| 摘要: | 臺灣節慶活動多元且豐富，各縣市政府都有琳瑯滿目的節慶，在地化的節慶活動都有屬於各地的節慶特色，然而近年來各地的地方特色性所演變出的節慶形象設計充滿了奇特性，衍生出台灣新型態的節慶。因此，本文在研究觀點上借鑑援引本文採用了法國社會學家Pierre Bourdieu提出的「文化資本」所國內延伸出「文化中介者」架構作為分析設計師在形象元素轉變的觀點。該架構包括了生產端(委託方) 認同和再現(形象設計及文化元素)、設計師(文化中介者)、消費端(民眾)等4個文化面向，能夠更全面地紀錄形象設計再節慶轉變的動態過程。在當代面臨了哪些新的挑戰與變動。
研究以桃園仙草花節的設計師團隊為研究對象，以文化中介者及設計文化資本的概念下，看見設計師團隊如何因應生產端(桃園市政府農業局)要求的及利用自身的設計文化資本如何闡述出消費端(民眾)應對所展現出來的樣貌。研究中同時運用了設計師團隊的架構，經由桃園市政府農業局的要求及面對不同風格的設計，透過設計師團隊自身內化的方式，建立起屬於桃園仙草花節的形象設計，在民眾面前詮釋出，促使桃園仙草花節有更好的連結。
研究發現，桃園仙草花節設計師團隊的配合性非常高，廠商身上通常都不是只有處理一個節慶活動的標案，流連在不同活動之間，去適應不同風格的節慶，不再被固有觀念束縛住，而是透過自身的經驗、品味累積，在民眾面前展示出來。其中，也包含了設計師團隊背後所隱藏的設計文化成資本；因應汰換率高的工作，設計師團隊要不斷地培養自身的能力，跟進最新的設計趨勢，同時兼顧內、外在，維持在最好的狀態，才能促進桃園市政府農業局(生產端)與民眾(消費端)之間的扣連。
本文採用質性研究方法，包括文獻分析法、實地觀察法和深度訪談法，以探索地方節慶轉化與再創造過程中涉及的因素。文化貫穿我們生活的各個層面，桃園市仙草花節就是近年來新興的節慶，也是在客家庄當中成功的代表。透過這案例研究，觀察臺灣節慶設計師做為文化中介者，導入形象設計希望透過不同的形象設計，推廣客庄各類型的活動，實現其永續傳承。
關鍵字:節慶、桃園仙草花節、文化中介者、設計師團隊、形象設計
;Taiwan′s festivals are diverse and rich, with various local governments offering a plethora of festivals, each with its own local characteristics. In recent years, the unique festival image designs that have emerged from these local characteristics have led to a new type of festival in Taiwan. Therefore, this article adopts the concept of "cultural capital" proposed by French sociologist Pierre Bourdieu and the domestically extended framework of "cultural intermediaries" as the analytical perspective for examining the transformation of image elements by designers. This framework includes four cultural dimensions: production side (client) recognition and representation (image design and cultural elements), designers (cultural intermediaries), and consumption side (public), which allows for a more comprehensive record of the dynamic process of image design transformation in festivals. It also addresses the new challenges and changes faced in contemporary times.
The study focuses on the design team of the Taoyuan Grass Jelly Festival, using the concepts of cultural intermediaries and design cultural capital to understand how the design team responds to the requirements of the production side (Taoyuan City Government Agriculture Bureau) and utilizes their design cultural capital to articulate the appearance expected by the consumption side (public). The study also employs the framework of the design team, through the requirements of the Taoyuan City Government Agriculture Bureau and facing different styles of design, the design team internalizes these aspects to establish the image design of the Taoyuan Grass Jelly Festival, interpreting it to the public and enhancing the festival′s connection.
The research found that the Taoyuan Grass Jelly Festival design team exhibited a high degree of cooperation. Vendors typically handle multiple festival projects, adapting to different festival styles without being constrained by preconceived notions. They showcase their experience and accumulated taste to the public. This includes the hidden design cultural capital behind the design team; due to the high turnover rate in their work, the design team must continuously cultivate their abilities, follow the latest design trends, and maintain their best state both internally and externally to facilitate the connection between the Taoyuan City Government Agriculture Bureau (production side) and the public (consumption side).
This study employs qualitative research methods, including literature analysis, field observation, and in-depth interviews, to explore the factors involved in the transformation and recreation process of local festivals. Culture permeates all aspects of our lives, and the Taoyuan Grass Jelly Festival is a newly emerging festival in recent years and a successful representative in the Hakka villages. Through this case study, we observe Taiwanese festival designers as cultural intermediaries, introducing image design to promote various activities in Hakka villages and achieve sustainable heritage.
Keywords: Festival, Taoyuan Grass Jelly Festival, Cultural Intermediaries, Design Team, Image Design |
