曙光季刊第十期

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PREFACE 館長的話 原來,我們是親戚

02

CON

Afterall, We Are One

FOCUS 封面故事 尋回南島的偉大航道

04

The Great Path Back to Austronesia

06

以藝術訴說南島的美麗與哀愁

12

航海人的歸鄉是啟航

The Beauty and Sorrows of Austronesia in Art

Setting Sail is a Sailor’s Return

18

血液裡的聲景記憶與文化傳承

24

味覺與嗅覺的南島感官印記

30

一幅畫 一個當代南島故事

The Soundscape Memory and Cultural Heritage Austronesian Sensory of Taste and Smell

Every Painting a Modern Austronesian Story


TENTS WHAT’S ON 展覽與活動

36

封面圖片: 宜德思.盧信《Tatara》 攝影: 蔡勝義

發 行 人

李吉崇

出版者 國立臺東生活美學館

總 編 輯

江愚

地 址 臺東市大同路 25 4 號

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蕭賢明、鍾立君、洪玉華、蘭美幸

電 話 0 89 - 322248

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傳 真 0 89 - 3310 97

執行編 輯

謝心瑜

網 址 w w w.t tc sec.gov.t w

臺灣史前文化博物館 研究員 黃郁倫、

出 版 2021 年 6 月

臺灣史前文化博物館 助理研究員 林頌恩、

C P N 2010 8 0 0 462

臺灣史前文化博物館 助理研究員 張至善、 臺東大學公共與文化事務學系 副教授 蔡政良

英文翻譯 創譯語言顧問 企劃製作 華訊事業股份有限公司

本刊全部圖文內容版權所有,非經同意請勿轉載

電 話 02-2517-70 9 9


原來,我們是親戚

語言是重要的文化資產,傳承文化,表達

例如「Mata」一詞,不僅在阿美語、布農語、

自我,臺灣四面環海,族群多元,語言豐富,

噶瑪蘭語、撒奇萊雅語、達悟語裡,具有「眼

面向西太平洋,在語言學及考古學的研究中,

睛」的意思,在與東南亞及大洋洲各國交流中

南太平洋群島、東南亞使用相似的語言,稱為

「Mata」在斐濟語、吉里巴斯語、印尼語、馬

南島語系,臺灣也是其中之一。

來語、菲律賓塔加洛語、紐西蘭毛利語中,也

語 言 學 家 經 由 比 較 各 語 言 的 異 同, 以 及 分 辨 語 言 之 間 的 親 疏 關 係, 發 現 南 島 語 族

都同樣代表「眼睛」;南島語族的語言經過多 年演變,仍高度相似。

(Austronesian Speaking Peoples)是組成複雜、

本期《曙光》分享不同的生命故事,在南

異質性極高的群體,但在文化上卻關聯十分緊

島交流活動的體驗與對話中,更深入瞭解彼此,

密。南島語族分布甚廣,東起南美洲西岸的復

在驚喜與驚訝聲後,內在的生命熱情甦醒,回

活節島、西至非洲東岸馬達加斯加、南到紐西

應內心的呼喚,尋回自己的文化認同,立定生

蘭,而臺灣是最北的島嶼。

命志業,把文化活「回來」。

南島語族交流時常有遠房親戚相認的驚喜:

國立臺東生活美學館 館長

李吉崇 02


PREFACE 館長的話

AFTERALL, WE ARE

O

N

E

Language is an important cultural asset for cultural legacy

Interactions between Austronesian-speaking peoples are

and self-expression. Surrounded by ocean, Taiwan is home

often littered by surprising similarities in languages. In

to diverse ethnic groups and a wealth of languages. From

Taiwan, the word Mata means “eyes” in Amis, Bunun,

linguistic and archaeological research, South Pacific Islands

Kavalan, Sakizaya, and Tao. Across Southeast Asia and

and South East Asia were found to use similar languages

Oceania, Mata also means “eyes” in Fijian, Kiribati, Bahasa

under the family of Austronesia. Taiwan is among the lands

Indonesia, Malay, Tagalog, and Maori. It seems that, after

that share a similar language group.

years of evolution, the Austronesian languages still retain a

Linguists have compared the similarities and differences

high level of similarities.

between the languages and found that Austronesian-

This Dawn Quarterly will be sharing stories of people

speaking peoples form a complex and highly heterogenous

who have gained a deeper understanding of Austronesian-

population with strong cultural ties. Austronesian languages

speaking people through interactions and dialogue. As

span a wide geographical distance, existing as far east as

they move past the initial stages of surprise, they begin

the Easter Islands on the western coast of South America,

to experience a renewed sense of passion in life and start

as far west as Madagascar on the eastern coast of Africa,

listening to their inner callings, finding their cultural

and as far south as New Zealand with Taiwan being the

identity, and establishing life-long missions to revitalize

northernmost island to speak Austronesian languages.

indigenous culture.

Lee Chi-Chung N AT I O N A L TA I T U N G L I V I N G A R T C E N T E R 03


尋回 南島 的偉大航道

THE GR E AT PATH BACK TO AU STR O N E SI A TEXT_石雅嵐 PHOTO_張也海•夏曼

04


FOCUS 封面故事

早在五千多年前,浪潮流轉的大陸與汪洋之間,人們就已發展出了相互溝通的優美語言──「南島 語」,隨著海流的湧動,航海人穿梭於大洋之上,語言及文化就此分枝散葉,東起南美洲西岸的復活 節島,西到非洲東岸的馬達加斯加島,北至臺灣,南達紐西蘭,至今有將近兩億五千萬人口同在這個 古老的語系文化之中。 臺灣,這座你我熟知的島嶼,曾經以海為經、以天為緯,開創出繁榮興盛的海洋島嶼文化,同時也是 「南島語」的重要分支點,這些美麗的相似及連結,將臺灣與散葉於世界各角落的南島語族,交織為 生命共同體。 走過沉寂與遺忘,當海洋文化逐漸被喚起及重視,藝術、人文與生活型態的重遇共振,將那些曾被遺 忘的遠古記憶一一串聯,臺灣與太平洋南島語族的連結和異同性,藉由藝術家、策展人、音樂創作 者、影像紀錄者的足跡重現於人們眼前,於是我們大聲宣告自己是群島之洋的一份子,從日出的方向 出發,從食物的氣味、畫作的筆觸、旮亙的響聲,及至船槳拍浪的水花,看臺灣與當代的南島連結串 起什麼樣的身份追尋,一起隨著海浪,啟航──回家。 As early as five thousand years before, people had woven a beautiful language upon the tides between lands: Austronesian. With the surging tides, seafarers traversed the oceans and sowed seeds of their language and culture as far east as the Easter Islands on the western coast of South America, as far west as Madagascar on the eastern coast of Africa, as far north as Taiwan, and south to New Zealand. As of now, there are 250 million people living within the ancient language family. Taiwan, a familiar island to us all, had once built a rich and prosperous maritime island culture on the ocean and sky. It is also an important point of origin for Austronesian languages. The beautiful connections and similarities interweave Taiwan and the Austronesian people scattered across the world into a single, solitary community. Having been forgotten and abandoned, maritime culture is now gradually shifting to the spotlight. Its art, culture, and lifestyles are also experiencing a renaissance as people begin to connect the ancient, forgotten memories. The connection, similarities, and differences between Taiwan and Austronesian people of the Pacific Islands are now being traced and presented before our eyes by artists, curators, musicians, and filmographers. We therefore proudly declare ourselves a part of the ocean of islands. Beginning from where the sun rises, we follow the trails of food, paintings, traditional music, and rowing oars to seek our role and connection with contemporary Austronesian cultures and set sail for home.

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以藝術訴說南島的美麗與哀愁 THE BEAUTY AND SORROWS OF AUSTRONESIA IN ART TEXT_JL PHOTO_Makotaay Artist Village 藝術村、Nakaw Putun

2020 年初秋的夜晚,花蓮石梯坪單面山在火

溝通、表達「我們是誰」的方式。青少年時期的

把的照耀下,表演者與觀眾共同前往白石頭(單面

Nakaw 加入原舞者樂團,在「唱自己的歌、跳自

山),手牽手圍圈、吟唱,在月亮從海面升起前,

己的舞」聲浪裡,摸索自己身後的文化;之後她隨

展開一場實境海洋劇場,結合傳統樂舞與現代表演

原舞者參加澳洲墨爾本「明日藝術節」,在活動中

藝術,為全球疫情祈福。這場藝術行動由來自花蓮

她遇到毛利舞者,意外發現自己與他們有著相似的

Makotaay 港口部落的阿美族 Nakaw Putun 所策劃,

語言與成長背景,於是相處起來相當地自在,這是

而此地正好也是族人在 20 年前歷經土地抗爭運動

Nakaw 第一次與其他南島語族接觸,開啟她日後從

後,取回傳統領域所有權之地,故在此作為展演的

事族群身份認同,以及臺灣與南島語族的關聯之相

場域,別具意義。

關工作。

藝 術 是 Nakaw 作 為 現 代 原 住 民 嘗 試 與 世 界 06


FOCUS 封面故事

On an early autumn night in 2020, Tidaan of Mount Banping in Hualien was lit up with torches. Performers and visitors proceeded together to Mount Banping, holding hands in a circle, singing, and performing a live ocean theater against a moon rising above the ocean surface. The traditional music and dance was fused with contemporary performing arts to pray for the world amidst the COVID-19 pandemic. The art performance was orchestrated by Nakaw Putun, from the Amis Makota’ay Tribe. The land was chosen for its history; a traditional indigenous territory returned to its rightful owners after a 20-year indigenous land movement. Art is the medium that Nakaw, as a modern indigenous person, has selected to communicate with the world and express her identity. As a teen, Nakaw had joined an indigenous dance troupe, attempting to explore her own cultural background against the indigenous movement in the 80s that called for indigenous people to “sing their own songs and dance their own dance”. She performed with her indigenous dance troupe at the YIRRAMBOI Festival in Melbourne, Australia and met Maori dancers. It was Nakaw’s first interaction with other Austronesian-speaking people but she made fast friends with them as they were surprisingly similar in language

07


08

當前分佈於太平洋的南島語族,大多面臨世界

展這個角色可以傳遞藝術家創作意境,傳遞彼此之

強勢文化衝擊造成的語言瀕危與族群文化斷層,於

間的文化,也透過議題跟大家對話。」而原住民藝

是「拾回與傳承自己的文化」是目前大家共同努力

術家的作品裡往往表現自身傳統特色,Nakwa 以

的方向,也是 Nakaw 參與國際族群交流深有同感

三位藝術家的作品為例:南太平洋東加群島的藝術

的體會,因為即使在臺灣,同屬一個島嶼上,原住

家 Latai Taumoepeau 的作品「暗夜大陸」 (Dark

民各族也會因不同的歷史經歷,而有文化背景上的

Continent) ,藝術家以靜態圖片的方式,記錄用

差異。

噴槍在原本就黝黑的皮膚上噴上一層層更黑的色

Nakaw 2013 年創立「哇大藝術平臺」,提供

彩,表現皮膚層層上色的樣貌,讓大家思考,日光

原住民藝術家專屬的交流與展演空間,從過往僅作

浴曬出的古銅膚色,及原本就膚色黝黑的皮膚樣

為參與者的角色,轉變為主動提供者,她選擇以策

貌,二者之間的身份認同和刻板印象;阿美族藝術

展人的角色,讓藝術和文化的傳遞雙向進行,「策

家 Iyo Kacaw(伊祐.噶照) 擅長以木條勾勒出海


FOCUS 封面故事

and upbringing. The experience launched her career in cultural identity and finding connections between Taiwan and Austronesian-speaking people. In 2013, Nakaw founded the art platform, Wata, and became a curator dedicated to advancing the arts and cultural communications. “As a curator, I can convey the artist’s creative concept, convey each other’s cultures, and begin a dialogue through certain topics”, Nakaw explained. Hints of tradition is also frequently found the works of indigenous artists. “Dark Continent” by Latai Taumoepeau, a Tonga artist, is a selection of still

photographs that documents Taumoepeau as she applies artificial coloring to her skin with a small electric compression gun. It asks the audience to consider the difference in cultural identity and stereotypes between sun-bronzed skin and dark skin. “Floating Language” by Iyo Kacaaw, an Amis artist, is a driftwood shaped in the likeness of the tides and tells the story of our tribes in the far south that we have come to know and together share the wisdom of the ocean. The “Island Hopping Project” by Idas Losin, a Taroko artist, explores the different Austronesian-speaking people on Pacific islands, their totems, and tattoos to create fantastical islands and generate an almost apocalyptical, artistic force. 09


洋流動姿態,作品「漂流的語言」寬度達 480 公分,運用漂流木仿製洋流,述 說在遙遠的南方有我們的家人與族人,因為大海而彼此相遇,互相分享海洋的 智慧,有共同的語言,曾經我們都在這一條海的高速公路上穿梭,運用海水的 溫度、仰看星辰、月亮和風向來判斷方向,共同的願望就是讓語言與故事流傳 下去;太魯閣族藝術家 Idas Losin (宜德思.盧信)「跳島創作計畫」系列, 踏查太平洋上的南島語族,原住民圖騰與身上的刺青連結,讓這些島嶼有如幻 島,產生天啟式的藝術力量,從探尋自我出發,原鄉文化、紀錄跳島風景、反 思當代生態環境與土地正義等,試著梳理自身生命脈絡的經緯。 藝術,成為南島語族藝術家們抒發情懷的媒介,透過重新轉化詮釋各種議 題,跨越了國家與及語言的藩籬,Nakaw 認為,「在跨越海洋遇見其他的南島 藝術時,常常會發現相同的語彙,在這個共通性中,可以創造很深的交流,談 論每件事的時候不再那麼孤獨,當作品可以被世界看見,更多的對話與認識也 同步發生,化解外界的誤解,這是我們這一代人發出自己聲音的方式。」 Nakwa 的策展之路,不單是為了族人,同時也是自己梳理認同和身份的一 條歸鄉之路,2018 年 Nakaw 接下以原住民為主體的「Pulima 藝術節」策展工作, 2020 年 12 月在疫情蔓延下策劃「Matateko 匯流國際論壇」。透過藝術節與論 壇的平台,匯聚國際各地的原民策展人及藝術家一同交流,以藝術串連傳統與 現代、臺灣與世界,朝著友善原住民的環境之路上乘風破浪。

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FOCUS 封面故事

PROFILE

那高.卜沌 Nakaw Putun 來自花蓮Makotaay 港口部落的阿美族。

For Austronesian artists, art has become the medium for expression. By reinterpreting various issues, they transcend national and linguistic barriers. Nakaw believes that, “when we cross oceans and witness other Austronesian art, we realize that we share the same vocabulary. This commonality generates deeper conversations and so we don’t feel as

現為原住民藝術平台

lonely when we’re talking about something. Dialogue and understanding is also generated

Wata創辦人、國家表演

when our works are seen by the outside world. It can eradicate misunderstanding and it is

藝術中心董事、石梯坪

our generation’s way of speaking up”.

823藝術村負責人。 Nakaw Putun, from the Amis Makota’ay,

Nakaw became a curator for her tribe but also to help her understand her own identity. In 2018, Nakaw was curating the Pulima Art Festival that spotlights indigenous peoples.

is the founder of the

In December 2020, as the pandemic continued to spread, Nakaw organized the Matateko

art platform, Wata, the

International Forum. With the art festival and forum, Nakaw hopes to convene indigenous

director of the National Performing Arts Center and Tribe 823 Art Village.

curators and artists around the world, to connect traditions with the contemporary and Taiwan with the world through art, and to create a friendlier world for indigenous people. 11


航海人的歸鄉是啟航 SETTING

SAIL

IS

A

SAILOR’S

RETURN

TEXT_JL PHOTO_姜洋、張也海•夏曼

來自蘭嶼的張也海.夏曼,從 2000 年開始拍

琉採訪時,他在海邊進行「跟海水說話」的儀式,

攝多部關於海洋與南島語族的紀錄片,2007 年時

引起當地搬運工的注意,這個向海洋介紹自己與前

更親自參與傳統航海探險,奠定了他以水為路,

來用意的儀式,連結起兩人對於彼此族群關聯性的

探詢南島語族和臺灣之間密不可分的故事。從小達

好奇,那位搬運工對他說:「我們是 Re Metaw(拼

悟族外公陪著他接觸與認識大海,看著一片無盡的

音),意思是我們是來自海洋的人,你跟我可能是

藍,想著總有一天要去航海,這種浪漫情懷是每個

一樣的。」而在達悟族族語中 Ataw 是海洋的意思,

蘭嶼的孩子都曾有過的想像。畢業後因為自身的潛

這個經驗讓他再也無法安於生態拍攝,轉而開始探

水攝影專業,讓他有機會長時間接觸海洋,然而真

索南太平洋小島之間的連結與故事。

正開啟他對南島語族的認識,則是在 1993 年到帛

12


FOCUS 封面故事

Chang Yeh Hai Syaman of Orchid Island started filming various documentaries about the ocean and Austronesian peoples in 2000. In 2007, Syaman personally participated in a traditional sea expedition which laid the foundation for his venture into the inextricable story between Austronesian peoples and Taiwan through the path of water. As a child, Syaman’s Tao grandfather had introduced him to the ocean. Syaman would gaze at the infinite blue ocean and dream of sailing, a dream that every child from Orchid Island shares. After graduating, his expertise in underwater photography offered him long exposures to the ocean but what really opened up his understanding to Austronesian people happened in 1993, during a visit to Palau. Syaman was by the ocean, holding a ceremony to “talk with the ocean”, when he piqued the interest of a local worker. Syaman’s ceremony to introduce himself and his intentions to the ocean connected their curiosity towards each other’s tribe. The local worker told Syaman that, “we are Re Metaw, people of the ocean. You and I could be the same.” His words struck Syaman because Ataw means ocean in Tao. Syaman was never able to find peace in merely capturing nature anymore and he began exploring the connection and stories between the islands of the South Pacific Ocean. 13


口傳歷史中,蘭嶼與巴丹島曾經是兩個親如兄 弟般的島嶼,傳說在某次的貿易衝突中,兩個島的 關係就此瓦解。每年的三到六月,黑潮從南方帶來 大量的回流魚群,蘭嶼的男人們划著大船喊:「北 上的飛魚,快回到你們熟悉的島嶼,我們依照與祢 (飛魚)的約定來到海上,呼喚祢,快來吧,快來 吧!」而同一時間,巴丹島的漁民也在南方進行著 相似的招鬼頭刀儀式,巴丹人追捕鬼頭刀、鬼頭刀 追捕飛魚,路徑與黑潮的方向一致,兩個由黑潮串 連血脈的島嶼,在百餘年後的今天,一個變成了臺 灣,另一個則變成了菲律賓。 以語言與儀式作為線索, 張也海在 2004 年的 太平洋藝術節中,見識到原來地球上有著如此龐大 的島嶼民族,分屬在這個語系之下,面對南島語族 與臺灣之間的無盡想像,他以小時候對海洋許下的 航海大願作為回應。2017 年他到雅浦島學習傳統 觀星航海的古老技術,打破長久以來對東西南北 的記憶慣性,望向星空重新定位自己在地球中的位 置。除了星象之外,海水的溫度、湧流、風的方向、 雨水落下的角度,全部都是大自然給予的線索,這

個讓西方航海家也驚嘆不已的傳統航行技藝,靠的 是人與大自然之間的共振,難以言說,只能親自體 驗,當時同行的波西尼亞領航員在船上說:「船只 是我的房間,這個天空才是我的天空,底下的海洋 是我與祖先真正連結的地方,只有在這個空間中, 我才真的知道我是誰。」傳統航海的經驗,徹底 重塑了張也海對自己的認知「我是來自海洋的民 族」,這也是大部分南島語族人民希望被認識的角 度,對張也海來說,共同造船、航行的過程,除了 創造他與其他南島民族夥伴之間生死與共的關係, 從這個島航行到下個島的過程中,他領悟到人的渺 小與生命是如何被宇宙中的各種力量所支持。 14


FOCUS 封面故事

In oral history, the Orchid Island and Batan Island were

through Kuroshio, has now become Taiwan and the

once brothers until relations between them deteriorated

Philippines respectively.

after a trade conflict. Each March and June, the Kuroshio

With language and rituals as his clue, Syaman began

brings in hordes of fish from the South. The men of

to realize at the 2004 Festival of Pacific Arts that there

Orchid Island rows their boat and roars, “Flying fish

was such a massive group of island people on this planet

traveling North, return quick to the island that you

that existed under the Austronesian languages. In the

know. We are at sea as we have promised and we call

face of the infinite imaginations between Austronesian

you forth. Come! Return!” During the same season,

peoples and Taiwan, Syaman responded with the sailing

the fishermen of Batan also performs the same ritual to

dream he had made to the ocean as a child. In 2017, he

call forth Arayos. The Batans follow the Arayos, while

traveled to Yap to learn the ancient science of navigating

the Arayos follow the flying fish on the Kuroshio path.

the oceans by star, forgetting all he had learned about

After a century, the two islands, once connected by blood

the four cardinal directions as he gazed into the night 15


透過紀錄片,張也海想將這樣的感動帶回自己的土地上。曾經有一個時代, 臺灣以海洋民族自居,以卓越的航海技術在太平洋上與其他的南島民族,互相

張也海.夏曼

交流、探索世界並且世代傳承這些來自大自然的訊號和語言。如今幾乎所有的

C h a n g Ye h - H a i S y a m a n

南島語族都面臨了殖民歷史造成的文化遺失,直到近年的復振潮流興起,人們

蘭嶼達悟族人,

開始重新正視原住民的傳統文化中,蘊含著多少如藝術般的生活哲理。張也海

影像創作以海洋議題

提到:「當年輕人回到部落,傳統的生活技能,捕魚、造船、祭儀,將是提醒

作為主要素材,作品每每 跨出陸地觀點思維,

他們自己是誰的關鍵線索。」近年他與一群對傳統航海有著相同熱情的夥伴,

以海洋民族的精神,

創立臺東縣傳統航海發展協會,從造船開始,將臺灣與南島語族緊密連結的海

追尋祖先的記憶。

洋文化,一點一滴的重現在臺灣的文化光譜中。

Chang Yeh-Hai Syaman

一個民族的自信與驕傲正是來自這些無法全球化的風土民情,全球都有南 島語族文化復興的活動發起,雖然記憶遙遠而模糊、雖然早已說著不同的語言,

is Tao from Orchid Island. His image works involve marine issues. The works

但所有人都記得「我們是來自海洋的人」,這一條回返海洋的路或許還很漫長,

utilized the marine spirit

但只要有人願意繼續探索,找回土地與大海的故事,隨著洋流律動,所有的波

to trace the memories of

濤洶湧、搖擺無垠,終究會回歸平靜,期待有一天,我們能在遼闊的藍色航道 上,重新看見屬於海洋民族的圖騰,再度自信而驕傲的揚帆。

16

PROFILE

ancestors.


FOCUS 封面故事

sky, looking for his place on Earth. But it was more than the stars. Nature gives clues in the ocean’s temperature and current, the wind’s direction, and the angle in which rain water drops. Traditional navigation wisdom had once amazed western navigators and it relies on a resonance between human and nature. The Polynesian navigator on the expedition shared that, “the boat is merely my room. The sky is my sky and the ocean beneath is my real connection with my ancestors. Only in this space do I know who I truly am”. Witnessing traditional navigation wisdom had also reshaped Syaman’s identity: “my people is of the ocean”, which is how most Austronesian people hope to be understood. For Syaman, the process of shipbuilding, navigation, and sailing had created a bond with other Austronesian people that could prevail in life and death. As they sailed from one island to another, revelations began to hit and he began to understand how the insignificant human life is being supported by the various forces of our universe. With the documentary, Syaman hopes to bring his revelations back to his land. “When our youth returns to their tribes, the traditional way of fishing, shipbuilding, and rituals will become critical clues to remind them of who they are”. In recent years, Syaman has founded the Taitung Traditional Sailing Association with equally passionate sailors. They begin from building their ships and gradually begin to replicate the inextricable link of marine culture between Taiwan and Austronesian peoples on Taiwan’s cultural spectrum. 17


血液裡的聲景記憶與文化傳承 T H E S O U N D S C A P E M E M O RY A N D C U LT U R A L H E R I T A G E R U N N I N G I N T H E B L O O D TEXT_JL PHOTO_姜洋、少多宜•篩代

「遙祭祖先,寄予風聲、森林流水聲、海浪 聲,陽光是祖靈的化身,青山是母親的面容、海

18

按圖索驥,將木柴、竹管等,重新拆解、鍛造,配 合耆老的口述歷史將古老樂音重現於世。

洋是族群的生命,他們在這裡守護著千萬年;我們

旮亙 (kakeng) 是阿美族語的竹鐘,由巨竹

要在這裡傳唱著千萬年。」2000 年少多宜.篩代

製作而成,是傳統婚禮女子招贅時報喜訊的樂器,

(Sawtoy Saytay)為臺東南島文化節所做的〈海洋

曾在日據時期因被禁止使用而失傳,是極具民族

之歌〉,述說了阿美族身為南島語族與大自然之間

代表性的傳統樂器。少多宜於 1999 年決心建立樂

密不可分的關係。少多宜年輕時曾報考公共電視原

團時便以此命名,使用竹鐘、口簧琴等竹製樂器演

住民新聞雜誌的記者培訓,做田野調查時意外發現

奏,跟世界分享阿美族傳統文化的喜悅與美善。從

中央研究院凌曼立教授在民國 50 年所撰寫的《臺

初創時期耆老歌謠團至青年打擊樂團,陪伴近百位

灣阿美族的樂器》論文,便對文中記錄過的傳統樂

部落年輕人,至今團員近五十餘人,身負重要的文

器著迷不已,由於有些樂器早已失傳,他只能自己

化認同、扎根與培訓使命。從 2004 年帛琉太平洋


FOCUS 封面故事

1

2

1&2. 旮亙樂團帶領不同族群的原住民青年前往紐西蘭的毛 利部落進行交流。

1&2. Kakeng led indigenous teenagers from different tribes to visit Maori tribes in New Zealand for cultural exchanges.

“To our ancestors…To the sound of wind…rivers

In his younger days, Sawtoy came across Professor

trickling through the forests…and sea waves…. The

Mary Ling’s paper Musical Instruments of the Ami

sunlight is the embodiment of the ancestors' spirits, the

Tribe, and has since been fascinated by the traditional

green hills are the face of the mother, the sea is the life

musical instruments recorded in the paper. Since some

of the community. They have guarded this place for

musical instruments have been lost in history for a long

tens of thousands of years; we will sing here for tens of

time, he could only use his own way to represent those

thousands of years.”

instruments. By deconstructing the wood and bamboo

This is from Sawtoy Saytay‘s Song of the Ocean ,

pipes, he recreated these instruments from history

written in 2000 for the Austronesian Cultural Festival.

according to the elders’ narration.

The song/poem illustrated the close connection between

Kakeng is the Amis word for bamboo bells made of giant

the Amis, as an Austronesian tribe, and Mother Nature.

bamboos, a traditional instrument used to announce good 19


藝術節、2005 年馬紹爾國慶交流、2006 年夏威夷

歌才有舞,而舞又呈現歌的意境,形成一種圓的無

交流、2008 年薩摩亞太平洋藝術節到 2016 關島太

調性、無度、無節、無限,豐年祭的舞蹈與歌謠就

平洋藝術節, 旮亙樂團至今已走訪世界五大洲,

是經典的呈現。 除此之外,傳統歌謠大多具有記

透過阿美族傳統樂舞讓「報喜」之音繚繞全球,也

錄當代生活樣貌的功能,收錄在 2012 年發行的專

向世界介紹南島語族分佈最北邊的國家──臺灣。

輯《ina 的童年》中的一曲〈走訪部落〉:「馬蘭

其中,參與馬紹爾國慶演出,是令少多宜印象特別

的醃肉上引來了好多的蒼蠅,部落的婦女們都到加

深刻的交流經驗:馬紹爾於二次世界大戰後歸屬美

路蘭洗頭,都蘭的路都是從砌石上走的,東河橋下

國,被統治時間長達五十餘年,目前的主要島嶼長

是長輩們撒網捕魚的地方。」歌與舞對南島語族而

島地區,傳統的原住民樂舞已完全失傳,看著旮亙

言,就是最重要的口傳歷史,「如果祖先懶惰唱

樂團由老到少的團員熟練演奏著傳統樂器,馬紹爾

歌,我們現在就沒有歌可以唱,等同於沒有歷史的

的貴賓在驚嘆中夾雜著一點失落的情緒,更讓他深

人。」少多宜解釋著歌舞對南島語族的重要性。在

感旮亙樂團肩負的責任如此重大。

大溪地原住民的口傳歷史中,就有母親(母系血

研究部落傳統音樂多年的少多宜說,南島語

緣)來自臺灣的記載。時常帶著青少年孩子出國交

族的音樂有一種共通性,整體概念是一個圓形,有

流的少多宜觀察到,孩子們在表演自己家鄉的歌謠

1

20


FOCUS 封面故事

2

3

1.阿美族民俗中心復刻傳統阿美族家屋。2.傳統家屋中的柱子,刻著關於家族的歷代事蹟。3.傳統家屋中用來燻乾與保存食物的 掛籃。4.阿美族民俗中心目前由旮亙樂團經營,每日於11:00、14:00定時展演。 1.Replication of a traditional Amis home in the Amis Folk Center. 2.Pillars in traditional homes with carvings of the family’s history. 3.Basket for smoking, drying, and preserving foods in traditional homes. 4.The Amis Folk Center is current operated by the Amis Kakeng Musical Group and holds performances daily at 11:00 and 14:00.

4

news of weddings. The unique ethnic instrument was banned and therefore lost during the Japanese rule. When Sawtoy established his band in 1999, he named it Kakeng, and used bamboo bells and reed instruments to share the joy and beauty of traditional Amis culture with the world. In the beginning, the band was a folk band, and now it is with a youth percussion ensemble. The group has accompanied nearly 100 indigenous youths and now has nearly 50 members, carrying out an important mission of cultural identity, deepening education, and training. In 2004, the group Kakeng began participating in The Festival of Pacific Arts and Culture and international exchanges, and has since visited five continents, bringing the sound of "good news" to the world through traditional Amis music and dance, and introducing the world to Taiwan, the northernmost country in the Austronesian family. As a researcher of traditional indigenous music with many years of experience, Sawtoy said that there is one thing in common for Austronesian music: the overall concept is a circle, and only when there is a song can there be a dance, and the dance presents the mood of the song, forming a kind of circle without tonality, without degree, without rhythm, and without limit, and the dance and song of the Harvest Festival is a classic 21


時,常常會流露出自信的神情,臺灣與其他南島語族群皆面臨著因強勢主流文

PROFILE

化的擴張遺失傳統部落文化的問題,但只要在唱歌或演奏部落的樂舞時,連結

少多宜.篩代

祖先的美妙樂音,在不同國家、不同部落之間,總能流動著類似的悸動,呼應

Sawtoy Saytay

耆老郭英男曾說過的:「我們民族的歷史是用吟唱代代傳下來的,在歌謠裡有

旮亙樂團團長,

我們族群的生命。」

以「敲打」來傳遞阿美族

除了阿美族部落的孩子外,旮亙樂團目前也有卑南族、排灣族與漢人的團

傳統樂舞,長年致力於 傳統樂器的開發與創新。

員,各種傳統樂器開發出來的聲音有別於西方樂理的整齊一致,所有的聲音都 來自生活與大自然,其實在阿美族語中並沒有「樂器」這個詞,舉凡趕鳥的工

head of Kakeng. He

具、蟲蛀的竹子被東北季風穿過的聲音等,就是旋律與音階的靈感來源,竹可

uses “beating” to

笛、木可擊、氣可曲,手做樂器加上自己的氣息,就可以創造出沒有對錯圭臬

convey traditional Amis

的生命旋律,在教學中讓孩子對自己的族群產生認同與自信。每一年由台北日

music and dance. He has been committed to

盛文教基金會支持的樂手們都會回到都歷,透過樂曲的交流,互相理解、尊重

the development and

與欣賞,重新提醒孩子們臺灣是一個多元文化並存並榮的國家,走過世界五大

innovation of traditional

洲的旮亙樂團,回到家鄉,唱自己的歌、編自己的曲,共同在這塊土地上創造 屬於當代的聲景歷史。 22

Sawtoy Saytay is the

musical instruments for many years.


FOCUS 封面故事

presentation. In addition, most of the traditional songs have the function of documenting life in today’s world, and songs and dances are the most important oral history for the Austronesians. Sawtoy explained the importance of song and dance to Austronesians,“if our ancestors were too lazy to sing, we would have no songs to sing, and no songs mean no history.” A mother (maternal lineage) from Taiwan is also recorded in the Tahitian indigenous oral history. Sawtoy has taken many teens and children abroad for cultural exchanges and found that a natural confidence flows out of the children when they perform songs of their homeland. Their ancestor’s beautiful music can always elicit the same emotional response in different countries and tribes. This echoes the words of an elder, Difang Duana, who once said, "The history of our people has been passed down from generation to generation through chanting, and in the songs is the life of our people.” In addition to children from the Amis tribe, Kakeng the musical group also includes members from the Puyuma, and Paiwan tribes, and Han people. Their sounds of various traditional musical instruments come from life and nature, such as the tools used to catch birds and the sound of insect-infested bamboo being passed by the northeast monsoon, which are sources of inspiration for melodies and scales. Through learning, the children are able to develop their own identity and confidence. Kakeng, after traveling to five continents, returns home to sing its own songs and compose its own music, knitting the contemporary soundscape history on this land.

23


味覺與嗅覺的南島感官印記 AUSTRONESIAN SENSORY OF TASTE AND SMELL TEXT_編輯團隊 PHOTO_溫秀琴、津和堂、CCC

1999 年臺東舉辦第一屆南島文化節,來自達 魯瑪克部落的溫秀琴是大會的接待志工,首次認識 既陌生又熟悉的南島語族。在這場文化盛會裡,雖 然彼此的外貌、語言有些微不同,她仍與來自帛 琉、斐濟、索羅門、薩摩亞等國的南島語族熱烈交 流、互動,及至活動結束,情誼仍持續不間斷。 2012 年溫秀琴欣然接受在南島文化節結識的 薩摩亞朋友邀約,與臺東代表團一起,遠渡重洋參 加由薩摩亞主辦的太平洋藝術節,在千里之外的土 地上,感受前所未有的熟悉和感動,這是從血液裡

24

湧出,彷彿回家般的感受。這種文化 DNA 的召喚

的地方,觸動了溫秀琴進一步思考關於臺灣和其他

推動溫秀琴投身南島語族文化傳承。有一次溫秀琴

南島語族關聯,這些散居世界的南島語族人,就像

在紐西蘭進行語言訪調,毛利手語老師得知她來自

遠方的兄弟姊妹,讓她知道,原來那些深深影響自

臺灣,便比出代表「臺灣」的手勢,左手掌心朝外

己的族群文化,同樣活在各地南島子孫的血液裡,

靠著下巴,右手掌張開上舉,拇指尖對著眉心,這

於是在溫秀琴心中,南島語族和自我身份的追回,

樣的手勢象徵臺灣的地理方位就是毛利人祖先來自

成為了生命的志業。


FOCUS 封面故事

In 1999, Taitung hosted the first Austronesian Cultural Festival, where Lily Wen from the Taromak tribe served as a reception volunteer, and for the first time met friends from different Austronesian language groups. At this cultural festival, she had built friendly connections with speakers from Palau, Fiji, Solomon, and Samoa. In 2012, Lily Wen accepted an invitation from a Samoan friend whom she met at the Austronesian Cultural Festival, and traveled across the oceans with the Taitung delegation to participate in the Festival of Pacific Arts hosted by Samoa. On a land which was thousands of miles away from Taiwan, Lily felt an unprecedented familiarity and was touched, with a feeling just like home. After the trip, Lily Wen devoted herself to the cultural heritage of the Austronesian language group. One time when she was conducting a language survey in New Zealand, a Maori sign language teacher showed a gesture representing “Taiwan”. Taiwan in Maori sign language is with the palm of the left hand leaning against the chin, and the right palm open and raised, with the tip of the thumb facing the part between the eyebrows. The center of the eyebrows symbolizes the geographical position of Taiwan and is where the Maori ancestors came from. The experience motivated Lily to think about the relationship between Taiwan and Austronesian groups, and inspired her to trace the origin of the Austronesian group and her own groups. 25


在每次與各國南島語族交流,溫秀琴認為其中最大的收穫就是找回自己的 文化認同,在共同的南島文化印記中確認自己。溫秀琴曾前往帛琉參與文化交 流活動,負責介紹臺灣原住民文化並展示傳統飲食,在人潮往來的攤位區,突 然有位當地人走向她,將手做的貝殼項鍊掛在溫秀琴的脖子上,告訴她:「You are my sister !(妳是我的姊妹!)」這句宣告與召喚,帶給溫秀琴巨大的震動, 「Sister 這個名稱,讓我很感動,我立志一定要讓南島民族的交流持續下去。」 為了讓自己成為最佳的解譯者,與各地南島語族更深入交流,溫秀琴不斷強化 自己的專業能力,陸續取得餐旅管理、應用外語學位,接著以南島文化為主題 完成碩士論文,並且投身各種國際交流互動,例如大溪地攝影師 Danee Hazama 來拍攝臺灣南島語族,溫秀琴協助一同踏查、翻譯,成為「跨越與連結—臺灣 與南島文化」國際攝影展的重要幕後推手。如今已有多次國際交流互動的經驗, 溫秀琴特別提到,作為國際交流中的詮釋者,具備流利的外語能力還不夠,成 功的溝通必須深入地了解彼此的文化,並讓對方在互動的細節中感受到被尊重, 這才是國際交流的真諦與初衷。

26


FOCUS 封面故事

Regaining her cultural identity is what Lily values the most. Every time she interacts with the Austronesian people, she finds herself again. Lily once went to Palau to participate in cultural exchange activities where she was responsible for introducing Taiwan’s indigenous cultures and food. A local went to her when she was at the cultural exchange booth and hung a hand-made shell necklace around her neck, saying “You are my sister!” Lily was so touched. In order to become the best interpreter for the Austronesian cultures, Lily had strengthened herself by obtaining degrees in hospitality management and applied foreign languages. She has completed her master's thesis in Austronesian culture and devoted herself to international exchange activities. She said that fluent foreign language skills are not enough, only when we have a deep understanding of each other and let each other feel respected can we have real communication. 27


對溫秀琴來說,文化共同感受的體驗使南島語族之間的串聯更為深刻,例 如有一年,身為毛利族的紐西蘭觀光局代表來臺參訪,品嘗達魯瑪克部落的燻 肉時,驚嘆道:「就是這個味道,我們南島民族,都存在這個味道。」幾年後, 溫秀琴參訪毛利部落,在當地部落聞到同樣熟悉的氣味,「那是一種再熟悉不 過的味道,以部落的胡桃心木、龍眼木等,慢火燻製而成的古老香氣,他們的 燻肉,就是這個味道。」 近來南島語族面對主流文化的壓境,面臨傳統文化流失的問題,夏威夷和 關島的朋友告訴溫秀琴,要抵抗美國主流文化已經不可能,能做的就是堅強自 己,把母文化重整在身上,從自己開始,向外擴散。受到各地南島語族朋友的 啟發,運用分享食物拉近人與人的關係,讓文化容易被親近,並且味覺是母文 化的最後一道防線,「當其他部分都被主流文化同化時,味覺是最後消失的, 是我所找到最不易被沖散的文化堡壘,一定要堅守住。」溫秀琴目前經營著「南 島咖啡部落廚房」與「達瓦娜家園」(Dawana,達魯瑪克語的工寮、休息地之 意),透過兩個據點推廣原住民飲食文化,將國際交流的經驗成為實踐的養分, 讓文化工作從自家開始。

28


FOCUS 封面故事

PROFILE

For Lily, the shared cultural experience has made the connection between the

溫秀琴

Austronesian groups more profound. For example, a representative of the New Zealand

Lily Wen

Tourism Bureau visited Taiwan and said that the taste of the bacon in Taromak was just

來自臺東達魯瑪克部落,

like that of they usually had in New Zealand. A few years later, Lily experienced the same

協助部落與南島語族系群

familiar bacon smell in a local Maori tribe she visited.

交流,是南島族群文化

The pressure of mainstream culture has caused the Austronesian language group to face

交流中重要的轉譯者 From the Taromak tribe, Lily Wen assists the tribe

the loss of its traditional culture. Friends from Hawaii and Guam told Lily Wen that resistance is no longer possible, so we have to strengthen ourselves to protect our cultures.

to communicate with the

“Taste in food is usually the last thing to disappear when a culture is vanishing, so we

Austronesian group.

must protect it.” Lily Wen currently operates the “Austronesia Cafe” and the “Dawana Home” (Dawana means a resting place in Darumak language) in Taiwan. Through these two businesses, she promotes indigenous food cultures and culture at home.

29


一幅畫 一個當代南島故事 EVERY PAINTING A MODERN AUSTRONESIAN STORY TEXT_葉貓貓 PHOTO_宜德思.盧信、蔡勝義

烏來山區的泰雅聚落,為南島語系分布的北 界,泰雅

太魯閣族藝術家宜德思.盧信就在這裡

即使宜德思知道南島語族的「出臺灣說」,卻是第

成長、生活與創作。油畫是她說故事的媒材,她擅

一次從其他族群口中聽見,「我很好奇,他所謂的

長將原住民族的圖騰和織紋轉化到畫布上,但不只

太平洋南島語族,我們的親戚或兄弟姊妹,又是怎

是重現符號造型,而是像古老的口述故事傳統般,

麼生活、講什麼樣的話?」

在既有的素材上,增添個人經驗、情思和風格,一 幅畫就是一個當代南島的故事。

30

「臺灣是太平洋南島語族的母島,來臺灣是回家。」

受到 George Nuku 的啟發,宜德思於隔年展開 「跳島計畫」,她以南島語族的分布作為線索,走

2012 年,宜德思在高雄市立美術館駐館創作

訪臺灣島、復活節島、夏威夷、關島、紐西蘭、大

時,看見紐西蘭毛利藝術家 George Nuku 從頭到腳

溪地、蘭嶼等地,將互為參照又各具光芒、如浩瀚

紋著毛利圖騰刺青,以身體踐履古老文化,讓同為

星空般的眾島群像,化為創作題材,以畫筆記下對

紋面民族的她印象深刻。George Nuku 更告訴她:

南島文化的觀察與思考。


FOCUS 封面故事

Idas Losin, an Atayal/ Taroko artist, grew up, lives, and creates in an Atayal Settlement in the mountains of Ulay, on the northern borders of Austronesian languages. Oil painting is her story-telling medium of choice and she is an expert in recreating indigenous totems and patterns on canvas. Her work transcends a mere replication of symbols and is more akin to the ancient traditions of oral histories as she adds a touch of personal experience, sentiment, and style onto existing materials. Each

the first time she heard it from someone of another tribe,

painting becomes a modern Austronesian story in itself.

“I was curious about the lives and languages of the

Idas Losin met George Nuku, a Māori artist from New

Pacific island Austronesians that he spoke of. They are

Zealand, in 2012 when she was an artist-in-residence at

our relatives, brothers and sisters.”

the Kaohsiung Museum of Fine Arts. Covered head-to-

Inspired by George Nuku, Idas Losin started her

toe in tā moko (traditional Māori tattoo), Nuku made an

“Island Hopping Project” the next year. Following the

impression on Idas Losin for dedicating his body to an

distribution of Austronesian languages, she visited

ancient culture as she was also from a tribe with facial

Taiwan, the Easter Island, Hawaii, Guam, New

tattoo traditions. George Nuku told her that, “Taiwan

Zealand, Tahiti, Orchid Islands, etc., transforming the

is the mother island for all Austronesians on Pacific

interconnected but independently radiant islands into her

islands. Coming to Taiwan is coming home.”Though

inspiration and recording her observations and thoughts

Idas Losin knew of the “Out of Taiwan” model, it was

on Austronesian cultures with her paintbrush.

左頁上:宜德思.盧信 《雲端上的Rongorongo》.

150x100x5 cm.油彩、畫 布.2019 Idas Losin. 150x100x5 cm. Oil Paint, canvas. 2019 右頁下:宜德思.盧信 《Ahu Mata OteVaikava》.

50x40x5 cm.油彩、畫 布.2014 Idas Losin "Ahu Mata OteVaikava". 50x40x5 cm. Oil paint, canvas. 2014 31


神祕符號 RongoRongo

物館,將木板上的 RongoRongo 謄寫手繪下來,並

宜德思的作品《復活節島- RongoRongo》,

在探索的過程發現,表示「神」的符號與排灣族木

為 跳 島 計 畫 中 具 代 表 性 的 作 品, 探 索 復 活 節 島

刻中常見的人像圖騰極為相似,兩地航程遙遠、語

(Easter Island)的語言文化。復活節島由 18 世紀

言隔閡,卻在一個古老符號裡找到親切的回應。

西方探險家發現命名,當地原住民則以母語稱作 「拉帕努伊」(Rapa Nui)。

從種植開始 把文化活回來

拉 帕 努 伊 島 最 為 人 知 的, 便 是 高 矗 的 摩 艾

跳島計畫過程中,宜德思也看見南島語族共

(Moai)石像,除此之外,摩艾巨像附近還出現

有的泛神信仰,原住民族相信山、海、土地和植物

一套特殊的符號系統「RongoRongo」,刻於各式

之中皆有神靈,因此尊敬自然,並反映在生活方式

各樣的木板上。宜德思拜訪拉帕努伊島上的博物館

上,例如:夏威夷信仰中就有名為「LONO」的農

時,便被館藏的 RongoRongo 木板吸引,每個圖案

事之神,掌管種植、收穫與和平。如今夏威夷群島

如象形文字,用來表達人物、動植物等,例如海鳥

成了觀光勝地,面臨傳統文化流失的難題,當人們

和甘藷的圖形,也有描繪「鳥人」的神祕圖案。然

想起夏威夷時,可能會聯想到草裙舞、度假天堂和

而每個符號的真正涵義、排列成行又該如何解讀文

美國文化,而非島上傳統農食芋頭的滋味。

意,至今仍有許多未解之謎。

駐留夏威夷期間,宜德思認識了夏威夷大學西

就目前所知,臺灣原住民族的歷史文化以口說

歐胡分校(University of Hawaii–West Oahu)的教

方式傳承,或透過藝術表現與物質形式來傳播,並

授 Manulani Meyer,並得知當地為了復振文化,在

無文字傳統,至 17 世紀荷蘭統治時期,才開始出

該所大學校區裡規劃一塊土地,用來栽種傳統農作

現以羅馬字書寫族語的紀錄,而 RongoRongo 可能

物及原生種植物,試圖重建人與土地的關係。當地

是拉帕努伊人的古文字,因此在南島語族中顯得獨

族人更告訴她:「我們不再農耕漁獵,我們的食物

特且充滿神祕色彩。

都在美國運來的貨櫃裡,我們的生活方式和母語都

深受吸引的宜德思,多次前往拉帕努伊島的博

流失了,所以我們要開始種植,從種植開始把我們

宜德思在 Rapa Nui 博物館發現刻有RongoRongo的木板。 Idas discovered the RongoRongo boards in Rapa Nui Museum. 32


FOCUS 封面故事

“Easter Island – RongoRongo” is the most iconic artwork

Hawaii–West Oahu and learned of the University’s

in her “Island Hopping Project”. With the painting, Idas

cultural revitalization plan: the University has designated

Losin explores the linguistic culture of Easter Island

a plot of land to cultivate traditional crops and native

which was discovered and named as so by western

species as a way to rebuild the relationship between

explorers in the 18th century. Indigenous people of the

human and land. Local indigenous peoples told Idas

island refer to their home as Rapa Nui in their native

Losin that, “We no longer farm, fish or hunt. All of our

tongue. Rapa Nui is perhaps most famous for its massive Moai statues. But nearby, RongoRongo, a unique system of glyphs, was also discovered inscribed in wooden tablets. Idas Losin was captivated by the RongoRongo tablets when she visited the museum on Rapa Nui. It was like hieroglyphics, each symbol was used to represent people, flora, fauna, etc. There were images of seabird and potato but also mysterious symbols of a “birdman”. Many mysteries remain unsolved as humans have yet to uncover the real meanings behind each symbol and how it should be interpreted contextually. Deeply captivated, Idas Losin visited the museum several times and transcribed the RongoRongo scripts by hand. During this process, Idas Losin realized that the symbol of “God” was incredibly similar to human totems in Payuan wood sculptures. Though the two lands existed an ocean away and were separated by language, they found a similar call to each other within these ancient glyphs. During the “Island Hopping Project”, Idas Losin also witnessed a shared pantheism belief across Austronesian peoples. Indigenous peoples believe that deities exist

上:宜德思手繪復活節島的類文字符號「RongoRongo」。 Hand-painted RongoRongo glyphs of the Easter Island by Idas Losin.

within lands, oceans, soil, and plants. There is, therefore, an inherent respect for nature reflected within their way of life. In Hawaii, they worship Lono, a god associated

中:宜德思.盧信《Lono》.100x100x 5 cm.油彩、畫 布.2017 Idas Losin "Lono". 100x100x 5 cm. Oil paint, canvas. 2017

with agriculture, harvest, and peace. During her stay in Hawaii, Idas Losin acquainted herself with Professor Manulani Meyer of the University of

下:宜德思.盧信《 Ku 》. 100x100x 5 cm .油彩、畫 布.2017 Idas Losin "Ku". 100x100x 5 cm. Oil paint, canvas. 2017 33


的文化活回來。」 除此之外,西歐胡校區特別興建一座夏威夷傳統房屋,宜德思也受邀參與

PROFILE

宜德思.盧信

入屋儀式,人們進入房屋之前,須先以夏威夷族語進行吟唱,雙方一來一往唱

Idas Losin

和,過程謙卑問候、以禮相迎,並且謳歌土地與房子,「他們用母語吟唱的方

泰雅族

式去溝通,是一件很美的事。」在優美和暢的答吟之間,同樣展現了人對自然

從2013年開始,宜德思

的敬意。

太魯閣藝術家,

陸續展開在南島語族群島 創作、學習文化的跳島 創作計畫,從臺灣島

臺灣島 出發與歸來 因疫情緣故,航程暫時靜止,但跳島計畫仍持續進行,宜德思工作室裡的 三幅油畫新作,分別取材自阿美族的女人島傳說、達悟族的拼板舟及小蘭嶼的 海上側影,皆是以臺灣島為主題的作品。 其中《女人島》如跳島航線上虛構出的魔幻之島,這是去年她接受好友、 也是獨立創作歌手以莉.高露邀請所作。以莉.高露寄給她一首新曲,並告訴 她阿美族的女人島傳說,故事流傳版本眾多,大致描述一座只有女人的島嶼,

復活節島、夏威夷、 關島、紐西蘭、大溪地、 蘭嶼等地區。 Idas Losin is an Atayal/ Taroko artist. Starting in 2013, Idas Losin has launched her “Island Hopping Project” in the

島上女子只需將陰部面向南方就能受孕。這則口傳故事,便從歌手的吟唱傳到

Austronesian Islands.

了宜德思的畫布上,兩個比例放大、互相依偎的半裸女子就是島嶼本身,也像

Starting from Taiwan, she

是南島語族常說的 Mother Earth、母語、母島本身。

Island, Hawaii, Guam,

採訪過程,宜德思拉起袖子,露出手腕肌膚上一排刺青圖騰,包括夏威夷 群島上空翱翔的海鳥、拉帕努伊人的神的符號等,都是每次跳島歸來的紀念, 也是身體、土地、海洋和群島的連結,而符號與符號並列,此刻看來,也像是 一行帶著神祕意涵的詩。 34

出發,至今走訪

has visited the Easter New Zealand, Tahiti, Orchid Islands, etc.


FOCUS 封面故事

foods are shipped in from the U.S. in containers. We’ve lost our way of life and native languages and so we plant to recover our culture.” The pandemic forced Idas Losin to pause her journey but the “Island Hopping Project” is still alive and strong. In her studio, Idas Losin has created three new oil paintings inspired by the Amis legend of an island of women, Tao’s tatala (traditional canoe), and an ocean profile of Jimagaod, respectively. All three were inspired by Taiwan. The “Island of Women” is a fabricated fantasy island along her island-hopping route and was created because of a request from Ilid Kaolo, a close friend of Idas Losin and an indie singer/songwriter. Ilid Kaolo had sent Idas Losin a new song and told the painter about the Amis legend of an island of women. There are many variations of the story, but they all speak of an island with women only. The women could impregnate themselves simply by facing their vaginas to the south. This piece of oral literature traveled from a singer’s lyrics onto Idas Losin’s canvas. The two half-naked women with exaggerated features leaning against each other is the island itself and akin to the Mother Earth, mother tongue, and mother island that Austronesians oft speak of.

宜 德 思 . 盧 信 《 Ta t a r a 》 . 180x135x5 cm.油彩、畫布. 2018 Idas Losin "Tatara". 180x135x5 cm. Oil paint, canvas. 2018

宜德思.盧信《女人島》.180x130x5 cm.油彩、畫布.2020 Idas Losin. 180x130x5 cm. Oil paint, canvas. 2020 35


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主展覽室 印象西班牙朝聖之路—— 臺東縣書畫教育學會會員聯展

林坤茂油畫個展

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心力作。

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運用畫面營造出詩意盎然的意象,抽象畫面 的線條之間有許多忽隱忽現金色的點,就如同在 各處藏金的表現,介於虛與實之間的朦朧感,也 是一種低調與隱藏富有的表徵。

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藝術家朱國富從臺北到臺東展開第二次人 生,每張臺東風景的創作感受都不盡相同,也 是展者的心路歷程。

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展者孫傳莉從都市叢林移居大自然裡,被滿 溢的天然色彩包覆著,目不暇給、飢渴地吸收品 味千變萬化的物色,嘗試透過顏料,揣摩造物者 的神作……

等待靈魂——李宏彬師生聯展 展出日期: 8 月 7 日至 9 月 6 日

李宏彬老師與學生的快樂畫畫之路,學習者 以專注的態度不斷學習美的事物,匯集藝術能量 流成生命泉源。 36


WHAT'S ON 展覽與活動

WH AT ' S O N

實驗藝廊

《療遇•療癒》 呂宗烟X許佩樺共同創作展 展出日期: 7 月 10 日至 8 月 2 日

遭遇的各種情境與其相應的 身心狀態,給予全人角度的中醫療 癒,畫面藉由超現實與蒙太奇的創 作方式呈現醫案中的細節,亦是創 作者自身回望反顧的自癒實驗,並 期望給予觀者從身心感到桎梏或低 谷情境中看見超脫契機的療癒。

陳修元師生攝影展 展出日期: 6 月 5 日至 7 月 5 日

攝影老師陳修元在新竹關西國小及臺東海端國小所指導學生攝影作品,透過學童視野觀看世界。

生活工坊

色.形.線多彩之美——傅菊珠創作展 展出日期: 7 月 8 日至 10 月 4 日

展者 107 年參加上海第十屆亞洲拼布及 編織節展覽,106-107 年受聘中國北京布流 行手工學院手工渲染簽約講師。利用有機布 料與環保型的染色工藝技法,結合拼布壓線 的自由手推線條,作品色彩多層次。

˙ 因新冠病毒疫情尚未趨緩,目前展覽訊息僅供參酌,實際展出請以本館官網展覽資訊為主 37