The Representation of Taiwan's Aboriginal Architectural Heritage Visual and Non-visual Presentation in Cultural Villages

臺灣原住民建築遺產之再現文化村之視覺與非視覺表現

10.6161/jgs.2010.60.05

邱麗蓉(Lih-Rong Chiou)

臺灣原住民建築遺產 ； 文化村 ； 文化再現 ； 感官經驗 ； Taiwan's Aboriginal architectural heritage ； cultural village ； cultural representation ； sensuous experiences

地理學報

60期（2010 / 12 / 01）

103 - 131

英文

在全球「博物館化」與「迪士尼化」的潮流下，再現原住民及其遺產成爲一種全球性的現象。在此潮流中，「文化村」透過「村落」模式表現多元主題的特性，使其在原住民遺產的再現過程中扮演著重要的角色。從感官表現的角度而言，文化再現應該提供參訪者多樣的感官經驗，方可建構一個豐富的感知世界。基於此概念，視景、觸感、氣味與聲音等要素對於建構參訪者完整的感知世界均很重要。此綜合性的感官表現於原住民建築遺產再現時更顯重要，因爲建築係深植於日常生活與記憶的場所，且與氣味、聲音與觸感等密切相關。八十年代臺灣發展出兩種文化村模式以再現原住民的建築遺產，一個是由私人旅遊企業開發的「九族文化村」，另一個是政府部門發展出的「臺灣原住民族文化園區」。本研究從感官經驗的角度發現，兩個園區仍以視覺性的表現爲主，非視覺性的表現相對很少。臺灣原住民族文化園區欠缺觸感、氣味與聲音的文化再現方式，使園區缺乏原住民部落的真實與生動感，而呈現如同廢墟般的氛圍；此呆板與僵化的文化表現方式反映出「博物館化」現象。另一園區，九族文化村細膩的建物內部陳設與庭園般的戶外空間，則虛構出一種融合歷史的、神話的、真實與虛幻的原住民村落，此種主題樂園式的文化再現方式則反映出將臺灣原住民文化「迪士尼化」的現象。本研究因此認爲，於視覺與非視覺的表現上，此二園區均未再現出臺灣原住民建築遺產的真實面貌。

In line with the global trend of 'Museumification' and 'Disneyification', representing Aboriginal peoples and Aboriginal heritage has become a global phenomenon. In this trend, 'cultural villages' representing disparate strands of subjects held together by the motif of 'village' contain the significance in presenting Aboriginal heritage. From the perspective of sensuous presentation, a more comprehensive approach for cultural representation is to provide visitors with the sensuous complexity and thereby maintain a rich and prolific world. In this sense, sights, touch, smells, and sounds are all important to comprise visitors' perceived 'sensescape' as a whole. Such comprehensive presentation of various senses is particularly significant for representing Aboriginal architectural heritage because architecture is closely related to 'smellscape', 'soundscape' and the tactile sensation which is embedded in everyday life and in memory. In the 1980s two forms of cultural village were developed in Taiwan to represent Aboriginal architectural heritage. One is the Formosan Aboriginal Cultural Village (FACV) established by a private tourist enterprise; the other is the Taiwan Indigenous Peoples Cultural Park (TIPCP) developed by governmental department. From the perspective of sensuous presentation, this research finds that in the TIPCP and FACV the visual sense still plays the dominant role, while non-visual senses including touch, smell and sound appear to be relatively rarely invoked. The absence of the tactile, olfactory and auditory presentation in the TIPCP gave it an atmosphere of 'forlorn ruins' without vivid life content. This reflected the phenomenon of 'Museumification' through which Taiwan's Aboriginal architectural heritage was represented as static and frozen. On the other hand, the neat interior display of the replicated houses and garden in the FACV created a 'fairyland' atmosphere. This theme-park style representation reflected the phenomenon of 'Disneyfication' and reconstructed synthetic Aboriginal villages by a surrealistic combination of history, myth, reality and fantasy. This research thus concludes that the representation in the two sites was not authentic in terms of visual and non-visual presentation.

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