歷來文獻多將阿美族歌舞分成兩大類，分別是以豐年祭大會舞 malikuda為代表的儀式歌舞，以及各種宴會場合使用的娛樂性 malakacaw/ misalokiaw日常歌舞。這兩大類型的歌舞，過去曾分別被界定為男性系統與女性系統歌舞，顯示出兩性對立的觀點；也有研究指出阿美人歌舞實踐當中，儀式歌舞與日常歌舞在祭典儀式或日常聚會中交雜混用的情形。本文擬以阿美族馬蘭地區（Falangaw）豐年祭為對象，根據 2000年至 2011年觀察豐年祭使用歌舞的情形，從儀式結構與性質的角度嘗試解讀這兩種歌舞類型的意義。本文指出，馬蘭豐年祭各儀式段落使用 malikuda或 malakacaw是有所限定的，並非任意混用。關鍵在於各儀式段落的活動性質，偏向宗教祭祀時多用 malikuda；具有社群交誼目的時則跳 lakacaw。不過 malikuda可為社群交誼服務， lakacaw也可能隱含有宗教性的訴求。至於性別互動方面，從稱為 pawsa的婦女慰勞活動中可以看出，阿美族的家族親屬組織與男子年齡階層其實是緊密結合在一起的，而且不論是 malikuda或 lakacaw，兩性都以不同的程度共同參與，構成了歌舞活動的整體。

Amis dances are usually classified into two categories: the ritual dance malikuda, and malakacaw/misalokiaw, commonly performed in festivity occasions for recreational purposes. The two kinds of dances were once considered to be male and female dance repertoires respectively, evincing a gender antithetical perspective. However, there are also researches which suggest a mix of ritual and recreational dances in daily life. Based on my observation of the New Year’s rituals from 2000 to 2011, I will study the Amis dances of the Falangaw area according to their ritual structure and character then attempt to interpret their meanings. This article argues that, although malikuda and malakacaw both occur during the New Year’s rituals, they are not staged arbitrarily. In fact, malikuda are performed during religious rituals, whereas malakacaw appear in social activities. Nevertheless, malikuda could serve a social function and malakacaw a ritual one. As for the gender distinction, an activity called pawsa shows that kinship organization and the male age status interact frequently in the Amis society could not be studied separately. Regardless of one’s gender, though with various degree of involvement, everyone participates in the performance of malikuda and malakacaw, resulting in a union of the songs and dances.