The Exhibition and Communication of Hakka Images: “2015 Taiwan International Festival of Hakka Culture” as an Example
|關鍵字:||客家文化;客家意象;文化展示;Hakka culture;Hakka images;cultural exhibition|
This research focused on the exhibition of Hakka culture in “the 2015 Taiwan International Festival of Hakka Culture”. The 2015 Taiwan International Festival of Hakka Culture, hosted by the city of Hsinchu, was a bustling event, which took the renowned expression of Hakka culture as the spotlight for Hsinchu’s marketing campaign. Hsinchu County has the highest percentage of Hakka population in Taiwan. This event, which was designed as a carnival, aimed to demonstrate the strengths of Hsinchu as a Hakka county. The festival was organized by a combination of business, government, and academic interests. Based on comics, technology, and culture, the 2015 Taiwan International Festival of Hakka Culture combined tradition and modernity, presenting the exhibition in a dynamic and static way. The festival also aimed to raise the public’s exposure to Hakka culture. As a Hakka Festival, Hakka culture should be the main focus. Through interpreting the meanings of the exhibition and examining the media focuses on the event, this research explored the festival’s expression of Hakka culture. It addressed the following questions: 1) What elements and symbols were selected to represent the Hakka culture or Hakka spirit, and how; 2) Whether or not the influence of this 12-day festival, in particular, the memories and the symbols of so-called ‘Hakka culture’, went beyond and after the event? In this research, it is found that the depiction and expression of culture can be powerful; the expression of this event as a field of depiction is the result of collaboration between organizers, curators, and other participants and interest groups. Through dialogue with the audience, the organizers simultaneously displayed political and cultural power, and helped the public analyze the Hakka tribe’s culture. Recently, many cultural activities have become increasingly festive. To gain media attention, the “local” aspect of the festival is often lost. Without the foundation of deep cultural constructions, regardless of how strong the political, economic, and technological expressions of culture are, the festival is just a surface-level display of culture. In this research, it is suggested that if cultural activity is to be deeply-rooted in people’s minds, the implementation of a lasting plan and vision is required. To do so, the organizing bodies must manage and build an operational system, with both an arts manager and an execution unit. It is suggested that only when the festival returns to the essence of culture, the exhibition could become a tradition that conveys emotion and serves as a reminder of Hakka culture.
|Appears in Collections:||Thesis|