| Summary: | 碩士 === 國立臺南藝術大學 === 民族音樂學研究所 === 100 === After The Invention of Tradition was published in 1983 by the left-wing British historian E.J. Hobsbawm and T. Ranger, the meaning of “tradition” has been deconstructed by scholars in many other disciplines. It is prevailingly recognized that the tradition is represented as a non-fixed form and can be interpreted in different ways.
In Taiwan, due to its people’s growing cultural exchanges with those in other countries, there have been more cultural practices associated with “exoticism.” Among those practices, we witness the presence of the Sitar, the music instrument belonging to the Northern Indian musical tradition, Hindustani. After the Sitar was adapted to Taiwanese local culture, it has developed its unique listening habitus and commercial mechanism, as well as new forms of “tradition.” As Hobsbawm says, the invention of tradition is a series of practices re-produced by men. This thesis thus focuses on the performance and teaching of the Sitar player, Ryohei Kanemistu (Yo), who plays Hindustani music in Taiwan. It begins with the exploration of the “tradition” Yo inherited, and then discusses how he has constructed a Sitar’s tradition after he moved to Taiwan in 2008.
This thesis contains three facets. First is to examine the literature of Sitar music. Drawing from the history, teaching system, repertories, and performances of the Sitar, this thesis outlines its present-day tradition in northern India. Second is to observe the current situations of Indian music in Taiwan, in particular its practices, promotion, and institutionalization of both profit and non-profit organizations. Third is, by employing the ethnographic approach, to explore how Yo has constructed an environment and an image for Sitar through his teaching and performance. Then how he has connected himself to the tradition of Sitar that he inherits and how he has constructed a new tradition are also analyzed.
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