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Sa Tayo aci Panay ko mipatirengay. Oya pitooran a minanam to radiw a maradiway no Farangaw a liteng i, o malitengay no Farangaw sa Payrang na Tafih, Hongay na Kahefung; o malitengay no Fukid sa Daya na Fariw, Dakoc na Fariw; o malitengay no Matang sa Difang, Fotor; o malitengay no Ining sa Fi’ik na Ta’epac, Fi’ik na Icang, Dataw na Ongec. O “pakoniyahay parocek” macacadaay a radiw no Faragnaw ko niradiwan,  pahakelongan to kero ato tawciker a paini. Pakitinien kalopongka i, matatodongay.\n一、馬蘭複音唱法仍以領唱（獨唱）、高音（獨唱）、歌者即興、自由對位的方式發展出具有多聲部的複音唱法。保存者(團體)杵音文化藝術團1997年創立，創辦人為郭子雄、高淑娟，師承馬蘭部落長者李原信、汪寶連、陽順英；新馬蘭部落長者林振葉、林振鳳；馬當部落長者郭英男、郭國治；康樂部落長者陽登山、豐福明、吳葉枝等人，主要展演為馬蘭阿美複音唱法「自由對位」歌唱形式，並融合歌舞劇形式展演，在文化脈絡下為適當者。\n\n二、Marariday mikihatiya ato micolok to niyaro’ a paini to radiw, halokero ato tawciekel ko Cuing（Lodihang no Pitarik）Pongka I-su a kasakapot. Siroma ko pipaini no kasakapot no mira. Tona pina a mihecaan matahidang ko kapah ato kay^ing a mikapot a romadiw tona macacadaay a radiw, ’osi ko pira’oy piparayray ato pipatenak na mira to macacadaay a radiw. I 2012 a mihecaan pakaala to cacokeren no  Singcenyin Yincominco iingkay a kasakapot. Nani 2014 tahira 2016 a mihecaan ato 2018 tahira 2020 a mihecaan, pakaalaay to sa mira to sakacecay a ngangan no A a rekad no idahiyay mi-pyaw-yin a kasakapot i Posong a sakowan. Hidepecay ko fana’, marocekay ko pipaini to nipatingkian a fana’, taneng ato sakipongka. Roma sato, marocekay ko ’icel to papakafana’en to nipatingkian ato mihiay ko faloco’.\n二、杵音文化藝術團經常性參與各項展演活動、於部落巡迴演出，保有自己團隊的獨特演唱方式，近年吸納年輕學子投入複音歌謠傳唱，團隊成員對複音歌謠傳承推廣具有活力，2012年榮獲行政院原住民族委員會扶植團隊，歷年屢獲臺東縣傑出優秀演藝團隊，並在2014-2016年以及2018-2020年蟬聯臺東縣傑出演藝團隊A級第一名，其熟知並能正確體現該登錄項目之知識、技藝與文化表現形式，且具該登錄項目之傳習能力及意願。\n\n三、Marocekay to saka4 a silsil saka1, saka2, saka3 a fangko no “Pihai ato pipadeng to pipatingki to no litengan a pyaw-yen I-su a sapisayfang a rikec.” a hasapinang to mira’oyay a sarocek.\n三、符合《傳統表演藝術登錄認定及廢止審查辦法》第4條第1、2、3款之保存者認定條件。","representImageSource":"文化資產局","isOpenDownload":"否","lawsReference":"傳統表演藝術登錄認定及廢止審查辦法第4條、第5條及第6條","caseName":"阿美族馬蘭Macacadaay","govInstitutionName":"文化部","judgeCriteria":["熟知並能正確體現該登錄項目之知識、技藝與文化表現形式，並具代表性","具該登錄項目之傳習能力與意願","在文化脈絡下為適當者"],"artistList":[{"sex":"男","name":"蘇漢祥","bornYear":"1990","customYear":"2022-2025","contactCity":"臺東縣","contactDist":"臺東市","contactAddress":"更生北路559巷49號","videoFiles":["https://data.boch.gov.tw/upload/representImageFile/2022-11-30/438314a2-aede-4a62-93d9-b517ea07fb97/蘇漢祥.jpg"]},{"sex":"男","name":"郭智源","bornYear":"1989","customYear":"2022-2025","contactCity":"臺東縣","contactDist":"臺東市","contactAddress":"更生北路559巷49號","videoFiles":["https://data.boch.gov.tw/upload/representImageFile/2022-11-30/4f2f6d18-2402-4f25-a784-31e4c18cb3a9/郭智源.jpg"]},{"sex":"男","name":"陳璽伍","bornYear":"1983","customYear":"2022-2025","contactCity":"臺東縣","contactDist":"臺東市","contactAddress":"更生北路559巷49號","videoFiles":["https://data.boch.gov.tw/upload/representImageFile/2022-11-30/0b5220de-b66c-4d03-bda7-23850478b142/陳璽伍.jpg"]},{"sex":"女","name":"阿布伊‧布達兒","bornYear":"1984","customYear":"2022-2025","contactCity":"臺東縣","contactDist":"臺東市","contactAddress":"更生北路559巷49號","videoFiles":["https://data.boch.gov.tw/upload/representImageFile/2022-11-30/c82d37f8-946b-479a-ae57-84d30ffb2249/阿布伊‧布達兒.jpg"]}],"mediaImageList":[{"mediaName":"杵音文化藝術團","author":"","url":"https://data.boch.gov.tw/upload/media/2022-11-30/7b558389-08d5-4d8a-827b-5bb20701375b/杵音文化藝術團 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1.熟知並能正確體現該登錄項目之知識、技藝及文化表現形式，並具代表性：陳連春女士drenger valjuaq，生於1949年，出生地在舊內獅的tjuqazavai部落，幼年時聽到自己的母親及其他人以對話方式歌唱非常特殊，覺得古謠的旋律優美歌謠旋律令人感到愉悅，且每唱完一首，眾人就會喊出「aiyanga」這樣的讚嘆語句，於是跟隨耆老學習。陳連春歌聲清亮獨特，歌詞意境表達切題，自如運用母語對應相應歌曲，具有enelja歌樂演唱能力及文化內涵。\n2.具該登錄項目之傳習能力及意願：enelja歌曲是一種即興的表達方式，除了表現歌唱者的文詞素養、表達能力以外，也考驗著歌唱者對於對方問題的應變及藝術涵養，陳連春深具enelja歌謠相關文化知識與技能，對於推動enelja歌謠的藝術表現有其熱忱與強烈意願，努力呈現歌謠之藝術價值。\n  3.在文化脈絡下為適當者：嫻熟屬於南排灣在地enelja歌謠相關文化脈絡、演唱表現技巧，熟知內獅部落歌謠及內獅舊部落歌謠故事，顯著反應族群和地方特色。\n","representImageSource":"陳連春女士","isOpenDownload":"否","lawsReference":"1、「文化資產保存法」第91條第3項、「原住民族文化資產處理辦法」第12條及「傳統表演藝術登錄認定及廢止審查辦法」第5條。                                                                              2、符合原住民族文化資產處理辦法第14條。\n3、符合「傳統表演藝術登錄認定及廢止審查辦法」第4條第1款至第3款認定條件。","caseName":"排灣族歌樂enelja","govInstitutionName":"屏東縣政府","judgeCriteria":["熟知並能正確體現該登錄項目之知識、技藝與文化表現形式，並具代表性","具該登錄項目之傳習能力與意願","在文化脈絡下為適當者"],"reserverRegCity":"屏東縣獅子鄉","reserverRegAddress":"943010屏東縣獅子鄉內獅村4鄰38號","artistList":[],"caseUrl":"http://nchdb.boch.gov.tw/assets/advanceSearch/traditionalPerformingart/20230923000005?preserverId\u003d23797","relateCaseId":22069,"relateClassifyCode":"4.1","relateClassifyName":"傳統表演藝術","relateAssetsClassifyCode":"4.1.1","relateAssetsClassifyName":"傳統表演藝術","relateAssetsTypes":[{"code":"E2.6","name":"歌謠"}],"repImgId":313053},{"representImage":{"ext":"jpg","transform":{"c":"https://data.boch.gov.tw/upload/representImageFile/2025-12-19/819420c7-0960-4691-a4b5-aed2babfc6a9/高淑美_c.jpg"},"original":"https://data.boch.gov.tw/upload/representImageFile/2025-12-19/819420c7-0960-4691-a4b5-aed2babfc6a9/高淑美.jpg","name":"高淑美"},"preserverType":"個人","name":"高淑美(歿)","registerReason":" 1.熟知並能正確體現該登錄項目之知識、技藝及文化表現形式，並具代表性：排灣族歌樂enelja歌謠，在排灣族遷徙歷史中與傳統生活敘事中有其重要的文史價值，可以由enelja歌謠之傳唱音樂形式中，瞭解南排灣族的歷史脈絡由來及發展軌跡。為南排灣族古早時期就已經風行的古謠，而且部落耆老均同意約百年前，部落生活當中隨時都有enelja歌謠的演唱。高淑美生於1946年，出生地在舊內獅村的tjubu部落，自幼聽到父母親對唱enelja歌謠，年約四十歲時，母親往生，在櫃子裡找到母親生前錄的enelja卡帶，就常播放母親生前錄製的enelja卡帶學習用歌唱回應歌曲，把歌唱當作生活中的樂趣，練習傳統歌謠，高淑美歌聲清亮獨特，歌詞意境表達切題，能自如運用母語對應相應歌曲，具enelja歌樂演唱能力及文化內涵，也常常參加鄉內的歌唱活動，以及文化健康站的歌唱課程。\n  2.具該登錄項目之傳習能力及意願：enelja歌曲是一種即興的表達方式，除了表現歌唱者的文詞素養、表達能力以外，也考驗著歌唱者對於對方問題的應變及藝術涵養。自中年時期學習內獅部落歌謠，積極參與enelja歌謠協會所推動的相關歌謠文化，對於文化傳習等推展工作樂此不疲。\n 3. 在文化脈絡下為適當者： enelja歌曲風行範圍以南部排灣族為主，和中北部排灣族的歌樂有地域性區別，具南部排灣族的地方歌謠文化特色，高淑美女士熟知內獅部落歌謠的歌藝，充分表現南排灣族歌謠之獨特性以及傳統歌謠之文化特色，演唱曲調有別於北排灣族群歌謠之藝術特徵。\n\n\n\n  3. 在文化脈絡下為適當者： enelja歌曲風行範圍以南部排灣族為主，和中北部排灣族的歌樂有地域性區別，具南部排灣族的地方歌謠文化特色，高淑美女士熟知內獅部落歌謠的歌藝，充分表現南排灣族歌謠之獨特性以及傳統歌謠之文化特色，演唱曲調有別於北排灣族群歌謠之藝術特徵。\n","representImageSource":"高淑美女士","isOpenDownload":"否","lawsReference":"1、「文化資產保存法」第91條第3項、「原住民族文化資產處理辦法」第12條及「傳統表演藝術登錄認定及廢止審查辦法」第5條。                                                                              2、符合原住民族文化資產處理辦法第14條。\n3、符合「傳統表演藝術登錄認定及廢止審查辦法」第4條第1款至第3款認定條件。","caseName":"排灣族歌樂enelja","govInstitutionName":"屏東縣政府","judgeCriteria":["熟知並能正確體現該登錄項目之知識、技藝與文化表現形式，並具代表性","具該登錄項目之傳習能力與意願","在文化脈絡下為適當者"],"reserverRegCity":"屏東縣獅子鄉","reserverRegAddress":"943010屏東縣獅子鄉內獅村3鄰33-1號","artistList":[],"caseUrl":"http://nchdb.boch.gov.tw/assets/advanceSearch/traditionalPerformingart/20230923000005?preserverId\u003d23798","relateCaseId":22069,"relateClassifyCode":"4.1","relateClassifyName":"傳統表演藝術","relateAssetsClassifyCode":"4.1.1","relateAssetsClassifyName":"傳統表演藝術","relateAssetsTypes":[{"code":"E2.6","name":"歌謠"}],"repImgId":313060},{"representImage":{"ext":"jpg","transform":{"c":"https://data.boch.gov.tw/upload/representImageFile/2025-12-19/03c52d8d-4f58-44d8-99f4-70ad4874882b/陳黃英連_c.jpg"},"original":"https://data.boch.gov.tw/upload/representImageFile/2025-12-19/03c52d8d-4f58-44d8-99f4-70ad4874882b/陳黃英連.jpg","name":"陳黃英連"},"preserverType":"個人","name":"陳黃英連","registerReason":" 1. 熟知並能正確體現該登錄項目之知識、技藝及文化表現形式，並具代表性：陳黃英連女士samunanu pavaveseng，生於1941年，出生地在舊內獅的tjubu部落，歌聲清亮獨特，歌詞意境表達切題，能自如運用母語對應相應歌曲，具有enelja歌樂演唱能力及文化內涵，歌唱時，會把耆老的enelja帶上來歌唱，和不同的人一起對唱。曾隨著藝術團隊，到各地演出，因此學會了很多演唱以及舞台的技巧，靈巧的表現以及語言。\n  2.具該登錄項目之傳習能力及意願：常受邀於部落、學校、教會古謠詩歌演出，積極參與復振古謠的活動，歌唱經歷非常豐富，亦受到地方的賞識，為了推展enelja歌謠而參與了各項展演活動、調查記錄、傳習授課等，並以珍惜歌謠價值、傳遞歌謠精神為使命。\n  3.在文化脈絡下為適當者：熟知南排灣歌謠的知識，如勇士歌、收穫祭典歌謠，顯著反映族群地方特色。演唱技藝精進、氣長，轉音及詞意意境獨特性，可謂南排灣歌謠傳唱最具代表性之歌者。積極參與田調記錄、研習課程、演出推廣等各項傳承文化活動，嫻熟南部排灣族代表性的歌謠之文化脈絡、演唱技巧、表現方式等，為在地部落重要的耆老。\n","representImageSource":"陳黃英連女士","isOpenDownload":"否","lawsReference":"1、「文化資產保存法」第91條第3項、「原住民族文化資產處理辦法」第12條及「傳統表演藝術登錄認定及廢止審查辦法」第5條。                                                                              2、符合原住民族文化資產處理辦法第14條。\n3、符合「傳統表演藝術登錄認定及廢止審查辦法」第4條第1款至第3款認定條件。","caseName":"排灣族歌樂enelja","govInstitutionName":"屏東縣政府","judgeCriteria":["熟知並能正確體現該登錄項目之知識、技藝與文化表現形式，並具代表性","具該登錄項目之傳習能力與意願","在文化脈絡下為適當者"],"reserverRegCity":"屏東縣獅子鄉","reserverRegAddress":"943010 屏東縣獅子鄉內獅村38-1號","artistList":[],"caseUrl":"http://nchdb.boch.gov.tw/assets/advanceSearch/traditionalPerformingart/20230923000005?preserverId\u003d23799","relateCaseId":22069,"relateClassifyCode":"4.1","relateClassifyName":"傳統表演藝術","relateAssetsClassifyCode":"4.1.1","relateAssetsClassifyName":"傳統表演藝術","relateAssetsTypes":[{"code":"E2.6","name":"歌謠"}],"repImgId":313070},{"representImage":{"ext":"jpg","transform":{"c":"https://data.boch.gov.tw/upload/representImageFile/2025-12-19/0cd23eed-7982-48aa-8ce6-3884b167e7c3/洪春花_c.jpg"},"original":"https://data.boch.gov.tw/upload/representImageFile/2025-12-19/0cd23eed-7982-48aa-8ce6-3884b167e7c3/洪春花.jpg","name":"洪春花"},"preserverType":"個人","name":"洪春花","registerReason":"1.熟知並能正確體現該登錄項目之知識、技藝及文化表現形式，並具代表性：洪春花女士umi gilegil，生於1939年，出生地在maljipa(舊麻里巴部落)，洪春花女士強調歌唱學習過程中，沒有特別跟誰學習古謠，學習過程源於在國小時期家族長輩常常聚在一起，喝著自己釀的酒，彼此ㄧ句ㄧ句用enelja對唱，當時只覺得大人不睡覺唱著enelja非常有趣。直到國小六年級，才覺得若沒有學好enelja會很可惜，於是就開始練習enelja的歌謠，一首一首拼湊這些大人的歌，在工作中學著大人唱歌，邊工作邊唱歌覺得很有情調，很喜歡「lipagau伐樹歌」這首古謠，從大人邊工作邊唱歌時學到的。enelja歌曲為南排灣族古早時期就已經風行的古謠，現今七、八十歲以上的耆老，均同意約百年前，部落生活當中很多的生活項目，都伴隨著enelja歌曲的運作。排灣族歌樂enelja曲調之傳唱歷史由來及發展軌跡，確實表現南排灣族歌謠之特性。洪春花雖年事已高，但其歌聲清亮獨特，歌詞意境表達切題，能自如運用母語對應相應歌曲，深具enelja歌樂演唱能力及文化內涵。                                                               2.具該登錄項目之傳習能力及意願：自小生長於舊麻里巴部落，enelja歌謠或是其他歌謠均從長者學習而來，因此擁有豐富的在地歌謠文化的背景知識。洪春花展現其自幼習得累積的古謠演唱實力及詮釋能力，反映地域族群藝術美學表現，常受邀於部落、學校、教會演出，歌唱經歷非常豐富，亦受到地方的賞識，歌謠及其他歌謠分享、傳授，積極推動該文資藝術價值的記錄保存、展演推廣等文化。\n\n  3. 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Haku哈古，漢名陳文生，1943年出生於臺東卑南族建和部落，為第六十九代頭目。Haku哈古將原住民族口述歷史這種無文字的重要文化傳承方式，轉化為獨特的木雕敘事，以及他作為頭目對文化傳承的深刻責任感。Haku哈古頭目堅持將祖訓、祖先的智慧與生活原則，透過tu’tu’雕刻記錄下來，試圖將其木雕作品視為文化傳承的媒介，讓更多人看見屬於卑南族人的傳統信仰與價值觀。\n(二)tu tinu’etu’an kana kawi  i Haku mu, maremanay kana pinatikediran na mucalacalaw na kawi di, pakasa kana payas kurena’u datu ikakuda na tinu’etu’an na kawi.\nkirekamelri lra kana cungucungulran na tiniketik remekad pakiwalay kana vanin, tumu’etu’ lra kana vacang patikedir, kemawan da pinuwayay kana tatena’ mitinavawan na dinawayan, kamawan da aruwa ta kimadaran kanidu!\n  tu dinawayan sadudadu na marekamelrimelri, mulavak da peniya kanantu sikudayan na dinekalranan i Pinuyumayan, kemay muwa’uma, pa’a’alrup, penapadek da piniduwa, semangalr da kawi, na pasasusu, na madayadayar, na maupeuper, palru kana pakakawang kana paliding na hung’, na kiyakarun lra di na kivangangavang. na mupecir lra, na temararamaw di ulra diya na vativatiyan na marekasahar kana marenem idu na vulavulayan.di na  Dakadakaw, ulra 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Haku adiyu diya mu, ipana’u lra datu tinukasayan da pinilimayan, kirekamelri lra kanantu pinilimayan a cungucungulran na Paliwan, di na Rukay , parevuwa’ lra kanantu tinukasayan da pinilimayan.\nna kemani na amceh tu anger venavati datu kinasaluwan da kakuwayanan mu,  mau na maruwa patulre’ay parevuravuras datu pinicauwan kana ayawan kinuwa nu eman di藝術家kinuwa nu eman, pacengceng kikarun datu pararevuwa’an, di pukasa misaharan temu’etu’ kana inadukan na muda’ulr na kawi, kinakuwakuwa lra kana salaw sayhu venavati kanantu tinu’etu’an na mivativatiyan na kawi. \nmisayhuwan maduk kana muda’ulr na kawi, tu manayaw kanantu lima pupana da vativatiyan a palri i dekalr, na pa’alrupan lra ,na wa’umayan lra, na palalisiyan lra peniya na iyawaawan diya.\nna dinawayan diya i likudan mu, mivativatiyan da adi pakapiya marengay kana sadu dadu tu vativatiyan.\nHaku哈古從不惑之年開始雕刻至今已超過四十年，儘管主流藝術歷經各種時期的發展與潮流演變，他依然堅定地維持一貫的創風格。Haku哈古在創作早期即展現出人的獨立性，跳脫了藝術市場偏好的泛排灣、魯凱式的傳統雕刻手法，開創出個人風格。這種堅定的文化詮釋動力與信仰，使Haku哈古能夠流暢地在「頭目」身分與「藝術家」角色之間轉換，全心投入創作，並獨鍾於以漂流木作為tu’tu’媒材，成為一位用雕刻刀與木頭述說故事的雕刻家。他利用俯拾可得的漂流木，以寫實而質樸的手法呈現部落的神話、狩獵、農耕、祭儀等生活面向。每一個作品背後，都蘊含著一個個講不完的部落故事。\n(四)i Haku kuvu’er da tuwa’etu’an datu pulralrepusan, adi pumaya da aeman a mauwan na duwa kipanadama ,adi mawmau kadu i dekalr panadam, mukuwa i iyan diya kana kungkuwan panadama kana tu’etu’an, mau ‘‘i Kasavakan na kuwosiyaw di na kuwocong , mukuwa diya kana noko i Valangaw, di i Tulan kuwocong’’.\n tu pangecengecan da pananadaman i Haku mu, salaw pakadakedak da cau, sadu lra tuy tinu’etu’an na melri na naniwanan, mau nantu  vativatiyan i dekalr di mau nantu tineruwan da temuwamuwan, di mau na uwa’umayan lra, na pa’alrupan  lra di tu cungucungulran diya na kinasayhuwan da piniangeran, mau tuy dinaway pupana pana’u kani i punapunan, di mikayanan da tinuayawan maruwa pasukun panadam kana dinekalranan 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rayray a lekakawa i,ira ko samihecahecaay a mireko a mitayal, “O mama no kapah”ko mikeriray to ilisin a mihalaka ato misakilac. Pakayni to palowad no Makotaay a minengneng i,oni masakapotay a iingkay ko mikeriray to nano rayray a ilising no niyaro’,pakayni to faco no serangawan oni ko matatodon-gay.\n","representImageSource":"港口部落豐年祭籌備委員會提供","isOpenDownload":"是","lawsReference":"\u003c\u003c民俗登錄認定及廢止審查辦法\u003e\u003e第4條第1、2、3款以及「原住民\n族文化資產處理辦法」第14條規定\nPatatodong“To papinang to nano ray-ray a lekakawa ato pakayraan a mikinsa to palasawad” saka 4 satoko saka1,2,3 sa-toka’ to sapihayda mina’ang to tatodong\nato“ sapilosimet to serangawan a dafong no Yincominco a pakayraan” pasetek i saka14 a 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黃太郎為安南區本淵寮黃家米糕栫第二代，自幼跟隨其父黃馬（1934－2006）在鴨母寮菜市場附近餅舖習藝，以口傳實作方式父子傳承，已完整習得從選米、浸米、炊米、煮糖、拌米，到入栫塑形等一系列繁複工序與知識，充分掌握該項保存技術所需相關知識及執行程序。\n2. 黃太郎雖為兼職經營，每年逢廟宇建醮或農曆七月普度時節，便會開爐製作以供應熟客訂單，在米糕栫製作上獨挑大樑，展現其正確體現、執行該項保存技術之能力。\n3. 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