這篇文章的主要目的在於解析臺灣原住民族樂舞形式與意義轉變的社會過程，及其對於建/解構群體認同的影響。學者們對舞蹈的研究顯示出，舞蹈對於群體意識的塑模、群體界限的展示、以及族群認同的建構有著顯著的意義。放諸臺灣之經驗，透過樂舞吾人可否理解原住民群體認同如何形塑、調節、甚至被挑戰？為了回答此一問題，在本文中，筆者以「泛原住民主義」(pan-indigenism)的形成與發展為核心，透過歷史回顧的筆法，分析這種意識形態流動與不穩定的特性，及其與臺灣原住民舞蹈形式之間的關係。在文中，筆者著重在三個原住民樂舞展演的面向：劃樂舞(in tourism)、樂舞比賽(for competition)以及樂舞的舞臺演出(on stage)。選擇這三個面向的因素，乃在於突顯樂舞展演過程中程度不同的權力關係，反映於表演者(performers)或行動者(actors)與觀眾(viewers)之間的族群屬性差異。筆者認為，具有歷史辯證性格的「泛原住民主義」，和部落主義之間的交互影響與協商，具體地反映在當代原住民樂舞的實踐過程；透過體現的展演，原住民雖然缺少權威與資本，仍在與觀者的對話關係中，完成他們的文化實踐。

This paper is a primary attempt to analyze the change of forms and meanings of dances of the Taiwanese Indigenes, and its interrelationship with de/construction of ‘pan-indigenism’. Anthropologists have shown that analysis of dance can shed light on the dynamic process of forming collective consciousness, display of group boundary, and the construction of ethnic identity. This paper then provides a local example opt see how, through dancing, ideology such as ‘pan-indigenism’ can be formed moderated, or even challenged. The author takes a diachronical approach to review the dances of indigenous people as realized in tourism, for competition and on stage, in which the power relationship between ethnicity-attributed groups, identified as performers/actors and viewers are best seen. The author finds that how the indigenous societies react to ‘pan-indigenism’ indigenous people as a whole, not all powerless, usually fulfill their cultural practice through the dialogical interaction and inter-construction of ethnic identities in the process of dancing and singing.