「觀光」與「族群意識」的對話--以烏來泰雅族的觀光紀念品為例

The Dialogue Between Tourism and Ethnicity - The Tourist Souvenirs of Atayal in Wulai

江桂珍(Kuei-Chen Chiang)

指導教授 ： 王嵩山 ； 江韶瑩

國立臺北藝術大學/文化資源學院/傳統藝術研究所/碩士(2005年)

摘要

約於1730年代由南投仁愛鄉遷徙至烏來的烏來泰雅族，因居住地之地緣以及
政治力之介入等因素，早在十八世紀末期即與漢人發生互動，導致其漢化程度日
漸明顯，原、漢族群界線漸趨模糊，族群意識日益薄弱。而後烏來地區自日治時
期以降，因其自然與人文環境的優勢條件被開發為觀光區。並於1964年正式設立
「烏來風景區管理處」，1970年改設為「烏來風景特定區管理所」，乃官方主導的
觀光力量進入烏來地區之肇始。
經由觀光情境之運作所形構的觀光文化，一方面誤導了觀光客對於烏來泰雅
族文化真實性之理解，也逐漸地扭曲了烏來泰雅族人對族群真實文化的認知，惟
同時卻促發烏來泰雅族人重新檢視族群文化意涵，並提供了其對自我族群認同的
調整契機。面對烏來觀光客渴望追尋及擁有「烏來泰雅族真實文化」的企求，不
僅凝聚烏來泰雅族的族群意識、維繫其族群界線，進而促使他們試圖存續族群「傳
統」或發展「新傳統」，呈現觀光客所追尋的「真實性」，以獲取觀光商機。綜觀
烏來泰雅族觀光紀念品之製作，在「增進觀光商機」與「展現族群意象：二項考
量因素的主導下，形塑出「族群工藝品觀光商品化」與「觀光紀念品族群意象化」
二種實踐策略。
本文以烏來泰雅族觀光紀念品為例，探討當「觀光」與「族群意識」交會時，
烏來街所呈現之「觀光文化」，及其所營造的烏來泰雅族的「舞台化真實性」，烏
來泰雅族族群工藝之因應策略，形塑烏來泰雅族觀光紀念品之時空背景，烏來泰
雅族族群工藝品過渡到觀光紀念品時，織物表徵所產生之變異，以及在此過程中
所形構之「復振的傳統」，終而論述在「族群工藝品觀光商品化」與「觀光紀念
品族群意象化：二種實踐策略之交相運作下，烏來泰雅族的「傳統」如何持續與
變遷。

關鍵字

烏來 ； 泰雅族 ； 觀光化 ； 族群工藝品 ； 族群意象

並列摘要

In about 1730s a group of Atayal moved from Ren-ai Township in Nantou County to
Wulai in Taipei County. The "Wulai Atayal," due to the geography of this new habitation and
the accompanying political interference, had been interacting with the Han people since as
early as late 18th Century. As a consequence of this interaction, their degree of sinicization
accelerated, the distinction between aboriginal and Han gradually blurred, and their ethnic
awareness faded away in the process．Ever since the Japanese rule, the Wulai region where
they dwelt, because of its vantage in natural environment, developed as a tourist spot. In 1964
the Wulai Scenic Administration was officially established and was further reorganized as
Wulai Special Scenic Administration of Taipei County in 1970. This marked the advent of
official tourist administration in Wulai.
For Wulai Atayal, tourism was a boon as well a bane．On the one hand, tourists came
with a misguided conception of the authentic culture of Wulai Atayal, which twisted the way
Wulai Atayal perceived their own authentic culture．On the other hand, it also induced the
Wulai Atayal to reexamine the meaning of their own culture and yielded an opportunity to
adjust their own ethnic identity. The tourists desired to seek and own the authentic culture of
Wulai Atayal; facing this increasing need helped to consolidate Wulai Atayal's ethnic
awareness, to maintain their ethnic boundary, and to further induce them to rethink one
important issue：should they attempt to preserve the tradition of their tribe or should they
develop "new traditions" to represent the "authenticity" tourists sought for and thereby benefit
from the increasing business opportunities. Examining the production of tourist souvenirs of
Wulai Atayal, we will discern two strategies dominated by two factors: in order to increase
business opportunities, they transformed ethnic handicrafts into tourist commodities：in order
to exhibit their own ethnic images, they attempted to produce tourist souvenirs in accordance
with such images.
This thesis focused on the Atayal tourist souvenirs on the intersection of "tourism" and
"ethnicity." It discussed the" tourism culture" and the "staged authenticity" created on the
main street of Wulai. It also analyzed the stategies governing the Wulai Atayal handicrafts and
the temporal and spatial backgrounds that form the Wulai Atayal tourist souvenirs．Then it
examined the changes in the Atayal textile productions during the evolution from ethnic
handicraft to tourist souvenir, as well as the "revitalized tradition" in this evolution. Finally,
this thesis attempted to discribe how the Wulai Atayal tradition persisted and evolved by these
two strategies of practice, namely, to commodify ethnic handicrafts into tourist souvenirs and
to model tourist souvenirs under ethnic images.

並列關鍵字

Wulai ； Atayal ； Tourism ； Ethnic Handicraft ； Ethnic image

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