紅塵鬧熱白雲冷—台灣現代藝術節慶的本末與虛實

舉辦現代藝術節慶與文化發展沒有必然關係，藝術家（團體）的出現及其創作展演有多元的管道，未必要透過各現代藝術節慶，從政府、民間立場，現代藝術節慶亦沒有絕對必要，因為政府施政與民眾福祉息息相關，有輕重緩急與優先次序，浮華、熱鬧卻無文化內涵的活動對社會並無助益。換言之，一旦舉辦藝術節慶，就應充分利用、展現現代藝術節慶的時間、空間本質與節慶氛圍，否則，好好執行藝文教育、舉辦一般藝文展演活動反而實際。從國外經驗來看，國際著名的藝術節慶皆具備一些特質與條件，例如城市空間環境、自然景觀，或有豐厚文化遺產與藝術資源，原本就是吸引國際旅遊業的重要「景點」，加上國民生活素質高，喜歡觀賞藝術、參與文化活動。理論上，現代藝術節慶應有其功能性，包括鼓舞藝術創作風氣、提升展演水準、提供市民生活休閒娛樂、藉藝術節慶活動整合社群情感、吸引國內外觀光旅遊人口、促進地方產業發展……。這些效益可能同時具備，也可能各有偏重。從國際藝術節慶發展來看，舉辦節慶是果，城市空間環境、藝文資源與國民素質是因，透過藝術節慶運作機制整合，使活動能持續進行，發揮更大的效果。台灣則是倒果為因，直接從舉辦藝術節慶切入，以為就能產生立即的效果，吸引大批觀眾，創造經濟效益，卻忽略經營藝術節慶的「因」—基本條件。如果具體其癥結所在—台灣現代藝術節慶最缺乏的不是空間、景觀與人文環境，而是可作全盤、長期規劃，累積藝文資源與國際聲譽的獨立運作機制。實質內容亦應著重文化思維與行動，展現節慶最基本的核心－空間感、節慶感與參與者的期盼感，並由此三種積極意涵與現代藝術節慶中的「藝文」特質呼應，亦即以「藝文」的事件，及其網路性、關聯性與公共性延伸節慶活動的空間與時間，凝聚在地氛圍，進而激發所屬社群與外界的主動參與意願。

關鍵字

藝術節慶；台北藝術節；藝穗節；童玩節；春吶；嘉年華

並列摘要

Holding a modern arts festival does not have an inevitable relation with cultural development, the emergence of artists (or artistic groups) and creation has many channels and does not necessarily have to be through modern art festivals. From the standpoint of the government and the people, modern arts festival are also not necessary, because the policies of the state and the welfare of the people are closely connected, there is a hierarchy in terms of importance and urgency as well as priority, ostentatious and vibrant activities that lack cultural content are of no help to society. In other words, once holding art festivals the festival's time and space per se as well as the festival's atmosphere should be maximized, otherwise to conduct education in the arts and hold ordinary artistic and cultural exhibitions and performances is actually more feasible. Looking at foreign countries, famous international art festivals all possess certain characteristics and conditions, for example the city's environment, natural landscapes, or rich cultural heritage and artistic resources, the important ”attractions” that lure the travel industry in the first place. Besides that, the people's quality is high, they enjoy the arts and participating in cultural activities. Theoretically, modern arts festivals have their functionality, including boosting artistic creation, improving the level of exhibitions and performances, bringing leisure and entertainment to citizens; integrating arts festivals with the community's feelings, attracting domestic and foreign tourists, promoting the development of local industry…Festivals may possess all these beneficial characteristics or lay particular stress on one of them. From the perspective of the development of international arts festival, to hold a festival is the effect, the space and environment of a city, the artistic and cultural resources as well as the people's quality are the causes. The integration of the operation and mechanism of arts festivals allows these activities to continue, unleashing a bigger effect. However, Taiwan reverses cause and effect, and directly makes an approach from the perspective of holding an arts festival, thinking immediate results can be obtained with the attraction of a large number of people and the benefits brought to the economy, yet the fundamental condition is disregarded, the ”cause” in the management of arts festivals. To get to the crux of the matter-what Taiwanese modern art festivals lack most is not space, landscape and a humanistic and cultural environment but overall, long-term planning, an independent operational mechanism that possesses the accumulation of arts and cultural resources as well as an international reputation. It's essential contents should focus on cultural thoughts and actions, revealing a festival's central core-a sense of space, a sense of festivity and a sense of expectation by the participants, and these three characteristics should echo the arts and cultural qualities of modern arts festivals and with the event of ”arts and culture” and its connections and public nature prolong the festival's time and space, which is further solidified by the atmosphere, arousing the wish of the relevant community and outsiders to actively participate.