展覽介紹Exhibition Introduction
臺南現場 - 廟會廊道On locations, TAINAN - Corridor of Temple Fairs
展覽介紹Exhibition Introduction
展區：蕭壠文化園區 南廊道
介紹：
蕭壠文化園區的廊道展出以廟會為主軸的攝影創作，由藝術家與在地的影像工作者合力打造，也是延續2017年的「交陪」精神。
三年一次的「西港香」有臺灣第一香的美譽，在地的張景泓長期耕耘深入民間信仰研究，利用空拍機從神明的角度呈現交陪境——千歲爺繞境的出巡空間，西港香獨特「刈香繞境」及「王醮」「香醮合一」 的盛大場面。
施美蘭拍攝的也是香科年重要的陣頭活動，透過威猛的金獅陣為家家戶戶「淨厝」，她跟著獅陣的腳步一步步走在自己故鄉的土地上，熱鬧的儀式也讓她逐步理解古典科儀的內涵與家族長輩成長的足跡。
李孟芳專研打面宋江，「宋江陣」是一種結合古中國武術和藝術的地方武陣， 屬於農閒時期鄉村子弟健身習武的活動 ，地方上如有亂事， 宋江陣武師也可以保衛鄉里。「 打面宋江陣」是其中較華麗的一支，武師們在臉上彩繪面譜以增加逼真性和莊嚴性，可威震敵人，還能避免遭到敵人認出而報復，發展至今與民間宗教信仰結合，成為迎神護駕的開路先鋒。此次展出的是五甲村五甲壇的打面宋江陣。五甲馬使壇建於1861年，壇內所奉祀的主神是馬使爺及赤兔馬，也是山西宮主神關聖帝君的部將和座騎。參與的年輕人以現代彩妝形式呈現出新舊融合的美學。
李旭彬展出1996 年拍攝的「吉貝耍夜祭」，「吉貝耍」是古地名，今日的臺南市東山區東河村 ，居民多為平埔西拉雅族蕭壠社群的後裔 ，原社群所在地的佳里地區，幾乎已經完全漢化。吉貝耍夜祭則保留西拉雅族傳承對祖靈「阿立母」的崇敬。「阿立母」是吉貝耍族人祖靈信仰中的主要神祇，是聚落居民共同祭祀的祖靈，也是整個聚落的守護神。吉貝耍族人為了感謝阿立母的庇佑，每當秋季農作收成後，會準備祭品聚集在阿立母身處的公廨（廟）之前，手牽著手，舞蹈歌唱酬神，感謝阿立母的庇佑，夜祭儀式以「獻豬還願」和「牽曲敬神」為主。在與漢人長期接觸下，仍能保有傳統夜祭形式，顯見西拉雅族文化傳承的認同感與凝聚力。
當時吉貝耍的祭儀傳承主要是尪姨李仁記，以及曲師段麗柳。2001 年 2 月 8 日，李仁記於自家庭院昏倒，隨後送醫不治，享年八十三歲。家人回憶李仁記生前曾提及自己的陽壽只有七十八歲，是因阿立母需要她做為尪姨，替阿立母傳達神靈的意旨，讓她多了五年的壽命。李仁記過世前並未尋求傳人，亦無阿立母神諭欽點，使得祭典的傳承產生了斷層。目前祭儀暫由其他公廨支援，靜待阿立母的指示。
Venue: Siao-Long Cultural Park, Southern Corridor
Introduction:
Works presented on the walls along the corridors in Soulangh Cultural Park are collaboratively created by artists and local image creators. These photos featuring temple fairs continue the concept of Kau-Puê (companionship) from the exhibition last year.
The triennial “incense offering ceremony of Xigang” is acclaimed as the first among its kind in Taiwan for its long history and large scale. Jhang Jing-hong, the Tainan-based artist, has been engaged in studying folk belief for a long time. By using aerial shooting to document the routes for Wang Ye pilgrimage, Jhang presents the phenomenal scenes of Xigang’s unique “incense offering pilgrimage”, “the ritual of Wangjiao”, and “the combination of both” from the God’s view.
Performance troupes in temple fairs taken by Shi Mei-lan are also indispensable events in the year of temple festival. The fierce and powerful Golden Lion Troupe is displayed to expel evil spirit for every household. The photographer has followed the route of the troupe step by step in her hometown. The lively ceremonies enable her to understand the meanings of traditional ritual schemes and to know how her ancestors and family live and develop on this land.
Lee Meng-fang has been studying face-painting Song-jiang Battle Array. “Song-jiang”, a folk battle array integrating traditional Chinese martial art and artistic performances, was originally organized by local residents to enhance physical training and practice martial arts in agricultural off season and to protect villages from outlaws. “Face-painting Song-jiang Battle Array” is different from the traditional one for its colorful and delicate face paintings. Performers paint their faces just like wearing acting masks to make the roles more realistic and dignified to scare off enemies and avoid being recognized and revenged. Nowadays, Song-jiang becomes a part of folk belief and the battle array is often performed to lead the parade in temple fairs to defend God.
Photos of the Face-painting Song-jiang Battle Array presented this time are from Wu-jia Temple in Wu-jia Village. The temple, founded in 1861, enshrines the Horse God and the Red Hare, who were respectively the military officer and the horse of the Holy Ruler Deity Guan enshrined in Shanxi Temple. All the young performers use modern make-up to highlight the contrastive aesthetics of mixing fashion and tradition.
Lee Hsu-pin presents photos taken in 1996, “Kabuasua Night Ceremony”. “Kabuasua” is the ancient name of Tong-he Village in Tong-shan District, Tainan. Residents there are mostly descendants of Soulangh Community of Siraya Tribe. However, residents in Jia-li, where the Community rose from, have been completely assimilated into Han culture whereas in “Kabuasua Night Ceremony”, Sirayan people still show their respect to their ancestors’ spirits, “Arit”. Being the main God of Kabuasua people. Arit symbolizes the ancestors’ spirits and the God of Guardian protecting the whole village and worshipped by all the residents. In order to express their gratitude for Arit’s blessing, every year after the autumn harvest, the villagers gather together in front of the shrine which houses Arit with offerings. They held each other’s hands, singing and dancing to thank Arit. In “Kabuasua Night Ceremony”, the most significant ritual is “offering a pig for sacrifice” and “singing to God while holding hands to form a circle”. Although heavily influenced by Han culture, Sirayan People, who still well preserved the traditional night ceremony, showed their strong recognition to their culture and the bond among villagers.
At that time, most Kabuasua rituals were practiced and passed down by the tribal psychic Lee Ren-ji and the oracle (song leader) Duan Li-liu. In February 8th 2001, Lee fainted in her own yard and passed away after hospitalized at the age of 83 years old. Her families recalled that Lee used to say her life expectancy was 78 years but was extended another 5 years because Arit needed her to be the tribal psychic to convey divine messages. She didn’t find a successor in her lifetime, nor did Arit preordain another psychic to carry on her mission. Therefore, a gap in practicing conventional rites has occurred. Since then, the rituals have been carried out by the shrine until a successor is chosen by Arit.
Artists gather here to create new works of images in response to Tainan’s history, geography, and culture. Interweaving the landscapes across spaces and time, the project intends to depict a vivid and substantial image of Tainan City.