臺灣原住民族傳統智慧創作專用權之樂舞歸屬探討
以花蓮縣奇美部落Ciopihay階級Pawali祭歌與舞蹈為例
2018年4月花蓮縣奇美部落Ciopihay階級Pawali祭歌與舞蹈，向原民會申請並獲得認定登記，同時公告取得原住民族傳統智慧創作專用權。
就《原住民族傳統智慧創作條例》之權利主體即為原住民族與部落二者，惟關於權利主體之歸屬，原創條例限定於二者，實有再參酌之餘地(陳詠，2019)。因此，本文欲從2018年8月1日至2020年仍未落幕之花蓮縣奇美部落Ciopihay階級Pawali祭歌與舞蹈之侵權事件為例，探討部落與族人二主體下的樂舞展演權利歸屬為何?同時，此條例並未提出如何妥善使用傳統智慧創作，以尊重原住民族文化(林孟玲，2018)，本研究透過質性研究之訪談及文獻回顧，作為主要研究方法，期能釐清在《原住民族傳統智慧創作條例》保護下之樂舞符號(歌謠、舞蹈動作、服飾等)之歸屬與使用之適切性。
關鍵字：奇美部落、傳統智慧創作專用權、原住民族傳統智慧創作條例
Exploring the Rights of the Protection Act for the Traditional Intellectual Creations of Indigenous Peoples in Taiwan – a case study of the Pawali (ritual song and dance) of the Kiwit Community, Hualien County
In April 2018, the age class of Ciopihay, a traditional age group organization of the Kiwit community successfully applied its Pawali (the ritual song, and dance) to the Council of Indigenous Peoples. Therefore, at the same time, the Pawali obtained the Exclusive Right to Use Indigenous Traditional Intellectual Creations, and such an event was made public. According to the Protection Act for the Traditional Intellectual Creations of Indigenous Peoples, both indigenous peoples and indigenous communities are the subjects of the rights. However, there is room for further discussion regarding the subjects of rights being limited to the two (Chen 2019).
Therefore, this study intends to take the unsettled case as a case study—
the infringement of rights of the Pawali (the ritual song and dance) in the Kiwit community, Hualien County started from August 1st, 2018 till now in 2020. The study further discusses what the rights of the Pawali are under the premise of rights being limited to indigenous peoples and indigenous community under the Protection Act? Meanwhile, such Protection Act does not propose how to use traditional knowledge in order to respect the indigenous cultures (Lin, 2018).
This qualitative study conducts interviews and literature reviews as the main research method to clarify the appropriateness of the rights ownership and use of the music, dance, and symbols (ballads, dance moves, costumes, etc.) under the Protection Act for the Traditional Intellectual Creations of Indigenous Peoples.
Key words: Kiwit Community, the Exclusive Right to Use Traditional Intellectual Creations, Protection Act for the Traditional Intellectual Creations of Indigenous Peoples
講者:莊國鑫
臺灣花蓮阿美族人，現就讀國立臺北藝術大學舞蹈研究所博士生、國立臺灣體育大學體育研究所舞蹈教育組碩士、國立花蓮師範學院畢業，現為莊國鑫原住民舞蹈劇場負責人暨藝術總監、同時任職花蓮縣北埔國小教師。從事臺灣原住民樂舞教育研究、教學及編創多年，並為臺灣當代原住民編舞家之一。
Chuang, Kuo-Hsin, belongs to the Amis/Pangcah people from Hualien County, Taiwan, and is a current Ph.D. student at the School of Dance, Taipei National University of Arts. He holds a bachelor's degree at the National Hualien University of Education and a master's degree in Dance and Education at the National Taiwan University of Sports.
Chuang is the owner and art director of Kuo-Shin Chuang Pangcah Dance Theatre and part-time teacher of Bei Pu Elementary School, Hualien County. He has engaged in Taiwan indigenous dance and education research, taught in schools, and created dances for many years. He is one of the contemporary indigenous choreographers.