傳統手工藝生產性保護與社會企業的實踐－以藏族卓番林手工藝發展中心為例

Productive Protection of Traditional Craftsmanship and the Practice of Social Enterprise –A Case Study of Tibetan Handicraft Dropenling Handicraft Development Center

張康容(Kang-Jung Chang)

指導教授 ： 黃貞燕

國立臺北藝術大學/文化資源學院學術論文/博物館研究所碩士班/碩士(2016年)

摘要

不論是為了非物質文化遺產的保護，或是改善社群�族群生活的目的，傳統手工藝生產性保護的方法論，近年來日益受到重視。此方法在社會企業領域已有所發展，社會企業是藉由商業開發策略，將盈餘運用在解決社會或環境問題的創新組織，本研究將探討社會企業投入傳統手工藝保護並結合經濟的命題時，其做為推動生產性保護的一種媒介性機制，如何促成非物質文化遺產的「技術」與「知識」的傳承，以及帶動手工藝人持續生產與創新。
本研究案例卓番林手工藝發展中心（Dropenling Handicraft Development Center），是以保護藏族傳統手工藝傳承為營運宗旨的社會企業，協助藏區生活處境困難的手工藝人與居民（包括偏遠鄉村農民、婦女、身心障礙人士），運用自己社群或居住地域的傳統文化和藝術來創作手工藝品，曾獲得聯合國教科文組織的卓越手工藝獎（Award of Excellence for Handicrafts）肯定。並組織合作之手工藝人、企業、工作坊，規劃傳統手工藝文化遊的路線，將手工藝製作過程轉化為展演資源。
本文透過生產性保護的角度分析，指出卓番林將生產性保護的理念與實踐奠基在生產過程與傳統技藝知識的建構，同時必須考量手工藝人生計問題，建立公平的勞務成本計算方法。卓番林不服膺傳統企業為求取利潤極大化採取低成本的生產而簡化手工藝製作程序的作法，卓番林編制「培訓師」的職務，深度挖掘逐漸消失的手工技藝、製作材料與文化意涵，將之運用在設計中。又以彈性的運作模式吸引民間手工藝人重新或持續地進行傳統手工藝品的生產，使手工藝人在世界的市場上具有競爭力，同時展現傳統手工藝多元與創新的樣貌。

關鍵字

非物質文化遺產 ； 傳統手工藝 ； 生產性保護 ； 社會企業 ； 卓番林手工藝發展中心

並列摘要

In recent years, there has been growing interest in methodologies for productive protection of traditional craftsmanship, the motivation for which may be to protect intangible cultural heritage or to improve the quality of life of particular communities or ethnic groups. This approach has already been widely adopted in the social enterprise sector （social enterprises are an innovative type of organization which make use of a commercial development strategy to earn a surplus that can be applied to solving social or environmental problems）. The present study explores how the intermediary mechanism for promoting productive protection of traditional craftsmanship that is formed through the combination of economic thinking with social enterprises’involvement in the productive protection of traditional craftsmanship operates to encouraging artisans to continue to produce craft and to pass their skills and knowledge onto others .
The present study makes use of a case study of the Dropenling Handicraft Development Center in Lhasa and Shangri-La , a social enterprise whose mission is to improve skills, knowledge and resources for Tibetan artisans（including farmers living in remote communities, women, and the physically and mentally handicapped） so that they can preserve their heritage, create high quality and innovative products, and earn income and recognition. The Dropenling Handicraft Development Center has been the recipient of UNESCO’s Award of Excellence for Handicrafts in recognition of its achievements. The Center has coordinated the efforts of Tibetan artisans, business enterprises and workshops to arrange local handcrafts workshop tour.The tour offers the rare opportunity meet Tibetan artisans and learn artistic heritage.
This study analyses the approach to productive protection of traditional craftsmanship, and shows how the theory and practice of the Dropenling Handicraft Development Center’s efforts to productive protection of traditional craftsmanship are founded on production processes and technical know-how. As social enterprises, the Dropenling Handicraft Development Center are committed to fair trade, and thus artisans receive fair wages. Many of the artisans work at home, around the schedule of their traditional farming activities. The Dropenling Handicraft Development Center does not like conventional business enterprises seeking to maximize profits by focusing on simplifying the process of handicrafts production to reduce costs, along with the development of a Trainer system, undertaking in-depth investigation of Tibet’srapidly-disappearing traditional craftsmanship, the materials used, and the cultural significance of the crafts, and then applying this knowledge to the design process. The flexible operational model adopted by the Center encourages more artisans to continue producing traditional crafts, while helping to improve their craft skills, develop innovative products, and become competitive in the world market.

並列關鍵字

intangible cultural heritage ； traditional craftsmanship ； productive protection ； social enterprises ； Dropenling handicraft development center

參考文獻

王嵩山，2014。《藝術原境─臺灣原住民族創意人類學》。新北市：遠足文化事業股份有限公司。

中華人民共和國國務院新聞辦公室網站，

鄭勝分，2007。社會企業的概念分析，政策研究學報，08：65-108。

古學斌，2013。婦女、手藝與合作經濟：一個西南村落的實踐案例，臺灣社會研究季刊，06：241-260。

何兆華 ，2014。當「做花」成「做人」：施洞苗族非物質文化遺產之傳承與變遷，民俗曲藝，185：51-114。