臺灣原住民族文化館的抵抗與實踐－以都會區桃園市原住民族文化會館為例

1998年的「一鄉一特色」政策嘗試打造各鄉鎮市的文創品牌，並倡議原住民地方文化（物）館的興建，隔年由原住民族委員會所推動的「原住民文化振興發展六年計畫」正式將補助地方興建原住民地方文化（物）館列入計畫項目之一，至此各地方政府依地方需求及施政考量爭相興建了29座原文館。2005年工程會活化閒置公共設施專案小組發現臺灣公共設施在啟用後績效不如預期，部分原住民地方文化（物）館成為被列管的「蚊子館」，為有效達到空間活化，中央部會介入輔導，啟動了「原住民文物（化）館改善計畫」及「大館帶小館」的任務，為原住民地方文化（物）館（小館）導入專業經驗與活力。多數原住民族地區的原住民地方文化（物）館在上述輔導政策下，以地方文化特色之優勢，推出令人驚豔的展覽，但位處都會區的原住民地方文化（物）館便無上述特殊性，本文將研究焦點聚焦於都會區原住民地方文化（物）館，並以桃園市原住民族文化會館為例，進一步探討都會區原住民地方文化（物）館在發展困境中的一種抵抗，而這種抵抗如何指向都會區原住民地方文化（物）館對自身功能定位變化的不同擔憂？本文以近年工作經驗結合館員及舞團團長訪談，重新反思其經營策略與定位之連結。

關鍵字

都會區原住民地方文化（物）館；抵抗與實踐；功能定位

並列摘要

The 1998 "One Town, One Feature" policy aimed to develop cultural and creative brands for each town and city, advocating for the construction of indigenous cultural museums. The following year, the Council of Indigenous Peoples launched the "Six-Year Plan for the Revitalization and Development of Indigenous Cultures," which officially included subsidies for local governments to build indigenous cultural museums as part of the project. Consequently, local governments, driven by local needs and policy considerations, competed to build 29 indigenous cultural museums. In 2005, the Executive Yuan's Public Construction Commission discovered that many public facilities in Taiwan were underperforming after their opening, and some indigenous cultural museums became known as "mosquito halls" (unused buildings). To effectively revitalize these spaces, the central government intervened and initiated the "Improvement Plan for Indigenous Cultural Museums" and the "Big Museums Supporting Small Museums" mission, infusing professional experience and vitality into the indigenous cultural museums. Under these guiding policies, most indigenous cultural museums in indigenous areas leveraged their unique local cultural advantages to present impressive exhibitions. However, indigenous cultural museums located in urban areas lacked such distinct characteristics. This paper focuses on urban indigenous cultural museums, using the Taoyuan City Indigenous Cultural Center as a case study, to further explore a form of resistance in the development challenges faced by urban indigenous cultural museums. How does this resistance reflect different concerns about the changing functional positioning of urban indigenous cultural museums? Combining recent work experiences with in-depth interviews with the center's staff, this paper re-examines the development process of the Taoyuan City Indigenous Cultural Center and reflects on the connection between its operational strategies and positioning.