的風潮。   facebook: http://www.facebook.com/profile.php?id=1079237086&ref=tn_tnmn

Hu Tai-Li is currently a research fellow and documentary filmmaker at the Institute of Ethnology, Academia Sinica in Taiwan ; a concurrent professor at National Chin-Hua University, and the president of Taiwan International Ethnographic Film Festival.  After graduating from the History Department of the National Taiwan University, she entered the Graduate School and University Center of the City University of New York, and obtained her Ph.D. degree in anthropology.  She has directed and produced eight documentary films (The Return of Gods and Ancestors, Songs of Pasta’ay, Voices of Orchid Island, Passing Through My Mother-in-law’s Village, Sounds of Love and Sorrow, Encountering Jean Rouch, Stone Dream, After Passing, and Returning Souls) , and published seven books (Daughter-in-law Entering the Door, My Mother-in-law's Village: Rural Industrialization and Change in Taiwan, Sex and Death, Burning Melancholy, Paiwan Nose and Mouth Flutes, Cultural Performances and Taiwan Indigenous Peoples, The Interpretation of Paiwan Culture).. Her films won Taipei Golden Horse Film Festival "The Best Documentary Film Award", Chicago International Film Festival "Silver Plaque Award" , Houston International Film Festival "Gold Special Jury Award", Taiwan International Documentary Festival “Jury’s Special Mention Award”, and Jean Rouch International Ethnographic Film Festival (Paris) "Mention du Patrimoine Culturel Immateriel" Award ; selected for Joris Ivens Competition at International Documentary FilmFestival Amsterdam,International Competition at Marseille International Documentary Film Festival, and International Competition at  Sole Luna International Documentary Festival (Italy); Margaret Mead Film and Video Festival, Gottingen International Ethnographic Film Festival, Bilan du Film Ethnographique (Paris), etc..

胡台麗紀錄片作品年表、參展紀錄與影片內容簡介 Filmography and Film Introductions

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「讓靈魂回家」簡介短片 ( trailer 1, Chinese Version) 

 trailer 1 of "Returning Souls" : Introduction (English Version)

http://www.youtube.com/watch?v=ZAEH-Gmq1pE

 「讓靈魂回家」片段 ：阿美族太巴塱弒父獵首傳說  ( trailer 2 , Chinese version)

 trailer 2 of "Returning Souls: Tafalong Legend of Father-Killing and Headhunting

  (English Version)  http://www.youtube.com/watch?v=D_Ef4iTn1_Q 

Documentary spotlights efforts to return Amis lost souls

＊萬分感謝參與和協助「讓靈魂回家」攝製者 Special thanks to:

太巴塱村落與村民  Tafalong Village and residents; 

曾金蘭 Kating  Hongay   

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我為什麼要攝製「讓靈魂回家」紀錄片？  （胡台麗）

    對我來說，拍攝紀錄片不只是在紀錄，而是希望透過紀錄與放映，能刺激多方面的文化省思。從事人類學研究和民族誌紀錄片攝製工作以來，「讓靈魂回家」是和我工作的單位中研院民族學研究所最密切相關的一部影片。從2003年8月太巴塱部落的年輕人造訪民族所博物館開始，那時身為博物館委員會召集人的我就嗅到不尋常的氣氛。事情找上門，就發生在眼前，讓我無法視而無賭。於是，拿起攝影機不但是一種反射性的動作，也是整理思緒、觀察變化、紀錄溝通、並作自身反省的一種方式。

    以Fuday為代表的幾位登門來訪的太巴塱年輕人讓我感動。他們想透過存藏於中研院民族所博物館的Kakita’an祖屋木柱，重新找回那曾是部落中心但早已傾頹的Kakita’an祖屋、流離的祖靈和在各種外來文化衝擊下迷失的部落靈魂。他們心中想的是：要回Kakita’an祖屋木柱，在太巴塱重建Kakita’an祖屋，恢復原有的祭儀文化，重振太巴塱的精神。

 Why I was inspired to film “Returning Souls”      （Hu Tai-Li）

      Filming a documentary does not serve to simply document facts. By sharing what I have recorded, I hope to stimulate reflection in my audience on a variety of cultural issues. In all my experience performing anthropological research and filming ethnographic documentaries, “Returning Souls” has the closest links to my workplace, Academia Sinica’s Institute of Ethnology. In August 2003, when young members of the Amis tribe from Tafalong visited the Museum of Institute of Ethnology, I was Convener of the Institute’s Museum Committee. I could feel that something special had been put into motion. This story literally appeared on my doorstep and there was no way I could ignore it. Picking up a video camera is my natural reflex, but it is also an ideal tool for organizing thoughts, observing changes, recording communication, and introspection. 

      I was truly moved by the group of young Amis from Tafalong, led by Fuday. They came to request the return of wooden pillars from the Kakita’an family ancestral house that are preserved in the Institute’s museum. By bringing the pillars home, they hoped to restore the soul of their village that had been eaten away by the destruction of the Kakita’an ancestral house, the displacement of their ancestors’ souls, and the impact of outside culture on their way of life. If we can just bring back the pillars and rebuild the Kakita’an ancestral house, they thought, we can recapture our culture and rituals and revitalize the spirit of Tafalong.

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民族誌紀錄片《讓靈魂回家》首映座談會引言人胡家瑜教授發言記錄

             （2011年12月10日，中研院民族學研究所）

    各位遠道跟近道來的朋友，大家好。今天我非常謝謝胡台麗老師邀請我來擔任引言人，讓我有機會先睹為快看了《讓靈魂回家》這部片子。這部片子很感人，其實需要有一點時間平復一下情緒。我必須要說非常佩服胡台麗老師花了那麼長久的時間，拍攝、記錄的歷程。這部片子有很感人的故事、精采的畫面，和很豐富的一些議題可以討論。今天有很多片中談到的參與祖屋重建的重要人士在場。這部片子我覺得其實有一個很重要的主角，就是Kakita’an家的祖屋，還有刻繪著祖先圖像的柱子。從這個主角開始出發，我們看到後續衍生的這麼豐富的故事。我們過去常常會覺得說，「物」好像是沒有生命的，可是我們透過這部片子，反而看到「物」有那麼豐富的生命。我今天想從幾個角度來談。

    第一，看這部片子的時候，一開始便感受很大的衝擊性的是用民族所博物館裡面收藏的太巴塱祖屋的木雕柱當成一個切入點。第一個層面會引發博物館保存的文物與部落的文化傳承關係的討論。這對目前與原住民文物收藏有關的博物館來說，是一個很重要的議題。有的時候也會產生有點緊張的關係。你可以看到，影片前半部有一些協調過程，而這些協調過程也反映當初文物收藏的過程。重新檢視時，好像那個收藏的過程不見得都溝通得那麼好；也就是採集文物的過程，有的時候沒找真正的、適當的代表人，或者是在沒充分溝通狀況下將文物帶回博物館。即便經過充分的溝通，博物館對於文物保存的想法，亦即希望把「物」留存下來的想法，可能跟部落裡面臨的文化要繼續傳承的意義不太一樣。我們看到這部片子非常有意思的就是，這個協商的過程最後達到一個很溫暖、感人而且很有創意的一個結果：部落請了博物館保存的文物的祖靈回去，而這個文物還繼續放在博物館裡面。這個例子其實我想非常特別，放在全世界博物館文物跟部落的文化傳承關係來講，這可能都是一個很值得去探討的例子。這是一個非常有創意的結果，在博物館和部落兩方面都可以看到Kakita’an家祖柱在持續它的生命。