文化展演與客體化：當代苗栗道卡斯族新港社牽田儀式的民族誌研究

本論文旨在藉由苗栗道卡斯族新港社牽田祭的民族誌內容，探究台灣當代多元主義文化政策強調社區營造的脈絡下，新民里的居民如何挖掘、想像、創造、建構社區的界線與文化意涵。在台灣當代平埔復振化運動的潮流下，新民社區的居民經由口述歷史、文獻考察來恢復「道卡斯族文化」以建構自身平埔族群的主體性，以跳脫過往學界認為平埔乃是歷史客體、也已漢化消失的主流論述。在苗栗縣文化處大力強調「文化觀光化」的政策下，新民社區居民們藉由包裝、行銷年度的「道卡斯族新港社牽田祭」來告訴世人社區擁有「道卡斯族文化」。但是，這個過程並非居民主動積極爭取，反而是地方政府由上而下命令式地要求新民社區居民從事道卡斯族文化展演的工作。要之，社區營造看似國家的權力下放，讓社區居民主動參與、由下而上地主動爭取文化訴說的權利，卻跳脫不了國家治理的權力範圍。

關鍵字

文化展演；社區營造；傳統發明；平埔族；道卡斯族

並列摘要

This thesis aims to explore how the residents of Shin-Ming community in Miaoli county uncover, imagine, and create community boundaries and their cultural implications in the context of contemporary multiculturalism policy partly emphasizing community-building in Taiwan. I have conducted the ethnographic study of Cian Tian（牽田）ritual on Shin-Ming community, one of traditional tribes belonging to Taokas Shin-Gang She（新港社）. In order to construct its subjectivity of Ping-pu-zu, or the Plain Aborigines, Shin-Ming community restored the “Taokas culture” through interviewing the local elders and researching historical documents so as to shun away from the discourses of academic studies which used to conclude Ping-pu-zu as being sinicized and disappeared in contemporary Taiwan. Supported by the “cultural tourism” policy of The International Culture and Tourism Bureau of Miaoli County, the residents of Shin-Ming community have tried to demonstrated the world, in the manner of selling and marketing “Cian Tian（牽田）ritual of Taokas Shin-Gang She” from 2002 through 2009, that they have a “Taokas culture”. However, the whole process is not a bottom-up approach from the residents, but rather a top-down policy from the county government promoting cultural performance of Taokas. I conclude that the current community building policy purports grassroots participation and the empowerment for the people in the community, but in reality it is a state’s governance in another name, and the local people still can not find their agency.