噶瑪蘭族（kavalan）正名運動，是一連串學術現身、原民現身的復返（returns）協商。原居於蘭陽平原的噶瑪蘭族，因與鄰近族群土地爭奪，南遷花蓮新社、臺東長濱、樟原等地附屬於阿美族。1987年由花蓮新社噶瑪蘭人偕萬來尋找偕姓族親，同年臺灣省博物館舉辦的「豐濱之夜」，噶瑪蘭人將傳統、充滿禁忌的儀式音樂kisaiz改編成歌舞組曲，透由kisaiz樂舞成為身分溯源與族群正名印記。1991年至1996年間族群成立「噶瑪蘭族復名促進會」、「噶瑪蘭族旅北聯誼會」等，藉由文化建構爭取能見度。2002年12月25日由行政院院長游錫堃正式宣布，噶瑪蘭族成為臺灣原住民第十一族。原本屬於女性祭司mtiu身分過渡的kisaiz儀式於1956年前後中斷，僅留在kisaiz後舉辦規模較小、存於祭司之間的治病儀式paqrabi。在現代醫療進步與鮮少人擔任女祭司的情形下，kisaiz與paqrabi的治病功能喪失，轉換成向外界發聲的樂舞文本。噶瑪蘭族人擔憂執行樂舞時神靈真正被召喚，於是，劇場kisaiz樂舞文本更動喚神順序以及曲序，並添加男性成員。性別權力的介入改變了原有文本的秩序，曲序變更、性別合成、儀式空間、時序與禁忌等文化轉譯，促使符碼樂動（musicking）產生當代意義。國家正名認同之後的噶瑪蘭，國家力量介入樂舞文化，透由教材編寫與教學傳承，kisaiz正典化（canonization）成為當代展演情境下的新正統。在工商社會與經濟變遷的環境脈動下，原有的離散（dispora）噶瑪蘭族裔再次離散。2019年爆發Covid-19疫情，定居於桃園一帶的噶瑪蘭族裔於2022年8月的後疫情時期，由當地市政府原住民文化局，以噶瑪蘭治病儀式「Pakelabi除瘟祭」為題舉辦歲時祭儀，族人與居於桃園地區的撒奇萊雅族共同建構都市泛原住民族群認同。新編的kisaiz有聲錄音在節慶活動中成為鏈結原鄉與他鄉的中介載體，原本脈絡有別的kisaiz與paqrabi逐漸混淆，以他者指代；其次，2022年10月臺灣音樂館「世代之聲」系列「噶瑪蘭Kebalan重返榮耀之夜」，以舞台場域凝聚部落社群，不同世代、不同區域的噶瑪蘭族裔音聲於當代劇場的共時展演，黑盒子空間成為「閾限」場域（liminal space），接合（articulation）不同音樂文化地質的質層認知與記憶。本文以噶瑪蘭治病儀式的音樂本體與轉譯，論述國家機制、文本重組與後疫情節慶認同的意義流動。

The Kavalan people’s name rectification has raised awareness, marking an important negotiation between academics and indigenous presence. Originally, the Kavalan people inhabited the Lanyang Plain. Due to competition for land with neighboring ethnic groups, they migrated south to areas such as Hualien Shinshe, Taitung Changbin, and Zhangyuan, where they became affiliated with the Amis people. In 1987, Jie Wan-Lai from Hualien went to search for their relatives. That same year, during the “Fengbin Night” event held by the Taiwan Provincial Museum, the Kavalan people transformed the traditional ritual music called kisaiz. They added dramatic elements to create a music-dance performance that represented their cultural identity and fostered ethnic recognition. Between 1991 and 1996, the community established the “Kavalan Name Restoration Promotion Association” and the “Kavalan Northern Friendship Association” to increase visibility by promoting their language, life skills, and cultural expressions through music and dance. On December 25, 2002, President You Xi-Kun of the Executive Yuan officially recognized the Kavalan as the eleventh indigenous ethnic group in Taiwan. Originally, kisaiz was a ritual performed by female priests (mtiu). However, after activities ceased in 1956, the Kavalan only remained the smaller healing ceremony called paqrabi conducted by priests. As time passed, external beliefs influenced these rituals, leading to a decline in the number of practitioners. Consequently, the traditional functions of kisaiz and paqrabi diminished, transforming them into expressions of the ethnic group’s identity for external audiences. The Kavalan was concerned that music and dance could summon the gods; thus, they changed the order of kisaiz and sequence of invoking deities. Including male members in the female kisaiz ceremony altered the original structure, intertwining cultural translation with changes in sequence, gender dynamics, ritual spaces, timing, taboos, and musical practices to create contemporary meanings. Following the state’s recognition of their name, the music and dance culture, influenced by governmental intervention, began to be documented and taught, gradually canonizing the new kisaiz. Amidst industrial, commercial, social, and economic changes, the previously cohesive Kavalan community found itself further fragmented. The emergence of the COVID-19 pandemic in 2019 affected the Kavalan who settled in the Taoyuan area. In the post-epidemic period, the local municipal government’s Indigenous Culture Bureau held the “Pakelabi Plague Eradication Festival” in August 2022, which included Kavalan healing ceremonies. Joined by the Sakilayar people in Taoyuan, they aimed to build an urban pan-indigenous identity. The newly compiled audio recordings of kisaiz became a critical link between their homeland and the new places they inhabited during festivals. Over time, the kisaiz and paqrabi rituals, which originally had distinct contexts, began to merge. Additionally, in October 2022, the Taiwan Music Center launched the “Voices of Generations” series, featuring “Kavalan Kebalan Return to Ancestry and Glory.” This initiative aimed to unite tribal communities through performances in various venues, showcasing contemporary expressions of Kavalan voices across different generations. The black box performance space became a “liminal” area, facilitating reflections on memory and cultural understanding. This article explores the essence and translation of Kavalan healing ritual music while discussing how meaning flows through state mechanisms, textual reconfiguration, and post-epidemic cultural identity.