排灣原住民族階級意識與文創商品設計的關聯性

A Study on Correlations between the Class Consciousness and Product Design of the Paiwan Nation

郭豐豪(Feng-Hao Kuo)

指導教授 ： 王桂沰

朝陽科技大學/設計學院/視覺傳達設計系/碩士(2017年)

摘要

近年在文化全球化影響下，台灣文化產業受國際關注，且有大量文創商品導入台灣原住民特色；由於台灣多次面臨企業大量外移與廉價市場的挑戰，因此台灣企業經常鼓吹經濟再造、人口回流、保存薪傳；在現今國際文創設計舞台上，常見原住民設計師將排灣族階級圖騰元素運用在文創商品，表達本土原住民文化意涵，並透過文創商品階級圖騰元素彰顯意識形態，觸發人民對於原住民文化的關注。
本文從文獻探討入手，分析出階級意識的主要內涵為象徵性、對立性、傾軋性；再以此為指標，針對「巴德卡茲企業」、「比亞妮娃皮雕工作坊」、「冀香工藝社」、「都拉巴拉斯工作坊」四家排灣文創業者中，收集120件皮革商品，進行視覺傳達設計上的分析；分析結果並佐以業者兼設計師的訪談，暸解階級意識在排灣原住民皮革文創商品中扮演的角色。研究發現，象徵性是當今該類商品中設計師最主要的設計操作概念，而對立性與傾軋性則非刻意操作的特性，即排灣皮革商品的文創設計，是借用階級意識中最鮮明的象徵性來做為差異化的辨識元素，而非操作高下對立、優劣傾軋，以適應當代消費品味。

關鍵字

皮革文創商品 ； 排灣族原住民 ； 階級意識

並列摘要

Recently, Taiwan’s cultural and creative industry has been of international concern under the influence of global globalization that large numbers of cultural and creative products have been integrated into indigenous characteristics of Taiwan. As Taiwan has faced challenges on offshoring and low-cost markets these days that prompt Taiwanese enterprises to promote economic rebuilding, population turnaround and heritage preservation constantly. In today’s international stage of cultural and creative design, it’s common that aboriginal designers incorporate totem elements of class of the Paiwan into cultural and creative products to express the cultural connotation of the local indigenous people. Through the totem of class of cultural and creative products, it highlights class consciousness that inspires public concern for aboriginal cultures.
This essay which starts with literature review analyzes the main connotation of class consciousness to be symbolism, contrariety and conflict which are research indicators. In this study,120 pieces of leather products were collected from PADEKAZ, Biyaniwa Leather Craft and Carving Art Studio, Ji Xiang Handicraft Workshop and Du La Ba Las Art Studio, all which are cultural and creative industries of the Paiwan, to conduct analysis of visual communication design. The analytical results are accompanied by interviews from owners of these industries who are also designers to gain insights into the role of class consciousness plays in cultural and creative leather products of the Paiwan. The research indicates that symbolism is the main design concept of designers for that type of product nowadays, while contrariety and conflict are not characteristic of deliberate operation, i.e. the use of the most vivid symbolism in class consciousness for the design of cultural and creative leather products of the Paiwan to carry out differentiated elements of identification rather than contrariety of operating superiority and inferiority and strengths and weaknesses of conflict to adapt to contemporary consumption taste.

並列關鍵字

cultural and creative leather product ； The Indigenous Paiwan Tribe ； class consciousness

參考文獻

4.田哲益，2001，《台灣原住民的社會與文化》，台武陵出版，台北。

11.朱信泰、李傳房，2008，“探討文化創意產業的文化物品形態特質現況發展與未來趨勢”，國立雲林科技大學設計學研究所，《設計研究》第五期，pp.148∼157。

16.李亦園，1956，“來義鄉白鷺等村排灣族的家族構成”，《中央研究院民族學研究所集刊2》，pp.109∼128。

18.吳松芳，2007，“排灣族百步蛇紋飾之研究”, 國立臺灣藝術大學，碩士論文，新北。

24.何曉峰，2010，“探討台灣宅男次文化-關係理論觀點”，國立台灣大學國際企業學系，碩士論文，台北。