JMU 5019-0

Brief

本課程從音樂、舞蹈及其他表演藝術探討世界原住民身份認同的演變，並理解原住民族如何透過表演藝術挑戰殖民約束，並探索解殖及賦權 的可能性。歡迎各學科背景的學生參加，共同探討原住民性與音樂及表演藝術的互動關係。

Description

Course keywords: 原民性 Indigeneity, 原住民音樂 Indigenous Music 一、 科目名稱：原住民音樂研究 Seminar on Indigenous Music Studies 二、 任課教師：官元瑜 Yuan-Yu KUAN 三、 時間：每週二10:10 ~ 12:00 四、 地點：南6B103 五、 授課內容COURSE DEscriptION 雖然「原住民」（Indigenous Peoples）及其文化權的概念誕生於美洲的政治環境中，但是透過世界各地第 一民族（First Peoples）的積極參與，當代「原民性」（Indigeneity）的結構和脈絡已有顯著的轉變和 重新定義。在此之中，音樂、舞蹈及其他形式的表演藝術在定義文化、身份認同和感知方面扮演了重要的關鍵性 角色。例如，在太平洋地區，原住民族視樂舞為教育、傳承族群歷史和系譜的載體；太平洋原住民族及其表演藝 術經過深入研究、修訂，以及再創造，如今已成為當代太平洋文化中緊密交織的一環，也構成太平洋原住民認識 論的基礎。相比之下，亞洲地區對於原住民議題的討論經常被忽視或視為不存在。例如，在中國，「非漢族」群 體被視為「少數民族」，而不視為具有原住民身份。因此在亞洲地緣政治中，當墾殖者（settler- colonialists ）與原住民的史觀與身份定位缺乏明確界定時，原住民族（作為第一民族）面臨著將其地位政 治化的挑戰（Niezan 2003; Clifford 2013）。 這是一門著重於文本閱讀的研討課程，透過探討樂舞表演藝術與全球原住民身份認同的連結，以理解原民性的維 度、多樣性及表演性；並涉及下列關鍵議題：歷史再現、墾殖主義、代理權問題、外來文化的原民化與實踐、原 住民族對時間和空間的觀點、軍事化、旅遊、性別和性傾向，以及以上議題與流行文化的交集。本課程的潛在主 題是民族誌方法的應用，以及從樂舞和音聲出發對原民性的（重新）定義和反思。因此，此研討課程歡迎具有不 同學科背景，且對原民性概念及其與表演藝術的交織關係感興趣的學生。 While the template for Indigenous rights was born in the Americas, Indigenous Peoples from various parts of the world have engaged with these platforms and have transformed the texture of Indigeneity itself. Moreover, music, dance, and other forms of performing arts hold significant importance in defining a culture's identity and sensibility. For instance, in the Pacific, Indigenous Peoples have used performing arts as educational vehicles to pass down one’s history and genealogy. Pacific Indigeneity and its performing arts have been closely studied, revised, and reinvented and now have become part of a tightly woven fabric of reality that is the foundation of an Indigenous, Pacific epistemology. In contrast, discussions of Indigeneity in Asia have often been overlooked or dismissed as non-existent. For instance, in China, populations classified as “non- Han” are considered ethnic minorities rather than Indigenous Peoples. In Asia, where settler-colonial histories are not sharply defined, Indigenous Peoples are now facing challenges to politicize their status as native, making it difficult to identify unambiguous “first peoples” (Niezan 2003; Clifford 2013). This is a reading seminar designed to survey the variety and dimensions of Indigeneity with a primary focus on exploring the performativity of Indigenous identity worldwide. It will delve into critical issues, including historical representation, settler-colonialism, questions of agency, the Indigenization of foreign cultural practices, Indigenous perspectives on time and space, militarization, tourism, gender and sexuality, and their intersections with popular culture. A subtext of this course lies in the application of ethnographic methodologies and the examination of historical definitions of Indigeneity within the context of music and dance. As a result, the seminar is designed to welcome students from diverse disciplinary backgrounds who share an interest in comprehending the concept of Indigeneity and its intricate relationship with the performing arts. 六、 學習目標 LEARNING OUTCOMES 1. 了解全球原住民身份認同的崛起以及其與殖民主義的關係。 2. 探討墾殖主義及其對原住民文化和藝術表達的影響。 3. 分析音樂與表演藝術與原住民運動和解殖的連結。 4. 以民族誌研究作為理解世界原住民性的取徑。 1. Understanding the global emergence of Indigeneity and its relationship with colonialism. 2. Explore the impact of settler colonialism on Indigenous cultures and artistic expression 3. Analyze the connections between music, performing arts, and Indigenous movements for decolonization. 4. Use ethnographic research as an approach to comprehend Indigenous realities worldwide. 七、 課堂作業COURSE ASSIGNMENTS 除第一週導論和最後一週外，本學期共有14週的閱讀（每週約有專書兩個章節或期刊兩篇的文本閱讀）。除4月 16日的觀察報告外，學生需繳交九篇思辨性摘要報告（一至兩頁；2月27日每人都須繳交）。內容應涵蓋：概述 文本內容，以及個人對該文本的閱讀心得、思辨與獨到見解。為確保閱讀和課堂討論的品質，請各位於課堂上以 書面形式提交報告。此外，我也要求學生在研討課的Line群組中於上課前分享摘要報告。每週除核心文本或 「主要閱讀」（lead read;以星號*標註），學生應至少有一次選擇閱讀清單中的其他文本。 思辨性摘要報告的格式必須以 A4（21 x 29.7 cm）大小的紙張，每頁上下邊界、左右兩側各留 1 公分（亦 即MS Word 「標準」設定）。中文字全部使用新細明體12號字體，英文字和數字全部使用 Times New Roman。全文行距皆使用單行間距設定。請於報告首頁右上角標註名字與繳交日期，並參考以下格式於左上角標 註文章出處： 專書： 作者（年代）。書名（版別）。 Author, A. A. (1993). Book title (2nd Ed.). 期刊論文 ： 作者（年代）。文章名稱。期刊名稱，卷（期），頁別。 Author, A. A. (1993). Article title. Journal title, Vol. xx (No. xx), xx-xx. Each student will be expected to submit TEN one-page typewritten summary papers on their assigned readings or viewings (all students are required to submit papers on February 27th and April 16th). To ensure the quality of the readings and the integrity of the discussions, these weekly summary papers must be submitted in hard copy in class; no exceptions will be permitted. Additionally, I kindly request that students share copies of all their written assignments in the seminar’s Line group chat before the scheduled meeting. While most seminar sessions will have a central text or “lead read” assigned to the majority of students, each student will have the opportunity, at least once during the seminar, to select a separate reading from the list, write about it, and share copies of their work on Line. 八、 生成式人工智慧使用原則 基於透明與負責任的原則，本課程鼓勵學生利用AI進行協作或互學，以提升本門課產出品質。根據本校公布之 「大學教育場域AI協作、共學與素養培養指引」，本門課程採取有條件開放，說明如下。在本課程的「文本分 析」和「摘要報告」中，學生不得使用生成式AI工具撰寫作業。若經查核使用卻無在作業或報告中標明，教師、 學校或相關單位有權重新針對作業或報告重新評分或不予計分。本門課授課教材或學習資料若有引用自生成式 AI，教師也將在投影片或口頭標注。修讀本課程之學生於選課時視為同意以上倫理聲明。 九、 進度安排TENTATIVE SCHEDULE Unit I: The Rise of Indigeneity／原民性的崛起 2/20: Introduction／導論 2/27: Theory on Indigeneity I／原民性理論（一） Niezen, Ronald. 2010. The origins of indigenism: human rights and the politics of identity (Ch1&2) *Sissons, Jeffrey. 2005. First peoples: indigenous cultures and their futures. (Ch1&2) 3/5: Theory on Indigeneity II／原民性理論（二） Allen, Chadwick. 2012. Trans-Indigenous: Methodologies for Global Native Literary Studies. (Ch1&4) *Clifford, James. 2013. Returns: becoming indigenous in the twenty-first century. (Ch2&3) Niezen, Ronald. 2010. The origins of indigenism: human rights and the politics of identity. (Ch3&4) Sissons, Jeffrey. 2005. First peoples: indigenous cultures and their futures. (Ch3&4) 3/12: Indigeneity in the Pacific／原民性在太平洋 *Dening, Greg. 2002. “Performing on the Beaches of the Mind: An Essay.” History and Theory 1–24. ______. 2013. Performances. (Ch1&2) Diettrich, Brian. 2018. “A Sea of Voices: Performance Relations and Belonging in Saltwater Places.” Yearbook for Traditional Music 41–69. Freeman Moulin, Jane. 1994. “Chants of power: countering hegemony in the Marquesas Islands.” In: Yearbook for Traditional Music 26. HauE9;ofa, Epeli. 2010. We are the ocean: selected works. (Part II) 3/19: Indigeneity in Asia／原民性在亞洲 *Baird, Ian G. 2016. “Indigeneity in Asia: an emerging but contested concept.” Asian Ethnicity 501–5. Chibana, Megumi. 2018. “An Artful Way of Making Indigenous Space.” Verge: Studies in Global Asias 135–62. Fairfield, Benjamin. 2019. “Social Synchrony and Tuning Out: Karen Participation in Music Tradition and Ethnicity in Northern Thailand.” Ethnomusicology 470–98. Renner, Nate. 2012. “Ainu Ceremonial Music and Dance ‘Restored’ and Recontextualized.” MUSICultures 39.1: 208–IX. Wong Chuen-Fung. 2012. “Reinventing the Central Asian Rawap in Modern China: Musical Stereotypes, Minority Modernity and Uyghur Instrumental Music.” Asian Music 34–63. 3/26: Indigeneity in Africa／原民性在非洲 *Ndlovu, Morgan. 2019. Performing Indigeneity: Spectacles of Culture and Identity in Coloniality. (Ch1&3) Unit II: 原民性與展演／Performing Indigeneity 4/2: Orality, History, and Performing Arts ／口傳性、歷史與表演藝術 *Seeger, Anthony. 2004. Why Suya sing: a musical anthropology of an Amazonian people. (Ch 2&3) Hanlon, David. 2003. “’Beyond the English method of tattooing:’ decentering the practice of history in Oceania.” Contemporary Pacific. (2): 19-40. Kaepple,r Adrienne L. 1967. “Folklore As Expressed in the Dance in Tonga.” The Journal of American Folklore 160–68. Thomas, Allan. 1992. “The Role of Song in West Futuna, Vanuatu.” Pacific Arts. (6): 16-18. Vansina, Jan. 1985. Oral tradition as history. (Ch2&4) 4/9: Viewing Merrie Monarch Festival／線上收看夏威夷Merrie Monarch Festival （君王節） 時間為夏威夷時間下午六點開始（台灣時間隔日中午12點開始）：4月4號（Miss Aloha Hula）、 4月5號 （Hula Kahiko）及 4月6六號（Hula E9;Auana）。請從以上三天比賽中選出兩天作為撰寫觀察報告的素材 並 於下週繳交三頁的思辨性觀察報告。 連結：https://www.merriemonarch.com/ 4/16: 討論Merrie Monarch Festival 4/23: Performance, Listening, and Empowerment I ／表演、聆聽與賦權 （一） Bigenho, Michelle. 2002. Sounding indigenous: authenticity in Bolivian music performance. (Ch1& 4) Graham, Laura R., and H. Glenn Penny. 2015. Performing indigeneity: global histories and contemporary experiences. (Ch1&3) *Robinson, Dylan. 2020. Hungry listening: resonant theory for indigenous sound studies. (Intro & Ch1) 4/30: Performance, Listening, and Empowerment II／表演、聆聽與賦權 （二） Graham, Laura R., and H. Glenn Penny. 2015. Performing indigeneity: global histories and contemporary experiences. (Ch5) Kuan, Yuan-Yu. 2024. “Performing Indigeneity through the Musical Piece ‘Miti Sunai’ on Yonaguni Island, Okinawa.” Asian Music 55:1 Mkallyah, Kassomo. 2016. “Affects and Effects of Indigenous Tanzanian traditional Music in Christian Worship in Dar Es Salaam Tanzania.” Ethnomusicology 300–328. Petersen, Glenn. 1992. “Dancing defiance: the politics of Pohnpeian dance performances.” Arts and Politics. 13-28. *Trimillos, D. Ricardo. 2018. “Hawaiian and American Pasts Confronting a Native Hawaiian and a Globalized Present: Reworking Harold Arlen’s ‘Over the Rainbow’ by Israel Kamakawiwo‘ole.” In Making Waves: Traveling Musics in Hawaii, Asia, and the Pacific. Unit III: 原民性與其他議題的互動／Interplay of Indigeneity with Other Issues 5/7: Environment and Relationships／環境與關係 Diettrich, Brian. 2018. “’Summoning Breadfruit’ and ‘Opening Seas:’ Toward a Performative Ecology in Oceania.” Ethnomusicology. 62 (1): 1. Steiner, Candice Elanna. 2015. “A Sea of Warriors: Performing an Identity of Resilience and Empowerment in the Face of Climate Change in the Pacific”. The Contemporary Pacific. 27 (1): 147-180. *Tan, Shzr Ee. 2016. Beyond ’innocence’: Amis Aboriginal Song in Taiwan As an Ecosystem. (Intro & Ch2) 5/14: Representing and Imaging Indigenous Peoples／原住民族的再現與描繪 *Balme, Christopher B. 2008. Pacific performances: theatricality and cross- cultural encounter in the South Seas. (Ch1&4) Coulthard, Glen Sean. 2014. Red skin, white masks: rejecting the colonial politics of recognition. (Ch1&3) Guy, Nancy. 2002. “Trafficking in Taiwan Aboriginal Voices.” In Handle with Care: Ownership and Control of Ethnographic Materials, ed. S. R., Jaarsma,195-209. Hu, Chia-yu. 2007. “Taiwanese Aboriginal Art and Artifacts: Entangled Images of Colonization and Modernization.” In Refracted modernity: visual culture and identity in colonial Taiwan. YuM2;ko Kikuchi, ed., 193-216. Teves, Stephanie N. 2019. Defiant Indigeneity: The Politics of Hawaiian Performance. (Intro & Ch1) 5/21: Tourism, Festival, and Cultural Centers／旅遊、慶典和文化中心 *Chan, Clare Suet Ching. 2015. “Standardizing and Exoticizing the ‘Main Jo’oh’: The Tourist Gaze and Identity Politics in the Music and Dance of the Indigenous Mah Meri of Malaysia.” Asian Music 89–126. Diamond, Heather A. 2016. American Aloha: Cultural Tourism and the Negotiation of Tradition. Ndlovu, Morgan. 2019. Performing Indigeneity: Spectacles of Culture and Identity in Coloniality. (Ch5) O’Brien, Patty. 2015. The Pacific Muse: Exotic Femininity and the Colonial Pacific. *Webb, T. D. 1994. “Highly structured tourist art: form and meaning of the Polynesian cultural center.” Contemporary Pacific. 59-86. 5/28: Gender and Sexuality／性別與性傾向 （線上課程） Baranovitch, Nimrod. 2003. China’s new voices: popular music, ethnicity, gender, and politics, 1978-1997. Martin, Fran. 2008. AsiaPacifiQueer: rethinking genders and sexualities. Tengan, Ty P. KaM2;wika. 2009. Native men remade: gender and nation in contemporary HawaiE9;i. Spiller, Henry. 2010. Erotic triangles: Sundanese dance and masculinity in West Java. Sunardi, Christina. 2017. Stunning males and powerful females: gender and tradition in East Javanese dance. Schmidt, Johanna. 2019. Migrating Genders: Westernisation, Migration, and Samoan Fa'afafine. 6/4: Indigeneity in Popular Music／流行音樂中的原民性 （線上課程） Hayward, Philip. 2020. Sound alliances: indigenous peoples, cultural politics, and popular music in the Pacific. Gibson, Chris, and Peter Dunbar-Hall. 2000. “Nitmiluk: place and empowerment in Australian aboriginal popular music.” Ethnomusicology. 44 (1): 39-64. Roberson, James. 2001. “Uchinaa Pop: Place and Identity in Contemporary Okinawan Popular Music.” Critical Asian Studies. 33 (2): 211-242. ______. 2010. “Singing diaspora: Okinawan songs of home, departure, and return.” Identities: Global Studies in Culture and Power. 17 (4): 430-453. Guy, Nancy. Ed. 2021. Resounding Taiwan: Musical Reverberations Across a Vital Island. (Ch2) 6/11: 期末總結 （線上課程）

Timetable

Scores

Average GPA 3.38

Std. Deviation 0.94

Remarks

Restrictions

Compulsory

Elective

Cross Discipline

First Specialization

Second Specialization