客家意象的展示與傳播： 以「2015台灣國際客家文化嘉年華」為例

Abstract

2015台灣國際客家文化嘉年華熱鬧非凡，這場以客家文化為名的活動，以客家特質作為城市行銷亮點，展現了新竹作為客家大縣的實力，整體活動以「嘉年華式」的節慶化包裝手法呈現。十二天活動過後，人潮退散，布展陸續拆除，這一片復歸沉寂的土地，將在歷史上留下什麼記憶與符號？

既然名為客家文化嘉年華，客家文化就應該是主體而不是點綴或配角，因此，本研究以系列活動中的「好客主題館」為主要研究場域，嘗試藉由檢視、分析及詮釋該館中的展示內涵與意義，理解這些展示與媒體報導，究竟傳遞或點明了哪些客家意象。作為全台灣客家人口比例最高的縣份，新竹縣為讓世界看見台灣，結合產、官、學、研等各界力量，舉辦了這場客家文化盛宴，以動漫、科技、文化為主軸，融合傳統與現代，以動態及靜態方式呈現，進一步結合第28屆客屬懇親大會，將客家能見度向上推升。

論述與展示都是權力的展現。2015台灣國際客家文化嘉年華是一場值得觀察的客家展示，展區作為一個論述場域，展示的內容是主辦單位、策展者等多方行動者角力的結果。透過展示與觀眾對話，主辦單位展現政治實力、文化軟實力的同時，我們也能透析一個族群更深層的歷史厚度及文化的源遠流長。

近年來台灣各地文化活動有「泛節慶化」趨勢，為求超越、拚面子，以花俏、聳動內容博取媒體青睞，求得曝光，卻忽視在地性與延續性。我們該反思的是，一旦文化展示成為一場節慶化表演，缺乏了文化層次與飽滿內在，再雄強的政治、經濟或科技實力，都只是沙上建塔，無法留下記憶。

文化活動若要深植人心，並建立特色與聲譽，要有延續的規劃與遠景，需要累積與經營，應建立獨立策展的運作機制，遴選適宜的藝術總監或執行單位。回歸文化的本質，節慶可以創造，但一定要持續，透過持續才能形成期待，才可能變成承載眾人情感與記憶的傳統。

This research focused on the exhibition of Hakka culture in “the 2015 Taiwan International Festival of Hakka Culture”. The 2015 Taiwan International Festival of Hakka Culture, hosted by the city of Hsinchu, was a bustling event, which took the renowned expression of Hakka culture as the spotlight for Hsinchu’s marketing campaign. Hsinchu County has the highest percentage of Hakka population in Taiwan. This event, which was designed as a carnival, aimed to demonstrate the strengths of Hsinchu as a Hakka county. The festival was organized by a combination of business, government, and academic interests. Based on comics, technology, and culture, the 2015 Taiwan International Festival of Hakka Culture combined tradition and modernity, presenting the exhibition in a dynamic and static way. The festival also aimed to raise the public’s exposure to Hakka culture.

As a Hakka Festival, Hakka culture should be the main focus. Through interpreting the meanings of the exhibition and examining the media focuses on the event, this research explored the festival’s expression of Hakka culture. It addressed the following questions: 1) What elements and symbols were selected to represent the Hakka culture or Hakka spirit, and how; 2) Whether or not the influence of this 12-day festival, in particular, the memories and the symbols of so-called ‘Hakka culture’, went beyond and after the event?

In this research, it is found that the depiction and expression of culture can be powerful; the expression of this event as a field of depiction is the result of collaboration between organizers, curators, and other participants and interest groups. Through dialogue with the audience, the organizers simultaneously displayed political and cultural power, and helped the public analyze the Hakka tribe’s culture. Recently, many cultural activities have become increasingly festive. To gain media attention, the “local” aspect of the festival is often lost. Without the foundation of deep cultural constructions, regardless of how strong the political, economic, and technological expressions of culture are, the festival is just a surface-level display of culture. In this research, it is suggested that if cultural activity is to be deeply-rooted in people’s minds, the implementation of a lasting plan and vision is required. To do so, the organizing bodies must manage and build an operational system, with both an arts manager and an execution unit. It is suggested that only when the festival returns to the essence of culture, the exhibition could become a tradition that conveys emotion and serves as a reminder of Hakka culture.