2026年4月20日 星期一

臺科大 性別平等教育日「妝扮平等 美學無畏」校園實踐活動

國立臺灣科技大學通識教育中心舉辦115 性別平等教育日 活動,於16日以「妝扮平等 美學無畏」為主題,在校園內設立多個攤位分別以教育區、體驗區,以及互動區,分享性別平等知識,並透過自由多元性別妝扮體驗,以及網路社群貼文性別平等我+1等方式,呼應教育部今年「認識及尊重多元性別」主題,鼓勵以無畏的精神來展現自我獨特美學,落實「更多認識、不再歧視」的教育目標。活動邀請臺科大學務長王惠君於活動開幕致詞。

妝扮平等 美學無畏
教育部於111年正式訂定每年420為「性別平等教育日」,旨在深化校園性別平等教育、建立尊重多元性別特質的友善環境。通識教育中心石美芳老師藉由教育部補助性別平等教育課程教學開發及推動計畫,以「時代與妝扮美學」課程為核心,透過跨域整合的方式,讓學員在歷史、文化、美學與社會議題之間建立深刻的連結。運用體驗式學習為媒介,讓抽象的性別平等理念與文字論述,轉化為具體的多元性別妝扮自我實踐經驗,讓學生不只是聆聽學習更能夠實際創造同理心感受,激發學生們從不同視角出發,增進對多元文化的理解並培養包容與尊重的態度。藉由本次活動讓課程學生進行社會實踐,並促進校園環境性平意識的對話與反思。

妝扮平等 美學無畏
活動現場發送小物「蝴蝶結領」,既是柔美蝴蝶結也是陽剛的領結,讓師生共同配戴在身上表達支持性平校園環境的態度。知識區強調妝扮是理解時代精神與性別角色的文化符號,美國女權運動者為了爭取工作與行動自由便利,曾發起女性穿著「裙褲裝」,但遭到當時輿論極強烈的批評。體驗區聚焦自主妝扮的力量在於它既是個人選擇,也是社會語言的具象展現。當人們能自由地選擇妝扮而不受性別框架束縛,社會便更接近真正的平等,妝扮不再只是單純「美化」或「修飾」,而是一種權利的展現,包含多元身份自由、挑戰不平等、促進理解包容,互動區則透由留言與分享鼓勵學生參與打造校園性平學習環境。石美芳強調。

妝扮平等 美學無畏

NTUST Gender Equality Education Day: ‘Diversity and Equality, Fearless Dressing’ Campus Practice Activity

National Taiwan University of Science and Technology’s Center for General Education organized the 2026 Gender Equality Education Day event on the 16th, themed “Dressing Equality, Fearless Aesthetics.” Multiple booths were set up across campus, including an education zone, an experience zone, and an interaction zone, to share knowledge on gender equality. Through diverse and inclusive gender styling experiences and social media campaigns such as “Gender Equality +1,” the event echoed the Ministry of Education’s annual theme of “Understanding and Respecting Gender Diversity,” encouraging participants to embody a fearless spirit in expressing their unique aesthetics and to realize the educational goal of “More Understanding, No More Discrimination.”

The Ministry of Education officially designated April 20 as “Gender Equality Education Day” in 2022, aiming to deepen gender equality education in schools and foster a friendly environment that respects diverse gender identities. Professor Mei-Fang Shih of the Center for General Education, supported by the Ministry’s program for developing and promoting gender equality curriculum, centered her course “Era and Aesthetic of Dressing” on cross-disciplinary integration. This approach enabled students to build meaningful connections between history, culture, aesthetics, and social issues. By employing experiential learning, abstract concepts and textual discussions of gender equality were transformed into concrete practices of diverse gender styling. Students not only listened and learned but also engaged in empathetic experiences, broadening their perspectives, enhancing cultural understanding, and cultivating attitudes of inclusivity and respect. The event further allowed students to extend classroom learning into social practice, fostering dialogue and reflection on gender equality awareness within the campus environment.

At the event, participants received a symbolic item—a “bow-tie ribbon.” This accessory, simultaneously a delicate bow and a masculine necktie, was worn by faculty and students to express support for a gender-equal campus. The knowledge zone emphasized that dressing is a cultural symbol reflecting the spirit of the times and gender roles. For instance, American women’s rights activists once promoted “skirt-pants” to gain convenience and freedom in work and mobility, though the movement faced strong public criticism at the time. The experience zone highlighted the power of autonomous dressing as both a personal choice and a tangible expression of social language. When individuals are free to style themselves without being constrained by gender norms, society moves closer to genuine equality. Dressing thus becomes not merely “beautification” or “decoration,” but a manifestation of rights—embracing diverse identities, challenging inequality, and promoting understanding and inclusivity. The interaction zone encouraged students to participate in building a gender-equal learning environment through messages and sharing. Professor Shih emphasized these values in her closing remarks.

2026年4月17日 星期五

妝扮時代與性別平權 知識圖卡

 妝扮時代與性別平權 知識圖卡01
Era of Dressing and Gender Equality Knowledge Cards 01
妝扮時代與性別平權 知識圖卡

妝扮時代與性別平權 知識圖卡02
Era of Dressing and Gender Equality Knowledge Cards 02
妝扮時代與性別平權 知識圖卡

2026年4月14日 星期二

教育部性別平等計畫補助「時代與妝扮美學」課程 辦理性別平等教育日活動邀請

教育部於 2022 年正式訂定每年 420為「性別平等教育日」,旨在深化校園性別平等教育、建立尊重多元性別特質的友善環境,並落實「更多認識、不再歧視」的教育目標。依照計畫課程焦點,呼應建立多元平等的校園學習環境,擬舉辦課程教學實踐活動,邀請各位先學先進蒞臨指教。

時間:2026416日,12時40分至17時00分

地點:台科大校內郵局旁空地

活動教育區:時代妝扮展板:展示不同年代的服飾與妝容,說明其背後的性別文化意涵(例如:女性穿褲子的歷史、男性化妝的潮流)。性別平等知識牆:以簡單圖文呈現性別平等的里程碑事件(如女性選舉權、跨性別權益)。

自由體驗區自由妝扮角落提供帽子、圍巾、彩妝、假髮等中性或跨性別元素,讓參與者自由嘗試。並請服務人員拍照完成紀錄,列印貼在現場展牆,完成後贈送性平小禮物。

互動支持區:參與者可拍照並分享至社群。完成後贈送性平小禮物。

邀請卡

Ministry of Education Designates April 20 as “Gender Equality Education Day”

In 2022, the Ministry of Education officially designated April 20 each year as Gender Equality Education Day. The purpose is to deepen gender equality education on campus, foster a friendly environment that respects diverse gender identities, and realize the educational goal of “more understanding, no more discrimination.”

In line with the curriculum focus on building a diverse and equal learning environment, we plan to hold a teaching practice activity and sincerely invite esteemed colleagues to attend and provide guidance.

Date & Time: April 16, 2026, 12:40 PM – 5:00 PM Location: Open space next to the campus post office, National Taiwan University of Science and Technology

Educational Zones:

  • Era Styling Exhibition Boards: Display clothing and makeup from different eras, explaining the gender-cultural meanings behind them (e.g., the history of women wearing trousers, trends of men wearing makeup).

  • Gender Equality Knowledge Wall: Present milestone events in gender equality through simple text and visuals (e.g., women’s suffrage, transgender rights).

Free Experience Zone: A styling corner will provide hats, scarves, cosmetics, wigs, and other neutral or cross-gender elements for participants to try freely. Staff will assist in taking photos, which will be printed and displayed on-site. Participants will receive a small gender-equality gift afterward.

Interactive Support Zone: Participants may take photos and share them on social media. Upon completion, they will also receive a small gender-equality gift.

2025年12月18日 星期四

客委會:客家文化與戲劇妝扮美學,辦理「客家戲曲妝扮美感探索」課程成果發表

客家文化具有豐富多元特色,除了帶有古代中原漢民族的典雅,同時具有台灣山林之間的自然大美,質樸之中有著不受拘束的奔放生命力。課程中介紹包含:花布紋樣(牡丹、幾何圖案)與色彩(客庄橘、山林綠、花布紅等)、生活器物(油紙傘、斗笠、藍衫、米篩)與圖騰(方口獅、麒麟)。融入配合戲曲造型讓學習者對於客家美學及應用建立基礎的認識,拓展生活美感經驗。

課程內容從客家發展淵遠流長的脈絡進行講述,從歷史層面來解釋「客」家的緣由,以及從中原遷徙東南發展歷史。並將戲曲的發展進行梳理結合客家文化來分享傳統三腳採茶戲的獨特文化,並說明如何在台灣融合歌仔戲與京劇特色,發展成獨具特色的客家大戲,以及當前新世代的客家戲曲發展趨勢。並分析在戲曲之中演員妝扮的特色與不同角色之間的差異,讓學生建立基本的知識基礎。課程邀請相關專書作者陳俊中老師分享客家族群與文化傳承。

客家戲曲(如採茶戲、客家大戲)造型元素承襲傳統戲曲模式,並融合客家質樸風格。臉譜與化妝以黑、紅、白為主,象徵剛勇、忠賢、陰險奸詐等不同性格。小生、花旦多為淡妝,以白底與紅妝強調臉部色彩,並著重眼神的黑筆勾勒表現出鳳眼;丑角則有獨特的「豆腐塊」抹白鼻子,展現幽默性格。服裝除了正式戲服,傳統採茶戲服裝較輕便,常見客家花布、碎花元素,反映農村生活。客家戲曲造型元素整體展現「真、善、美」,並體現客家人勤勞、樸實的特色。

戲曲化妝應用普通化妝知識以及技巧,轉化為舞台上演員的光鮮亮麗,具體呈現出觀眾眼中的舞台生命百態,在劇情的宛轉之中融入到情緒感知。戲曲化妝示範課程主要讓學生觀摩如何將自己妝扮成客家戲曲人物,透過潛移默化的觀摩到動手實作過程實際感受文化之美以及自我實現的成就感。

指導學生進行簡單的基礎戲曲髮型梳理,藉由身體力行的動手做來讓學生實際體驗,客家戲曲妝造的多元美感應用,以及在實作過程之中來讓知識與技術深度融合,而不是只有聽過跟看過的淺層學習過程。練習方式以分組練習為主,強調彼此相互合作,完成課堂指定的戲劇髮型練習成果。


客家戲曲的演繹,除了適當的妝扮之外,主要依靠演員本身的專業表演能力,包含身段肢體動作以及表演技巧。為了讓學生們能在期末順利完成客家戲曲情境展演學習,深入體驗客家文化之美,邀請知名客家戲曲演員及研究者邱孟姍擔任業師,進行戲劇肢體動作現場指導練習,以客家戲曲基礎身段與手部姿勢為主,讓學生們在知識與身體律動交織的學習中,能夠深刻的感受客家文化帶來的感動。

期末客家戲曲展演體驗學習,是整個計畫最完美的情境教育也是計畫總結,藉由學習過程的歷史、妝造、道具、肢體動作等客家多元文化學習,整合成舞台表演的展現。學生選定客家戲曲《六國封相.蘇秦》作為期末展演,強調戰國縱橫家蘇秦在困境中堅持「硬頸」精神。針對展演所需要的準備,師生合作一起完成準備,也是一次很好的教學相長過程。為了讓學生們在練習過程中能夠得到專業的客家戲曲知識,邀請業師共同進行示範與解說指導,獲得良好的學習成果。

Hakka Culture and Opera Aesthetics Course

Hakka culture is rich and diverse. It embodies both the elegance of the ancient Central Plains Han traditions and the natural beauty of Taiwan’s mountains and forests. Within its simplicity lies an unrestrained vitality. The course introduces elements such as:

  • Floral fabric patterns (peony, geometric motifs) and colors (Hakka orange, forest green, floral red)

  • Everyday objects (oil-paper umbrellas, bamboo hats, indigo shirts, rice sieves)

  • Totems (square-mouthed lion, qilin)

These are integrated with opera styling to help learners build a foundational understanding of Hakka aesthetics and applications, expanding their appreciation of everyday beauty.

The course traces the long historical development of the Hakka, explaining the origins of the “guest” identity and the migration from the Central Plains to Southeast Asia. It also outlines the evolution of opera, connecting it with Hakka culture to highlight the unique tradition of the three-person tea-picking opera. The course explains how Taiwanese opera and Peking opera elements merged to form distinctive Hakka grand opera, and explores current trends in new-generation Hakka opera. Students will analyze the features of opera makeup and costumes, learning the differences between roles to establish basic knowledge. The course invites Professor Chen Junzhong, author of specialized works, to share insights on Hakka communities and cultural heritage.

Hakka Opera Styling: Hakka opera (such as tea-picking opera and grand opera) inherits traditional opera forms while blending Hakka simplicity. Facial makeup uses black, red, and white to symbolize bravery, loyalty, treachery, and other traits. Young male and female roles often wear light makeup, with white base and red highlights, emphasizing facial color and phoenix eyes outlined in black. Clowns feature the distinctive “tofu block” white nose, expressing humor. Costumes range from formal opera attire to lighter tea-picking outfits, often incorporating Hakka floral fabrics and patterns that reflect rural life. Overall, Hakka opera styling embodies “truth, goodness, and beauty,” reflecting the hardworking and humble spirit of the Hakka people.

Opera Makeup Practice: Opera makeup applies everyday cosmetic knowledge and techniques, transforming performers into vivid stage characters. Demonstration sessions allow students to observe and practice transforming themselves into Hakka opera figures, experiencing cultural beauty and personal achievement. Students will also learn basic opera hairstyling, engaging in hands-on practice to experience the diverse aesthetics of Hakka opera styling. Group exercises emphasize collaboration, with students completing assigned hairstyling tasks together.

Performance Training: Beyond makeup and costumes, Hakka opera relies on professional performance skills, including body movements and stage techniques. To prepare students for the final showcase, renowned Hakka opera performer and researcher Qiu Mengshan will provide on-site coaching in basic movements and hand gestures. This integration of knowledge and physical rhythm allows students to deeply experience the emotional resonance of Hakka culture.

Final Showcase: The culminating experience is a Hakka opera performance, integrating history, styling, props, and movement into a complete stage presentation. Students will perform the Hakka opera “Six States Appointing Ministers: Su Qin”, emphasizing Su Qin’s perseverance and “hard-neck” spirit during adversity. Teachers and students will collaborate in preparation, creating a valuable process of mutual learning. Professional guidance from guest instructors ensures students gain authentic knowledge and achieve strong learning outcomes.


2025年10月8日 星期三

性別平等教育季刊 no.109 性別意識與妝扮平權,我的身體自愛 ( Gender awareness and beauty equity: My body, my self-love )刊行

石美芳(2025)。 性別意識與妝扮平權,我的身體自愛。性別平等教育季刊,109,84-89。

愛美是人的天性,美是自然平等的,每一個人都可以用自己喜歡的方式來呈現自信快樂身影。受到傳統僵固性別刻板印象影響,在美妝與服飾上有許多不平等的性別限制,成為當前多元化社會發展的裂痕。在課程教學規劃之中除了性別平權知識,也鼓勵學生們積極以行動與實踐打破框架與僵固刻板印象,於過程之中親身體驗跨越性別限制扮裝的與眾不同,反思身體自愛主權,提升性別平等的意識。

The pursuit of beauty is a natural human instinct, and beauty itself is inherently equal and inclusive. Everyone has the right to express their confident and joyful self in the way they prefer.
However, traditional and rigid gender stereotypes have imposed unequal restrictions on makeup and clothing, creating fractures in the development of a truly diverse society.
In curriculum planning, beyond imparting knowledge of gender equality, students are also encouraged to take active steps to challenge and dismantle these frameworks and stereotypes. Through experiential activities that involve crossing gender boundaries in dress and appearance, they gain firsthand insight into the uniqueness of such expressions. This process fosters reflection on bodily autonomy and self-love, ultimately enhancing awareness of gender equality.

教育部性別平等教育網

性別平等教育季刊

性別平等教育季刊 109期

性別平等教育季刊

性別平等教育季刊 目錄

性別意識與妝扮平等

性別意識與妝扮平等 石美芳

2025年7月29日 星期二

潮流,美容美髮與時俱進的人才激勵與養成

受邀參加一場別有意義的閉門會議,我們在想,到底如何「激勵與養成與時俱進的產業人才」?美麗雖然永恆,但不可否認時代潮流往往是殘酷的推動改變前進,新的技術、新的設備、新的手法,特別是新的樣式,層出不窮的創新設計與社會文化脈絡交織出多元的體驗。在培育與選拔產業人才上,專業題庫要避免成為知識滯後甚至侷限專業人才發展的問題,而是能夠引導教學與促進產業發展的專業篩選前瞻基石,透過這次的會議,遇見許多非常優秀的先學先進,收穫良多。

透過想法的激盪與討論,相信必定能讓美麗的產業發展更活躍,並建立更能滿足當代專業人才評量的專業題庫,在培選人才上做出貢獻。


2025年6月19日 星期四

演繹精彩客家文化 臺科大 通識教育 石美芳教學成果秀戲曲魅力

台科大客家戲曲美感科技與美感跨域學習融合,臺科大通識課程學生於期末以戲曲展演方式呈現客家文化的學習成果。文化是生活記憶與美感物質的傳承,在每一處裊裊炊煙的臺灣客家山村之中都蘊藏著在地的文化瑰寶,藉由客家委員會補助 石美芳副教授 專家開設客家課程計畫「客家戲曲妝扮美感探索」,從充滿魅力與活潑氛圍的客家戲當中,引導學生們感受客家文化的魅力,並在做中學與學中做的過程之中,嘗試將傳統文化美感與自我創意進行融合創生。授課老師石美芳表示,在跨領域學習之中,互補性學習是相當關鍵的一環。避免讓學生成為「單視野的人」,如同STEM加上Art藝術的STEAM來調和理性與感性的平衡,在以理工科系為主的臺科大校園之中,融入客家戲曲柔美的生活應用藝術以及人文思想,交織出更具有特色的學習典範場域。

台科大客家戲曲糶酒

這門2學分的通識課程兼具理論與實務,從客家歷史源由以及客家小戲與客家大戲發展脈絡與特色,並以客家花布等素材作為設計元素,應用於教學活動當中,在實作過程中學生們心眼相合以雙手完成深刻文化體驗。石美芳老師以戲曲妝扮角度呼應客家文化美學,設計不只是追求流行,更需要觸動文化的漣漪來暈染每一個美感細節。在客家文化當中,戲曲是相當重要的組成元素,以優美的語詞語調展現客家精神與美感,除了客家族群之外,應該要讓更多人了解客家,喜歡客家,藉由最具有魅力的戲曲議題,可以有效吸引學習者的注意力與興趣,開拓後續深入探索的動機。課程內容規畫由淺入深逐步學習文化、妝扮、服裝道具、手勢姿態等客家戲曲內涵,並於學期末進行學習成果展演發表。

對於學習成果要轉化為走上舞台進行客家戲曲的展演,許多同學表示一開始是有壓力的,但隨著課程持續投入以及合作學習的團隊精神發揮,同學們開始認真練習戲曲妝扮,並自動自發去深入學習客家話。外語系古欣宜將劇本台詞拜託阿婆一字一句用客家話講出來,學生再努力學習背誦,建築系李昕霓笑道自己身為客家人,但這次展演是最認真學客家話的一次。施嘉恩同學說,在畢業前最後的一個學期,很幸運的在選課時看見與客家文化有關的通識課程,很開心知道客家文化開始受重視,也希望可以讓更多人知道客家文化的美。課程包含化妝舞台造型設計以及戲曲動作兩種美學應用,最後更是一種少見的形式:每一個小組要各自表演一齣戲曲,可以是自己編寫或是更改現有的劇本。服裝、道具、妝造、舞台呈現都需要考慮,每個人發揮自己專長,帶來精彩表演。在「糶酒」之中,大家不再只是聽課的學生,當下就是戲曲角色本身,希望帶給其他人獨屬於角色的故事。

客家戲曲美感

臺大護理系同學林湘庭同學指出,期末展演扮演刀馬旦「樊梨花」演出,從角色詮釋到飾品製作,收穫良多。在服裝融入「客家花布」元素,透過鮮明花色與圖案,表現出客家女性的柔美與堅韌,也讓傳統戲曲妝感更具地方文化特色。飾品方面,她親手製作頭飾與配件,包括使用花布、亮片等材料來組合,過程雖繁瑣,但也更理解傳統戲曲服裝的繁複與講究。

客家文化戲曲美感

這次經驗讓林湘庭體會到客家妝扮與戲曲行當的魅力與深度,從裝扮到動作,每一環都需用心雕琢。透過角色的塑造,更加敬佩傳統藝術的精緻與細膩,讓角色更具文化深度與視覺張力。花布象徵著客家女性的堅韌與美麗,與樊梨花的精神不謀而合。展演當天邀請客家戲曲演員與研究者邱孟姍老師進行評量與指導。隨著期末成果展演進行,同學們身穿課程完成的客家戲曲服裝以及手拿道具,以青澀卻又誠意十足的客家話唱詞與身段手勢,完成了客家文化的深刻實踐與體驗,在靈魂深處的記憶之中,交融建構屬於個人的寶貴學習經驗,投身為貢獻客家文化的潛在因子,並將自己提升為整合文化與美感的科技新勢力。

客家戲曲美感成果