江明親。〈誰的「常民」？臺灣竹工藝文化資產的成形及其課題〉。《民俗曲藝》211
(2021.3): 117-65。
Chiang Min-chin Kay. "Whose “Folk”? On the Formation and Related Issues of Taiwan’s Bamboo Cultural Heritage." Journal of Chinese Ritual, Theatre and Folklore 211 (2021.3): 117-65.
Abstract
「傳統工藝」（Traditional Craftsmanship）被正式列為聯合國教科文組織《保護非物質文化遺產公約》裡的一項範疇時，臺灣的竹工藝，也正加速脫離常民生活。民間暱稱竹材為「窮人的木材」，是臺灣垂手可得，無論移民或者原住民各個族群都充分運用的在地材料。這樣的竹，其技術與完成品被視為傳統工藝，卻非自始即有，而來自一個不斷變動的過程，如同Laurajane Smith（2006）對於「文化遺產」的定義。當代臺灣社會對於竹工藝從維生技術、產業生產到傳統工藝的認知變化，正反映生產者與使用者在全球產業鏈中的疊置與錯位，也牽動遺產化後保護作為的拉扯。
本文以臺灣的竹工藝為例，運用文獻、物件影像及田野訪查資料（調查期間以2019年5月至11月為主），探究自日治時期竹工藝產業化、戰後美援支持下的產品開發，到產業轉型後，竹產業與竹工藝在地方發展訴求下既分離又交纏的遺產化過程。本文並將進一步釐清在遺產化過程中，習慣作為論述軸心的「文化」所投射的對象、目的和影響為何，尤其與無形文化資產保護實踐作為之關係，預期以此映照臺灣工藝的當代發展脈絡及共同課題。
When UNESCO officially recognized Traditional Craftsmanship as
one of five domains in Convention for the Safeguarding of the Intangible
Cultural Heritage, Taiwan’s bamboo craft had also been rapidly drifting away
from the folk life. Dubbed as “lumber for the poor,” bamboo is a local material
readily available everywhere in Taiwan, and has been put to extensive use by
all ethnic groups. However, just as Laurajane Smith states in her definition of
“cultural heritage” (2006), the techniques and products of bamboo craft was not
considered traditional craft until after a continuously changing process. The
Taiwanese perception of bamboo craft, that evolves from a craft for livelihood,
industrial merchandise to traditional craft, exactly reflects the overlapping
and misplaced positions of producers and consumers in the global chain of
production. It also affects the tug of war between protection measures and the
heritagized cultural practices.
This study uses literature review, visual image analysis and
field research data (mainly collected between May and November, 2019) to
explore the following issues; the industrialization of bamboo craft during the
Japanese colonial era, bamboo craft that went through the period of US-funded
product development in the post-World War II years, and the post-industrial
transformation of bamboo craft and industry that both intertwine and diverge in
the heritagization process. Furthermore, this research intends to clarify the
subjects, aims and impacts of “culture” that is so often taken for granted as
the discursive axis of the heritagization process, particularly its
relationship with practices of intangible cultural heritage protection. The
purpose is to shed new lights on the contemporary context and common issues of
Taiwanese crafts.