| dc.description.abstract | 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 | en_US |