Lalengawan
起 源 Origin
Itini i pa’edilan, mitengil to pakalalengawan a kongko.
隧道的暗讓人更能體會光線的重量，循著光我們得以 窺見創世時期太巴塱祖先面對著神與自然之力的勇敢 姿態，以及蘊含在光線中，部落初生的靈魂輪廓。
Let us immerse in the light, and hear the story of the tribe’s origins.
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Itini i Arapanayan ko lengaw no to’as no Tafalong, inian a laloma’an i, ira aenem a malekakaay, ci Fadakiwlo, Tadiafo, Apotok, Doci, Lalakan aci Tiyamacan. Nika oya sasafa:ay ci Tayamacan i, malikat ko tireng nira, nanitiyad ni ina nira mahapinang to ko edil ni Tiyamacan.
Masalimecedan to ci Tiyamacan. Cecay a romi’ad, yo miradom ci Tiyamacan, ma’araw no kawas no riyar ci Ferarakas, licay hato ni Ferarakas “cima ko ngangan no miso? Nawiro malikat ko tireng iso?”
Pacaof sato “ci Tiyamacan kako.”
Licay sa haca ci Forarakas
“ciramod to kiso?”
Caof han ni Tiyamacan “cai ho!”
Ta sowal sato ci Forarakas
“malaramod kita, ikor no lima a romi’ad, alaen ako kiso!” saan. Ta liyas sato. Terep sato ci Tiyamacan a matalaw.
Mafana’ sato ko loma’ ni Tiyamacan i, masasowal to caira to papilimekaw no mita ci Tiyamacan saan. Sangraay i, anangen naira ci Tiyamacan i hako, nika masadak ko edil, ta tadem
hato naira i sera, nika cai
Tiyamacan是個會發光的女孩，打從 在媽媽肚子裡時便會發亮，而出生後身 體更亮。父母親以她的光亮自豪，也為 她戴上很多的首飾與項鍊。
在Tiyamacan成長為少女後，有一天 媽媽要她去取水。Tiyamacan取好水 準備要挑起的時候，卻因重量太重而挑 不起來，正當她左思右想該怎麼辦才好 時，水中有了動靜，有個人突然站在 Tiyamacan身邊並詢問她是誰。Tiyamacan告訴他自己的名字，也反問 對方是誰，對方回答說他是海神之子 Forakakas，並要求Tiyamacan嫁給 他。見Tiyamacan不回應，Forarakas便說：「五天之後，我們會去妳們家 迎娶。」說完就幫Tiyamacan把水壺挑 到頭上轉身離開。
Tiyamacan到家之後將事情經過告訴 雙親，並告訴他們五天後對方就會來 迎娶。父母只好連忙將Tiyamacan藏 在箱子裡，但仍然藏不住她身體發出的 光；後來又埋在土裡，但一樣無法藏住 她身體的光；最後將她埋在豬糞中，想 說對方會不會因為又髒又臭而嫌棄她。
當日子一天一天過去，終於到了迎娶的 這一天。只見大白天的突然就烏雲密 佈、天昏地暗，緊接而來的大風大雨也 在海平面掀起了巨浪，眼看就要被洪水 淹沒時，Tiyamacan突然地就被帶走 了。爸爸說：「我留在這裡，我要往北邊 遙望海裡發亮光的Tiyamacan」。Doci 與Lalakan兄妹只好乘坐著木臼渡水然 後爬上Langasan山上，正當他們跨足 離開木臼時，大水突然開始退去，於是 他們在貓公(豐濱)的北邊，遙望在水裡 發亮的Tiyamacan。Tiyamacan要 求Forarakas說她要跟家人道別，並 跟家人們交代說：「如果天邊有雷聲， 那就是妳們的女兒在打米；如果天空有 閃電，那是你們女兒在行動；如果有彩 霞，那時便是你們女兒的月事。我們的 緣分就到此了。」 說完Tiyamacan便從 Takidis道別離開。
Nilu-inan a kongko 錄音故事 Story Tiyamacan Painiay 錄音者 Narrator Osay Hongay 簡燕春 16
It is said that the ancestors of Tafalong came from Arapanay in the south. The fourth generation of the deity’s family, there were six heirs: Dadakiolo (the first-born son), Tadiafo (the second-born son), Apotok (the third-born son), Doci (the fourth-born son), Lalakan (the firstborn daughter), and Tiyamacan (the youngest daughter). When the youngest sister was in her mother’s womb, she manifested many visions, emitting a light so bright that it could be seen through the mother’s abdomen.
One day, when the grown-up Tiyamacan went to fetch water from a source, the sea god Fulalakas passed by.
The god asked her, “What is your name? Why are you shining?”
She replied, “I am Tiyamacan”.
The god of the sea then asked, “Are you married? She said, “No!”
Then the god of the sea said, “Then let us get married!”
She was too scared to answer.
The god of the sea again said, “In five days I will come and marry you.” He disappeared afterwards.
When Tiyamacan returned home, she told her parents and siblings what had happened to her, and they did everything they could to hide her. First they put her in a wooden box, but her light still shone through. Then they buried her with the box in the ground, but her light still came out. There was nothing else they could do. As they hesitated, the fifth day came. Suddenly there were storm, rain, and earthquake, and tsunamis. People realized that natural disasters were coming. Tiyamacan’s parents knew that it was caused by the god of the sea. Tiyamacan was then swept away by the sea, and had been brought to takidis. Her parents chased after her but still in vain. Tiyamacan then said goodbye to her parents: “Father and mother, I am saying goodbye to you; if you ever hear strange sounds from the sky, it is I who am pounding rice; and if you see flashes of light on the surface of the sea, it is I who am at work”. After saying this, Tiyamacan left her parents and followed the god of the sea. Seeing her daughter gone, the mother was so devastated that she stood at the edge of the sea and said, “I will become Arongay and stay at the edge of the sea forever, so that I can always see my daughter.” The father climbed up the cliff on the top of the mountain and said, “I will stand here and watch over my daughter forever.” He then became Kadotakit and grew forever on the wall.
haca pakatahpo to edil nira. hilam mata’os to ko lima a romi’ad, tata’ang sato ko fali ato ’orad, maleno to ko sera, mafana’ caira to nikatayni no Forarakas. So’elin to marikid to ci Tiyamacan tayra Takidis, cai pitolas ko mama ato ina a mitoor ciiraan, saka parikor hato ni Tiyamacan, “mamaaw inaaw a malaliyas to kita, ano matengil namo misakelong i kakarayan, o soni no pitifek no mako kiraan; ano ma’araw namo ko pelat pelat sanay i riyar, o tayal no mako kiraan.” Ta liyas sato ci Tiyamacan mido^do ci Ferarakasan. Tadacaai ko tangic no ina, ta sawal sato, “malaAronay kako, itini kako i pariyaray, ta ma’araw ako ko wawa ako” saan. Ta malaAronay ci ina. Iraan sa to ci mama i, “malaKadotakit kako itini i lotok a mamisimaw to wawa ako.” Ta malaKadotakit ci mama.
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Folaw ato ’aro, malopinangan to langaw no ’orip.
山坡意象的階梯，象徵著大洪水過後祖先遷徙定居的 路徑。一步步地行進，跟著故事片段重新看待構築起 現今生活樣貌的物件。
They migrate, they settle; and their life unfolds.
續
18 Continuation
存 ’Orip
Pasadakay to lalosidan 展示物件提供
Artifacts provided by
Lafi Payo 楊德成
Panay Rabe 劉初惠
Kating Mulas 黃梅玲
Hafah Kating 李阿玉
Yuri 周百合
Karo Ka’ti 曾仁智
Kating Awa 田慧婷
Yo maleno ko sera, marikid ci Doci aci Lalakan madakaw i pitifekan, ta tahcangel i Cilangasan hananay a lotok. Makerah to ko nanom i, mipaloma to caira to nihawikidan a sapal, itira a ma’orip.
Mangalay parayray to teloc ca Doci aci Lalakan, ta malaramod caira tatosa a malakakaay. Nika sisofoc sa caira to kangic, fafikfik, rarokah ato fitakolaay, ta sawad hato naira i taliyok no loma’. Matengil no Malataw ko tangic naira, ta ocoren nira ko Tatakosan a kawas amaepod a mineneng, mafana’ sato ko Malataw i, padangen niira a mipalaheci ko nafaloco’an naira, ta mitiyol haca paepod ci Takosan a kawas pasowal ca Docian, “ikor to piliyas no mako, a ira matefad ko lalosidan, hadimelen a mi’anang yo.” Saan. Liyas sato kora kawas i, ira matefad ko sapal, awol, looh, oway, eli’ato icep, do^do san i, paepoden no Malataw ko Salalacal no cidal ato Saoriyan no cidal a kawas, pasadak toya
Doci跟Lalakan漂向北邊，天神帶領著他們來到凸起在海平 面上的一座小山頭，他們順著水漂流而去，當他們到達現在的 Cilangasan便下木臼上了陸地。
他們在思考要怎麼起火，Lalakan說：「我們就來敲石頭試試看 吧！」，敲著敲著果然點起了火花，於是知道石頭可以用來起火。 接著便想著 「那木柴怎麼辦呢？」
他們把撿起來的Madi’afo枝條 堆起來做成火堆，這樣點起火來後便不會滅，就像過去的祖先所 點的火一樣，Fadi’afo這種樹就是這樣。（我們現在已經不知道 Fadi’afo這種樹到底是什麼）
「我們要怎麼生活？我們要怎麼傳宗接代？」 為了繁衍後代，兩位 兄妹只能結為夫妻。過了多少個歲月，燒出來的煙不斷地往上 升。他們的太陽神往周邊觀看，疑惑其他地方都不見煙塵，怎麼 唯獨這個地方有？ 「為什麼這個地方會有煙塵？」 太陽神請天兵下 去看看是怎麼一回事，「如果是有人類的求訴，我會憐憫他們。」 當天兵下到陸地時Doci跟Lalakan受了些驚嚇，「不要害怕， 因為太陽神看到煙塵，想知道是怎麼一回事，就派我下來一探 究竟。我是來了解狀況的，你們是哪裡來的呢？」 天兵問。「我們 本來是住在Lofowak，因為遇到大洪水，所以我們兄弟姊妹被 迫分開。我們現在在哪裡？我們也不知道，母親在哪裡也不知道 了。我們是跳進木臼飄到這裡來的，現在在這裡生活。」 兄妹回 應天兵的問題。
「你們是怎麼起火的？」 「我們用石頭互相敲擊來起火。」
「那木柴呢？」 「我們撿枝條來燒。」
「原來如此。」
這也就是Cilangasan地名的由來，而這把火自從升起之後便沒 有再滅過了。
「你們有後代嗎？」 「有，在那兒！」
「你們最先出生的孩子呢？」 「是蛇，我們把牠放在山洞裡。」
「那第二個孩子呢？」 「是蜥蜴，我們把牠放在家外面。」
「還有嗎？」 「是癩哈蟆，我們一樣把牠放生了。」
「牠們在哪裡呢？可以帶我去看看嗎？」 「你不會怕嗎？」
「如果我沒有親眼看見，我就無法跟太陽神交代。」
他們先去到蛇的居住地，但因為蛇已經長得很大隻了，嚇到了 天兵。
「看吧！你被嚇到了！」 「沒關係啦！那其他的呢？」
「牠們都在我們的周邊。」
天兵明白了事情緣由後回到了天家，跟太陽神報告說：「他們是 人類，因為遇到大洪水而跟其他家人分散了，只有他們兩人隨著 海水漂流到這裡。」
「那他們有子嗣嗎？」 「有，不過都是些動物野獸。」
太陽神擔心他們自此沒有後代了，再次請天兵下去轉告他們說 會有巫師下去做儀式幫助他們。 當天兵再次下去轉達時，「你怎 麼又來了？」 兩兄妹問。「我是來轉達太陽神的話，會有兩位巫 師來為你們做儀式，幫助你們可以順利繁衍後代。」 說完後天兵 就回天家了。
太陽神派了Dakoccoyaw和Sawlingaw兩位巫師下去幫助 Doci和Lalakan，兩位巫師跟兩兄妹說明了來意並請他們準備
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Nilu-inan a kongko 錄音故事 Story ____ Doci aci Lalakan Painiay 錄音者 Narrator ____ Ka’ti Karo 林正治
生薑及香蕉葉，這兩樣是巫師使用的法器。兩位巫師做了一段時間的 儀式後，交代Doci和Lalakan：「儀式做完了，未來你們一定會順 利生出人類後代。你們所生的第一個女孩你們要為她取名叫Cihcih Cidal，第二位女孩叫Rarikay Cidal，第三位女孩叫Pahpah Cidal，最小的男孩叫Tahtah Cidal。你們要這樣為後代取祖先的 名字，這樣太陽神才不會忘記你們。」兩位巫師說完便回到天家跟太 陽神報告事情的經過。
我們阿美族的命名文化就是這樣，我們一定會掛上父親或母親的名字 在自己名字的後面。
When the flood came, the fourth-born son Doci, and the fifth-born daughter, Lalakan, drifted in a wooden mortar to the Cilangasan mountain. When the flood receded, they took out the seeds that they had hastily packed into the mortar when they fled, and started a new life.
Doci and Lalakan decided to become husband and wife in order to reproduce, and their first child gave birth to four creatures, kangic (a serpent), fafikfik (a lizard), rarokoh (a tortoise), and fitakola (a frog), which they later placed around their home. The god of the sun then asked Tatakosan to come down and check on them. After knowing the situation, the god of the sun promised to help them and sent Tatakosan again to their house, telling them, “After I leave, something will fall from the sky, so you must keep it for future use.” The first thing that fell from the sky after the messengers left was corn, then bamboo, plantain, rattan, thatch and betel nut. The god of the sun then sent two messengers, Salalacal no Cidal and Saoriyan no Cidal, to perform various rituals with the things that fell from the sky. It is said to be the origin of Sikawasay. When the two finally gave birth to a human child, they heard the god said: “The first-born is a girl, and you shall name her Cihcih no Cidal, and the second-born is a boy, and you shall name him Tahtah no Cidal, in memory of the god of the sun who gave them the heirs.”
When Doci and Lalakan passed away, their children decided to move from the mountains to the plains. The youngest boy said, “When I was hunting I saw a big plain in the north, let’s move there!” The eldest sister, Cihcih no Cidal, and the third sister, Pahpah no Cidal, both agreed. So they moved to the area, which later became known as Sakdakgay.
Saksakgay was surrounded by marshes inhabited by wild frogs. The terrain was unsuitable for habitation and defense, so the siblings soon had the idea of relocating, but the idea was not realized until the family passed on to the descendants of Tewal and Pehalaw. They first moved the riverbank and relocated to Holofaw, where grew many wild celery (Holofaw) and white crabs (Afolong). Later, as a result of the flooding, they were forced to look again for a new place to live, and Tafalong was the last destination the family moved to.
nitefadan a lalosidan a misalisin, kihtiya ta ira to kina rayray no Sikawasay. Ikor sato i, siwawa sato caira. Sowal sa ko Malataw sakakaay a wawa namo to fafahiyan, pakaCihcih no cidal han a pangangan, sasafaay a wawa to fa’inayan i, pakaTahtah no cidal han a pangangan, todong o sapiaraedah to Malataw.
Yo awai to ci Doci aci Lalakan, malinah to caira a malekakay a tala i enar a ma’orip. Sowal sato ko sasafaay a wawa to fa’inayan “yo miadop kako i, ma’araw ako ko dadahalay a masaenaray a sera, malinah kita tayra a maro’.” O Saksakay han ko ngangan kira kamaro’an.
O seloselotan ko taliyok no Saksakay, ocong ko karaka’ay, cai kangaay itira a ma’orip, cai ka halafin, mangalay haca caira a malinah a moko. Nika tahira to ci Tewal aci Pehalawan ta malaheci kina demak. Sa’ayaway itini i Holofawan ko katangasaan naira, matenak no holofaw a pinalengaw ato afalong a kalangan itira, nika maleno no nanom, saka malinah haca a moko. Saikor to i, itira to caira i Tafalong hanay a ma’orip.
Tifekan
O pitifekan to malokakaenen kinian a tifekan, o asolo ko sapitifek. Miala to atekakay a kilang ko sapisang’, matiya o araway, to’el, rakes a kilangan. O faco ato kaku i, o piterong no laloma’an ko pido^doan.
Ofonac
I ’a’yaw no 6000 a mihecaan, iraayto kinian a nisanga’an to fadic no rorang a ofonac. Yo awai ho ko fana’ no pakamitenoonay, miala to fadic no pinalengaw a maloca’dong no tirewng. O ofonac hananay i, saheto o fadic no rorang ko malosapisanga’, ta miala to rama a pinalengaw ko sapifalod ta masafodoy a ca’dongen.
楊德成提供。作為食品加工用具，用以杵打穀子、糯 米、小米等物為主。木質選材以堅實耐用且不易腐爛為 標的，常見為楠木、茄苳、櫸木、樟樹、烏心石等等。 造型、樣式則會依照各部落、家族、家庭之文化、需求 之不同而有細節差異。
Wooden Mortar
Wooden mortar is a food processor for pestling different types of grain. The choice of wood was based on durability and resistance to decay. Most common materials are phoebe, bishop wood, beech, camphor, and Michelia compressa, etc. The styles of mortar may differ according to the various needs and cultures.
劉初惠提供。 資料顯示，樹皮衣的歷史可追溯至6000 多年前。以太巴塱部落來說，在織布技術尚未普及前， 服裝多以植物纖維製作。這款樹皮衣的製作以構樹為主 要材料，並使用其他植物纖維來固定。
Tree Bark Clothes
The origin of the production and the usage of tree bark cloth can be traced as far back as 6,000 years ago. Before weaving became a commonplace, the tribes used mostly plant-based material for making cloth. The primary material for making tree bark cloth is the bark from paper mulberry. Between the bark and the textile, people used other plant fibers to put the pieces together.
Tenos
木臼 竹製取水壺
Kinian sa iri, o pananoman kinian. O pinanoman no niyam i mamang kinian, sapiradom no mato’asay, ta tepatorod tamiyanan o wawa i mamang. Ano sapiradom i lotok to, ano i pala to, inian ko sapiradom no niyam a pananom to mato’asay i ayaw, sa patayni mina’on no wawa matalaw kapeci’an. Sa, inian ko sapiradom no niyam i mamang, fohat ha to no niyam mihaen, hanen niyam mifoha, nawhan tira iri, matakoniha ko nanom no mako. Itiya i, ano miradom kami, ano cicir to, fohaten inian pateli i cicir, o cicir han kiya no miparo to nanom i tini a pacomod, sa o matiraay. Ano mitiposay to i ayaw, kinian ko sa piradom, nawhan tira iri, lites ko nanom, matiya ira ko fakici, a iraira ko su-ka-ay misanga’ anini, awai hang iayaw saan. Mato matiniay ko sapiradom iayaw ko wawa a pananom to mato’asay sanay kinian, hatira ko sowal ako.
水壺
李阿玉提供。過去作為深山挑水使用的水壺。 老人家會 砍下竹子，銜接上水源，讓水順勢流進到壺中。包覆的 竹編預防孩童在挑水的過程中不慎摔破。
Water Vessel
The water vessel was the container people used to carry water from the mountains. When water dripped from the mountainside, the elderly would cut down the bamboo and connect it to the water source, allowing the water to flow into the jug. To prevent children from breaking the vessel while carrying water, people covered it with rattan weave as protection.
Kinian a manengnengay no mita a lalosidan i matini i, sakacecay i, i ayaw, ano miradom ko tamdaw, kinian na dokdok ko aalaen a miradom to nanom. O loma’ saan ni, maedeng o malo pananoman no mita, ano matayal icowa cowa konian na dokdok ko hawikiden no mita a mipalo to nananomen no mita. Sakatosa saan i, i ayaw, malaadaada ho ko niyaro’haw, saka, ano to^man to ko romi’ad, caay to kangaay ko tamdaw a masadak i papotal, saka ano misi’ ca’efe to tedon no dadaya i, inian na tenos ko todong o kamisi’an no tamdaw hananay.
黃梅玲提供。多以山中取水使用。過去各部落之間關係 緊張時期，入夜之後，族人們不敢隨心所欲於屋外小 解，因而將水壺放在屋內，以便家中如廁之用。所以水 壺之壺口造型，也有因應男女需求有別的樣式衍生。
Water Pitcher
The water pitcher is mostly for attaining water in the mountains. However, during times of tribal tensions, people were too scared to urinate outdoors, so they used the pitcher as an indoor urinal. Different shapes of the pitcher’s mouth were also invented to correspond to the need for different sex.
Pananoman 樹皮衣
Maherek to miala to tama’, ta misakilat a mipafatis to malainaay ko titi no tama’. O pisanga’ to hawan masaromaroma, ira ko tataakay, ira ko mamangay, ira ko karaya’ay, ira ko mamoko’ay. Ano citama’ ko misaPangcahay a tamtaw, cai picidek a malo no tireng, o sapafatis malosapakaen to ngasaw ato fiyafiyaw.
曾仁智提供。當獵人在山林裡補獵成功後，往往會以刀 肢解分享給親戚好友。狩獵文化裡的分享與共食，實為 部落內互相共處、關係鏈結中相當重要的文化價值：「打 獵不是為了自己，而是為了家人與親友。」
Hunter’s Knife
After a successful hunt in the mountains, hunters often take care of the necessary dismemberment with knives and share the spoils with their family and friends. The culture of sharing in hunting is a core value for tribes to maintain good relationships with each other. “Hunting is not for oneself but for one’s family and friends.”
O nisanga’an ni mama no Tomok kinian a rakar, nipatorodan nira i wawa yo miliyas cira tina hekal, nanay pakayni i nipatorodan mapatosok i faloco’ no wawa ko niparayrayan ato nipakimadan. Itini i niyaro’, ira ko kasasiroma no pirayrayan to fana’ no ’orip. Mi’imes to saowaowac, cepo’ ato kalofoting ko pisanga’ to ngapa no rakar. Ocong i niyaro ko pinenengan to mocowaco:waay a rakar.
此為楊德成頭目父親所製作之魚筌，離世前交託予兒 子，希望其能謹記自己過往的傳承與教誨。在部落中， 智慧的傳承會以各種形式進行。據悉，魚筌的尺寸與河 道、海口、魚種等都有著相對應的關係。
Fishing Trap
The chief’s late father made this fishing trap for him to remember their past teachings. In tribal culture, it is very common to pass down all kinds of wisdom and knowledge throughout generation in families and clans. It is believed that the size of the fishing trap corresponds to different types of river, estuary, and fish.
Itini i lotolotokan ko lengaw no oway. Orasaka o raraya’ay ko kawil no kawkaw ta maeden a makorawis ko takaraway a dongec a misetep, sa misafaloco’ hamaenen a misaliyaw a misanga’ to raraya’ay a kawkaw malosapidongec. 1999 mihecaan 12 a folad i patireng ci Kociw Foday mama to “O kakimadan no to’as no Tafalong” i, lonok mimapatayra i on-u-kowan ko mato’asay no niyaro’ to lalosidan a pateli, nawhani caay to katayal to sakinofonon a larepet, irasa patayra sato itini i on-u-kowan a pateli, malo nanenengen no rarem sanay.
周百合提供。 改良製作的長柄鐮刀，用以伸長勾扯在高 處的黃藤。收藏於周廣輝文物館。1999年12月周廣輝先 生成立文物館後，部落各方耆老會將家中不再使用的傳 統用具、物品，送至文物館提供展示與文化傳承使用。
Sickle
Rattan grows in the mountains, and people needed to have tools that were long enough to cut it. That was the reason why people improve and make the long-handled sickles. The Heritage Museum, set up by Kociw Foday in 1999, keeps receiving traditional tools and objects that are no longer in use from the elders in the tribes for display and cultural preservation.
I lemed a ma’araw ko lalosidan no sapitenoon. Maro’ay ko tireng ano mitenoon, saka mipatatodong to karaya’ no tireng a miripa’ to piripa’an ko pisanga’, hay matatodong ko kamohoan, pakaynien i sakanit ko keliw a misolsol mikawit. Cai ka rahodayay ko tayal no mitenoonay, ano cai pisarocod a mikamay, a cai kafancal ko nitenoonan, saka tada o salimelaen kina fana’ no mitenoonay.
田慧婷提供。因族人夢境而尋回的傳統織布工具。據 悉，此工具需以近似坐姿體前彎的姿勢平坐於地，腳板 踩撐著織具底板，梭子穿引緯線，靠背部與雙腳的協調 施力維持平衡。
Weaving Tool
This tool was found through a dream of Kating Awa. The traditional weaving tool requires people to sit on the ground and bend forward. Their feet support the bottom of the weaving tool while their hands manipulate the shuttle to go through the weft threads. Meanwhile, they have to lean on their back to coordinate the force and balance of the entire body throughout the weaving process.
23
Rakar Hawan
魚筌
織布工具
Sapitenoon Kawkaw
獵人刀
採黃藤長柄鐮刀
社 會
O rayray ato sakamahad no finacadan, midafitay to sakatomireng no kalo’ice’icel.
族群的擴大與延續，伴隨著權力關係的平衡建立。透 過與藝術家的合作，以解構性手法轉化、整合後再現 「Mayaw與Onak」故事的深意，包含祭祖儀式的緣由， 也連結到現今部落階層規範的柔韌意涵。
As the tribe expands and continues, a society is therefore formed with the establishment of the power structure.
24
Pisaniyaro’ SOCIETY
Pasadakay to lalosidan 展示物件提供
Artifacts provided by
Tipos Sawmah 何玉蘭
Cihek Sawmah 何桂媖
Yuri 周百合
Karo Ka’ti 曾仁智
Afo Olaw 李玉英
Sakakaay a wawa
na Doci aci Lalakan
ci Cihcih cidal i, malatato’asan no kakitaan. Sakakaay wawa
naira to fafahiyan ci Lina’awaw han ko ngangan, kadafo ci Kakalawan, ciwawa san caira to tatosa a fa’inayan a wawa ci Mayaw Kakalawan aci Onak Kakalawan han ko ngangan.
Cecay a romi’ad, yo miradom ci Mayaw aci Onak, hilam makota ko nanom, ta pasowal hato no faki caira
“mitiyol haca kamo a miradom, ano makota haca ko nanom i, tepaen kora mikotaay a tamdaw tafaden ko tangal nira.” Saan. So’linay matepa to naira kora mikotaay to nanom a tamdaw, saka tafad hanto naira ko tangal nora tamdaw, nengneng han kira tangal i, o ci faki aca naira. Talolong ko satangic no ina naira, sowal sato “Ano matira ko codah namo, pilitafada! hay paso’linen kako to icel namo.”
Ta sarocod to caira tatosa a misatanektek to tireng. Yo cecay a romi’ad, makalepel caira to ma’orapay ho a malonem pafeli
ci inaan, sowal sa ci
Doci與Lalakan的長女Cihcih Cidal後來成為太巴塱部落Kakitaan家族之最早祖先。她的長女叫Lina’awaw，招夫Kakalawan入贅後生了二子， 取名Mayaw Kakalawan和Onak Kakalawan。
某日Mayaw 和Onak 上山取水發現水源混濁，Mama Copalesen交代他們若再次上山時水源仍舊混濁你們就到源頭把汙染水 源的人頭給砍下來，兩兄弟聽後應諾。之後果真見有一人不斷的將源 頭的清水給攪混。見狀，兩兄弟迅速抽刀從身後把這個汙染水源的 人頭給砍了下來，仔細一看驚覺是Mama。母親非常悲傷，向二人 說道：「假使你們是那樣勇敢，就去獵很多的頭來給我看，證明你們 的勇氣和能耐。」兄弟倆深切反省，並開始認真鍛鍊身體。首先開始 練習疾走，練習前皆會禁食，以使身體變得輕盈，此外也練習長跑與 跳高的技能。在一次狩獵中，兩人生擒水鹿帶回去給母親，母親說：「 這是幼鹿，跑不快的，你們的力量還不夠。」兩人勤加訓練後，在第二 次狩獵時獵到一頭公鹿，兄弟倆將生擒之公鹿呈給母親，並將鹿角取 下祭拜Mama在天之靈。「你們已經很有力量，可以和敵人周旋了。」 母親很是高興。
他們便向附近的部落出發，他們將擒得水鹿的血裝在皮袋，並在途 中一大石後方做了圈套，準備將敵人一網打盡。當他們到達鄰近部落 時，對方正在跳舞，兄弟二人突然衝進去殺傷了對方的人。「敵人來 了」對方青年們大喊！喊完便一齊出來追趕，兄弟二人急速往回跑，後 面大批的敵人也拼命的追來，因兄弟二人經過長久的訓練，對方當然 追趕不上，兄弟二人一面跑一面將手中的鹿血滴在地上，又互相揹着 跑，偽裝成受傷的樣子；對方以為他們二人已經受傷，所以加緊精神 努力的追趕，追到大石圈套下面的時候敵人都很疲乏了，正當他們坐 下休息時，兄弟二人便將大石圈套的繩子砍斷，將所人壓死在石頭底 下。兩兄弟把所有的首級都砍下來帶回家給母親，母親把所有的首 級放在院子裡，院子鋪好了草蓆fasolan，再架設了竹席saksak， 然後把首級都放在上面祭拜。幾天之後，首級都乾了，他們便建造棚 架，把首級都擺在裡面，以後每年都舉行敵首祭。
哥哥有一天覺得厭世了，他穿着盛裝，也就是祭儀時所穿的服裝，站 在屋簷底下，向天說道：「我現在要鑽進土裡去了，回到土裡以後，一 定要再回到天界去。」說完吆喝一聲，用腳一頓，就鑽下去齊膝蓋處， 再一頓就鑽下到大腿處，第三次鑽到腰際，第四次鑽到腋下，最後一 次，全身將要沉没時，被母親看見，趕忙過去抓他，但是只把他的帽 子抓了下來，人卻鑽到地下去了。這頂羽冠帽pakowaw，一直由他 們的後代保存在祭儀中使用著，目前在每年的ilisin時，頭目都會戴 著羽冠帽（pakowawan）參加ilisin。
最後Mayaw回到天界，變成了東方天上最亮的一顆星，就是現在大 家叫的「Mayaw Kakalawan」的那顆星。
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Painiay 錄音者 Narrator Kating Panay 林恩熙 Lakih Piday 汪于詳 Tenged Panay 張政杰 ’Ilid Tipos 蕭苡晴 Nilu-inan a kongko 錄音故事 Story Mayaw aci Onak
註：族語 Mama 泛指男性長輩
ina, “o tofol ho kinian, mafokil ho milaliw, cai ho kaedeng ko icel namo!” saan. Ta mitolang haca caira a misatanektek to tireng. Tiyol sato i, makalepel caira to ta:akay a malonem sapafeli naira ci inaan, iraan sa o tangal i, sapitaong naira to faki naira. Lipahak ko faloco’ no ina to malakapah to, malaci’icelay to caira a malekaka. Malingato to caira a naniniyaro’, paroen naira i tenos ko romes no malonem, misanga’ to teker i fatad no lalan, mangalay caira a mila’is to ada a militafad. Yo tangasa caira i niyaro’ no ada, masakero ko finawlan, ta comod sa caira a mila’is, aloman ko mapatayay, “ini ko militafaday” sato ko kapah no tao, ta ko^ko^en to no ada caira, tanektekay ko tireng naira a malakakaay, saka cai pakako^ko^ ko ada, tera’en naira i lalan ko nihawikidan naira o remes no malonem a misadaso’, sidoka to caira haw sako ada, ta cai pitolas a miko^ko^. Tangasa to i nisanga’an naira a teker maro’ a masa^sa’ ko ada, ta polinen naira ko ta’akay a fokeloh na i faeled, ta maemin materep ko ada, ta litafad hato naira ko tafad no ada pataloma’ a sapa’araw ci inaan. Telien ni ina ko tafad i nitilakan a saksak i potal, mihadimel a mitaong. Ma’icang to ko tafad i, linahen to naira patayra i pitelian to tafad. Ta ira ko todong no pitaongan to tafad a lisin to mihecaheca.
Manaay to ci Mayaw a ma’orip, ta sicaedong cira to caedong no sakilisin, ta tomireng i potal. Sowal sa, “morenem kako tayra i sera, ikor i, mafolec kako a macakat i kakarayan.” Saan. sangraay a mipateras to waay i, tahatosol ko renem, mitiyol a mipateras i, tahacepi’ ko renem, kinatolo a mipateras i, tahatatelecan ko renem, kinasepat a mipateras i, tahakakeri’an ko renem, saikoray kona morenem to ko tireng nira, takop hato ni ina a micapet, nika o kowaw to cecay ko macapetay ni ina. Ano i kailisinan, sitamohong aca ko tomok to pakowawan hananay, tahematini, cai ka sapelaw no ikor kina rayray. Macakat to i kakarayan ci Mayaw, malamaedilay a fo’is, paka ci Mayaw Kakalawan han a pangangan.
One day Mayaw and Onak went up to the mountain to get water and found the water source was muddy. Their uncle Copalesen told them that if the water source was still muddy when they went up again, they should go to the source and cut off the head of the person who polluted the water source, and the two brothers said yes. Afterwards, they saw a man stirring up the water at the source. Seeing this, the two brothers quickly drew their knives and cut off the head of the person who polluted the water from behind. Yet, upon closer inspection, they realized that the beheaded man was their uncle. Their mother was very sad to the news and said to them, “If you are so brave, go and hunt a lot of heads to show me your bravery and ability.”
The brothers reflected deeply and began to exercise seriously. First, they practiced walking at a brisk pace, fasting beforehand to make their bodies lighter, and also practiced long-distance running and high jumping. On a hunting trip, they captured a water deer and brought it back to their mother, who said, “This is a young deer, it can’t run fast, you don’t have enough strength.”
The brothers then trained harder. On their second hunt, they caught a buck. The brothers presented the buck to their mother and removed the antlers to honor their uncle’s spirit.
They set out for a nearby tribe, packed the blood of the captured water deer in a leather pouch, and made a trap behind a boulder on the way, preparing to catch the enemy in one fell swoop. When they arrived at the nearby tribe, the tribe was dancing. The brothers suddenly rushed in, killing and wounding people. The youths in the tribe shouted, “The enemy is coming!”
All men came out to catch the brothers, while the brothers fled back quickly with a large number of enemies desperately chasing after them. The brothers were so well trained that their enemy can not catch up with the brothers. They ran side by side and had
the blood of the deer drops on the ground. They ran on each other’s backs, pretending to be wounded. The enemy thought they were already injured, so they pressed harder and harder to catch up, but of course it was not easy for them. When they reached the bottom of the boulder trap, the enemies were exhausted and decided to sit down to rest for a while. The two brothers chopped off the ropes of the boulder trap, and crushed them to death under the rocks. The two brothers quickly severed all the heads and brought them home to their mother, who placed them in the courtyard. There, the heads were placed on the straw mats called “vasolas” and bamboo mats known as “saksak” for worship. After a few days, when the heads were dry, they built a scaffolding and placed them inside, and the festival was held to honor the story every year since.
One day, when the elder brother was tired of the world, he stood under the roof of his house in his full dress, which he wore in the ritual, and said to the sky, “I am now going into the earth, and when I get there, I must return to the heavenly realm again.” After saying this, he yelled, and with a stomp, he drilled down to his knees, then to his thighs, then to his waist, then to his armpits, and finally, when his whole body was about to be submerged, his mother saw him. She rushed over to grab him, but only grabbed his hat. The rest of her son was already in the ground. The pakowaw, a feathered hat, has been preserved by their descendants for their rituals. Nowadays, the chiefs wear pakowawan to the ilisin.
In the end, Mayaw returned to the heavenly realm and became the brightest star in the eastern sky, the one now called “Mayaw Kakalawan”. And his younger brother, Onak Kakalawan, and his wife, Rogac, all ascended to the heaven after their death and became the other two stars.
O saka 59 a rarem ca Tipos Sawmah aci Cihek Sawmah no Kakitaan. O sa’ayaway a tato’asan ko miharateng a misanga’ to maloca’dong no kailisinan, saka miala to no awol ato oway ko sapisanga’, mitorik to caca’dongen i tangal a potay a mipatorod to rarem. Tahira to i sakatolo a rarem, ta masanga’ ko no alilisay a opih a potay taha anini. Aniniay a opih i, o nisanga’an to a opih, caito ka o opih no alilis.
何玉蘭與何桂媖是Kakitaan第59代的子孫。
第一代的祖先們一同研究與設計了關於ilisin時所需要配戴的頭飾造 型，當時使用竹子作為羽冠帽的雛形。第三代之後，則發展出使用老 鷹羽毛的樣式。目前羽毛的需求改使用來自於工藝行的材料為主。
Tafalong Warrior’s Hat
Tipos Sawmah and Cihek Sawmah are the 59th generation of Kakitaan descendants.
The first generation discussed, studied, and designed the headdress to wear at the ilisin together. They reached a consensus of using bamboo as a material to weave the prototype of a feathered bonnet, which was passed on to the second generation. When it was in the hands of the third generation, they started to use eagle feathers for the bonnet. Today, people use the readily available materials from craft shops.
Inian san a tosa kopo i, caay kalecad san iri, o no akong, o no ama to kinian, o sapiaray to tato’asan no mita, o sapita’ong to matiniay tala’ayaw kita i ilisin iri, o matiniay a kopo ko sapiaray to mato’asay, kamo aca ko lalengawan no niyam o Pangcah. O sapalangaw, o tomok, ano tayra i Cilangasan a katangasaan, o matiniay aca a kopo ko sapita’ong to lalengawan. Ano matayal to no sapiala to sera, mikarkar to sera, tala’ayaw a misanga’ iri, o no tekesay a kopo ko sapita’ong to lalengawan, kamo aca o mato’asay iri, miala kami to sera i matini, tala’ayaw misanga’ kami to atomo ato inian a kopo iri, a mita’ong aca kami i tamowanan malo sakafangcal no demak no niyam sanay. Sa hatini ko pihiya no mako i tamowanan pakafana’ sanay, aray.
李玉英提供。以土捏製，多用於大型祭儀如年祭、迎靈等，主要為祭 司與頭目使用。採土前需mifetik祭告祖靈，說明使用土地的因由， 同時感謝祖靈的智慧讓我們能繼續傳承，希冀護佑我們工作圓滿。
Altar Cup
The serving cups are mostly used in large-scale rituals and are mainly used by Pangcah shaman and chiefs. When there is a need for the tribe to use the land, even as elders, it is necessary to use the bamboo cups to “mifetik” (communicate with ancestral spirits) the reasons for using the land, and thanking them for the wisdom that allows us to continue the tradition, hoping for their blessings to successfully fulfill our work.
勇士帽 祭杯
Potay Satakid
O hawan no Tafalong a niyaro’ i malalenay a emin o mamoecel a nenengen. Yan san o maiyangay a hawan i, masanoTayan ato no Bunun a ’arawen. ano pakayniay i hawan ko pitiri’ a mineneng i, kifetol a nenengen, o sapikasoy a hawan kiraan, ano kohpicay a nenengen i, o sapitefok to tama’ kira hawan. Do^do sato o pakaniay to no kawil a hawan to nikararoping i, mafana’ ko niyaro’ay a tamdaw micekal to kawil, todong o sapidama to tatirengan. Misanga san to kawil i, o lalidec o datay ko kalakawilen, nawhan i, koced kosit caay kalenga halafin ko matiraay a kilang.
周百合提供。一般來說，阿美族使用的刀款屬直刀造型， 較彎的刀身則為泰雅族、布農族所使用。刀柄的木材慣 於選用九芎樹、七里香，因其質地密度高、耐久性佳。
O sapi’adop ko idoc hananay. Ira ko ma’imacay ko pisanga’, ira ko korawit sanay ko pisanga’, mido^do to fana’ no mi’adopay a misanga’. Ano tahtekerto ato makokopto no waco ko tama’, ta cocok hato no idoc a mipatay. Ira ko sowal no mi’adopay, “No miso a todong i, cai pilaliw, ano cai ka no miso a todong i, aka^a pacici. O tamdaw hananay, kalalok a miso’ayaw to ’orip, aka^a katoka!”.
曾仁智提供。狩獵用長矛。矛頭的造型有三角樣式，也 有增加倒勾的形式，依獵人狩獵習慣與方法自行製造。 當獵物被陷阱困住或被獵犬圍堵時，獵人可視現場狀況 採投擲、突刺等方式進行攻擊。
獵人們時常提及：「是你的就是你的，不要強求。人，要 勤勞且認真，不要懶惰。」
Hawan Idoc Poot
Pangcah knives are mostly straight blades, while Atayal and Bunun tribes have scimitars. The wider and thicker blades are mostly used for chopping wood. The wood used for the hilt of the knife is usually made by Taiwan crepe myrtle and orange jasmine tree, which have a high density and good durability.
The spearhead has various designs, such as the typical winged or barb. The shape is determined and crafted according to hunters’ own habits and preferences. When their prey is hunted, either by traps or by hounds, hunters would throw or stab the prey depending on the situation.
Among the teachings passed down, the hunters often say, “What is yours will be yours. Don’t force it. People should work hard and diligently. Don’t be lazy.”
O sakitienecay a poot i, o piromaroma no niyaro’. Orasaka ira ko nikacaay pilecad to pisanga’, tangasa sato i pilatek no ’orip i, sasirinih sato ko poot to icowacowaay a milecad, sa misaliyaliyaw to kasipoot no tireng, hamaen a mangaay a kakapah a arawen, Polong no nikasipoot i o sapikilac o sapikerit ko tapang, caay ka o sakatayal a cecay, roma saan i, o sapaading to tireng ato sapisamamaw to milifongo’ay a ada.
此小刀用於「削」、「切」小物件為主，而用途除了生活需 求之外，也包含防身使用。資料顯示，不同部族會有自 己特有的小刀樣式，而近代刀款則可見融合不同造型特 色的情形。
Chief’s Knife Spear Knife
People mainly use this kind of small knives for “cutting” and “slicing” small objects. Besides their quotidian usage, they are also using the knife for self-defense. In terms of style, knives have shapes differentiated between tribes, while modern knife models have integrated various features.
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長矛
頭目長刀
隨身小刀
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Harateng no pisanga’
Installation
O hekal, to’as ato rikec, pakayni o pinenengan i Tafalong, safaw pito a fokeloh, matiya o tomirengay a safaw pito a selalan, nanofaeled pasalaeno a maca’it, todong painiay to rikec no kasaniyaro’, o ta-li-si no Kalingko, matafo no nikamayan ni Rongac Ciwku a nitorikan, pakayni o siromaroma no saka’orip, pahapinang to fana’ no mitorik, mitiel to serangawan no Tafalong.
宇宙、祖靈與和諧。自阿美族太巴塱的三角圖騰發想，十七件石棒對應著部落的十七個階層，因重力拉展線 段、垂作上至下的懸吊結構，亦留有社會階級之意象。石材取用花蓮產出的黑大理石，而相對輕巧的竹籐層 編，則與部落工藝師Rongac Ciwku李美嘉共同創作，透過日常器物的細節轉化，聚焦材質的自然肌理。盼以 「編織Mitorik」為方法，在地物料為線，製作技藝為梭，引向太巴塱的部落神話及文化記憶。
Universe, Ancestral Spirit and Harmony. Inspired by the triangular totem of the Tafalong tribe of Pangcah, the seventeen stone rods correspond to the seventeen classes of the tribe, with gravity stretching the line segments and draping them in a top-to-bottom suspension structure, which also represents the imagery of social class. The stone is black marble from Hualien. The lightweight bamboo weaving is created in collaboration with tribal craftsman, Rongac Ciwku, by focusing on the natural texture of the material through the transformation of the details of everyday objects. By applying “weaving” (Mitorik) method, local materials as threads, and production techniques as shuttles, the project aims to introduce the tribal myths and cultural memories of Tafalong.
I-su-ciya Misanga’ay
同步留信 messagingleaving
Mitorik Rongac Ciwku 李美嘉
Itini i Tay-pak a nipatosokan, na ci Cang-ciyaling ko mihowaday. Pakayni o nisimsiman a miharateng a pahapinang to romaay a salongan. Patatodong to malosasanga’en, pahapinang to mademetay a nisanga’an, itini a paterek to ratoh.
位於台北的創意實踐，2021年由張家翎發起。
messagingleaving擷取每一次創作中的獨特 性，再揉合物質、思想及詩意，以尋求設計和藝 術之間的另類表達。透過工業量產和工藝文化的 平衡，其作品往往揭示出製程、材料與結構的緊 密連結，並依循脈絡發展形式，作為與眾不同的 訊息留下。
It is a creative practice initiated in 2021 by Chang Chia-Ling in Taipei. messagingleaving captures the uniqueness of each creation, and blends it with materiality, thought, and poetry in order to seek an alternative expression between design and art. Through a balance of industrial mass production and craftsmanship, her work often reveals the intimate connection between production, material and structure. She follows a vein of form development, leaving behind a distinctive message to the audience.
Rongac Ciwku, itini i Tafalong ko aro’, macekil no fana’ no pakamitorikay no niyaro’, ma’olah a mitorik to awol ato oway, malolalosidan no ’orip, itini i nikamayan nira maneneng ko rihaday no ’orip.
來自阿美族太巴塱部落，受部落傳統編織技術啟 發，以藤與竹等自然纖維材質從事編織工藝，將 經緯相織的自然材質轉變為日常生活所需的物件， 從其作品中可感受到自然與生活的和諧共處。
The creator is from Tafalong. Inspired by the tribe’s traditional weaving techniques, she specialized in the craftsmanship of weaving with natural fibers such as rattan and bamboo, and transforming the natural materials of warp and weft into quotidian objects. Audience can find the harmony between nature and life in her works.
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Artist Craftsman
展出作品 參展藝術家 工藝師
