| Abstract: | 本研究的研究動機源於筆者自小成長於客家庄，童年時對於布類的情感記憶；成年後投入拼布藝術創作和教學，重拾「針頭線尾」、「穿針引線」之女紅技藝傳承；以及之後因緣際會進入政府部門，成為政策之制定者與推動者，因此決定以專精領域「當代客家女紅意象建構及其行銷」作為研究題目。本研究以「客家意象」建構和行銷為主要軸線，分析從「臺灣客家運動」到「當代客家女紅產業」之進程。以時間大致可粗分為兩大階段：第一階段是廿一世紀之前，臺灣「客家意象」的建構聚焦在提高客家族群的尊嚴與獨特性；第二階段是廿一世紀之後，臺灣「客家意象」的建構則朝向族群符號行銷的方向，有意創造一種以傳統「產業」結合「客家」符碼的行銷策略。
「客家意象」是被建構的論述，早期的論述主要強調抽象的「族群文化特質」，例如勤勞、乾淨、節儉、樸實、刻苦與進取之類，這類「客家意象」從中國複製到臺灣之後，逐漸形成臺灣客家族群的「刻板印象」。到了1980年代，臺灣客家菁英為因應臺灣風起雲湧的民主化與本土化的社會運動浪潮，乃積極建構新的臺灣「客家意象」。到了廿一世紀，因應文化產業政策的興起與發展，臺灣「客家意象」開始轉為由官方具體化的操作，例如把「臺灣花布」塑造成「客家花布」，甚至創造出獨特的「桐花花布」，以再造的「客家意象」作為族群產業的行銷策略。
本研究發現，以「客家女紅」的興起作為理解「客家意象」的建構過程，具有文化再現與產業再造的特徵。透過官方的輔導與推動，「客家女紅」也成功的把過時的日常用品，轉化為今天具有流行時尚與族群文化的特色商品，這種符號意義的轉換，也反證了臺灣客家族群，迄今仍藉由持續的建構「客家意象」來做自我的詮釋與認同。本研究亦提出相關建議，期望能提供官方機構、當代客家女紅從業者或相關領域的研究者，關於客家意象建構與文創產業發展一個有價值的意見參考。;
This research is motivated by the author's upbringing in a Hakka village, the emotional memories associated with fabrics during childhood; later involvement in patchwork art creation and teaching, reviving the heritage of needlecraft skills such as "stitch and thread," and "threading the needle"; and subsequently entering government sectors to become a policymaker and promoter, thus deciding to focus on "Contemporary Hakka Needlecraft Image Construction and Its Marketing" as the research topic. This study centers on the construction and marketing of "Hakka image," analyzing the progression from the "Taiwanese Hakka Movement" to the "Contemporary Hakka Needlecraft Industry." This progression can roughly be divided into two main phases: the first phase is before the 21st century, where the construction of the "Hakka image" in Taiwan focused on enhancing the dignity and uniqueness of the Hakka ethnic group; the second phase is after the 21st century, where the construction of the "Hakka image" in Taiwan has shifted towards ethnic symbol marketing, intentionally creating a marketing strategy that combines traditional "industry" with "Hakka" symbols.
The "Hakka image" is a constructed discourse; early discussions primarily emphasized abstract "ethnic cultural traits," such as diligence, cleanliness, thrift, simplicity, perseverance, and ambition. These "Hakka images," once replicated from China to Taiwan, gradually formed the "stereotype" of Taiwanese Hakka ethnic groups. By the 1980s, Taiwanese Hakka elites actively constructed a new "Hakka image" in response to the burgeoning democratization and localization social movement wave in Taiwan. By the 21st century, with the rise and development of cultural industry policies, the Taiwanese "Hakka image" began to shift towards concrete operations by officials, such as transforming "Taiwanese floral fabrics" into "Hakka floral fabrics," and even creating unique "Tung Blossom floral fabrics," using the reconstructed "Hakka image" as a marketing strategy for the ethnic industry.
The findings of this study reveal that the rise of "Hakka Needlecraft" as a means to understand the construction process of the "Hakka image" features characteristics of cultural representation and industrial reengineering. Through official guidance and promotion, "Hakka Needlecraft" has successfully transformed outdated everyday items into contemporary commodities with fashionable and ethnic cultural significance. This transformation in the significance of symbols also corroborates that the Taiwanese Hakka ethnic groups continue to construct their self-interpretation and identity through ongoing construction of the "Hakka image." This study also offers recommendations, hoping to provide valuable insights for official institutions, contemporary practitioners of Hakka needlecraft, or researchers in related fields on the construction of Hakka image and the development of cultural and creative industries. |
