原住民族傳統智慧創作保護條例問題之研究──以排灣族琉璃珠為例

A Research of Indigenous Peoples' Traditional Cultural Expression Protection of Law –A Case Study of the Paiwanese Glass Beads

我國於2007年12月26日公佈施行「原住民族傳統智慧創作保護條例」，提供原住民族文化類之傳統智慧一個較明確的保障依據，惟其相關子法還存於草案階段，故迄今尚未通過一項智慧創作之登記，可見本條例之專用排他權實際落實，有其複雜性及困難度。行政院原住民委員會為協助原住民族申請取得智慧創作專用權並確認子法（草案）之可操作性及可實施性，於2012年推行「原住民族傳統智慧創作保護試辦計畫」。此計劃徵選全國共十四個不同族群之示範團隊，屬於排灣族頭目家族的「屏東縣三地門鄉巴格達外宗親文化藝術協會」即為其中之一，在申請標的上除了家屋雕塑和家族祭儀、歌曲外，也將其家族十二顆琉璃珠列入專用權項目，但在此琉璃珠項目上卻造成排灣族之爭議。因琉璃珠在排灣族之文化歷史上佔有非常重要之角色且因年代久遠，大多的琉璃珠從屬界線難以劃分，故應為全體排灣族原住民所共同擁有之文化資產，「屏東縣三地門鄉巴格達外宗親文化藝術協會」不應單獨申請取得專用權。那麼誰是排灣族琉璃珠適格的申請主體？民族或部落抑或是家族？本文乃欲透過「屏東縣三地門鄉巴格達外宗親文化藝術協會」示範團隊申請案藉以檢討我國「原住民傳統智慧創作條例」在保護我國原住民傳統智慧創作之適用性與實效性。

Prior to the protection provided by the “Indigenous Peoples’ Traditional Cultural Protection” law enacted in 2007 there was surprisingly little discussion with indigenous peoples’ concerning their traditional cultural expression, or debate about the relevance of this ordinance. Implementation of this ordinance, and the traditional wisdom and creative output of indigenous cultures, necessarily caused many new cultural conflicts regarding economic ownership and interests of indigenous culture, resulting in dramatic changes and certain impact in the commercial market. This legislation aims to provide protection for the wisdom of indigenous peoples and their creative content, including limited expression in terms of cultural heritage–new and old. These comprise such things as: religious ceremonies, music, dance, knitting, designs, clothing and ethnic arts. This culmination of the tangible and intangible cultural heritages of indigenous peoples or tribes, and their exclusive right to create them or right to license the intellectual property for others to use, is covered by the law.
This article will create, through the “Aboriginal Ordinance Review” the conventional wisdom of what exactly is the most appropriate mode of protection of indigenous peoples’ rights. Because the mode of legislation relates to the protection of the special way of communication and cultural ebb and flow seen in indigenous societies, the formulation of the protection model must be seen to promote the development of the indigenous cultures and the peoples’ economic development and thus obtain substantial results.