本文以花蓮縣政府辦理的「花蓮縣原住民族聯合豐年節」為研究，藉由參與和觀察法記錄的自我檢視，並結合相關活動成果、相關文獻及會議資料分析，探討從民間自主辦理的文化觀光活動，到由地方政府主辦的近5年的歷程。豐年節於民國92年由花蓮現在地民間觀光團體「阿美文化村」舉行，藉由聯合花蓮市與吉安幾個部落共同辦理豐年節活動，邀請觀光客與旅行社觀光團參與。

筆者於實際參與活動的實踐中，發現地方機關推行公共政策的執行面向，觀光活動與部落祭儀間的混淆，族群文化上的衝擊，部落族人與民眾間接與直接彼此的關係與影響。在誰是主體、誰是傳統、誰是實際參與者，而參與者之認同形成公部門與在地之間協力、拉力或推力。

本論文以花蓮縣5年來推動聯合豐年節活動之計畫，本縣13個鄉鎮市的族人參與情況，文化諮詢委員在不同縣政、年代給予的分析與建議，藝術小組與表演團體在參與過程，對於演出內容的演變與自身族群使命的磨合，如何精進與文化實踐的經驗，以及表演者與遊客及觀賞者之間，是文化傳承與傳達的媒介及凝視，期盼在未來於公共政策的計畫研擬與原住民族群的文化價值的尋找過程，能夠提供具體而能實踐的方向。

This article uses the """"Hualien County Indigenous Peoples Joint Harvest Festival"""" organized by the Hualien County Government as a research. Through the self-examination recorded by the participation and observation method, and combined with the analysis of the results of related activities, relevant documents and conference materials, it explores the self-management from the private sector. Cultural tourism activities, nearly 5 years of history sponsored by the local government. The Harvest Festival was held in 1992 by the local non-governmental tourist group """"Amei Cultural Village"""" in Hualien. By cooperating with Hualien City and several tribes in Ji’an, the Harvest Festival was organized, and tourists and travel agencies were invited to participate.

In the actual practice of participating in activities, the author found that the implementation of public policies implemented by local agencies, the confusion between sightseeing activities and tribal rituals, the impact of ethnic culture, the indirect and direct relationship and influence between tribal people and the people. Who is the main body, who is the tradition, who is the actual participant, and the identity of the participants forms the cooperation, pull or push between the public sector and the local.

This paper uses Hualien County’s five-year plan to promote the joint harvest festival, the participation of ethnic people in 13 towns and cities in the county, the analysis and suggestions given by the cultural advisory committee in different county administrations and ages, and the participation of art groups and performance groups. , For the evolution of the performance content and the running-in of the mission of the own ethnic group, the experience of how to improve and cultural practice, as well as the media and gaze of cultural inheritance and transmission between performers, tourists and viewers, I look forward to the future in public policy The process of planning research and the search for cultural values of indigenous peoples can provide specific and practical directions.