針對苗栗客家文化園區，其文化展示與客家論述下的客家文化，本研究對此之問題意識為What和Why，即：（一）表層「文化展示與客家論述」的面貌為何？（What）。（二）分析、詮釋「該文化展示與客家論述」背後的意涵，探討為何如此展示、論述客家文化？（Why）。 透過參與觀察法、文獻分析法和文本分析法，聚焦於2013年下半年至2014年上半年期間，苗栗客家文化園區內的五大展示館（共包括七大主題）。探究其文化展示與客家論述下所呈現出的客家文化，本研究共獲得三結論：「去中心化的客家」、「主動的客家」和「異質性的客家」；又，分別延伸出三議題：「從『中心化的客家』到『去中心化的客家』」、「從『被動的客家』到『主動的客家』」以及「從『同質性的客家』到『異質性的客家』」。 今日於苗栗客家文化園區看見「更去中心化」、「更主動」、「更異質性」的客家；同時，消弭了對過去「中心化」、「被動化」、「同質化」的客家想像與理解。並且，全球客家不是一「新『推翻』舊」的概念，而是一「舊『加上』新」的觀點。;This study focuses on Hakka cultural expression and depiction of the Hakka at the Miaoli Hakka Cultural Park. Specifically, the study focuses on two questions: What are the superficial features of cultural expression and Hakka cultural depiction? Why is the Hakka culture thus expressed and depicted? Analysis is conducted and explanation is provided for the underlying connotations of “the expression of this culture and Hakka depictions” to explore the answers. Through participatory observation, literary analysis, and text analysis, focus was placed on five pavilions (comprising a total of seven themes) within the Miaoli Hakka Cultural Park from the second half of 2013 to the first half of 2014. Three conclusions were drawn from the investigation of Hakka culture as displayed through its cultural expression and Hakka depictions: decentralized Hakka, proactive Hakka, and heterogeneous Hakka. These were then respectively extended into three subjects: centralized to decentralized Hakka, passive to proactive Hakka, and homogenous to heterogeneous Hakka. In today’s Miaoli Hakka Cultural Park, one finds Hakka who are “more decentralized, more proactive, and more heterogeneous,” and the elimination of the former “centralized, passive, and homogeneous” image and understanding of the Hakka. Moreover, the globalized Hakka is not a concept of the new overthrowing the old, but a view in which the new is added to the old.
