本論文以花蓮縣萬榮鄉原住民文物館「歌，住著誰的青春?－太魯閣族音樂特展」為例，探討位處於原鄉的地方文化館如何在展覽的籌備與開展後的過程中將展覽打造成一個對話的空間，成為一個大家都可以參與的展覽。
本論文首先說明，在原文館的策展中，涉及到許多不同的利害關係人，他們對展覽各自擁有不同的期待與目的，這也讓策展成為一連串溝通與協商的過程。所謂「大家」的定義，透過社群參與、團隊共作與觀眾的回饋，將人視為展示內容的中心，嘗試串連族人在青春時代的經典歌曲，進而勾勒出太魯閣族部落更生動更有溫度的歷史樣貌，並透過音樂做為媒介，讓不同世代的聲音與創作做對話。同時也是目前原住民族社會重要的當代議題，需要被重視與共同面對，惟有重新檢視與理解過去的歷史遭遇，世代間才能創造更具主體發展的新樂章。
本論文的特殊性在於開展後所進行的四次深度訪談，藉以收集觀眾的回饋，可做為以後精進的策略。筆者在本研究中試圖呈現，這個展覽透過地域性的館舍空間與展覽主題，試圖挖掘在地的歷史並與地方性做連結，運用「音樂」理出彼此共同的記憶，重新建構太魯閣族的歷史觀點。而展覽做為對話空間，一方面揭露了事實，成為訊息傳播的空間，另一方面，這些訊息並非平鋪直述，透過展覽中空間、色彩與展示媒材等搭配，讓訊息對觀眾產生另一種跨越世代、性別與族群的對話，表現出「大家都可以參與的展覽」。

This case study of the exhibition Whose Songs, Whose Youth Truku Music in Wan-rung Indigenous Museum explores how a museum in an Indigenous community applied community engagement and collaboration in curating and holding an exhibition so as to create a space in which all involved could participate and engage in dialogue. The study also looks at how these methods provide an understanding of Truku society and culture and of the role played by museums located in Indigenous communities in the contemporary era.
The study begins with a discussion on the role of curatorial work in a museum in an Indigenous community. The exhibition involved several stakeholders who had divergent interests, and since they had varying ideas on the purpose of the exhibition and thus produced different influences on it, curating was a process of negotiation. Through a description of the curating process, the exhibition is shown to be one in which music was the medium and its human subjects were the focal point. Based on community engagement and collaboration within the curating team, the exhibition was an attempt to uncover the local history and reveal the diversity in the locals’ lifestyles, thereby attempting to build a historical perspective from the viewpoint of the Truku people. Content included an introduction of the Truku people and songs sung by those of different generations. In adhering to the exhibition concept, the venue was designed as a place for people to learn from each other and make connections. Separate colors were used for different sections of content to present the experiences from multiple generations in an integrated way. Oral accounts of history obtained through interviews with Truku people allowed visitors to understand the process of creating and singing, and these real-life accounts of experiences became part of the text of the exhibition. Also exhibited were individual memories from locals as well as their collective memories, forming a trans-generational link. The content and methods of display allowed viewers to see the past experiences of the Truku people and realize that only by a re-inspection and re-understanding of the past can we find ways to create a better future.
Another interesting aspect of the study was the in-depth interviews conducted after the exhibition opened. This gave insight into what the curators wished to communicate, how the target audience viewed it, and what varying insights viewers gained, all of which may serve to improve future exhibitions. The exhibition provided visitors with a space to learn about the lives of different people from different places and times, and, through its design, multiple perspectives triggered dialogue and contemplation among viewers. It was able to be conducted so unconventionally because of, to a great extent, community collaboration and participation.