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 )

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。

    在排灣族部落浸淫較久的我對於排灣貴族階層家屋中的木雕柱並不陌生。可是，阿美族的各種文獻資料中就只有太巴塱Kakita’an祖屋的木柱有雕繪圖紋，而且描繪的是極其精彩的祖傳事蹟，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。因此，Kakita’an祖屋成為阿美族歷代最有名、最受外界矚目的一棟建物。往昔Kakita’an家擁有太巴塱部落的土地權，也負責部落重要的敵首祭等祭儀，家屋外設有首祭棚。根據日據時太巴塱人Kati Rata（杜寅吉）所收錄記載的耆老口語傳說，當年弒父的兄弟為父親的首級舉行的盛大首祭，便是現今太巴塱年祭Ilisin之始。該家的繼承人雖是女性，但祖屋的祭儀主要是由女傳人的兄弟擔任祭司。Kakita’an祖屋的特殊性，讓一心想消除原住民祭儀中與獵首相關祭儀的日本殖民政府，在逼迫主持敵首祭儀的Kakita’an家人遷出有雕繪圖紋的Kakita’an家屋，並將土地、房屋劃歸公家的學租財團法人所有後，於昭和10年（1935）將該屋指定為史蹟保存，並編列經費維修，供參觀展示之用。這是阿美族唯一免於拆毀的一棟傳統Kakita’an祖屋，對阿美族而言，具有特別的文化意義。

    可是，1958年溫妮颱風將Kakita’an房子吹倒，那時Kakita’an家和部落沒有經費重建，也因族人大批且快速地成為天主教、基督教徒，而忽視傳統的祭儀。中研院民族所的研究員劉斌雄受另位研究員任先民委託，到太巴塱調查，訪問聲望地位甚高的老頭目萬仁光（曾任鄉長，當時任縣議員）關於Kakita’an之事。萬仁光帶他去倒塌的Kakita’an祖屋處，看到只剩下那些有雕繪的木柱堆在路旁。劉先生說：「部落如果沒人管、沒人出錢重建、又沒人反對的話，我就帶回民族所吧！這麼寶貴的東西讓它在風吹雨打下腐爛、毀滅，不是辦法。」劉先生告訴我當時他個人並沒有和Kakita’an家人接觸，而是在萬仁光協助下徵得了部落同意，將那些木柱運回民族所。

 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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     Before Taiwan was settled by large numbers of ethnic Han Chinese, it was inhabited by Austronesian-speaking peoples. Today, the Taiwanese government recognizes 14 indigenous tribes with a combined 520,000 members who make up 2.25% of Taiwan’s population. The largest of Taiwan’s tribes, the Amis, has nearly 200,000 members who primarily reside along the island’s eastern coast. With years of experience researching Taiwan’s Paiwan tribe, I am not unfamiliar with carved columns in the houses of Paiwan nobility. However, in the accumulated literature on the matrilineal Amis, the Kakita’an ancestral house in Tafalong is the only recorded structure with carved pillars. With carvings depicting dramatic tales of a big flood, a glowing girl, marriage between siblings, shamans descending to earth, patricide, and the origins of headhunting, the Kakita’an house became the most famous, most intriguing example of Amis architecture.