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原住民藝術發展及場域社群分析： 以「原藝幫」駐村藝術家為例
Analysis of the Development of Indigenous Art and Field: A Case Study of Resident Artists in Indigenous Villages
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2010.10.01
張梅娘，〈山壁〉，2003年，複合媒材，99.5×74cm（萬煜瑤攝）
摘要
90 年初起至本世紀可說是原住民藝術的重要時代，在這 20 年間原住民藝術發展蓬勃，創作蔚為風潮且年輕藝術家輩出。針對「場域」概念為分析基底，本文主要探討原住民藝術的概念與場域社群發展，以檢視當代原住民藝術論述。藉由原住民委員會甄選駐村藝術家社群（原藝幫）為例，主要研究論點是從場域及社群結構來理解台灣原住民藝術生態，分析原住民藝術家社群的關係和動態模式，以探討藝術場域發展的面相，藉此強化多元文化與族群藝術本質的理解。
關鍵詞
原住民藝術、當代原住民藝術家、藝術場域、藝術社群、駐村藝術家
Abstract
The years from the early 1990s to the present can be said as an important period in the development of the art of the indigenous ethnic groups in Taiwan. During these 20 years, the Taiwanese indigenous art has flourished, its creation has become common practice, and many young artists have appeared. With the concept of "art field" as basic, this essay mainly explores the development of the concept and the communities of the indigenous art, in order to examine the discussions on contemporary indigenous art. With the selection of resident village artists by the Council of Indigenous People, Executive Yuan as an example, its purpose is to understand the art ecology of the indigenous ethnic groups in Taiwan and to analyze the relationship among the communities of indigenous artists and the pattern of their development from the perspective of field structure. The essay is implied to enhance the multicultural understanding of the essence of the ethnic group art.
Keywords
Indigenous art, contemporary Indigenous artist, art field, art community, resident village artist
註釋
