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摘要

一趟紐西蘭國際教育旅行、一段兒時記憶、一些課程學習的連結,觸動了一 位魯凱族組員文化傳承的使命。本專題目的在探討魯凱族紋手的文化意義與瞭解 魯凱族人對該文化傳承的看法與意願。在閱讀文獻資料後,自編「魯凱族紋手文 化問卷」以高屏區魯凱族人為研究對象,並訪談 3 位不同世代的魯凱族人,問卷 施測後獲有效樣本 160 人。所得資料經過分析後發現:紋手是一種純潔與榮耀的 象徵,也是一種記事的方式;魯凱族貴族、魯凱族女性、魯凱族長者對紋手文化 之了解較深入,亦較傾向保留與傳承此項文化;年輕魯凱族人對文化傳承有高意 願但對該文化意義之了解不足。

本專題針對以上結論對具有傳承魯凱族文化使命的組員與族人提出具體建 議,以供參考。

關鍵字: 紋手、刺青、魯凱族

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Abstract

A New Zealand educational trip, a childhood memory, and some relative courses ignited our Rukai member’s dedication to preserving her own culture. Our project aims to explore the meaning of Pacase and the Rukai tribesmen’s opinions on preserving it. After looking over the literature, we designed a questionnaire targeted at researching the tribesmen in Kaohsiung and Pingtung as the objects of this study. In addition, we have interviewed three Rukai tribesmen from different generations. By analyzing the data, the following conclusions have been reached: Pacase is a symbol of purity and nobility, also a way of expression; Rukai nobles, female, and seniors are more likely to understand and more willing to preserve Pacase; Rukai tribesmen are quite willing to preserve Pacase, but lack understanding.

Based on the conclusions above, we offer some suggestions for our Rukai member and those who are willing and dedicated to preserving Pacase.

Key words: Pacase, Tattoo, Rukai Culture

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Table of Contents

Chinese Abstract ... i

English Abstract ... ii

Table of Contents ... iii

I. Introduction ... 1

I.1 Background ... 1

I.2 Motivation ... 1

I.3 Purposes ... 1

I.4 Research Questions ... 2

II. Relevance to the Courses ... 2

III. Methods... 3

III.1 Participants ... 3

III.2 Instruments ... 3

III.3 Interview... 3

IV. Findings and Discussion ... 4

IV.1 Literature Review ... 4

IV.2 Data Analysis ... 6

IV.3 Interview ... 7

V. Conclusion ... 10

VI. Suggestion... 11

References ... 12

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I. Introduction

I.1 Background

Tattoos was said to have originated from old Egyptian culture. Over time, tattoos have represented different meanings through different countries. In the past, in some cultures, Tattoos were attributed to criminals and criminal behavior, cynicism, and rebellion. Later, Tattoos came to represent class, religion, and still later as body art.

Today, many young people tattoo themselves for decorative or symbolic reasons.

The Rukai, the indigenous people of Taiwan, have traditional and unique tattoos.

These are found on men’s bodies, and women’s hands. The tattoos on women’s hands are called “Pacase” and are a proud symbol in Rukai society. As culture shifts and lifestyles change, Rukai female tribesmen don’t tattoo their hands and many female elders in possession of this proud symbol have passed away. The phenomenon of modernism has led to a crisis of tradition. There are many Rukai tribesmen who want to preserve their culture, and pass on this great tradition. To them, it’s not just for show, but the trademark or hallmark of who they are.

I.2 Motivation

The inspiration for this project comes from one of our member Ruby. She is a young tribesman of the Rukai and she believes that what makes her distinctive is the culture and story behind her people, and not just her appearance. Ruby joined the school’s New Zealand educational tour last year, and while she was there, she read the story of a Maori native who with the Navy’s approval, became the first naval officer with a full Maori tattoo. The homestay parents told Ruby that in Maori tradition, only the leaders or people with a high social status can have tattoos on their face. This reminded Ruby of her great grandmother who would proudly tell her the story of the hundred-pacer snake patterns on her hands and their meaning. This inspired Ruby to return to her own culture and learn more. She invited the group members to research the origin and culture of the Rukai’s Pacase together, and asked for their help in preservation.

I.3 Purposes

Pacase is not only a representative of social class, but a significant symbol for glory and nobility. Rukai tribesmen do not have official written words in their language, therefore Pacase have become a way to memorize the events and history. Different Pacase represents different stories. This research is dedicated to exploring the meaning of Pacase, and understanding the opinions of the Rukai tribesmen concerning Pacase in regards to passing down the tradition.

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I.4 Research Questions

The purposes ignited our desire to explore Pacase and Rukai tribesmen’s opinions about it. Thus, we designed three questions to achieve our purposes.

1. What is the meaning of Pacase?

2. How well do Rukai tribesmen know Pacase?

3. How is Ruaki tribesmen’s opinion on cultural significance and preservation of Pacase?

II. Relevance to the Courses

The point of education is to help students grow to be strong citizens. Every subject is geared towards this end. Studying and learning to preserve the Rukai’s traditions is the epitome of what we should be doing. Having said that, there are some real and direct relationships to our current academic coursework.

In our English courses, such as our Project Study and Presentation English, we have learned how to put together presentations and deliver them to audiences. We have studied how to choose relevant topics, gather information, do research, make questionnaires, interview others and analyze date. Additionally, we have learned things like content logic, word choice and usage, body language, stage appearance and presentation. This presentation to you is the culmination of all of those studies.

In addition to our English courses, this project has drawn from our Social Studies course work. In Civics, the study of multiculturalism and the importance of respecting different cultures was part of what made us brave enough to engage in this kind of preservation work.

Our Taiwanese History classes have helped us to see that our country is full of diversity and the merging of different ideas and peoples into one great country. From studying the integration of Japanese colonialism to the complex interconnectedness of the aboriginal tribes, we have derived ideas for how to preserve the Rukai traditions without losing who we are becoming today.

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III. Methods

III.1 Participants

During the whole project, there are 160 Rukai tribesmen (male: 65; female: 95) participating in who come from seven different tribes, including Teldreka( 茂林), Oponoho(萬山), Kungadavane(多納), Kucapungane(好茶), Karamumudisane(佳 暮), Awba(青葉), and Tjailjaking(賽嘉). According to the hierarchy systems in Rukai’s social structure, some of them are the nobles and the others are the commoners.

III.2 Instruments

Based on the literature about Pacase we reviewed, we designed our questionnaire into three dimensions with fifteen Yes/No questions. The three dimensions include understanding, cultural significance, and preservation. In the section about understanding, we research how well the tribesmen know Pacase. In the section about cultural significance, we try to understand tribesmen’s opinion on whether Pacase can represent the Rukai’s spirit. In the section about preservation, we ask tribesmen’s willingness to learn, understand, pass on, and promote Pacase.

III.3 Interview

During the whole process, we have interviewed three Rukai tribesmen. One is a youth, another a middle-ager, the other an elder.

Wei-zhong Hsu, Kabalu, 26, the commoners, a leader of the young tribesmen, once lived in Karamumudisane(佳暮). After Typhoon Morakot(莫拉克) struck, the whole villagers evacuated from the original tribe and resettled down in Bai-he tribe park.

Mei-fang Lai, Zipulu, 44, the nobles, a cultural worker, grew up in Teldreka(茂林), then moved to Kucapungane(好茶). She started to preserve Pacase four year ago when she chanced to meet a guy trying to study Rukai Pacase.

Xiu-ying Du, Kwalrimi, 99, the commoners, one of the last seven senior tribesmen with Pacase in Rukai, was born, raised, and got Pacase in Kucapungane( 好 茶 ). After marriage, she moved to Awba(青葉) until now.

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IV. Findings and Discussions

IV.1 Literature Review

According to the information we collected, we concluded the legend, method, symbol and decline of Pacase as following:

1. The Legend of Pacase

Once there were two sisters who lived with their parents and uncle. One day, their parents were killed by enemies. Their uncle tried to take revenge but never came back.

After the two sisters grew up, they decided to try to find their uncle.

When they found their uncle and asked him to come back home, he refused. He said that he could only give them something to remember him. Then, he asked them to go into a kiln.

A while later, the sisters emerged from the kiln. Beautiful patterns had appeared on their bodies. After the two sisters went back to the tribe, all of the girls tried to imitate the complex patterns, but in vain. They were only able to copy the designs on the hands.

This is the legend of the Rukai’s tattoo, Pacase.

2. The Method of Pacase 2.1 Qualifications

Only female Rukai with the following characters and abilities are qualified for having Pacase.

The Nobles The Commoners

Female

1. virgin

2. ability of textile-making

1. virgin

2. ability of textile-making 3. donation

4. permission of the chief

2.2 Procedures

Once an individual qualifies to receive Pacase, they must go to the tattooist.

The tattooist uses ash to sketch on the recipient’s hands. Using ash as pigment and a sharpened orange tree branch as a needle, the tattoo is given. This requires the skin to be pierced many times while ash is reapplied to ensure that coloration occurs.

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Afterwards, the wound becomes inflamed for several days, meaning the recipient can do little more than hold their hands close to their chest. Lastly, the tattooed individual has to wear gloves for months to avoid having the pattern smear or fade. If one can endure all these pain, it means she can endure any kind of hardship in the future.

3. The Symbol of Pacase 3.1 Symbol of identities

(1) Nobility: Pacase is a privilege which is held by the nobles. It’s a way to show and solidify their social status.

(2) Maturity: Textile-making serves as evidence of female maturity for the Rukai.

Thus, Pacase only appears on an adult female’s hands.

(3) Purity: Virginity is associated with purity, and Pacase is therefore an outward sign of an individual’s virgin status.

(4) Endurance of Hardship: Receiving Pacase is extremely painful. So, if you can endure that much pain, it means you can endure any kind of hardship in the future.

3.2 Symbol of patterns

(1) Hundred-pacer: The Rukai believe the hundred-pacer snake to be their ancestor and therefore incorporate its pattern in Pacase.

(2) Territory: Simplified images of rivers and mountains also adorn the hands of a Pacase recipient, those being prominent geological features of their island home.

(3) Sun: This pattern is inspired by mother nature and everyday Rukai life. Besides, it can only be shown on the nobles’ hands.

(4) Human: The Human-shaped pattern is a common one which can be seen not only on Pacase, but also on clothes and woodcarving. It can only be used by the nobles.

(5) Butterfly: The pattern of butterfly is similar to a knitting needle, which shows parents’ expectation of their daughter’s textile-making skills.

(6) Hook: The Rukai who get donation of meat always hang it on the hook above the stove to smoke it. Thus, hook pattern symbolizes the expectation of getting lots of donation.

4. The Decline of Pacase

During Japanese rule, the colonial government enforced Japanese customs and rituals upon the aborigines, trying to eliminate traditions considered unsavory by Japanese culture, including Pacase. Thus, to avoid being punished, many Rukai tribesmen no longer did Pacase.

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IV.2 Data Analysis

160 Rukai tribesmen from seven different tribes participated in our survey. We then analyzed the data from three background variables. First, we compared the nobles’

answers to those of commoners. Second, we compared the answers of men to those of women. And third, we compared the answers of different age groups. The results are shown as below:

Table1. The Percentages of Opinions about Pacase in Different Social Class

The Nobles The Commoners

positive negative positive negative

Understanding 63.89% 36.11% 57.16% 42.84%

Cultural Significance 88.06% 11.94% 79.10% 20.78%

Preservation 91.35% 8.65% 88.53% 11.48%

As shown in Table1, the average positive response rates of the nobles in three dimensions are all higher than those of the commoners. The reason might be the fact that in the past, Pacase was one of the nobles’ privileges but the commoners must donate to earn this right, which gives the nobles more opportunities to access to Pacase.

Table2. The Percentages of Opinions about Pacase in Different Sex

Female Male

positive negative positive negative

Understanding 64.74% 35.26% 53.63% 46.37%

Cultural Significance 83.82% 16.18% 82.16% 17.84%

Preservation 91.75% 8.25% 86.95% 13.05%

As shown in Table2, the average positive response rates of female Rukai tribesmen in three dimensions are all higher than those of male Rukai tribesmen. It might result from the prevalence of female Pacase. For a long time, those who had Pacase were all female.

Table3. The Percentages of Opinions about Pacase in Different Age

13-15 16-18 19-23 24

P N P N P N P N

U 53.43% 46.57% 39.29% 60.71% 62.93% 37.07% 68.84% 31.16%

CS 77.80% 22.20% 79.98% 20.02% 83.34% 16.66% 86.36% 13.64%

P 87.98% 12.18% 89.55% 10.45% 88.70% 11.30% 91.28% 8.73%

U: understanding; CS: cultural significance; P: preservation

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As shown in Table3, no matter in which dimension, the average positive response rate increases as the age gets higher; however, in the section about understanding, the rate in age 16-18 are lower than that in age 13-15. This might be a result of a relatively recent increase in social awareness. In recent years, many schools with tribal students have begun teaching aboriginal language and culture. Church Sunday schools have also begun adopting similar practices.

Picture1. Questionnaire Delivering in Teldreka(茂林)

Picture2. Questionnaire Delivering in Bai-he tribe park

IV.3 Interview

To make the whole project more complete, we have interviewed three Rukai tribesmen of different generations. Through interviewing them, we have a deeper understanding of Rukai tribesmen’s real thoughts. The following are the results of our interview.

1. The Background Information of Interviewees

Wei-zhong Hsu, Kabalu, 26, the commoner, a leader of the young tribesmen, he didn’t his culture at all when he was little; however, after Typhoon Morakot(莫拉克) struck, he recognized how vulnerable and how important the culture was. Thus, now, he thinks that if there is someone who are willing to pass his/her own culture down, that is really something.

Mei-fang Lai, Zipulu, 44, the nobles, a cultural worker, chanced to meet a guy trying to study Rukai Pacase four years ago. They found there were only eleven senior tribesmen with Pacase left then. As the years passed, these elders passed away one by one. She realized that with the passing-away of these elders, part of the culture passed away, too. Thus, she decided to hand down this culture. And she planned to have her own Pacase before The Harvest Festival this year.

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Picture3. Interviewing Kabalu Picture4. Interviewing Zipulu

Xiu-ying Du, Kwalrimi, 99, the commoner, is one of the last seven senior tribesmen with Pacase in Rukai. She was born, raised, and got her Pacase in Kucapungane(好茶). After marriage, she moved to Awba(青葉) until now. Cherishing her Pacase a lot, she said that:“With Pacase in your flesh, it’s a permanent symbol of love from your beloved parents. Also, it means you’re a pure and perfect woman.” She can not help crying while recollecting those memories.

Picture5. Interviewing Kwalrimi Picture6. Interviewing Kwalrimi

2. The Summary of Interviews

2.1 Pacase is parental expectations for their kids

Different patterns have different meanings. Parents choose patterns for their kids based on their hopes and expectations for them. If they want their kids to be wealthy, they choose hook pattern; if they want them to be good at textile, they choose a butterfly pattern and so on.

2.2 Pacase is a symbol of social status.

There are two rules that must be followed. The nobles and the commoners have separate patterns. For example, patterns that depict humans can only be used by nobles. The commoners do not have the right to choose their pattern. They can only accept patterns from tattooists passively.

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2.3 Pacase is a symbol of purity.

The patterns of Pacase not only show a woman’s social status, but also indicate to others that she is a woman of virtue, which increases her chances of marrying a noble, or even the chief.

2.4 The disappearance of Pacase

(1) Japanese rule: During the time period, the colonial government tried to eliminate traditions considered unsavory by Japanese culture, such as Pacase. Thus, to avoid being punished, many tribesmen, including our 99-year-old interviewee, Kwalrimi, were brutally forced to use straws to rub off their Pacase. Since that time, most of the Rukai have no longer done Pacase.

(2) Christianization: After contact with Christian, Rukai people held beliefs in God which helped their societies find meaning and order. However, in order to live in accordance with Christian doctrine, the Rukai people gave up Pacase in favor of worship.

(3) Han culture: As a dominant culture in Taiwan, Han culture changed Rukai traditions to some degree. Tattoo is a symbol of gang in Han culture. Thus, the Rukai have abandoned the tradition to better assimilate into the Hans.

2.5 The preservation of Pacase

(1) One of the last seven tribesmen with Pacase, Kwalrimi says she is happy to see there are people trying to understand, reclaim, and even pass Rukai traditions down. But, she still emphasizes that Pacase is no easy thing. It is extremely painful.

If someone wants to do it, she’d better be strong-willed.

(2) The middle-aged tribesman Zipulu was moved by Pacase’s deeper meanings immediately after being exposed to it for the first time. She also recognized its status as a quickly fading cultural tradition. She hopes that she can be a pioneer, someone who can act as a bridge between the old and young in an effort to save this dying practice.

(3) Some factors like Christianization and Han culture may still negatively impact Pacase revival efforts. Fortunately, the young tribesman Kabalu gave the following creative suggestion: wear Pacase patterns on clothes instead of on skin. This compromise allows new religious beliefs to coexist with valuable traditions.

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V. Conclusion

After all these efforts, we found that Pacase is distinct from modern tattoos. And we have the following conclusions.

V.1 It’s a symbol of purity and glory, also a way of narrative.

First, Pacase is a Rukai symbol of female purity, glory, and a blessing from parents.

Most importantly, since Rukai have no written language, Pacase is a way of expression.

V.2 Rukai nobles, females, and elders understand Pacase better.

Pacase is a privilege to nobles; in the past, nobles took Pacase as a family gift and blessing to their daughters. Therefore, nobles who had Pacase were mostly women.

That is the main reason why they understand Pacase better than others.

V.3 Rukai nobles, females, and elders are more likely to preserve Pacase.

Furthermore, Pacase is generally practiced by nobles and women, and nowadays young tribesmen no longer have Pacase. So, elders, nobles, and women are most likely to understand it fully, and to preserve Pacase willingly.

V.4 Strong in will, lack in understanding.

But surprisingly, regardless of class, sex, or age, all the rates of cultural significance and preservation reaches 80 to 90%, while understanding reaches only 50 to 60%. Thus, the Rukai tribesmen are strong in will, but lack in understanding.

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VI. Suggestion

For all the data we found and the current situation, we would like to provide the following suggestions.

VI.1 Develop Cultural Products to Reintroduce Pacase

First, we suggest that we develop more cultural and creative products of Pacase, such as bags, T-shirts, mugs; by this, we can raise awareness via creating products that contain elements of Rukai culture. In that case, more people will be aware of Pacase, and there will be more opportunities to pass it down.

VI.2 Combine in School Courses in Rukai Tribes

Moreover, Pacase is likely to be preserved if it is incorporated into native culture courses. The second suggestion is that we include Pacase in the school courses offered in Rukai tribes, which can help Rukai tribesmen learn their own culture from childhood.

VI.3 Organize Volunteer Group to Promote Pacase

To promote perpetuation, the third suggestion is that we organize volunteer groups to help educate and restore Pacase, especially in Rukai tribes. These all ensure that in the Rukai’s coming generations, there will be understanding and commitment for their culture.

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References

I. Books

1. 柯玉卿(2016)。屏東魯凱族女性手紋研究。屏東市: 屏東縣政府。

2. 王有邦(2016)。Sabau 好茶—王有邦影像話魯凱。臺北市: 雄獅美術。

II. Thesis

1. 盧春暉(2011)。失落的印記-魯凱族紋手之探討(以霧台為例)(未出版之碩士論 文)。國立臺南大學,臺南市。

2. 王馨瑩(2004)。排灣族與魯凱族圖騰故事研究(未出版之碩士論文)。國立台東 大學,臺東縣。

3. 何廷瑞(1951)。台灣土著諸族文身習俗之研究。考古人類學刊,15/16,1- 48。

III. Internet Resources

1. 潘建志(民 106 年 11 月 13 日)。把祖先印記穿上身,排灣、魯凱族年輕人重 振紋手紋身文化。中時電子報。取自 http://www.chinatimes.com

2. 陳賢義(民 98 年 6 月 2 日)。排灣魯凱紋手文化 嚴重「褪色」。自由時報電子 報。取自 http://www.ltn.com.tw

3. 臺灣原住民數位博物館(無日期)。歷史年表:魯凱族。民國 106 年 9 月 22 日 取自 http://www.dmtip.gov.tw/web/page/detail?l1=2&l2=53&l3=43&l4=232 4. 台灣原住民文化產業發展協會(無日期)。台灣原住民神話與傳說:魯凱族紋 樣。民國 106 年 9 月 18 日取自

http://ticeda.moc.gov.tw/shenhua/012lkai/012tuteng.html

IV. News Videos

1. 原住民族電視台(民 104 年 12 月 31 日)。魯凱族文手式微,圖騰辨身分階級 【原民新聞】。民國 106 年 10 月 6 日取自 https://youtu.be/dl4oz-PEEQY 2. 原住民族電視台(民 104 年 11 月 23 日)。魯凱族手文之美,編織作品細心珍藏 【原民新聞】。民國 106 年 10 月 6 日取自 https://youtu.be/nOh2iZr62xQ 3. 原住民族電視台 (民 105 年 11 月 05 日)。排灣.魯凱階級制度嚴謹,手文象徵 地位【原民新聞】。民國106 年 10 月 6 日取自 https://youtu.be/Gb-yEFfFNhM

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參考文獻

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