本研究以2023世界客家博覽會為案例，探討臺灣客家文化治理如何透過政策制度、知識體系與展示實作，將客家文化組織為可被公共觀看與理解的展示內容。本文關注的核心並非評價世客博成敗，而是分析一場以世界客家為名的大型族群博覽會，如何在臺灣客家文化政策、客家知識累積與展示技術之間形成，並檢視政策目標、知識內容、展場呈現與現場理解之間的關係。本研究採質性研究取徑，運用政策文本與策展文本分析、展場田野觀察、導覽旁聽觀察、深度訪談與研究者反思等方法，從政策、知識與展示三個層次進行分析。研究發現，第一，世客博並非單一展覽事件，而是臺灣客家文化政策長期制度化、族群主流化與全球客家政策想像共同作用後形成的大型族群文化展示。第二，世客博展示內容建立在長期累積的客家研究、海外調查、數位典藏與客家文化發展中心等知識基礎之上，但這些知識進入展場後，必須經過選擇、整理、壓縮與重組，形成可被觀眾觀看與理解的展示客家。第三，世界館以全球遷徙、跨國連結、物件證據與光影技術呈現全球客家圖像；臺灣館則透過地方生活、縣市展區、語言腔調、文物與當代設計呈現臺灣客家主體性。本文主張，文化治理不應被理解為政策意圖到展示成果的線性落實，而應被視為政策、知識、展示與公共理解之間持續協調的過程。世客博提升了客家文化能見度，也創造公共理解的契機；但公共理解的深化，仍需語言、教育、地方生活與長期制度支持。;This study uses the 2023 World Hakka Expo as a case study to explore how the governance of Hakka culture in Taiwan， through policies， systems of knowledge， and practical displays， organizes Hakka culture into content that can be viewed and understood by the public. The core focus of this study is not to evaluate the success or failure of the World Hakka Expo， but rather to analyze how a large-scale ethnic expo under the name "World Hakka" is formed in relation to Taiwan′s Hakka cultural policies， the accumulation of Hakka knowledge， and display techniques， and to examine the relationship between policy objectives， knowledge content， exhibition presentation， and on-site understanding.This study adopts a qualitative research approach， employing methods such as policy and curatorial text analysis， field observation at the exhibition site， guided-tour observation， in-depth interviews， and researcher reflection to analyze the expo from three levels: policy， knowledge， and display. The study finds that， firstly， the World Hakka Expo is not a single exhibition event， but rather a large-scale ethnic cultural display formed by the combined effects of the long-term institutionalization of Hakka cultural policies in Taiwan， ethnic mainstreaming， and global Hakka policy imagination. Secondly， the World Hakka Expo′s exhibits are built upon a foundation of long-term accumulated Hakka research， overseas surveys， digital archives， and the Hakka Cultural Development Center. However， once this knowledge enters the exhibition space， it must undergo selection， organization， compression， and reorganization to form a Hakka presentation that can be viewed and understood by the audience. Thirdly， the World Pavilion presents a global Hakka image through global migration， transnational connections， material evidence， and lighting technology; the Taiwan Pavilion presents Taiwanese Hakka subjectivity through local life， county and city exhibition areas， language accents， artifacts， and contemporary design.This article argues that cultural governance should not be understood as a linear implementation of policy intentions to exhibition results， but rather as a continuous process of coordination between policy， knowledge， exhibitions， and public understanding. The World Hakka Expo has increased the visibility of Hakka culture and created opportunities for public understanding; however， deepening public understanding still requires language， education， local life， and long-term institutional support.
