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Principal’s Welcome

   
中心主任
Fang Jyshiuh 
Education
Master of Arts, Fo Guang University
Specialty
Culture Policy, Arts Administration and Management
Professional Career

Since May 2012 

Director of NCFTA
August 2008 to May 2012
Chief of the First Department, CCA
March 2008 to August 2008
Deputy Director of the Preparatory Office of the National Headquarters of Taiwan Traditional Arts and also Director of Taiwan Music Center
May 2002 to March 2008
Deputy Director of NCFTA
February 2002 to May 2002
Acting Deputy Director of NCFTA
August 2001 to February2002
Senior Executive Officer of Policy Analysis, CCA
November 1997 to August2001
Chief of Secretary Office,CCA
September 1995 to November1997
Division Chief, Chief Secretary and Deputy Director of GuoGuang Opera Company
March 1988 to August 1995
Editing and Assessment Officer and Section Chief, CCA
January 1983 to February1988
Officer, National Youth Commission, the Executive Yuan
1982
Passed Civil Service Senior Examination in Social Administration
Idea and Expectation

Although traditional culture has not been recognized as the national heritage for a long period of time, it has been commonly acknowledged as the key for personal identity, social harmony, culture diversity and culture creation. Under the un-reversible trend on globalization,such features will no doubt become good tools to enhance individual competence among countries. Therefore, take serious care on traditional arts will be the most active method to safeguard a nation’s significant culture. NCFTA is the official body in charge in the conservation, protection, transmission and promotion of traditional arts. How to effectively combine civil resources,assist in traditional arts’ conservation and creation, discover new-generation talents, encourage daring art creation and marry excellent productions will be important missions for the center’s forth coming development.

 

Since the preparatory office of NCFTA was formed in 1996, the launch of the “Folk Art Conservation Project” had paved the road to the conservation, protection, transmission and promotion of Taiwan’s traditional theaters, music, craftsmanship and folk acrobatics. The concept of Dynamic Museum has also been put into practice in the Yilan field, which is to plant seeds of traditional arts in campuses and local communities by running educational actions, such as presentations,seminars, interactive teachings, study camps, crafts workshops, publications,etc. The interested population of traditional arts will therefore increase. Inaddition, the audiences are encouraged to do self-taught learning and participate in cultural events to deepen their awareness of civil rights and cultural identities. To preserve traditional culture in a more productive way,NCFTA strives to arrange active performances, life custom related activities and displays; training qualified personnel in the field of acting, theatrical technology and traditional crafts are also pushed forward. Moreover, merging traditionalarts with contemporary life styles seems to have opened up a good dialogue between the old and the new to stir exciting innovation. Seeking opportunities for more international cooperation will certainly help to glow Taiwan’s traditional arts in the global society.

 

Besides, the three national standing troupes, GuoGuang Opera Company, Chinese Orchestra Taiwan and Taiwan Bangzi Opera Company, overseen by NCFTA, have been not only presenting classic programs from time to time but also making attempts on exploring more performing types through cross-art cooperation. There are novel productions with more humanity created by observing social movement or drawing story lines from literature,history and legends. Take Peking Opera as an example, GuoGuang Opera Company has been working on refining Taiwan’s aesthetics on Peking Opera in the lastdecade. The plays have been written and directed with more literary touch,giving introspection and enriching their artistic connotation. Meanwhile, further efforts have been made on being close to people’s thinking in modern days and improving the quality of productions. Peking Opera in Taiwan has now transformed from a purely acting and singing art form into a dynamic literary pattern, which is very different from its origin in mainland China. There putation and brand of Traditional Theaters Made in Taiwan is no doubt going to generate precious value today.

 

The study of the Urban Institute in USA proves that traditional arts can develop into significant assets for economic growth through a long-term investment by an intermediary cultural agency (e.g. NCFTA). Due to the existence of an intermediary cultural agency, those groups and personnel involving in traditional arts will gain aidsand the new prospect and extra markets will be expended. The new prospect indicates that the general public will get to re-acknowledge the importance of traditional arts. As to the expansion of extra markets, it means that traditional arts possess strong potential in the progress of the cultural tourism industry.

 

NCFTA owns three on-sitefields: its base in Yilan, the Xiqu Center of Taiwan and Taiwan Bangzi Opera Company in Kaohsiung. There sources of these three places can be integrated to make benefits on the culture conservation, exhibition and program innovation, arts promotion and culture tourism development. On the basis of three different geographic locations and their distinctive features, they are able to either work hand in hand or act individually to construct meeting grounds for talents and excellentworks from local and overseas regions. Their collective impacts will not limit NCFTA a key intermediary platform for carrying our nation’s sophisticated culture heritage. As the Urban Institute points out on its finding, NCFTA willalso enable traditional arts to serve as a catalyzer while Taiwan’s economy is making a promising chapter.