僧多粥少下的五餅二魚？－從表演藝術團體角度探討我國藝術補助制度

Abstract

表演藝術團體由於其作品的藝術價值與社會意義，因此獲得公部門的經費補助。目前我國在中央層級主要的補助機構包括了財團法人國家文化藝術基金會以及行政院文化建設委員會，此外中央其他部會也有部分經費項目，可供表演藝術團體申請補助。地方層級在各地方縣市政府文化局並設有表演團體補助/扶植相關計畫。唯受到經費不足所限，中央、地方均不易滿足表演藝術團體發展上的需求。 以美國藝術補助為例，多數非營利的表演藝術團體憑藉民間的贊助減少對於政府補助的需求。而大部分的非營利表演藝術團體補助則是由州與地方政府負責，聯邦層級的國家藝術基金會則是負責補助全國性、卓越性、或具有保存價值的表演藝術活動，因此聯邦層級的國家藝術基金會業務範圍不至過重，即使於九○年代面對經費削減危機，亦不至於嚴重影響補助業務的執行。 我國國家文化藝術基金會成立十餘年來，仍受到經費因素的限制，但是建立起我國藝術補助制度的架構，受到表演藝術團體肯定且為其他公部門參考。但是行政院文建會同樣受到經費限制，表演藝術團體卻認為其藝文補助制度有調整的空間，其中最主要的爭議包括補助分配方式以及評審/評鑑制度的不公平。 補助分配由於必須照顧到的表演藝術團體者眾，因此除了在各藝術領域之間必須大致均分。表演藝術團體發展階段不同，也僅能初步依補助經費高低加以區別，而無法顧及表演藝術團體之實際需要。評審/評鑑制度則受到藝文生態限制，多數具備團隊運作經驗之專家，亦為申請補助團隊的一員。因此團隊運作專業與藝術方面的專長難以一併考量。因此建議公部門除了依照團隊發展所需，區分藝術補助計畫；並且考量多元意見聘任評審。 經費問題在政府的重視之下可望解決，期待公部門重新檢視各補助計畫，是否能達到補助之成效。雖然以我國的行政制度難以如美國之整合的補助系統，但公部門仍可透過各補助計畫使表演藝術團體於公部門補助當中，看見團隊發展的目標與方向。

With artistic values and social meaning, performing arts groups gain governmental grants. In Taiwan, there are central governmental agencies providing art subsidies, including National Culture and Arts Foundation (NCAF) and Council of Cultural Affairs (CCA). In addition, local governmental agencies provide subsidy programs as well. Nevertheless, with insufficient budgets, both central and local governmental agencies can not fully satisfy the financial needs of these groups. Take the USA for example: most non-profit performing arts groups are subsidized by local or state art agencies. National Endowment for the Arts (NEA), which is an agency at federal level, only subsidizes national, challenging, or preservative performing arts activities. Therefore, NEA’s responsibility is not too heavy for long-term, normal operations. In Taiwan, the NCAF suffers from the shortage of funds, but it has established an admired framework of art subsidy, which is also adapted by other governmental agencies in Taiwan. Facing similar budget issue, CCA is criticized for its distribution and reviewing system by performing arts groups. As the government has to take many performing arts groups into account when distributing grants, the money has to be equally distributed to various arts fields. In addition, the government can only offer limited financial support according to its budget. However, different groups at different development stage require different amounts of money. Hence, it is hard to meet every group’s need. Moreover, most of the subsidy-granting panelists also participate in the groups under assessment. Thus, future panelists need to know both arts and management well to be able to make sensible decisions. The problems are about to be solved by the government. Thus, it’s extremely important to overview the structure of art subsidization in Taiwan. Although it’s hard to establish an encompassing granting system around the nation, government can still provide a further developing vision for the performing arts groups through subsidy programs.