[[alternative]]Research on the Development of Traditional Folk & Acrobatic Troups: A Case Study of Jyou-Tian Folk Drum & Arts Culture Group

[[abstract]] 台灣的廟會是許多民眾藉以聚集交際的重要活動，目的不僅是為熱鬧氣氛，其中民俗藝陣的內容也可以同時謝神和娛人；然而，隨著現代人的娛樂方式及生活型態之轉變，在講求熱鬧及節省經費為前提之下，許多俱備聲色效果、感官刺激的表演或車陣，曾替代了傳統廟會之藝陣團隊，一度出現以聲光熱鬧為優先、文化藝術為其次的廟會情況。不過，近年來由於國際間文化交流頻繁，許多在地的文化活動已回歸選擇優良民俗與傳統內容，以強調顯現民族性與文化創意之地方特色。 迄今，在國際化、全球化的產業帶動下，許多民俗團隊試圖從基層塑造維護本土文化之形象，並且進行推廣優良民俗藝術與文化。在菁英文化的主導宣傳與媒體強力運作，現代的表演與藝術理論已瀰漫在多數的藝術市場；相對的，民俗團隊為了縮近強弱勢文化的差別，必需面對處理表演生態的轉型潮流以及傳承問題。因此，在傳統團隊的發展中，隨著制度與營運的改變亦帶來本土民俗市場的開發與文化行銷空間。 台灣本土的傳統表演團隊中，自傳統陣頭出身的「九天民俗技藝團」並非正規科班出身的表演團隊，而是民間草根(grass roots)表演的集合體；近年來，由於文化發展以及社會大環境的改變，許多團務也隨著進入了轉型調整的狀態。以團隊力量嘗試著改變陣頭少年之社會形象，並將陣頭成員加以訓練，成為民俗文化傳承之人力資源之一；在嘗試突破現狀的轉型與營運過程裏，經歷傳統與現代的各種適應問題，也從與各個機關、專業技藝科班的互動交流中，產生了很多管理與發展思維的轉化。 無論傳統與現代，藝術本身的價值多是主觀的，然而，團隊所產生之行為對社會和人文環境的改變卻是可被客觀評量的；在環境共構的過程中，民間社群的動力來自於基層情感所維繫，民俗團隊因此順勢而起，卻也在民生結構瞬息轉變之時，覺察種種創造與生存之相關問題。從人文管理的諸多角度觀之，台灣民俗陣頭的組織和人力具有一定特質與能量，提供了許多科學化之管理與理性督導的發揮空間。[[abstract]] Temple fairs in Taiwan used to be important events for people to communicate with each other, enjoy mirthful atmosphere, provide entertainment, and most importantly show respect and appreciation to god. However, with the modern fast-paced life-style, various entertainment forms, and tight budget, temple fairs have changed their ways of performing. Special sound effects, lighting arrangement, and sensational stimulation replace the artistic taste and content. Luckily, as the result of frequent international exchanges in recently years, many local cultural performing troupes have started to present good traditional folk custom and art to emphasize the regional characteristics and cultural creativity. In order to promote and popularize their programs, follow the globalization trend, and fight against the dominant elite culture, traditional performing troupes aware the importance of adopting modern marketing strategies and technologies. “Jiu-tian folk acrobatics”, a grass roofs group, is one of the traditional performing art organizations in Taiwan. In order to improve their public image and management operation, they collaborate with academic professionals, attend various art festivals, and they devote their time training young members to be valuable art assets in this culture. Though they have encountered many difficulties during the transitional process, they have learned much precious experience from interactions with other collaborative institutes and personnel. Modern or tradition, art is subjective. However, the social and artistic environmental changes caused by the behavior these performing art troupe members could be measured objectively. Furthermore, the rise and fall of many grass root art performing troupes is a reflection of the rise and fall of a society as the force behind these troupes is the force that keeps the base of a society moving. From humanity administration’s point of view, art performing troupes such as procession teams in Taiwan offer excellent samples for art administration to study and monitor