以歌為界、以聲為橋——
金曲歌王睽違六年重返國家兩廳院
《無界的疆域》是一場由桑布伊領唱的聲音旅程，以歌為界、以聲為橋，凝視卑南族於歷史長河中所經歷的信仰變遷、族群遷徙與萬物共生觀。演出透過族語吟唱與個人敘事交錯展開，讓觀眾不只是聆聽者，更成為文化共鳴的參與者。音樂成為一種時間與空間的容器，既承載族群記憶，也回應當代心靈對於土地與存在的深層提問。
段落一｜信仰交界：靜默中的碰撞
演出自信仰的邊界展開。從祖靈信仰的祈語，到外來宗教的福音，部落之間的信仰在歷史中交會、摩擦，彼此牽引又拉扯。桑布伊以聲音捕捉這種微妙的精神位移，將文化在宗教衝擊下所歷經的撕裂與融合，轉化為一種柔韌的音樂敘述。傳統歌謠與沉靜吟詠並置，使觀者得以聽見靜默中的文化辯證，理解族人如何在信仰的交界中，重新尋找靈魂的位置與共同體的認同。
段落二｜遷徙之路：與土地對話的足音
族人踏上山林與河谷，走出部落疆界，也走出文化記憶的拓印。這一段落從部落遷徙與傳統獵場的歷史談起，歌聲宛如一雙雙走過草澤與溪石的腳步，細緻描繪族人在移動中如何與地景對話、與自然協議。桑布伊以深遠的聲音回應土地的呼喚，並喚起那些藏在風聲與足跡之中的故事。文化不是靜止的傳承，而是在流動中生長的紋理，一如這些來回於山與海之間的歌謠。
段落三｜萬物共生：與世界低語
最終段落回到卑南族的宇宙觀，一種柔軟卻堅韌的生命哲學：人與萬物共存，與風、石、水草同語同息。在這裡，桑布伊從聚會歌謠延伸至個人生命的詠唱，唱出族人對自然萬物的謙卑與信任。這些歌聲不是對自然的主宰，而是對萬物的低語與回應。聲音之中不再有主客體之分，而是一場族群與世界、過去與未來之間的對話。
整場音樂會透過聲音、語言與樂器的協奏，構築出一個開放且深層的場域。在這裡，疆界不再是封閉的線條，而是會呼吸、會變形、會共鳴的流動體。觀眾將在聲音的引導下，看見文化如何在歷史與信仰、土地與萬物之間來回織構，並於當代的呼吸中再次甦醒。《無界的疆域》不只是一場演出，而是一首由土地寫就、由記憶吟唱、寫給生命與未來的詩。
Songs are boundaries, voices are bridges.
This voice-based performance by acclaimed Indigenous singer Sangpuy is a journey through shifting cultural landscapes—where geography, beliefs, and memory converge. Rooted in the traditions of the Pinuyumayan people of Taiwan, it explores how visible and invisible borders have been shaped and reshaped through time, migration, and encounters with external religions and systems. Through songs sung in the Pinuyumayan language, interwoven with personal stories, Sangpuy invites the audience into a sonic space where ancestral voices meet contemporary consciousness. In this space, music becomes a vessel that carries the weight of history and the breath of the present.
The program unfolds in three movements:
I. The Edge of Faith: Silence in Collision
This segment reflects on the tension between traditional spiritual beliefs and introduced religions. From ancestral invocations to the whispers of foreign gospels, these encounters have fractured and transformed Indigenous cosmologies. Sangpuy's songs express the spiritual displacement and resilience that arise from this conflict, offering a melodic exploration of co-existence, loss, and redefinition.
II. Pathways of Migration: Footsteps in Dialogue with the Land
Here, the performance traces the migration of clans through forests and river valleys. The songs evoke the sound of footsteps pressing into soft earth, narrating how territory was not only traversed but remembered and re-inscribed through movement. This is not merely the retelling of physical journeys—it is a sonic mapping of how identity and space intertwine over time.
III. Living with the World: Whispering Among All Beings
The final section returns to the Pinuyumayan worldview: that humans live not above nature, but among it. In these songs, drawn from communal gatherings and Sangpuy's personal experiences, he sings of humility, coexistence, and trust in the natural world. These are not songs of conquest, but of kinship—with the wind, with the rocks, with the water.
By weaving together voice, traditional instruments, and subtle staging, Flowing Boundaries builds a meditative space where the past and present resonate. Here, borders are no longer barriers—they become porous, breathing lines that move with us. This is more than a concert. It is a poem in motion, a ceremony of remembrance, and a call to listen more deeply to the boundaries we carry within.
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