一個文化治理的角度－大溪木藝生態博物館的籌備與誕生

A Cultural Governance Perspective: Preparation and Birth of the Daxi Wood Art Ecomuseum

10.6686/MuseQ.201607_30(3).0004

黃蘭燕(Lan-Yen Huang)

大溪 ； 生態博物館 ； 社區營造 ； 木藝 ； 歷史建築 ； Daxi ； ecomuseum ； community-building ； cultural governance ； historic buildings

博物館學季刊

30卷3期（2016 / 07 / 01）

81 - 97+99

繁體中文

2015年開館的「桃園市立大溪木藝生態博物館」是桃園第一座市立博物館，也是全臺灣第一座以生態博物館名之的博物館。桃園市政府文化局以社區總體營造在地經營多年，與居民共同討論出「生態博物館」的文化主張，其中，公部門與民間組織、社團社群合作的過程，歷經擾動、溝通、互信至合作，歷時3年。本論文以行動研究者的實踐與近身觀察，以文化治理觀點記錄並論述這座非典型博物館從籌備到誕生的過程。大溪木藝生態博物館(Wood Art Ecomuseum)之縮寫為WE，「我們」代表了大溪居民是大溪木藝生態博物館的主人，這是一座「我們的博物館」。理想上，生態博物館集眾人之力與社區共同維繫與言說；博物館展演的內容也應是地方的物質文化與知識。然而，生態博物館後續之館舍維護營運，卻常因以居民為主體，致使在經費、決策、公共性等方面出現困境，公私協力的挑戰，歷史案例顯示其發展確有瓶頸。桃園市文化局近年提出「城市故事館」的文化治理政策，盤整、指定、登錄13區具有歷史文化意義之空間。其中大溪社區總體營造、地方工藝與慶典文化、古蹟與歷史建築等文化資源厚實，文化局嘗試以博物館為文化治理的平臺，讓大溪的人、事、物與空間得以匯聚。但大溪木藝生態博物館全力籌備至開館僅2年餘，尚需時間讓滾動式前進的策略勾勒出其面貌。博物館在技術上做為一種文化歷史與空間的統合性工具，從理念、策略以至行動方案，種種執行界面都考驗著博物館。本文對大溪的社區營造及博物館的籌備創館過程提出第一手觀察，以及對未來的反思及提醒。

The Taoyuan Municipal Daxi Wood Art Ecomuseum, which opened in 2015, is Taoyuan's first municipal museum and the first in Taiwan to be named an ＂ecomuseum.＂ Taoyuan City's Department of Cultural Affairs, applying its long-term experience in community building, engaged Daxi residents in a discussion of the ＂ecomuseum＂ concept. Over a period of three years, cooperation developed among the public sector, private organizations and community groups. The aim of this paper is to record and discuss the process involved in preparing and establishing this nontraditional museum from the cultural governance perspective, based on action research methodology. The abbreviation of the Wood Art Ecomuseum is WE, which expresses the idea that Daxi residents are in charge. Ideally, an ecomuseum gathers together the strengths of the people and community and is focused on local material culture and knowledge. There have been challenges in the ongoing management and maintenance of the museum's buildings with respect to spending and decision-making and several bottlenecks that have been encountered during its development. In recent years, the Taoyuan City Department of Cultural Affairs has proposed a cultural governance policy for the renovation, identification, and registration of ＂story houses＂- spaces with historical and cultural significance-in the city's 13 districts. Among them, Daxi has the richest cultural resources with regard to community building, handicrafts, festival culture, monuments, and historic buildings. The Department of Cultural Affairs has attempted to use this museum as a platform for cultural governance to bring together Daxi's residents, events, objects, and spaces. However, since there was only a period of a little more than two years between the start of preparation of this museum and its founding, more time is needed to outline this forward-rolling policy. Technically, the museum functions to unite cultural history and spaces, while its concepts, strategies, and events test museum boundaries. In this paper, first-hand observations on community building in Daxi and on the process of preparing and establishing this museum are provided, in addition to reflections on and suggestions for the museum's future.

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