文化事件(cultural events)近年來成為台灣各地推動地方產業、觀光論述、文化治理的風行手段,以各式「節」、「季�祭」、「嘉年華」等繽紛形式降臨在充滿消費想望與異質文化的台北,文化事件成為一種城市的表面,倒映出模糊不清的文化生活意象。 本研究以2004年十月份的四項文化事件,多元族群嘉年華(文建會)、台北藝術節(台北文化局)、廣場藝術節(兩廳院)、流浪之歌音樂節(大大樹�文化局)為線索,由一個在城市中遊走的小市民觀點,企圖以文化事件的眾多小敘事(little narratives)呈現出台北在某段時空下的文化生活面貌,並探究文化事件背後的謀略(strategy),經個人觀察、文本分析及深度訪談等研究後發現所謂的謀略隱含著市民、文化作用者(agent)與主權者之間變動的權力關係,其中包括個人主體與城市空間的鏡射、文化代理者對於某種價值觀的建構、以及權力的監控等不同凝視的層層相疊,導致多數由公部門主辦的文化事件與市民生活韻律脫節、無法反應市民對於文化生活的真實需求,徒然落為消耗物資或某種意識型態的工具。這個龐大混雜的再現體系儼然成為台北市民的文化戰役,且戰且走。 文化事件扮演市民感知(perceive)城市的一種界面,市民在城市中刻畫佇足、遊走的軌跡、同時也操演著屬於個人的戰術(tactics),透過文化事件在空間中的書寫,參與的身體主體共同複寫、疊加著城市空間的意義。面對眾聲喧嘩的台北,本研究認為文化事件的操演應該置入市民生活、在地文化的想像當中,才能在停駐、遊走的目光與思維之間,與城市產生時間�空間性的連結;並回歸到小市民的視域與觸域,鏡射出一張張清晰的城市文化生活圖象。
In the past decade cultural events has become a popular method of local industry, tourist promotion, and cultural governance. All kinds of forms as festival, ceremony, or carnival flow in the city, Taipei, which is full of consumer imagination and heterogeneous culture. Cultural events are viewed as the surface of city, reflecting vague images of cultural life in Taipei. Illustrated with four events in August, 2004—Multi-People Carnival, Taipei Art Festival, Plaza Festival and Migration Music Festival, the research is aimed to present the content of cultural life in specific space-time with those little narratives of culutral events from citizen’s viewpoint. By means of personal conservation, text-analysis, and in-depth interview, I found a sophisticated system of strategy behind the surface, which involves power relations between citizens, agents, and the unknown voyeur. Different kinds of gaze as the mirror image between subject and city space, the value-manipulation by agents, and the discipline of power, intertwine with each other. Consequently most cultural events fail to connect with everyday life as well as to reflect citizen’ real demand for cultural life. While people are acting and moving in the city, the intermingled representation system becomes a cultural battle. Cultural events play the role of an interface between citizens’ perception and the city. In the trajectories of rest and wander, Citizens develop personal tactics in the meantime. Through the space-writing of cultural events, participatory bodies keep accumulating the meaning of city space. In the face of heteroglossia in Taipei, the research points out that the performativity of cultural events must be pinned down to the context of local culture and citizen’s life and strengthened connection with time/space of the city. Concerning numbers of cultural events coming up, only when the focus is returned to citizen’s vision field and contact zone, can the city’s screen mirror a clear image of Taipei culture life.
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