地方意象的建構與挪用：以土城桐花節為例

Abstract

新北市土城區自1997年辦理土城桐花節後，因獲得在地居民的認同與支持，成為土城地方節慶，持續辦理多年少有間斷。客家自2002年開始辦理客家桐花祭後，桐花隨即被納入客家文化體系中，此外，2012年時，土城桐花節在新北市政府的協調下，納入新北市客家桐花祭。然而土城未納入客家桐花祭前，是如何維持自身獨特性辦理節慶，並成功吸引來自臺灣各方遊客前來觀賞桐花，背後支持土城桐花節持續辦理的因素為何。本研究從土城辦理地方節慶的起源與發展歷程開始探討，從中了解土城桐花節如何成為土城地方意象，其地方意象是如何被創造，以及地方居民的認知與想法為何。此外，桐花意象如何被客家文化挪用及本區桐花節慶如何被客家族裔化，且如何傳遞客家文化。最後，討論客家對桐花符號的建構與挪用，土城桐花節地方的回應。 本研究以文化治理角度探究土城如何以地方節慶辦理來形塑地方意象，並以符號互動論探討土城的符號—桐花，藉由此理論探討桐花如何形成符號，其背後有何意義與價值，甚至符號如何被挪用。故本研究發現為五點：（一）土城桐花節與其他節慶辦理目的不同，行銷地方特色，卻無行銷在地產業（二）更名後的土城桐花節經營目標不變，但內容加入客家元素，故桐花祭期間客家色彩濃厚（三）土城、客家皆透過桐花節慶活動辦理，使桐花成為土城地方意象及客家族群意象。（四）客家為振興傳統文化並增加能見度，擴大辦理桐花祭，許多非客家地區在節慶辦理期間皆形成短暫客家族裔化現象。（五）桐花等於客家，受到主流社會影響觀念，因受到自然環境及文化上形成差異，有關客家還有「北桐花，南夜合」的說法。故除透過符號形構地景、文化，並不能由官方單方面推動，還需獲得客家族群本身的認同，才可以真正達成族群凝聚與認同。Since 1997, Tucheng Tung Blossom Festivals held by New Taipei City Government have gained wide acceptance and high praise from local residents in Tucheng area. Tucheng Tung Blossom Festivals became the common local anniversaries withous suspension every year. Nevertheless, Tucheng Tung Blossom Festivals were renamed as New Taipei City Hakka Tung Seasons since the Tung blossom anniversary held by the Hakka Committee. How Tucheng Tung Blossom Festivals pertained their uniqueness that attracted tourists along the island before the renamed event is the topic the author wants to explore. Also, as the vanguard of holding Tung blossom festivals, its “Hakkanized” traditional culture in Tucheng is also the target that the author wants to inquire more. Research purposes are as follows: to inquire more about the orientation and developing process of Tucheng local festivities; to investigate how the place images of Tucheng were formed and the local people’s attitude toward them; to explore how the Hakka culture is known through the Tung Blossom Festivals; compared to Hakka people’s construction and appropriation of the Tung blossom images, to explore local residents’ responses and adjustment about the renamed festival in Tucheng area. From the perspective of cultural governance, this study explores how Tucheng shapes local images through local festivals, and explores the symbols of Tucheng Tung blossm, with the theory of symbolic interaction. It also explores how Tung blossm forms symbols, what significance and value it has behind, and even how symbols are misused. Therefore, this study found five points: (1) Tucheng Tung blossm Festival is different from other festivals, marketing local characteristics, but no marketing in the real estate industry (2) after the renamed Tucheng Tung blossm Festival management objectives remain unchanged, but the content of Hakka elements, so during the Tung blossm Festival Hakka colorful Hakka (3) Tucheng, Hakka are through the Tung blossm Festival. The management of festival activities made Tung flower become the image of local city and the image of Hakka ethnic group. (4) In order to revitalize the traditional culture and increase the visibility of the Hakkas, and to expand the management of Tung blossm Festival, many non-Hakka areas have formed a short-term Hakka ethnic phenomenon during the festival. (5) Tung blossm is the same as Hakka, which is influenced by the mainstream society. Due to the differences in natural environment and culture, there is also a saying about "North Tung blossm, South Coco Magnolia " in Hakka. Therefore, apart from constructing landscapes and cultures through symbols, it can not be unilaterally promoted by the government, but also needs to be recognized by the Hakka people themselves, so as to truly achieve Ethnic Cohesion and identity.