本文以臺灣《文化資產保存法》於無形文化遺產分類項目中的「民俗」 法律用語為主軸，探討民俗（folklore）與國家（nation-state）發展的關係，進 一步透過聯合國教科文組織（UNESCO）1970 年代以降之文化遺產相關措施， 以及臺灣《文化資產保存法》創建過程進行對話，檢視「民俗」的法律用語 於臺灣原住民族文化遺產的適用性與局限。 對此， 筆者以都蘭阿美族年齡組織於阿米斯音樂節（Amis Music Festival）籌辦與進行的過程為例，探討都蘭阿美人如何透過文化復振以及傳 統領域抗爭事件為契機，促進年齡組織於日常期間運作的慣性。同時藉由與 音樂節企劃公司共同辦理音樂節的過程中，透過年齡組織動員進行的各項展演、場域設計與建置，展現的文化創造能動性（agency of creativity），而使 其成為部落與外在社會溝通（communicate）的媒介。藉此與臺灣《文化資產 保存法》進行對話，在保護（protect）、保存（preservation）等概念的法律制 度當中，因無形文化遺產具有的持續創造性質，在涉及文化權、人權的狀態 下，都蘭阿美人如何以音樂節形態建立文化遺產護衛（safeguard）制度。

In this article, my discussion of the concept of “folklore” is based on its legal usage in the intangible cultural heritage categories of the Cultural Heritage Preservation Act in Taiwan. I explore the relations between folklore and nation-state, through the dialogue effectuated by the measures taken by UNESCO in the 1970s and the inception of Taiwan’s Cultural Heritage Preservation Act and examine the relevance and limitation of the legal term “folklore.” The case studied in this article is the Amis Music Festival, organized by the ‘Atolan Amis age groups. I discuss how the Amis people take opportunity of the cultural revival and traditional territory-reclaiming movements to promote the regular participation of public affairs by the age groups during non-festivity periods. In collaboration with the musical management company to stage the music festival, the age groups organize and promote the performances, design and construct the site of event, through which they exhibit the agency of creativity of ‘Atolan Amis and become the medium with which the tribe communicates with the external society. I then conduct a dialogue with the Cultural Heritage Preservation Act. I argue that terms like “protection” and “preservation” in the legal system, restrain the development of the indigenous communities’ cultural rights and sovereignty. I also demonstrate how the ‘Atolan Amis employ the music festival to build a system that safeguards their cultural heritage.