生態博物館以動態活動為主的展示概念源於西方社會創始於1960末；現今已四一種極具創意的文化保護方式。它以生態學為理論基礎，引申傳統的博物館的概念，將獨具特色的文化氣態與其賴以生存的自然境一起進行整體保護並對外展示。生態博物館是保護特色文化尤其是維護少數民族文化遺產與景觀的一種重要形式，同時也成為一新型的觀光類型。本文對西方生態博物館理論在中國貴州省梭嘎鄉長角苗區域的實際運用情況進行了初步的調查與研究。本文首先對梭嘎生態博物館建設的背景、原住民文化特徵以及生態博物館對村民生活的未來影響進行分析；評估梭嘎生態博物館所作的可行性研考之適宜性，並對包括規劃者在內的有關人員的訪談加以解析，以是討決策者和村民對發展生態博物館的興趣興和認同表現出的差異。本文研究顯示地方政府過分追求商業麥益的做法，導致梭嘎生態博物館的發展偏離最初的宗旨，出現了生態博物建設的一些新問題，如：保護內容與觀光內容的界定問題，保護目的與觀光目的的度的把握問題，合理的觀光客環境容量的測定問題等等。所有這些問題都亟待解決。

The ecomuseum concept, which was originated in the Western society in the late 1960s, lies in the theoretical foundation of ecology discipline and is regarded as one of the most innovative forms to conjugate conservation and development and to integrate distinctive cultural identity into the local environment. This concept is now being elaborated and replicated in China to showcase minority groups’ entire cultural attributes and historical landscape, albeit with increasing commercial interest. This paper is an exploratory study examining the adequacy of the application of ecomuseum in Miao villages in Suoga, Quizhou, China. It traces the establishment background and identifies opportunities and impacts that an ecomuseum presents to minority villagers. An assessment of feasibility studies for the Suoga ecomuseum and discussions with informants involved in planning reveal that the interest groups’ expectations vary greatly and lack consistency throughout the process of establishment. At the same time, the quest for commercial purpose further compounds the complexity of the development of an ecomuseum in minority habitat: the search of a local ecomuseum definition, diversity in the sense of place as perceived by different stakeholders, commondification of staged cultural performance, and the acceptable level of exposure to accommodate tourists’ requirements.