「貴州蝋染」の保全と継承における越境的実践

抄録

Advancing globalization has been accompanied by ongoing movements to reclaim the cultures of ethnic groups, mainly through “cultural tourism.” In China too, the diversity and continuity of traditional cultures are being threatened by rapid economic growth and changes in lifestyles associated with urbanization that are leading to people's disassociation from traditional Chinese cultures and the resultant loss of various cultural activities. Consequently, the Chinese government is attempting to protect specific forms of cultural heritage.

Batik has historically evolved as a cultural artefact among the Miao ethnic group in Guizhou Province, China, whose production of these handicrafts draws on the natural environment as experienced within a farming-centered lifestyle. The traditional Miao culture has attracted considerable interest, and Guizhou batik handicrafts produced by this ethnic group, which have a long history, are highly valued. However, rapid economic development and urbanization have transformed Miao society in Guizhou. Consequently, the future of Guizhou batik depends on striking a balance between conservation of an intangible cultural heritage and the response of a traditional craft to market demands. Concurrently, various changes have been evident, entailing activities that transcend the “boundaries” of the Miao artisans who produce Guizhou batik. This “boundary spanning” phenomenon has led to the emergence of “bridgers,” who are involved as coordinators, supporters, players, and change agents, encouraging the creation of new value through the formation of networks and partnerships between concerned actors. “Bridgers” have a crucial role to play in establishing networks and partnerships required to maintain intangible cultural heritage such as Guizhou batik.

This paper first presents an overview of Miao perceptions of the relationship between nature and culture, followed by a discussion of the characteristics of Guizhou batik. Next, the “boundary spanning activities” of various actors involved in Guizhou batik are elucidated through a focus on the network of supporters/entrepreneurs who connect the creators and the market and their relationships. A key focus of the discussion is on the vicissitudes of cross-border batik and on the importance of networks and partnerships involved in boundary spanning activities associated with Guizhou batik. Lastly, the impacts of rapid economic growth and social change on the Miao are discussed, and the possibility of involving different economic organizations in the protection of cultural artifacts like Guizhou batik is explored. The discussion also engages with the question of whether Miao culture can be authentically and sustainably integrated into the contemporary globalizing world.