| Summary: | 碩士 === 國立高雄師範大學 === 表演藝術碩士學位學程 === 107 === Abstract
“Che-gu-nong”, one of the oldest folk arts in Taiwan, perform its beauty with plentiful body languages and amusement with exaggerative funny actions. “Che-gu-xi” also known as “Che-gu-nong” on the Hengchun Peninsula, is a special dance led by a female dancer, holding a folding fan and scarf costume, dances in front of a clown or a group of people. Chariot or “nong”, with the meaning of “turn”, “tease” or “dance” in Chinese, mainly describes people’s joyful dancing atmosphere in temple fairs and slack seasons. “Che-gu-nong” is also known as “Che-gu”, “Nong-che-gu” and “Che-gu-zen”, and they are of the same activity in different parts of Taiwan.
In 1994, when I served as Secretary-General to the South Bay Community Development Association in Hengchun, I met a senior citizen who was versed in Che-gu-nong. I was fascinated by his proficiency in teaching and performing such traditional folk art. What came to my mind is Che-gu-nong is so valuable in culture, it does need someone like the Master to pass down to generations. With the wish to inherit and develop more about “Che-gu-nong” on the Hengchun Peninsula, I formed a team called “Wu Liou Shan Gong Chi Folksong Club" to practice, perform and teach “Che-gu”. The team also shares experience with different groups for learning more knowledge and skillsets about Che-gu-nong.
When I became a master student with the major in Performing Arts to the National Kaohsiung Normal University in 2014, I found few literature and studies about “Che-gu-nong” on the Hengchun Peninsula. That raised my intention to concentrate my research direction on this traditional folk dance specifically in the Hengchun Peninsula area. Thus I divide the contents of my study report into below chapters:
Chapter 1: Introduction
a. Research background and motivation
b. Purposes of research items and associated problems
c. Scope of research and its methodology
Chapter 2: Overview of the historical origins of “Che-gu-nong” from China to Taiwan, development result and current status.
Chapter 3: Che-gu-nong’s branching out to the Hengchun Peninsula
a. Migration path
b. Major differences between traditional Che-gu-nong and local ones in the area nowadays.
Chapter 4: Major Che-gu-nong groups on the Hengchun Peninsula and their leaders
Chapter 5: Summary and Future Perspectives
The objective of the study aims to preserve the folk art culture of the Che-gu-nong on the Hengchun Peninsula and even throughout Taiwan. In order to make up for the gaps in Taiwan’s Che-gu-nong literatures, I did my research through field investigations and actual visits, and I recorded my research in the process of discovering the Che-gu-nong descendants or groups and the interviews with them. They shared their precious experience in telling the origin of the Che-gu-nong on the Hengchun Peninsula, the changing factors in its development process, the difficulties they faced in terms of aging and extinction problems as well as the solution and vision to Che-gu-nong’s future development.
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