《 daramaw 在這裡存在，也在這裡消失 》

​

年代  /2012

藝術家  /瑪籟．瑪卡卡如萬

材質  /羊毛氈、鐵條、鐵片

尺寸  /W110× D55× H223cm ( 羊毛氈 W74× D5× H138cm)

​​

那路很會彎－原住民藝術工作者駐村計劃聯展＠高雄市立美術館

​

-------------------------

早期在卑南族社會中，傳統信仰的daramaw(巫術、巫醫的統稱)是族人尋求超自然力量與醫治病痛的管道之一；當族人在生活中遇到問題時(疾病、祈福、祭祀、禦敵等等)都求助透過巫師執行儀式，藉由經文將需求與祖靈溝通，將靈力放入在檳榔等物品中成為護身符或結界。現今，祭司或巫師被視為傳承文化內涵和儀式知識的重要人物，也是傳統規範的守護者。

 

「檳榔」在正式的祭祀域裏，扮演著重要的溝通管道，及祭祀品的角色。檳榔(puran)整個：代表一個人、珠珠(inasy)：代表善靈，意思是祭拜的對象為善良的靈魂，意謂對祖先祈福。

 

作品以手工製作羊毛氈「檳榔」為主要元素，將卑南族傳統宗教特有儀式「檳榔陣式」(有順序的一組一組排列，而後巫師排成陣後祈禱念咒。)加以延伸成一視覺圖像，並以拱形支架陳設。

 

作品上方模擬「檳榔陣式」排列出象徵宗教人物肖像（耶穌/聖母），作品下方排列則是擺出部落原有「檳榔陣式」陳列，運用部落文化元素呈現出現代宗教和傳統信仰之間的轉換與並置現象，企圖從重現/觀察現今部落信仰生活現場，反思當前部落面對文化核心與信仰價值的轉變，傳承與融合將如何可能？

 

從2010年（原民會駐村計畫）、2012年（南島美術獎）開始並逐漸成形延續至今的創作命題＿墾殖社會中的文化清洗，導致族群生存空間的壓縮與遷徙，傳承傳統文化與保護核心價值的方法與策略是什麼？其中［在這裡存在，也在這裡消失］“To Be or Not to Be”是對部落信仰遭遇外來宗教所涉及的「主體性喪失」、「儀式斷裂」以及「二元對立的殖民思維」等現象的內部批判。

-----------------------

daramaw To Be or Not to Be

 

Wool felt, iron bars, iron sheets

W110 × D55 × H223 cm (wool felt: W74 × D5 × H138 cm)

2012

NaLuWan—Indigenous Artists Residency Program Group Exhibition @ Kaohsiung Museum of Fine Arts

​

In early Puyuma tribal society, the traditional belief in daramaw (a general term for witchcraft and shamanism) served as one of the channels for the people to seek supernatural powers and heal illnesses. When tribespeople encountered problems in life (such as diseases, prayers for blessings, rituals, or warding off enemies), they sought help from shamans to perform ceremonies. Through the rahan (priest) reciting scriptures orally, they communicated their needs with ancestral spirits, infusing spiritual power into items like betel nuts to create amulets or protective boundaries. Today, the priest rahan (in the public domain) or the shaman na temaramaw (in the private domain) is regarded as an important figure in inheriting cultural connotations and ritual knowledge, as well as a guardian of traditional norms.

 

In formal ritual domains, "betel nut" puran plays an important role as a medium of communication and a sacrificial offering. A whole betel nut puran represents a person; the beads inasy represent benevolent spirits, meaning the object of worship is a kind soul, implying prayers for blessings to ancestors.

 

This work uses handmade wool felt "betel nuts" as the main element, extending the Puyuma tribe's traditional religious ritual "betel nut formation" (arranged in orderly groups, followed by priests forming an array and praying with incantations) vertically upward into a visual image, presented with arched supports.

 

The upper part of the work simulates the "betel nut formation" arranged into symbolic religious figures (Jesus/Virgin Mary), while the lower part is arranged in the tribe's original "betel nut formation" display. Using tribal cultural elements to present the phenomenon of transformation and juxtaposition between modern religion and traditional beliefs, it attempts to reflect on the current tribal faith life scene through recreation/observation, contemplating how inheritance and integration might be possible amid the changes in cultural core and faith values faced by the tribe today?

 

Starting from 2010 (CIP Residency Program) and 2012 (Austronesian Art Award), and gradually taking shape and continuing to the present, the creative theme—cultural cleansing in settler colonial society leads to the compression and migration of ethnic living spaces. What are the methods and strategies for inheriting traditional culture and protecting core values? Among them, [Exists Here, and Disappears Here] "To Be or Not to Be" is an internal critique of phenomena such as "loss of subjectivity," "ritual rupture," and "binary oppositional colonial thinking" involved in the encounter of tribal beliefs with foreign religions.

​