《扮神之路》：頭前庄官將首的當代傳承

Abstract

官將首為臺灣本土民俗陣頭之一，據《臺灣民俗文物辭彙類編》記載，起源於新北市新莊地藏庵，其臉譜、服裝及法器皆與一般熟知的「八家將」有明顯差異。日治時期大正元年（1912），新莊俊賢堂於新莊大拜拜中已有信徒扮演「將腳」或「官將腳」，而「官將首」一詞最遲於民國45年（1956）板橋慈惠宮遶境的錦旗上出現，顯示此稱呼已被廣泛使用。晚近幾十年來，隨著黃秋水等人的貢獻，官將首實踐者逐漸重視音樂素質與戲曲涵養，透過樂器聲響與情緒，搭配步法應用、臉譜之關聯，藉以展現音樂角色及藝術內涵價值。過往對於官將首的研究多半聚焦於歷史沿革與文化象徵，較少深入音樂層面的探討。筆者認為，官將首的音樂不僅承載酬神與祈福的宗教意涵，更在儀式中扮演傳達威武、嚴肅神格的重要媒介，形塑出獨特的文化聲音景觀，值得保存與研究。有鑑於此，本研究以耆老訪談與影音資料分析為主要方法，探討官將首中音樂的角色與意涵。研究聚焦於兩個層面：（一）官將首樂器應用分析，探討不同樂器在儀式中的功能與象徵意涵；（二）官將首展演特徵，分析音樂與步法之間的關聯，揭示其作為綜合藝術形式的文化內涵。筆者結合理論探討、田野調查與個人參與經驗，並透過紀錄片記錄田調過程與受訪者觀點。研究結果顯示，官將首的樂器應用與聲響設計，鼓聲與銅鑼的低頻共鳴與金屬震盪聲形成強烈對比，透過重複性強、節奏規律且具有強拍感的節奏型，營造威嚴與神聖氛圍；此外，哨角的滑奏技巧與音程變化則增強緊張感與肅穆感。此聲響設計不僅具震撼效果，更賦予儀式神聖權威的象徵意涵，促使參與者進入敬畏肅然的心理狀態。本研究旨在強調音樂在官將首儀式與展演中的核心地位，並探討其作為文化認同與信仰實踐的重要載體，期望喚起社會大眾對官將首文化的重視，並促進臺灣民俗藝術與宗教音樂的傳承與發展。The Guardians of the Divine (Guān Jiàng Shǒu), according to Dictionary of Taiwan Folk Artifact, is a traditional Taiwanese parade formation originated in the Xinzhuang Kṣitigarbha Temple in New Taipei City. It is distinctly different from the well-known Ba Jia Jiang in terms of facial makeup, costumes, and ritual tools. The history of the Guardians of the Divine can be traced back to the Xinzhuang religious carnival in 1912, in which followers from the Jun Shien Tang troupe acted as the Guardians’ Subordinates (Guān Jiàng Jiǎo). The words “Guān Jiàng Shǒu” can be seen written on the pilgrimage flags of Banqiao Ci Hui Temple as late as 1956, at which time the term has already been popularized. With the contribution of Qiu-Shui Huang and others, performers of the Guardians of the Divine have gradually shifted their focus, emphasizing more on musicality and Chinese operatic features, utilizing instruments and emotions in conjunction with footwork and makeup symbols to showcase the role of sound and the artistic values within.Past research mostly focuses on the history and cultural significance of the Guardians of the Divine, whereas the aspect of sound is less frequently discussed. The author suggests that the sound of the Guardians of the Divine not only carries the religious symbol of deity appreciation and good fortune, but also embodies the Guardians’ might and solemnity, shaping a unique cultural soundscape that is well worth preserving and examining. As such, this research utilizes qualitative data from interviews with local elders and various media sources, with a view to exploring the role and meaning of sound in the Guardians of the Divine performances.This research aims to analyze the following:1. The instrumentation used in the Guardians of the Divine, as well as the ritualistic functions or symbols of different instruments.2. The features of the Guardians of the Divine performances, specifically the interaction between music and footwork.This research draws on existing scholarship on the Guardians of the Divine and explores ethnographic methods to gather field data and personal experiences. In addition to the written paper, the author produced a documentary film to document the process through which the traditional art form was transmitted.The research findings indicate that, in terms of instrumentation and sound design, the sound in the Guardians of the Divine often contrasts the low frequencies of drums with the clanging metal sounds of gongs. Steady, repetitive rhythms and a strong emphasis on stressed beats contribute to a majestic, sacred atmosphere, while the shifting intervals and glissando techniques employed by Shaojiao horn players heighten tension and somberness. In conclusion, the sound design of the Guardians of the Divine is not only intense and powerful, but also symbolizes the divine authority that the deities, envoking a provound sense of awe and respect in the audience.The main goal of this research is to highlight the indispensable importance of music in both ritualistic and performative aspects of the Guardians of the Divine, while also examining its role as a vehicle for cultural identity and religious faith. In doing so, this research hopes to draw the general public’s attention to the tradition of the Guardians of the Divine and to promote the development and preservation of Taiwanese folk arts and religious music.