文化記憶（cultural memory）來自經驗，經驗又與生活的環境緊緊相連。然而，生活改變了，經驗不同了，記憶便以「再現的解釋」來傳承。本文的案例是中國西南楚雄彝族的「復原梅葛」工程。「梅葛」是自稱「俚頗」與「羅羅頗」的彝族兩支系傳唱的歌謠，而以其中的創世史詩部分受到重視。文革期間梅葛被禁唱幾近絕跡，文革後，唱梅葛重新被重視，在搶救和保護的情境下，2008年，被中國國務院列入國家第二批非物質文化遺產保護名錄。復原前後的梅葛，有兩種不同的記憶。在傳統上，「梅葛」是一種曲調，伴隨俚頗與羅羅頗的生活習慣，配合生老病死、婚喪喜慶的民俗，在儀式中吟頌、在生活中對歌，在梅葛會慶祝與歡唱，這是梅葛「傳統的記憶」。隨着時代的變遷，俚頗和羅羅頗的民族語言與傳統社會逐漸消失，現在能夠喚起俚頗與羅羅頗記憶的物件，是1959年以漢語出版的《梅葛》整理本。此書在彝族民間文學史上，雖然佔有重要的地位，但是因為創編本不是逐字記錄的科學版本，又是以漢語出版。以此復原的梅葛，無法自由吟頌對歌，但卻成為公部門創作舞臺展演的梅葛，以觀光的手段，形塑一種「梅葛文化」的氛圍。這是梅葛「被復原後的新記憶」。對語言環境改變的俚頗與羅羅頗而言，重現與建構的梅葛文化成為公部門掌握記憶的目的，對於塑造集體的認同有重要的作用。本文透過楚雄彝族「恢復梅葛」的過程來探討在不同時空與文化背景中，闡釋構成記憶不同面向的影響。

Cultural memory is accumulated from experience. Experience is closely intertwined with living environments. However, when environmental changes caused experiences to alter accordingly, the cultural memory had to be held up with represented interpretation. The case studied in this article is the ＂Meige Revival＂ of Chuxiong Yi people in southwest China. The ＂Meige＂ are ballads of Lipo and Lolopo, two branches of Yi. Their epic poem of Creation has won much attention. During the Cultural Revolution, Meige had been banned and nearly died out. After the Cultural Revolution, Meige had again regained significant status. To save and preserve Meige, the State Council of China listed Meige in its second batch of intangible cultural heritage in 2008. Meige, before and after the revival, carries two different kinds of memories. Traditionally, Meige was a type of melody that accompanies the customs of Lipo and Lolopo. On the occasions of life rituals, Meige was recited during the rituals, or sung as a duet in everyday life. There were also Meige gathering, where people sang in celebration joyously. This is the traditional memory of Meige. With the passing of time, the native language and traditional society of Lipo and Lolopo gradually disappeared. Currently, the only thing that can summon Lipo's and Lolopo's memory is a Meige compilation published in mandarin in 1959. Although a significant publication in Yi folk literature, this reconstructed version is not a rigorous verbatim documentation. On the contrary, it was a new creation, published in mandarin. Meige, reconstructed this way, can neither be recited nor sung in duets. However, the reconstructed Meige has become a performance act on stage. To promote tourism, the public sector recreates a Meige culture atmosphere. This is the new memory of reconstructed Meige. For Lipo and Lolopo, whose native language environments had changed, the re-presented and re-constructed Meige culture serves the public sector's purpose to control their memory. Meige plays an important role in building a collective identity. In this article, I study the process of Meige revival in Chuxiong Yi to explore the different aspects of memory construction in different time and cultural backgrounds.