以全球本土化與文化遺產保護為背景下,博物館學與無形文化遺產的保護措施皆重視地方社群的主體性和能動性。以日本長浜市曳山博物館為個案研究,從論壇式的展示與建構主義的教學理論獲得啟發,探索博物館的教育角色在實踐文化知識給未來世代之可行性。以民族誌的田野調查方法,觀察長浜曳山祭的儀式、社群與博物館的互動關係,以及參與者在宗教儀式與博物館活動的學習過程。從社會文化人類學的儒化觀點,理解民間知識和身體技藝的世代傳承對延續社會連貫性和文化多樣性是重要的。長浜社會的男子參加神聖性的宗教祭典是一種中介性的通過儀式,這樣的民間儀式蘊含文化展演的地方知識及藝術形式,必須透過世代之間的身體化學習和創新。此館在重視儀式的文化意義和社會需求之下,其特徵是遵循傳統祭典的文化規範和儀式寶物的照護管理方式。從博物館學的教育觀點,將歷史性的都市祭典與社會文化脈絡之相關知識作為展示教材,並且提供師資與空間於培訓支援儀式展演的人才。總之,傳統的儀式展演與當代博物館所提供的教育環境是異質的,但是兩者的同質性是以世代傳承實踐社會教育為目的。
Global localization and cultural heritage protection as the background, the attention of museology and the protection of intangible cultural heritage has been focused on the local communities about their subjectivity and agency. The Nagahamashi Hikiyama Museum in Japan as the case study, this research got inspired from the forum of exhibition and teaching theory of constructivism, explore the feasibility of the museum’s educational role in the practice of cultural knowledge for future generations. By ethnographic fieldwork, observe the interaction between rituals, the community and the museum on Nagahama Hikiyama Festival, and survey the participants in learning process of the religious rituals and museum activities. For social and cultural anthropology, understanding of folk knowledge and physical skills from generation to generation is critical to a society for the continuation of social coherence and cultural diversity. The men in Nagahama society participate sacred religious ceremonies are a kind of liminal rites of passage. These folk rituals contain local knowledge and art forms of cultural performances, must be learning and in novation through the body between the generations. The idea of this museum respects for ritualistic cultural significance and social needs. And follow the cultural rules and the care management of treasure of traditional ritual, From an educational point of museology, this museum is associated with the historic urban festival of social and cultural context of knowledge for the exhibition materials, and provide teacher and space for training personnel of ritual performances. In conclusion, Although the educational environment between traditional ritual performances and contemporary museum are heterogeneous, both are critical purpose of generation in transition for social education are homogeneity.