本研究聚焦於1950、60年代，臺灣社會的觀光活動中「觀光唱片」與「山 地文化村」歌舞展演間文化塑模的關係。我試圖利用鮮少被注意到的原住民 「觀光唱片」，從唱片生產的角度，討論戰後臺灣「山胞觀光」的旅遊產業 裡，「音樂」的文化角色。1950 年代以後政府陸續開放美、日海外觀光客 來臺旅遊，當時以三重為首的本土唱片工業，同步開展出原住民「觀光唱片」 這種音樂產品。其目的除了基本經濟利益外，一方面強調可以藉此增進遊客 「臺灣旅行的回憶」。然而，其銷售背後值得進一步關注的是，以歡樂舞曲 為大宗的「山地觀光唱片」，在 1970 年代臺灣國民旅遊崛起後，它與山地 文化村內的歌舞展演產生了互文作用，遂而強化了戰後臺灣主流社會對於原 住民族「能歌善舞」的刻板印象。 「山地文化村」是臺灣旅遊產業中，以「族群（土著）文化」為賣點的 產物。在 1950 年代後的臺灣社會裡，它跟大眾文化的電影、報紙或博物館 等等機構或媒介一樣，是當時一般民眾親身體驗原住民族生活、歌舞，建立 原住民族認知形象的重要管道。由於觀光事業被不少縣市政府當成是促進地 區經濟發展的重要策略，於是乎，濃縮了臺灣各原住民族文化於一身的山地 文化村，在族群文化再現的過程中，處處呈現出一種「內部東方主義」的景 象，專為遊客所精心設計的傳統歌舞、祭典儀式等表演節目，被塑造成臺灣 島內一種「異國情趣的另類」。而同時作為山地文化村重要銷售商品、以舞 曲為大宗的「山地觀光唱片」，則是奇風異俗記憶的延伸及拓展。這些舞曲 音樂後來與土風舞運動結合，深深影響了臺灣主流社會非原住民族群對於山 地歌舞的文化模仿。 本文利用臺灣觀光旅遊的文獻記錄、新聞報導、二手研究成果進行歷史 過程的論證，另外採用曾經任職於山地文化村員工的第一人稱敘述作為分析材料，依據「異族觀光」的論點，由臺灣「山胞觀光」的脈絡討論幾個文化 議題：1、山地文化村的崛起背景與消費實踐如何影響原住民形象的塑造；2、 山地文化村與觀光唱片彼此如何互利共生；3、觀光唱片的舞曲「類型化」 生產，其最終結果與影響為何？

This study focuses on the cultural modeling connection between ‘mountain tribe cultural villages’ and ‘aboriginal records’ , which were popular tourist attractions in 1950,60s.Through the rarely noticed aboriginal ‘tourist-targeted records’, I try to look at how ‘vocal’ shaped the relative positions for different race groups in the development of Taiwan's ‘mountain tribe tours’ post civil war. Aboriginal ‘tourist-targeted records’ emerged after 1950s, responding Taiwanese government opened tourism to US and Japan. Local record industry, then the main production zone was in Sanchong city, Taipei County, brought out this specialized kind of product for entertaining tourists from US and Japan. This kind of product created economic value and emphasized those records would preserve ‘the memory of travelling in Taiwan’. However, after tourism has been popular among Taiwanese people since 1970s, those ‘tourist-targeted records’, most were joyful dancing music, interacted with the dancing and singing shows performed within mountain tribe cultural villages , and reinforced the stereotype of ‘aborigines talented for dancing and singing’ in the Taiwan mainstream. This phenomenon needs further investigated. ‘Mountain tribe cultural villages’, a product of Taiwanese tourism industry, the selling point was ‘(aboriginal) race group culture’. Like the mass culture movies, newspapers and museums, mountain tribe cultural villages provided an important channel for public to experience aboriginal lives, dances and songs, and established the images of aborigines in the process. For many local governments, promoting tourism was an important strategy to develop economy; therefore, those cultural villages conveniently condensed the cultures of different aboriginal tribes in one place. In representing the cultures, the villages showed an image of ‘inner orientalism’ everywhere within the sites. The traditional dances, songs and worship ceremonies arranged for tourists were molded an ‘exotic alternative’ inside Taiwan Island. ‘Mountain music records’, for which cultural villages were an important distribution channel, then extended the memory of exotic scene. The non-aboriginal people in Taiwan main society tried to intimate aboriginal dances and songs at that time. The phenomena related to the cultural diffusion done by the cultural villages. This article uses the literature from tourism institutes, journal reports and secondary studies to study the history process and make an argument. Also, it includes the narratives from the workers in the cultural villages, core concerns were the awareness to the ‘ethnic touristic ’activities during interviews, to analyze the following questions in the context of Taiwan ‘mountain tribe tours’:1.the background of the emergence of those cultural villages and how the consumption practices affected the aboriginal images to be formed; 2.how cultural villages and tourist-targeted records reciprocated each other; 3.What were the results the influences from the ‘catalogued’ producing dancing musical ‘tourist-targeted records’?

原住民；山地文化村；旅行；唱片；歌舞展演

aborigine；mountain tribe cultural village；travel；record；dancing and singing performance