創意的手工、漂流的文化：以台東縣原愛工坊為例

Abstract

文化創意產業之概念，存在著「文化」與「創意」兩大要素。透過智慧財產權保護形式及運用，文化創意產業一方面創造財富與就業機會，另一方面也有文化延續的保護作用。文化創意產業有著文化創作與人交錯所形塑出來的的空間媒介。這就是「工坊」。透過「工坊」，產品得以集結成形，文化的創意得以具體化。因此這角色在部落不容忽視。一個偏遠地區部落的「工坊」，可能成為文化延續並創造產值的一個單位。「原愛工坊」由「布工坊」及「木工坊」組成，各以不同題材創作。「原愛工坊」作為一個生產空間，也包覆著人與文化交流的媒介。「原愛工坊」以排灣族十字繡為主題的「布工坊」，以及以漂流木為創作題材的「木工坊」，兩者分別呈現排灣族十字繡文化，也表達原住民與大自然的融合。 若探究原住民族文化與文化創意產業之間場域關係,必然牽涉到不同的議題。原住民投入工藝創作進而參與文化創意產業，本質上即代表著一種特殊文化場域，其必然受到市場及文化上的區分。因此，本研究以「原愛工坊」作為追尋原住民族在文化創意產業發展之案例，探究「原愛工坊」與文化創意產業之兩者場域之間，如何運作與生存。並試圖從中草繪原住民族在當代文化創意產業政策下的樣貌。 本研究採「參與觀察」以及「深度訪談」作為主要研究方法，並藉由文獻來回顧國家過去相關藝術與文化政策發展，原住民工坊與工藝之漂流樣貌。並以布爾迪厄(Bourdieu)「文化場域」論述彰顯原住民族發展文化創意產業脈絡的獨特意義。研究結論得出：「原愛工坊」乃透過學校的力量成立一個社團法人組織。運用創意手工，將文化符碼運用在文化商品中。並抓住文化工作者本身對自然的感知，使得產品對都會人士有另一種嚮往與想像。銷售部分則與位於都會的地區的「台灣好•店」合作，結合組織中的跨文化的關鍵人物，就專注地透過參與政府計畫，將「原愛工坊」帶入一個以社群為中心，（自然＋文化）x從「心」出發的文化創意產業。

The concept of Cultural and Creative Industries contains two elements with 'culture' and 'creative'. Through the intellectual property protection, the Cultural and Creative Industries not only creates wealth and employment opportunities but also creates protection of cultural continuity. Through the Cultural and Creative Industries, 'Workshop' has taken shape to create the medium of space, which staggered cultural creativity with people. Through this 'Workshop', product has been forming and assembled, and then, the cultural creativity can be specific. Therefore, the role 'Workshop' cannot be ignored in the tribe. A 'Workshop', such in the remote tribal region, may become a unit of cultural continuity and create output value. 'Yuan-Ai Workshop' is composed with 'Cloth Workshop' and 'Wood Workshop' ,and each with a different theme for creation. 'Yuan-Ai Workshop' as a space of production also covered with the media of people and cultural exchanges. 'Cloth Workshop' use the Paiwan culture for the theme of cross-stitch, and the 'Wood Workshop' use the theme of driftwood , both were showing Paiwan culture, and also expressed how indigenous integrated with natural. If we explore the Field relationship between indigenous culture and the cultural and creative industries, that will inevitably involve different issues. Indigenous people who invests in craft and participate in cultural and creative industries, in essence, that represents a special cultural Field, which will be distinct to market and cultural consequential. Therefore, this thesis regards 'Yuan-Ai Workshop' as a case to pursuit the development in indigenous cultural and creative industries, exploring how they operate and survive in the two Fields of 'Yuan-Ai Workshop' and the cultural and creative industries. Also attempting to sketch up the appearance of indigenous cultural and creative industries policy in contemporary. This study used 'participant observation' and 'depth interview' as the main research methods, and by the literature to review the past policy development related to arts and culture, and indigenous Workshop appearance in process of the drift. Also use 'Culture Field' theory discussesed by Bourdieu to highlight the unique and significance meaning of indigenous develop in context of cultural and creative industries. The study finds some conclusions. First, 'Yuan-Ai Workshop' through the power of the school set up an incoporated associations. And second, use handcraft with creative, to make used of the cultural codes in cultural commodities. And third, seizing what the perception of nature in cultural workers owned, to make those products have different desire and imagination to the people who live in metropolis. In the sales point of view, 'Yuan-Ai Workshop' is cooperated with 'Lovely Taiwan Shop' which located in metropolitan area, and with a key person who has cross-cultural ability in organization to concentrate on participation in government programs and brings 'Yuan-Ai Workshop' into a community center, with Cultural and Creative Industries of (NATURE plus CULTURE) and base on the 'HEART'.