Temple Concerts: Tradition Meets Modern Entertainment

　The troupes that perform in temple courtyards have long been the most eye-catching part of Taiwan's religious festivals and deity processions. Today, however, temple-courtyard culture has gradually evolved into a stage that blends faith, entertainment, and economic opportunity. As gongs and drums resound and performers wield staffs and blades, innovative performances now combine dance, music, and martial arts. Enhanced with stage lighting and sound design, electric guitars echo the rhythm of traditional drums, creating something like a concert specially prepared for the gods.

　Zhen Zong Culture & Art Performance Troupe（振宗藝術團）, based in Kaohsiung's Neimen District, has experienced this transformation firsthand. Troupe leader Fang Zong-yin（方宗寅）began learning traditional formations from his father at a young age. At 17, he founded the Zhen Zong Culture & Art Performance Troupe. Rooted in the area's renowned Song Jiang Battle Array, the troupe expanded to include dragon and lion dances, the Eight Generals (Ba Jia Jiang), Guan Jiang Shou, and drum ensembles, while establishing a long-term training system. 

　Fang has also worked to elevate traditional performance troupes into serious art. He founded Taiwan's first all-female Eight Generals troupe. While preserving the traditional formations and deity-general structure, he incorporated aspects of dance and martial arts. Performers use half-face makeup paired with elaborate costumes, and the music now integrates elements of rock, creating a fresh style that has even been invited to tour internationally.

　Fang admits frankly, “If we relied only on traditional troupe performances, we wouldn't have lasted very long.” During the COVID-19 pandemic, when performances came to a complete halt, he expanded into venue decoration, marketing, and catering through his family's banquet business. He also began collaborating with schools, training international students to learn the Song Jiang formation and perform on stage during presentation events, allowing them to experience Taiwan's religious culture firsthand.
　“Innovation isn't about showing off. It's about keeping culture alive,” Fang says. This experiment of a “concert for the gods” may be writing a new chapter in the economics of Taiwan's folk performance traditions.

百年香火遇上潮流舞台！廟宇演唱會經濟學
文/李瑰嫻  
攝影/李瑰嫻 、Kito、賴建宇 

廟埕前的陣頭是迎神賽會與遶境中最引人注目的，時至今日，廟埕文化逐漸演變為結合信仰、娛樂與產業效益的舞台演出。當鑼鼓齊鳴、刀棍翻飛，創新融合舞蹈、音樂與武術，隨著聲光設計，電吉他與鑼鼓相互呼應，如同為神明量身打造的一場專屬的演唱會。

來自高雄內門的振宗藝術團歷經這波藝陣轉型。團長方宗寅自小隨父親習陣，17歲創立振宗藝術團，以宋江陣為根基，擴展至舞龍舞獅、八家將、官將首與鼓陣，並建立長期訓練制度。他更推動藝陣藝術化，成立臺灣第一組女子八家將，保留傳統步陣與神將架構，融入舞蹈與武術，半臉彩繪搭配華麗服裝，加上搖滾樂重新編曲，帶來嶄新風貌，受邀赴海外巡演。

方宗寅坦言，「如果只靠陣頭，是撐不久的。」COVID-19疫情期間，表演全面停擺，他因而發展場地布置、行銷、結合家族總鋪師等多角事業經營，更積極與學校合作，訓練外籍生學習宋江陣，並在成果發表中登台演出，讓外籍生親身體驗信仰文化。

「創新不是為了炫技，是為了讓文化活下來。」方宗寅說。這場「神明演唱會」的實驗，或許正為臺灣民俗寫下一門全新的藝陣經濟學。