許光麃Hsu, Kuang-Piao2017-02-222025-07-302017-02-222017-02-22https://ir.ntus.edu.tw/handle/987654321/70539校院名稱：國立台灣體育學院系所名稱：體育研究所學號：19301119畢業學年度：94年論文頁數：160頁　　本研究主要目的是在追溯十二婆姐民俗藝陣的源流；分析十二婆姐民俗藝陣表演形式、服裝及道具；考察十二婆姐民俗藝陣發展之困境及展望。本文以台南縣新營、麻豆及台南市灣裡同安宮等團為研究對象，並以文獻蒐集、田野調查及口述歷史方式進行，輔以靜、動態之攝影來記錄，獲得以下之結論： 一、十二婆姐民俗藝陣主要與陳靖姑保護婦孺之民間信仰有關，源於台灣早期的地方廟會，更融合了先民渡海來台開墾的血淚歷程。是台灣農業社會時，人們農閒之娛樂結合了民間的宗教信仰，所發展出的地方民俗活動。最早可溯及中國古代的宗廟社郊制度。 二、十二婆姐民俗藝陣表演形式，藉由「圖像」與「空間」，來建構一種天、神、人三者合一的信念。表演服裝的顏色、式樣，主要在凸顯角色之分。道具各有異同，大抵含面具、傘、扇子、鎮邪虎牌、柺杖、七星寶劍、三角旗、包袱等，具除妖避邪、祈求圓滿及吉慶幸福等。 三、十二婆姐民俗藝陣普遍面臨漸趨沒落與傳承不繼之困境，主要源於社會型態的改變，缺乏政府政策支持，缺少學校的教育助力，團隊自身缺乏自覺等。 未來之發展，應以傳統與創新兼具，建立自身的新定位，進而成為「台灣主體文化」之一環，傳揚國際，迎向開闊的未來。　　The purpose of this study is to find out the origin of the twelve Pochie Folk Art Performance, analyze its forms, costumes, and props, and discuss its problems and prospects. The research subjects were performance troupes of Hsinyin, Matou, and Wanli Tong-an Temple. The research methods included literature review, field investigation, and narration, accompanied with photography and video filming. The conclusions are as follows: 1.The twelve Pochie Folk Art Performance was based on folk conviction of Ms. Chen Jing-Gu protecting over women and children. The performance was originated in local temple fairs, and it incorporated the expression of hardship endured by early immigrants to Taiwan. It was a type of folk activity combining recreation and religious belief developed during the agricultural society. It could be traced back to the ancestral temple system in ancient China. 2.The form of performance constructed a religious belief of the unity of the heaven, the god and the human by using figures and spaces. The colors and styles of costumes were used to accentuate the differences among characters. The props varied widely, but generally included mask, umbrella, fan, Tiger Tablet, cane, Seven-star Sword, pennant, and cloth wrapper, which symbolize repelling evil spirits and praying for happiness. 3.The twelve Pochie Folk Art Performance faces predicament of downfall and lack of successors, mainly due to change of societal type, lack of support from the government, schools, and recognition of performance troupes. The future development should be focused on preserving the tradition and innovation, establishing its new position, and entering into the mainstream of Taiwanese culture.第一章　緒論………………………………………………………1 　第一節　研究動機與目的………………………………………1 　第二節　相關文獻探討…………………………………………3 　第三節　研究範圍與限制………………………………………14 　第四節　研究方法與步驟………………………………………16 　第五節　名詞解釋與用語規定…………………………………19 第二章　十二婆姐民俗藝陣的源流………………………………27 　第一節　台灣廟會的起源與民俗藝陣之形成…………………27 　第二節　十二婆姐之傳說與民間信仰…………………………37 　第三節　十二婆姐民俗藝陣成立之背景………………………43 第三章　十二婆姐民俗藝陣表演形式、服裝及道具……………64 　第一節　十二婆姐民俗藝陣表演形式…………………………64 　第二節　十二婆姐民俗藝陣表演服裝及道具…………………78 　第三節　十二婆姐民俗藝陣表演之比較………………………92 第四章　十二婆姐民俗藝陣發展之困境與展望…………………107 　第一節　十二婆姐民俗藝陣發展之困境………………………107 　第二節　十二婆姐民俗藝陣發展之解決方案…………………119 　第三節　十二婆姐民俗藝陣發展之展望………………………128 第五章　結論與建議………………………………………………144 　第一節　結論……………………………………………………144 　第二節　建議……………………………………………………151 參考文獻……………………………………………………………1521108301 bytesapplication/pdf台南;婆姐;十二婆姐;民俗藝陣Tainan;Nursing Goddesses;twelve Pochie;folk art performancethesis