傳統工藝與社群發展

Crafting community development

傳統工藝是人類社群「傳統知識」（Traditional knowledge）的一環，是其文化表現（Cultural expression）的一個面向，因應社群需求，在定著的環境中取得材料、發展技術和知識，代代相傳也不斷演變。就此來看，工藝與社群（Community）、地方（Place）的內在鏈結是原生的，而「傳統」工藝更指涉其時間的向度，反映社群代代傳遞的記憶，經常成為認同之所依(Helland, Lemire and Buis, 2014)，甚至引發共同行動的力量。David C. Harvey (2008)曾提出「小遺產」（Small heritage）的觀點，認為即使文化遺產史的確不脫國族與上位者權威論述之主宰，卻反映在地生活常民遺產的「小遺產」亦不可被輕忽，其有時成為對抗大論述的力量，有時則偷渡於大論述之間，形成構築集體未來圖像的一部分。臺灣傳統工藝文化遺產化的過程，亦反映了源自常民記憶的「小遺產」與大論述的關聯：40年代《民俗臺灣》自發的紀錄和文化遺產意識的傳佈、70年代「回歸鄉土」風潮下漢人民間傳統技藝的調查和研究、90年代社區總體營造所推進的地方記憶採集和產業復興熱潮等，常民文化遺產成為社群認同與發展的動能，更進一步鬆動或者支援了國族的認同論述；而後社造時期，傳統工藝持續維繫認同，而其與土地、社群的內在連結，更進一步為集體的「前瞻性記憶」（Prospective memory）提供養分，成為自由主義大規模經濟之外另一種發展的想像，銜接當代工藝與永續發展的核心議題。本文藉由傳統工藝、無形文化資產與社群發展之交互詰問的關係，探討臺灣傳統工藝文化遺產化（Heritagization）的過程，尤其社區營造作為地方常民文化與原住民文化保存的核心驅動力，並以苑裡藺編臺灣藺草學會及苗栗泰雅族織藝野桐工坊為例探究傳統工藝作為文化資產之後，社群永續發展之議題。

Craft, particularly involving artisan traditions and hand-made techniques, is included in the UNESCO category of Intangible Heritage and embedded within development incentives under the policy umbrella of the UN. This recognition of craft as UNESCO Intangible Heritage has created niches for Asian states, civil societies and local communities for promoting craft projects for various purposes. Outside of the UNESCO international network, Taiwan's heritage politics relating to traditional crafts represent the interplay of heritage conservation and community development at different levels. Taiwan's 1980s and 1990s“memory boom,”governmental and non-governmental projects of recognizing long-neglected vernacular architecture, and crafts and indigenous cultures, represent the reshaping of identity narratives and rapid economic-societal changes. The claim of“returning to xiang-tu (soil of one's hometown)”indicates postcolonial identity politics implemented by heritage practices. It also shows the growing autonomy of civil society. Decades later,“returning to xiangtu”refers to a different societal context, within which crafts, always inseparable from“place”due to raw materials used and local knowledge generated, serve as both industry and identity, and demonstrate autonomous attempts in finding an alternative development mode for communities. Through case studies of craft communities in Taiwan, this paper illustrates the changing roles of craft from identity catalyzer to development alternative. Instead of reading craft heritage through state and national identity, the paper regards the local actors as main agents and intends to show the nuanced interactions between local actors, the state, and global heritage mechanisms in shaping the role of craft.