歡迎來我家：以參與式藝術創作探究社區本位藝術教育實踐

Welcome to My Home：Exploring Community-Based Art Education through Participatory Art Practice

柯佳佑(Chia-Yu Ko)

指導教授 ： 吳岱融

國立臺北藝術大學/文化資源學院學術論文/藝術與人文教育研究所/碩士(2014年)

https://doi.org/10.6835/TNUA.2014.00126

摘要

80年代西方新博物館學浪潮所產生的新型態博物館－社區、生態博物館深深影響了90年代臺灣的博物館運動，政府於90年代末期開始大力推動社區總體營造，在各鄉鎮成立了以社區特色、文化為內涵的地方文化館，以達成強化社區意識凝聚之目標，將地方文化館作為學習中心、維護地方文化特色、促進產業發展以及再現地方活力。在藝術教育的領域中，1970年代社區本位藝術教育（Community-based Art Education，簡稱CBAE）的思潮亦正蓬勃發展，旨在將生活環境視為學習領域和素材，融入地區性、鄉土性及社群之關懷。
國內社區總體營造將地方文化館作為社區社會教育學習中心，以社區的歷史文化為素材，讓觀眾透過活動、館舍、社區特色物件等途徑，並結合當代社區議題，凝聚觀眾對社區或議題的關注。無論是社區本位藝術教育或地方文化館，兩者對社區凝聚與關注的面相向上有著相同的立意，地方文化館的設立宗旨反映出社區本位藝術教育對於生活環境的重視，以及融入社區文化歷史提供社會大眾理解與學習，因此地方文化館可視為體現社區本位藝術教育的實踐場域。
然而，如雨後春筍般湧現的地方文化館在歷經20年的歷程後，無論在長期發展、營運以及社區互動等面向都出現許多困境，研究者居住區域內的「泰山娃娃產業文化館」也無法置外。本研究期待為泰山娃娃產業文化館找到可能的解決途徑，故以三大面向探討作為研究之目的，以回應該館當前之處境。首先，本研究梳理社區總體營造相關文獻，了解文化政策如何推動各地方設立地方文化館，藉此理解政策對該館設立的影響，並緊接著從歷史背景來探討娃娃產業之於泰山的重要性。其次，藉由相關文獻與深度訪談釐清泰山娃娃館現況、困境以及與社區之互動情形。最後，以社區本位藝術教育實踐為體，參與式藝術創作為形，邀請社區參與者一同進行大型創作，創造共同經驗以找回泰山娃娃館與社區連結之著力點。
研究結果發現，參與式藝術讓參與者在過程中與空間產生互動，翻轉館員與觀眾之間單向的資訊流動，以創作回應導覽的知識收穫，加深參與者對於娃娃產業與美寧歷史的了解，也透過討論與交流，作品意義的詮釋與個人經驗連結豐富了作品的厚度與開放性。由此可見，社區本位藝術教育實踐以參與式藝術作為執行方式，不但激發娃娃產業之核心社群與參與者對於社區發展的討論與建議，更進一步了解參與者對於娃娃產業推動上的深層期待。

關鍵字

社區本位藝術教育 ； 參與式藝術創作 ； 地方感 ； 泰山娃娃產業文化館

並列摘要

In the 80s, the field of New Museology from the Western generated a new type of museum – Eco-museum, which is a kind of museums focusing on social and economic development of local communities by using local heritage, deeply affected Taiwan museum movement in the 90s. Taiwan government started to promote “Comprehensive Community Building” in the late 90s, “Local Cultural Halls” with community characteristics and culture had been established in each town in order to reach the goal of strengthening the community consciousness cohesion. The cultural policy took Local Cultural Hall as a learning center for maintaining the characteristics of local culture, promoting the industrial development and representing the local vitality. On the other hand, the field of art education in the 1970, a trend of community-based art education (CBAE) thinking was booming. It aimed to blend the consciousness of regional, local and community into the real life as the learning materials.
The “Comprehensive Community Building” used Local Cultural Hall as learning centers for the whole community, where the community history and culture was the core of learning through various local events, community art, sites, and historical relics. People learned about issues regarding the community affairs and the community itself. The Local Cultural Hall’s tenets embodied the community-based art education, emphasizing the real life as learning materials. It is also a place where community culture and history were to be appreciated and learned. Both community-based art education and Local Cultural Hall targeted at bringing the local people as a group and raising their caring for the community. Therefore, the Local Cultural Hall can be seen as a site, where the realization of the community-based art education was realized.
However, after twenty years of Local Cultural Hall springing up all over the place, they have been struggling among long term development, operation and community interaction. Meanwhile, Taishan Doll Museum, located in the community as the researcher lives in, can't be out of it as well. This research aims to analyze three different dimensions in relation to Taishan Doll Museum’s current situation, and accordingly to find some possible solutions. The three dimensions are listed as the folloeing: first, this research classifies the literature of overall “Comprehensive Community Building” and to get a better understanding of the impact on how culture policy had pushed local government building Local Cultural Halls in Taishan. Second, base on relevant literature and deep interview, this research clarifies the current position, dilemma and community interaction of Taishan Doll Museum. Finally, the researcher invited local people to participant a project based on community-based art practice and Participatory Art. In doing so, the local people made a large art work and forged a collective experience with the Taishan Doll Museum and the community.
The research results show that participatory art enables the local participants to interact with the space, reverse the information transmission of one-way give-and-receive from museum staff to visitors. Participatory art can also deepen the participants’ understanding to the Barbie industry and the history of community. Through discussions and sharing, interpretations of the art work and personal experiences are connected, enriching the depth and openness of art work itself. Therefore, participatory art as a way to practice community-based art education not only stimulates the core participants of the doll industry to generate discussions and suggestions, but also helps the local people to get a further understanding of the expectations from the participants to the community.

並列關鍵字

Community-based art education ； Participatory art ； Sense of place ； Taishan Doll Museum

參考文獻

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