TIFA—2015 台灣國際藝術節都蘭×沖繩 海島風光E'tolan × Okinawa Island Scenery

2015 TIFA-E'tolan x Okinawa Island Scenery

基本資料

越世界越部落，越部落越世界 台東的HO HAIYAN浪潮和沖繩的拉丁浪潮，在2015年3月20、21日於演奏廳合流，帶來一場黑潮音樂饗宴。黑潮是一股太平洋暖流，源於赤道，由南而北，沿著菲律賓、台灣、琉球群島到日本。這股暖流孕育了豐富的海洋生命，也連結了台東都蘭部落和沖繩這兩個充滿活力的音樂生態環境。來自都蘭的Sumirig舒米恩在2010年同名專輯推出以來，不斷嘗試以阿美族元素結合韓國電音、Bossa Nova、拉丁舞曲及印度Bhangra等風格，為阿美族makapahay這個代表年輕、美麗的字眼增添新詮釋。數次和舒米恩合作的沖繩KACHIMBA 4樂團成員，曾基於對拉丁音樂的熱愛，遠赴古巴學習，使得他們的音樂映照出結合沖繩色調和加勒比亞色調的陽光。都蘭和沖繩浪潮的結合，精彩可期。 2013年，我為兩廳院【我是這樣看世界】講座音樂會系列規劃了《山．海．漂流—舒米恩與達卡鬧》音樂會，兩廳院在規劃2015年台灣國際藝術節時，提出再次邀請舒米恩在演奏廳表演的計畫，徵詢我對於表演型態的意見，於是我提出由舒米恩和KACHIMBA 4合作演出的建議。如果說2013年的演出是一場山與海的對話，透過對話勾勒出當代原住民的漂流經驗，那麼2015年這場演出是一場充滿海洋氣息的交鳴，透過拉丁節奏、沖繩歌謠與阿美族的吟唱，在世界音樂版圖上標示出台灣原住民的位置。 或許，我們可以說，台灣原住民音樂是在它變成世界音樂以後才進入一般台灣聽眾的音樂生活經驗。1996年亞特蘭大奧運會之前，除了在部落附近的唱片行和夜市販賣的原住民音樂卡帶，以及在少數書店和唱片行可以買到的原住民音樂學術錄音，非原住民聽眾很難接觸到原住民音樂。透過亞特蘭大奧運宣傳片強力播送，阿美族耆老郭英男的〈歡樂飲酒歌〉歌聲周遊世界之後，在台灣引起唱片業者和聽眾對原住民音樂的關注，就在卑南族的張惠妹雄踞主流市場的同時，原住民創作音樂漸漸進入原住民及非原住民年輕聽眾的閱聽世界。 卑南族人陳建年在2000年勇奪金曲獎之後，陸續有原住民音樂工作者在金曲獎舞台嶄露頭角，另一方面，也有原住民音樂工作者有意識地用音樂為族人發聲，他們共同掀起一股原住民音樂浪潮。這股原住民音樂浪潮中，隱約可見三個路線相互吸引、彼此影響，包括：部落與跨部落歌謠路線、校園民歌路線與世界音樂路線。舒米恩可以說是世界音樂路線的代表人物之一，近年來，他不僅嘗試結合阿美族元素和跨國音樂語彙進行創作，更經常到日本、英、美、法等國表演，讓國際愛樂人士聽到台灣原住民的聲音。透過創作和國外表演，舒米恩證明了越具有部落色彩的原住民音樂，越容易受到國際矚目。 當原住民音樂變成世界音樂之後，是否會模糊了它的文化認同指涉呢？連結了舒米恩和KACHIMBA 4的拉丁音樂或許可以提供思考這個問題的參考。四、五百年來，因著歐洲在美洲殖民所引進的非洲後裔將非洲音樂帶入加勒比亞島群，非洲音樂的複節奏和領唱答唱風格在此結合歐洲的樂器和交際舞傳統，產生了拉丁舞曲。拉丁舞曲如今已成為全世界流行音樂的通用語，但它也同時刻畫著強烈的加勒比亞地方色彩，例如，騷莎音樂讓人聯想到古巴，雷鬼音樂則是牙買加的象徵，這些都是既全球又地方的證例。透過拉丁音樂的連結，舒米恩和KACHIMBA 4在《海島風光》這場音樂中將要闡述，當代原住民音樂如何很世界又很部落。

The World of the Tribe and the Tribe of the World A current mixed with the sound of HO HAIYAN from Taitung and the Latin American music from Okinawa finally arrives, presented in E'TOLAN×OKINAWA ISLAND SCENERY at National Recital Hall between 2015/3/20 and 3/21. The E'tolan-born singer and songwriter Suming has been active in blending Amis music with Korean techno music, Bossa Nova, Latin dance music, and Indian Bhangra to materialize the Amis term makapahay, which means“young and pretty.”The love for Latin American music is also shared by KACHIMBA 4, the band Suming has played with in several occasions. The four-person band even went as far as Cuba to capture the sound inspired by that breathtaking sunlight from the Caribbean sky and to respond it with the souls from Okinawa. E'TOLAN×OKINAWA, perhaps it is what the Ocean smells like, leads us to mark that exact spot for Taiwan's indigenous music. We may assume that not until Taiwan's indigenous music was categorized as“world music”did it get into the daily life of Taiwanese. The turning point was the Atlanta Olympics in 1996, where the beautiful chanting voice of DifangDuana（also known as KUO Ying-nan, an old man in an Amis tribe）appropriated in Return to Innocence by Enigma was heard by the whole world. Since then, the mainstream pop music industry in Taiwan as well as the non-indigenous Taiwanese has paid more and more attention to the indigenous music － around the same time when the Puyuma singer CHANG Hui-mei（also known as A-Mei）became one of the most popular pop stars. In 2000, another Puyuma singer and songwriter CHEN Chien-nien won the Golden Melody Awards, followed by more and more award-winning indigenous songwriters and singers. In this trend, the styles of indigenous music can be categorized into tribal/trans-tribal folk songs, campus folk songs, and world music, while Suming is one of the best examples in world music. In recent years, he has not only attempted to integrate the unique elements of Amis music with a great variety of musical styles from all over world, he has also showcased the impressive sound of Taiwan's indigenous music to the whole world, from the non-indigenes in Taiwan, to Japan, UK, USA, France, and many other countries. In his singing and songwriting, Suming proves that the most genuine sound from the tribes is what the world really feels the passion for. However, while the indigenous music becomes a category in world music, is its cultural identity compromised? The Latin American music which brings Suming and KACHIMBA 4 together may provide an answer. About 500 years ago, the African music was introduced to the Caribbean islands by the African diaspora who came with the Europeans colonizers. For all these years, the polyrhythms and the call-and-response in the African music traditions have been repetitively played with European instruments and ballroom dance music. It was the origin of Latin dance music, which soon became a dominant pop music genre in the whole world as it also maintained the most genuine Caribbean touch. Just like how salsa is associated with Cuba and Reggae is associated with Jamaica now, through music, the place of its origin makes itself known to the world on the global stage. In the concert E'TOLAN×OKINAWA ISLAND SCENERY, the love for Latin American music shared by Suming and KACHIMBA 4 is about to sing out how contemporary indigenous music can be both“global”and“tribal.”

約翰淑敏／舒米恩　詞曲
美少女／舒米恩　詞曲
海邊撿貝殼
鈴鐺／舒米恩　詞曲
我愛你／舒米恩　詞曲
赤田首里殿
大風
祈雨祭
祭祖儀式
老人進殿曲
青蛙合唱
作客
歡樂飲酒歌
娜魯灣
我們的約定／舒米恩　詞曲
風／舒米恩　詞曲
拉千禧／舒米恩　詞曲

Johnsuming／Suming　word,music
kayoing／Suming　word,music
Tangfur／Suming　word,music
安里屋ユン夕
月の光り
花のかじまやー（花ぬ風車）
海のちんぼーらー
Shingo／Suming　word,music

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