Taiwan Panorama 2020 May

全球．在地．人文
台灣光華雜誌
中華民國109年5月第45卷第5期
中英文北美版
Vol. 45 No. 5 May 2020
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
5
Taiwan Panorama
從土地長出音符
中華民國一〇九年五月
在家鄉的土地上搖滾
北投Ｘ鳳甲美術館
阿爆遊走的雙軌人生
我是兒童，我有權利特展
第四五卷第五期
建議售價
NT$150
US$5
HK$40
¥600
南雅奇岩
The Wondrous Rocks of Nanya

圖／文•林旻萱　版面設計•王敬勛
北市瑞芳區的南雅海岸，
新有著奇岩嶙峋的景致，岸 T he rugged coastline at Nanya in New Taipei
City’s Ruifang District is studded with won-
drously shaped sandstone pillars that have been
邊砂岩中的節理在強風長期刻蝕
下，雕琢出各種凹凸不平、深淺 sculpted by the wind into myriad unique forms,
不一的獨特風貌，形成岩峰上優 decorated with beautiful banded patterns. These
美細緻的帶狀花紋，猶如藝術品 rocks stand like works of art, and one cannot help but
般高聳直立，令人不禁讚嘆大自 sing the praises of nature’s superlative craftsmanship.
然的鬼斧神工。 (photo and text by Lin Min-hsuan/tr. by Phil Newell)
編人的
編者絮話語
自由人權之島
文．陳亮君
中華民國109年5月1日出版（月刊）／
中華民國65年1月1日創刊
西方哲人亞里斯多德曾為「正義」下了一在這自由民主的土地上，也孕育出如台青
出版者光華畫報雜誌社
發行人／吳釗燮
個定義：「每個人得到其應得的部分。」相蕉樂團、生祥樂隊等為在地發聲的樂團，
Publisher: Jaushieh Joseph WU
社長／陳銘政信對「正義」的追求，是大多數人所嚮往的以及造就出如桑布伊、阿爆等將原住民歌
Director: Henry M.J. CHEN
總編輯／陳亮君
Editor-in-Chief: Ivan CHEN 目標，但何謂正義，以及是「誰」的正義，曲發揚光大的歌手；而位於北投的鳳甲美術
文稿主編／曾蘭淑
Editor: Esther TSENG
文稿副主編／郭玉平則是經歷了漫長的辯論、發展與演變。17 館，則藉由文獻史料、田野踏查及遊戲體驗
Deputy Editor: Camille KUO
文字編輯／鄧慧純陳群芳蘇俐穎謝宜婷
Writers: Cathy TENG, CHEN Chun-fang,
世紀以降，洛克的天賦人權思想，奠定了近等不同方法，喚起大眾對於地方的關切；此
Lynn SU, Tina XIE
版面主編／胡如瑜代民主政治的基礎，「自由人權」的理念亦外，台灣還組成醫衛國家隊前進東南亞，
Director of Layout: HU Ju-yu
美術編輯／蕭郢岑王敬勛
Art Editors: HSIAO Ying-tsen, Henry WANG 是各時期人們前仆後繼、努力不懈的核心精向友邦展現精湛的醫術與醫療實力。
攝影組召集人／莊坤儒
Photographic Coordinator: Kent CHUANG
攝影組長／林格立神，而台灣得之不易的民主果實，除了呼應在現今大量的網路資訊中，或許縮小了
Photographic Director: Jimmy LIN
攝影編輯／林旻萱
Photojournalist: LIN Min-hsuan
世界的民主化潮流，也是在地人們追求「正世界上人與人之間溝通的距離，但在沒有
英文編輯／陳瑩潔唐樂榕倪凱駿費儒伯
English Editors: Audrey CHEN, Robert TAYLOR, 義」、「人權」與「自由」的具體化呈現。親自到訪之前，所有的異地文化，都還只
Phil NEWELL, Robert FOX
日文編輯／山口雪菜施家騏
Japanese Editors: Yukina YAMAGUCHI, 在台灣的各個角落，人們對於「正義」、是存在於圖片、影片、文字及自己的想像
Shila SHIH
印尼文編輯／陳德銘
Indonesian Editor: Temmy WIRYAWAN 「人權」的追求不曾停歇，如國家人權博物當中，也唯有親身經歷的真實觸感，才能
越南文編輯／武秋香
Vietnamese Editor: VU Thu Huong
泰文編輯／王玉雯
館在景美園區所舉辦的「我是兒童，我有紮紮實實的交織成我們自己獨一無二的經
Thai Editor: WANG Yu-wen
資深行政編輯／段蜀華權利」特展，透過放映會、工作坊與集章驗與回憶。
Senior Administrative Editor: DUAN Shu-hwa
總監／鍾宜蓉活動等方式，讓台灣的「人權教育」向下「這是我與台灣的緣份。」屏科大教

Marketing Director: Carianne CHUNG
業務協理／陳俊偉
Deputy Manager: CHEN Jyun-wei 扎根；來自南台灣的龐克樂團「滅火器 Fire 授、多米尼克籍的邱亞伯說道，本期《光
綜合服務組長／陳淑英
Chief of General Affairs: CHEN Shu-ing
綜合服務組／李淑慧
E X.」，在社運期間，透過生動的詞曲創華》有來自多米尼克及印度籍人士的專
General Affairs: S.H. LEE
作，表達對群眾運動訴求的支持；位於台北訪，由他們的口中來述說當初來台的種種
民生社區的「食憶大齡食堂」，則讓退休長緣由，以及在此所結下的深厚情誼，也歡
者走到料理台前，展現好手藝，重拾人生價迎來自世界各地的朋友，來一趟台灣，感
值，打破高齡者重新參與職場的刻板限制。受一下這裡的美好與熱情。 l
Taiwan: A Land of Freedom EDITOR’S NOTE
and Human Rights
T he philosopher Aristotle defined “jus- Sheng-xiang & Band, who speak out for local GPN: 2008000038 ISSN1991-525X
原刊名光華 Sinorama Magazine
tice” as each person getting what they communities, as well as singers like Sangpuy 中華民國95年1月改為台灣光華雜誌
Taiwan Panorama
deserve. Surely justice is something to which and Abao, who are taking Aboriginal music
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Have Rights!” at the National Human Rights them part of our unique experiences and
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helping to promote human rights education. “This is my karmic connection with Tai-
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If you wish to reprint any of our articles or
The Kaohsiung- based punk band Fire EX. wan,” says Professor Albert Litton Charles of
photographs, please contact our senior
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expresses support for social justice through

Damaged or misbound copies returned to us will
National Pingtung University of Science and be gladly replaced.
powerful lyrics and music. And the Shi Yi Technology, who comes from Dominica. In
Restaurant, located in Taipei’s Minsheng this month’s issue, Prof. Charles and Manoj
Community, enables elderly retirees to put Kriplani of India tell us in their own words
their culinary skills to use and so to reas- their reasons for coming to Taiwan and the
sert the value of their lives and break down deep feelings they have developed for this
prejudices against old people reentering the place. We welcome friends from all over
workforce. the world to visit Taiwan and experience its
This land of freedom and democracy has beauty and warmth for themselves. l 本刊物印刷油墨使用環保認證大豆油墨
also nurtured bands like Youth Banana and (Ivan Chen/tr. by Phil Newell)
目次
CONTENTS 中華民國109年5月第45卷第5期 Vol. 45 No. 5 May 2020
8 封面故事 Cover Story
6 從土地長出音符
Music from Our Native Soil
8 用音樂的節拍唱和
土地的心跳
生祥樂隊
In Rhythm with the Land:
Sheng-xiang & Band
文•鄧慧純　圖•莊坤儒
20 20 在家鄉的土地上搖滾
台青蕉樂團
Youth Banana:
Rocking Their Hometown
文•鄧慧純　圖•莊坤儒
30 超越語言的靈魂撼動
桑布伊
Sangpuy:
Moving Music that Transcends Language
文•謝宜婷　圖•風潮音樂提供
40
40 點燃台灣的搖滾之火
滅火器樂團
Igniting Taiwanese Rock Music:
Fire EX.
文•郭玉平　圖•火氣音樂提供
編者的話來自地方的明信片
Editor’s Note Postcards from Home
2 自由人權之島 1 南雅奇岩 52 月月好讀

Taiwan: A Land of Freedom and The Wondrous Rocks of Nanya Variety Pages
Human Rights 圖／文•林旻萱陳家毅
文•陳亮君
影像對話 Photo Essay
56 外在文明與內在心境之間：
鍾順龍《路過》
Between Landscape and Mindscape:
封面說明： Chung Soon-long’s Transition
土地是創作的養分，音樂人用音符書寫社會、圖•鍾順龍　文•沈柏逸
反省生活。（莊坤儒攝）
Cover: The land is a source of creative inspiration;
全球視野 Global Outlook
musicians use notes to write about society and express
their reflections on life. (photo by Kent Chuang)
66 打造台灣醫療品牌
醫衛國家隊前進新南向
Creating Taiwan’s Medical Brand
—Taiwan Hospitals Support Partner
Countries’ Healthcare
文•曾蘭淑　圖•彰化基督教醫院提供
76 來自台灣獎學金的祝福
與台灣的緣份：邱亞伯&馬諾基
Scholarships Build Lifelong Bonds
86
—Albert Linton Charles and
Manoj Kriplani
文•曾蘭淑　圖•林格立
藝文脈絡 Cultural Trends
86 為地方策展
北投×鳳甲美術館
Expos for Locals:
Beitou’s Hong-Gah Museum
文•蘇俐穎　圖•林旻萱
多元族群 Communities
96 銀髮大廚上菜
96
私廚「食憶」傳承家滋味
Silver-Haired Chefs Serve Up Family Fare:
Taipei’s Shi Yi Restaurant
文•蘇俐穎　圖•林格立
106 許孩子更寬闊的未來
「我是兒童，我有權利」特展
“I’m a Child! I Have Rights!”
Exhibit Highlights Human Rights of the
Young
文•陳群芳　圖•林格立
島嶼行旅 Around Taiwan
106
114 電音尬古謠
阿爆遊走的雙軌人生
Electronic Pop and Paiwan Melodies:
The Two-Track Life of Singer Abao
文•蘇晨瑜　圖•那屋瓦文化有限公司提供
封面故事 COV E R S TO RY
從土地長出音符
Music from
Our Native Soil
圖•莊坤儒　版面設計•蕭郢岑
2 台灣光華 Taiwan Panorama

3
封面故事 COVER S TO RY
用音樂的節拍唱和
土地的心跳
生祥樂隊

In Rhythm with the Land:
Sheng-xiang & Band
文•鄧慧純　圖•莊坤儒　版面設計•蕭郢岑
林生祥是台灣樂壇特出的一道聲
線，總是一身輕便，背著月琴，吟唱
L in Sheng-xiang is a unique voice in
Taiwan’s m usic com m u nit y. He
has long been focused on issues related
土地的歌。長期關注農工、環境議
to farming, labor and the environment,
題，音樂以台灣傳統樂音為基底，融 and he has a particular style that has
合西方搖滾，消化傳統與現代，成一 absorbed the traditional and the mod-
家之音。 ern in a blend of traditional Taiwanese
除了是金曲獎、金音獎的得獎專 music with Western rock and roll.
門戶，林生祥從 2001 年走向國際， B e s i d e s w i n n i n g G ol d e n M el od y
Awards and Golden Indie Music Awards,
巡迴歐、亞、美洲等十幾個國家，
Lin Sheng-xiang has since 2001 gone
2005年，他獨樹一格的台灣農村搖滾
on tour in ove r te n count r ies in Eu-
震撼德國最大的民謠音樂節（T F F- rope, Asia, and the Americas. In 2005,
Rudolstadt）群眾的耳膜，廣播人馬世 his unique st yle of Taiwanese r ural
芳稱：「林生祥是我心目中，當代台 rock blew away the audience at TFF-
灣最重要的創作歌手。」 Rudolstadt , Ge r many’s largest folk
music festival (now renamed the Rudol-
2014年《我等就來唱山歌》專輯舉 stadt Festival). Broadcaster Ma Shih-
fang declares: “Lin Sheng-xiang is, to my
辦發行15週年紀念演唱會；接續2017
mind, the most important contemporary
年迎來《菊花夜行軍》15周年紀念音
singer-songwriter in Taiwan.”
樂會，2018年「林生祥出道二十年唱
南方演唱會」邀集多位好友同台尬音 In 2014 a 15th anniversary concert was
樂，更見破天荒的陣容；2020年《臨 held for Lin Sheng-xiang’s album Let Us
暗》專輯15周年音樂會正籌備中，加 Sing Mountain Songs. Next, in 2017, came
上即將發行的新專輯《野蓮出庄》， the 15th anniversary concert for the album
The Night March of the Chrysanthemums. For
更讓人引頸翹望。
the 2018 Lin Sheng-xiang 20th Anniversary
台灣很少有歌手能寫下林生祥的紀
Concert, marking 20 years in the business
錄，發行的專輯張張不凡，每首曲子
for Lin, several good friends joined him
都「玩」得盡興，遠遠拋下同世代的 onstage in an unprecedented gathering
創作者。但這些紀錄再怎麼言說，都 of talent. Now, in 2020, preparations are
9
抵不上您親耳聽到他創作的音樂，淪陷在他溫暖
又淳厚的音符中。
客庄的孩子，唱自己的歌
沒當過一天上班族的林生祥，始終確定自己要
走一條不同的音樂路。
出生於高雄美濃，林生祥是典型的農家子
弟；高中學吉他，大學開始組團。畢業後他曾
經落腳在淡水瓦窯坑創作音樂，1998年底，
林生祥回到故鄉美濃，參與美濃反水庫運動，
他與交工樂隊的成員在傳統菸樓中克難地錄製
《我等就來唱山歌》、《菊花夜行軍》專輯，
被稱是「手工業」錄音，亦是台灣社會運動、
音樂史上的經典作品。
林生祥的合作搭檔幾經變動，從「觀子音樂
坑」到「交工樂隊」再到「瓦窯坑３」，「生祥
樂隊」目前為七人編制，林生祥是主唱兼月琴
手，產出無數動人文字的是他的老搭檔鍾永豐，
與他長期合作的大竹研是吉他手，擁有深厚爵
士樂底子的早川徹掌電貝斯；負責打擊樂器的吳
政軍在2013年《我庄》專輯入團；2016年概念雙
專輯《圍庄》，福島紀明的鼓和黃博裕的嗩吶加
入，完備林生祥對音樂的想像。
林生祥的媽媽是他音樂路上的重要支持者。
1993年，林生祥受到陳明章等新台語歌的影 Lin Sheng-xiang’s mother has been an important
supporter of his musical career.
響，開始用客語創作，一路上，用自己的母語談
論周遭的大事，唱自己的歌，林生祥堅持實踐
著。〈一久〉是他創作的第一首客語歌曲，僅花
短短的時間就完成，「最重要的還是在藝術上的
追求，我明顯知道我唱母語歌的藝術價值一定是官，對著一排排列隊的菊花點名，這首歌在任
比國語歌要高，創作就是要拿最好的東西，哪有何L I V E現場，只要前奏一下，台下的聽眾就
人拿第二好的東西，因此，無庸置疑就是客語這樂得當「菊花」，立正站好等著喊「有！」報
條路了。」林生祥說。數「1234」，接受林生祥的晚點名。台上台下
《我等就來唱山歌》是記錄美濃反水庫運動的合為一體，成了表演的一部分，這是人民的聲
專輯，也許是社運音樂需要與民眾互動連結，音，唱著自己的歌。
同民眾合唱、應和至為重要，如〈我等就來唱
既熟悉又新鮮的家鄉音
山歌〉，鼓舞離鄉上立法院抗議的鄉親們，不
要懼怕，林生祥在台上唱著「來！捱等就來唱交工樂隊時期，林生祥就把嗩吶、月琴、鑼
山歌（好！我們就來唱山歌）」，台下群眾跟鼓等傳統樂器的音色融入他的創作中，交織成
著唱和，一呼百應地唱得讓人勇氣百倍；或是讓人記憶的聲線。「在交工時代我覺得我的音
〈菊花夜行軍〉寫農村青年阿成在城市打拼不樂必須要跟傳統的聲音連結在一起，包括我自
成，返鄉栽種菊花，恍惚間他把自己當作指揮己的客家山歌、八音，希望鄉親聽我的歌時，

underway for the 15th anniversary concert for his al- xiang & Band. Lin is the lead singer and plays the
bum Getting Dark, and there is great anticipation for the yueqin or “moon lute” (a four-stringed guitar-like in-
forthcoming new album Water Snowflake Goes to Market. strument with a round sound box), and the band also
Few singers in Taiwan can match Lin Sheng-xiang’s includes Chung Yung-feng, who has produced count-
career. Each and every album he has released has been less moving lyrics over the years; guitarist Ken Ohtake,
extraordinary, with each song played with deep emo- a longtime collaborator of Lin’s; and bass player Toru
tion, leaving other artists of his generation far behind. Hayakawa, who has a deep foundation in jazz. Alex
Child of a Hakka village Wu, who handles percussion, joined the band for the
Born in Kaohsiung’s Meinong District in 1971, Lin 2013 album IVillage, and in 2016 they added the drums
Sheng-xiang was a typical child of a farming family. of Noriaki Fukushima and the suona (a traditional Chi-
At the end of 1998, he returned to Meinong to join nese woodwind instrument) of Huang Po-yu for the
in the campaign against the construction of a reser- concept double-album Village Besieged, thereby com-
voir. He and members of the Labor Exchange Band pleting the group that brings Lin Sheng-xiang’s musical
set up a rudiment ary studio in a traditional tobacco imagination to life.
curing barn, where they recorded two albums, Let Us Lin, influenced by new Taiwanese-language sing-
Sing Mountain Songs and The Night March of the Chrys ers like Chen Ming-chang, began to write songs in his
anthemums, which are considered classic works in the
history of social movements and music in Taiwan.
Lin has worked with several different groups of
musi cians over his career, from Kuan-tsu Music Pit
(aka Guanzi Music Pit) and the Labor Exchange Band 林生祥的音樂以台灣傳統樂音為基底，融合西方搖
滾，成一家之音。
to Water3 and the current seven-man lineup of Sheng- Lin Sheng-xiang’s music adds Western rock onto a
foundation of traditional Taiwanese music, creating a
unique sound.
11
不只是音樂，生祥樂隊的專輯裝幀設
計亦別出心裁，圖為《我庄》專輯
內頁。
Sheng-xiang & Band are unconventional
not only in their music, but in the
packaging of their albums as well.
Shown here are foldouts from the albums
I-Village and Village Besieged.
即便是很現代的創作，都能夠感受到跟他的生整首歌用聲音劇場的方式執行，從電吉他彈起那
命有連結。」輕快又帶點草根的主旋律，鞭炮聲啪啪啪地作
林生祥熟悉吉他，就想學有琴格的樂器，當響，加入林生祥和鍾永豐的敘事口白，悲情與激
時剛好遇到陳達的音樂，於是從月琴入手，聽著情的keyboard音階漸進漸出交錯，這是台灣人一
陳達的錄音，土法煉鋼地把一個一個音抓出來。聽就能識別的選舉音樂，世界罕有。遇到現場表
「嗩吶的聲音對許多人是一種召喚，」那高亢拔演的時候，林生祥還會鼓動大家，和著節拍一起
尖的音色出現在客庄生活的婚喪喜慶中，連結生喊「當選！當選！」氣氛超嗨。在某次講座分享
命記憶裡的重要場景。中，林生祥聊到，當初他只給大竹研、早川徹一
在歌曲中，林生祥巧妙地擷取融入客家山歌的段主旋律，他們兩人摸不著頭緒，根本不曉得林
旋律，或改編自客家八音、北管的曲牌，如〈大要幹嘛，等到整首歌錄製完成後才了解，原來台
團圓〉、〈風入松〉等。許多歌不是刻意的唱，灣的選舉聲音要做成這樣子。
像在吟詠，自由的拍子、即興的發揮，似客家山
記錄生活細小事
歌的自在，都可在林生祥的創作中找到影子。
還有一首會讓台灣人聽到只能擺手、傻笑、猛從交工樂隊時期開始，鍾永豐作詞，林生祥
搖頭的，是《我庄》專輯中的〈阿欽選鄉長〉。寫曲，這對黃金組合搭檔合作完成許多讓人

native Hakka language back in 1993. “I clearly under- act as the chrysanthemums, standing to attention ready
stood that the artistic value of the songs I wrote in my to call out “Present!” in response to Lin Sheng-xiang’s
mother tongue was higher than that of the songs I wrote calling of the roll. Those on stage and off join together
in Mandarin. When you create, you want to bring out as one, which becomes part of the performance: This is
your best stuff. I mean, who would want to bring out the voice of the people, singing their own songs.
their second best? So I had no doubts about pursuing a Both familiar and fresh
career in Hakka-language music,” says Lin. During his time with the Labor Exchange Band,
Let Us Sing Mountain Songs was an album about the Lin integrated the sounds of traditional instruments
campaign opposing the construction of a reservoir in like the suona, yueqin, gongs and drums into his works.
Meinong. Perhaps music about social movements needs “During the Labor Exchange era I felt that I had to link
interaction and a connection with the public, so that my music with traditional sounds. I hoped that when
having the audience join in or sing in response is very fellow rural folk heard my songs, they would be able to
important. For example, the album’s title track encour- feel some connection to their lives even though these
ages people who have traveled from Meinong to Taipei were very contemporary works.”
to protest at the Legislative Yuan to be fearless. The Buildi ng on h is g uitar sk ills, Li n Sheng-xia ng
singer sings “Come! Let us sing mountain songs,” and switched over to studying the yueqin, while “the sound
the people offstage respond en masse by singing the of the suona seems to many people like a call or a sum-
line back again, boosting each other’s courage. Another mons.” The sonorous, piercing timbre of the suona is
example is the song “The Night March of the Chrys- present at major events in Hakka villages such as wed-
anthemums,” which tells the story of a young man from dings or funerals, so it is linked to important moments
the countryside who fails to make it in the city and re- in people’s memories.
turns to the land to grow chrysanthemums. Daydream- There is one song that inevitably causes Taiwanese
ing, he imagines himself as a commanding officer taking to wave their hands, giggle, and firmly shake their
the roll call of the chrysanthemums lined up in rows be-
fore him. At every live performance, as soon as the intro
to this song is played, the people in the audience happily
林生祥出席各種公民運
動場合，為弱勢者唱
歌，圖為1999年美濃鄉
親上立法院陳情。（美
濃愛鄉協進會提供）
Lin Sheng-xiang has
been present at many
popular demonstrations,
and uses song to support
the disadvantaged. The
photo was taken in 1999
at a protest by the people
of Meinong Township who
came to the Legislative
Yuan in Taipei to voice
their opposition to a
proposed new reservoir
in their community.
(courtesy of the Meinung
People’s Association)
13
讚嘆的創作。「我們的創作通常都是永豐先
為社運配樂的《我等就來唱山歌》、溫柔呢喃的
完成文字，丟過來，等到我狀態O K了，才開
《種樹》專輯、冷面詼諧的《大佛普拉斯》電影配始譜曲。」林生祥說。鍾永豐的筆，時而用長
樂、《男人與他的海》的海洋之歌，林生祥的音樂
面貌難以言說，必須親耳體驗。（山下民謠提供）鏡頭帶我們看全球化、國家機器的宰制，時而
Lin Sheng-xiang released the albums Let Us Sing
Mountain Songs and Planting Trees in support of social
又聚焦小人物在結構中的無能為力，像〈風神
movements, and he wrote the soundtrack for the drily 125〉，寫離家的遊子帶著羞愧的心情歸鄉，
humorous film The Great Buddha+, and the music for
the documentary Whale Island. His work is too broad 「伯公伯公（土地公土地公）／子弟撖汝頷頭
to be easily summarized—you just have to listen and
experience it for yourself. (courtesy of Foothills Folk LLC) （弟子向您點頭）／拜託拜託（拜託拜託）／
路燈火全部切卑伊烏哇（把路燈全部都關掉）
／毋使問爾子弟做麼該愛歸來呀（不必問您的
子弟為何要跑回來呀）」，主人公騎著已經老
舊鬆脫、呼天搶地的摩托車在縣道上奔馳的鮮
活畫面，搭配上林生祥略帶哭腔的嗓音，即使
聽不懂客家話，仍會熱淚盈眶。
林生祥說：「我做音樂的一個基礎要求，如
果音樂有沒有畫面感，沒有場景感，就不是成功
的作品。」如〈種樹〉一曲，「種分蟲仔避命
（種給蟲兒逃命）／種分鳥仔歇夜（種給鳥兒歇
夜）／種分日頭生影仔跳舞（種給太陽長影子跳
舞）」。故事原型是一位鄉人，每逢颱風過後都
會主動整理扶起傾倒的樹木，還為了鄉里努力種
樹。詩意的文字引人豐富的聯想，兩把木吉他一
把三弦的樂音伴奏，曲風溫暖至極。
去美濃拜訪林生祥，行前他傳訊說，他家在
Google Maps上找不到，所以指引我們用反光鏡、
木瓜園為記號，我們循著林生祥給的麵包屑找到
他的住所，才發現這敘事方式像極了〈我庄〉所
寫：「東有果樹滿山園／西至屻崗（小山嶺）
眠祖先／北接山高送涼風／南連長圳蔭（灌溉）
良田／春有大戲唱上天／熱天番檨（芒果）拚
牛眼／秋風仙仙河壩（河灘）茫／割禾種菸又一
年」，用東西南北定位框出我庄的範圍，描繪春
夏秋冬的生活感，林生祥的音樂就是這般記錄著
生活周遭。
與當代對話
2019年香港的「反送中事件」，致使諸多
演唱會、表演取消，生祥樂隊卻在12月登港演
出，網路直播的訪問中林生祥說：「知道香港
這半年來處於動盪的時機，我想我們這個時候
應該過來唱歌給香港人聽。」鍾永豐在訪問中

heads, and that is “Ah-Kim Runs for Mayor,” from the Please, please / Turn the streetlights off / You needn’t
album IVillage. It starts with the downhome main mel- ask why I’ve returned.” The image of the protagonist
ody, played at an upbeat tempo on the electric guitar; riding his rickety old motorbike along the county road,
then the sounds of firecrackers and of speeches by Lin combined with Lin’s mournful voice, makes even peo-
Sheng-xiang and Chung Yung-feng are added in, while ple who don’t understand Hakka tear up.
a plaintive yet fervent keyboard weaves in and out. Lin says: “When I write music, a basic requirement is
The result is something Taiwanese can identify at first that it conjure up images. If there are no images, if there
hearing: election music, a genre that is very rare in the is no sense of scene, then that is not a successful work.”
world. When this is performed live in concert, Lin en- Take for example the song “Planting Trees”: “Plant them
courages the audience to call out “Hurray! Hurray!” in so bugs have a place to escape to / Plant them so birds
rhythm, raising the atmosphere to a fever pitch. have a place to roost / Plant them so the sun can grow
Recording the trivia of life dancing shadows.” The song is based on the story of a
Starting with Labor Exchange, the pairing of Chung man from a rural area who, after each typhoon, takes it
Yung-feng writing lyrics and Lin Sheng-xiang setting upon himself to raise up trees that have been knocked
them to music has produced many admirable composi- down, and to plant trees on behalf of the community.
tions. Chung sometimes uses a wide lens to present The poetic lyrics call up a rich variety of ideas and im-
people under the domination of the state machinery or ages in the mind of the listener.
globalization, and sometimes focuses in on ordinary Before we set out for Meinong to interview Lin Sheng-
people trapped helplessly in the system. For example, in xiang, he texts us to say his house can’t be found on
“My Old 125-cc Motorcycle,” he writes about a drifter Google Maps, and guides us there using roadside traffic
who is returning home filled with shame: “Earth God, mirrors and a papaya orchard as landmarks. Following
Earth God, your disciple wants to beg your pardon / this trail of breadcrumbs that Lin has laid down for us
15
簡單的介紹生祥樂隊的歌，他說：「我
們的專輯很簡單，就是跟台灣的運動、
呼吸對話，所以台灣發生什麼事，我們
就唱什麼歌。」2002年，交工樂隊奪
得第13屆金曲獎「最佳樂團」獎時，林
生祥登台說了這番話：「如果交工樂隊
是一支麥克風，我們希望遞到農民、工
人面前，把我們看到的事情、聽到的故
事，告訴我們的社會。」一語道出他與
誰站在一起，至今諸多的公民運動中，
仍可看到林生祥背著吉他，站上舞台唱
歌的身影。
2013年林生祥唱《我庄》，唱出每個
後現代農村的真實情狀，到了2016年，
龐克風的反空汙概念專輯《圍庄》問世，
這主題與島上的每個人切身相關。人說美
濃好山好水，其實並不然，林生祥滑著手
機的App，關心空氣盒子裡PM2.5與PM10
「希望鄉親聽我的歌的指數，「如果PM2.5濃得話，美濃這邊
時，即便這是很現代的會看不到中央山脈。而且到了傍晚，沿海
創作，都能夠感受的空氣會往內山吹，空氣會差到不能運
動，《圍庄》就是在寫這個東西。」《圍
到跟他的生命
庄》的發行亦另有故事，原本已談妥的唱
產生連結。」
片公司臨門抽腿，林生祥心生一計改在網
路上向群眾募資，他說，那不只是募集資
金，還有募集人氣來一起來關心、參與這
個議題。
“I hope that when
fellow rural folk 堅持在音樂的路上
hear my songs,
前年，林生祥在舞台表演時突然手指不
they will be able
聽使喚，「那天超級超級傷心，我第一次
to feel some
connection to their 感受到自己在音樂生涯上的一種挫敗，或
lives despite the 者擔心自己在音樂生涯的斷裂是不是要發

fact that these are 生了。」林生祥說，再想遠一點，自己有
very contemporary 退休的條件嗎？感受到生命要力行減法，
works.” 工作要有所篩選；聊到這兒感覺有朵烏雲
飄來，卻又讓他話題一轉，提到他日前重
新調整音響室的喇叭位置，然後在唱盤上
放上一張黑膠，突然有了新想法可以用在
新專輯上，打算回過頭跟鍾永豐討論怎麼
調整。

生祥樂隊當今的
陣容，左起早川
徹、大竹研、林
生祥、吳政軍、
鍾永豐、黃博
裕、福島紀明。
The current lineup
of Sheng-xiang &
Band (from left):
Toru Hayakawa, Ken
Ohtake, Lin Sheng-
xiang, Alex Wu,
Chung Yung-feng,
Huang Po-yu, and
Noriaki Fukushima.
we find his residence, and discover that this way of giv- person on this island. People say Meinong has a clean
ing directions is very similar to the lyrics of “I-Village”: living environment, but this is not necessarily the case.
“To the east, fruit trees sweep down the mountainside Lin swipes on an app on his mobile phone to check the
/ To the west, the ancestors sleep in their tombs / The PM2.5 and PM10 indices from local air quality sensors. “If
mountain range to the north sends a cool breeze / The the PM2.5 concentration is high, you won’t be able to see
canals to the south give our good fields the water they the Central Mountain Range. Also, in the evening the
need.” In this way, using the four points of the compass air from the coastal area blows into the mountains, and
to delineate the village boundaries, and describing the the air quality gets so bad that you can’t even exercise or
sensations of living there through the four seasons of play sports. This is what Village Besieged is about.”
the year, Lin’s song creates a record of daily life. Dedicated to music
A dialogue with the contemporary In 2018, during a concert Lin suddenly found himself
In December 2019, during the ongoing protests in unable to properly control his fingers. “That day I was
Hong Kong, Sheng-xiang & Band performed in that city. super, super sad. It was the first time I’ve ever experi
Lin says: “I knew that Hong Kong had been in turmoil enced a setback in my musical career, and maybe I was
for half a year, and I thought we should come and per- worried that my career was about to end,” he says. As he
form for the people of Hong Kong at this time.” In 2002, began to think further ahead, he wondered: Can I afford
when Labor Exchange won the Golden Melody Award to retire now? When the conversation reaches this point,
for Best Band, Lin made the following remarks onstage: it feels as if there are dark clouds over our heads. But
“If the Labor Exchange Band were a microphone, we quickly Lin changes the subject and talks about the new
would want to turn it over to farmers and workers. We ideas he wants to experiment with on his new album.
want to tell our society about the things we’ve seen and As we talk about the past, Lin’s tone is always calm
the stories we’ve heard.” With this one comment, Lin and cool. But when he speaks of this difficult and fear-
declared whose side he is on. ful time and of how he recovered his spirits, suddenly
In 2016, the punk-influenced concept album Village his countenance becomes more animated, his tone of
Besieged—whose theme is protest against air pollution— voice rises, and a childlike excitement appears on his
came out, touching on a problem that affects every face. “If the day really comes when I can’t perform on
17
採訪過程中，聊前塵往事，林生祥的口氣我回頭看，看到我的偶像70歲都還在舞台上的
都是淡淡敘述，但是說到這段心驚困頓再奮起時候，我就覺得應該要繼續努力追上他們的腳
的時候，突然他的表情多了，聲調高了，臉上步。」
出現如小孩般的興奮，「如果有一天我在舞台「我最優游自在的還是在音樂演出。希望我更
上真的不行了，我可以做幕後，做配樂，c a l l 老的時候，還是有人想要聽我唱歌，希望啦！」
樂手來錄音，這樣我就很開心了。」「不過，林生祥露出滿足的笑容說。 l
林生祥用音樂的節拍唱和土地的心跳。
Lin Sheng-xiang uses music to stay in rhythm with
the heartbeat of the land.

stage, I can work behind the scenes, gathering musi- “I’m still most completely free and at ease when I’m
cians together to record music, and I would be very performing music. I hope that when I’m even older
happy with that.” there will still be people who want to hear me sing. I
“However, when I see that my idols are still on really hope so!” l
stage at the age of 70, I feel like I should work hard to (Cathy Teng/photos by Kent Chuang/
follow in their footsteps.” tr. by Phil Newell)
19
在家鄉的土地上搖滾
台青蕉樂團
台青蕉樂團成員（左起王繼強、郭合沅、黃堂軒、王繼維）
在旗山種下青春，期望能為家鄉創造一些改變。
The members of Youth Banana (from left: Jiang Wang, Zack
Guo, Huang Tang Hsuan and Wang Kiwei) are “cultivating youth”
in Qishan, hoping to bring some change to their hometown.

Youth Banana:
Rocking Their Hometown
文•鄧慧純　圖•莊坤儒　版面設計•蕭郢岑
此「台青蕉」非彼高等學府「台
清交」，而是「台」灣「青」年愛香
“Y outh Banana” is a Taiwanese rock
band whose very name bespeaks
the younger generation’s cre ativ ity and
「蕉」樂團的簡稱，從團名就洋溢年
sense of the absurd. Its four members—
輕世代的創意與無厘頭。團長兼鍵盤 leader, keyboardist and lead singer Wang
手兼主唱王繼維（暱稱老王）、貝斯 Kiwei (known as “Lao Wang” or “Old
手王繼強、鼓手黃堂軒和吉他手郭合 Wang”), bassist Jiang Wang, drummer
沅，成長於高雄旗山小鎮，他們用香 Huang Tang Hsuan, and guitarist Zack
蕉當音符，用香蕉園當舞台，用青春 Guo—all grew up in the little town of Qi
shan in Kao hsiung. They perform songs
譜寫留鄉組曲。
about the town’s local industry of banana
farming, and have dedicated themselves to
2月29日，高雄旗山逢假日觀光人
expressing what it is like to be a young per
潮湧現，但這一天更是強強滾。「搖 son staying on in one’s small hometown.
旗吶喊C i s h a n R o c k音樂節」開辦至
今已第十年，當年從一個肥皂箱的卡 On February 29, 2020, the “Cishan Rock”
拉O K歌唱活動，到今日旗山體育場 music festival kicked off for its tenth year. It
上11個樂團接力開唱。身為主辦單位 has grown from a simple soapbox karaoke
event at its inception to having 11 bands
的台青蕉樂團，不僅在台上搖滾炒熱
perform one after the other at Cishan Sta-
氣氛，也有鎮上95歲的蕉農阿公上
dium. The organizers, the Youth Banana
台即興一曲，台上台下歡樂同慶。此 band, not only rocked on stage, but also put
外，音樂節還搭配搖滾寫生、旗山小 on a drawing and painting competition,
鎮老專門店策展、吶喊市集等活動， an exhibition on local industries and tradi-
這不僅只是熱鬧庄頭的活動，還希望 tional craft professions, and a market. Be-
大眾看到旗山小鎮在年輕人留下後的 yond livening up the town, they also hoped
the festival activites would show the public
改變。
how Qishan is being changed by young
他的故事 people who are active in the community.
“His Story”
「父母不要我和他們一樣／走在田
“My parents didn’t want me to be like
野間／穿著沒有未來的香蕉衫／照顧 them / And walk in the fields / Wearing
21
台青蕉的熱情節奏鼓動「搖旗吶喊Cishan Rock音樂
節」的聽眾。
蕉園／他們守護著家／卻不讓我有機會留下／告 Youth Banana rocks the Cishan Rock audience with their
訴我／離鄉的月亮比較圓」 passion and their rhythms.
這是收錄在台青蕉樂團《香蕉他不肥》內的單
曲〈他的故事〉，寫著1990年代出生的旗山青年
離家又想留鄉的故事與心聲。曾有「香蕉王國」
美名的高雄旗山，種香蕉的歷史已有百年。1960 關於旗山香蕉曾經的輝煌歷史，年輕一輩也少
年代，香蕉外銷日本，造就旗山小鎮的黃金時有聽聞。「我家有種香蕉。可是他們（長輩）不
期，旗山人生活得自信且驕傲，從旗山老街仿巴會講這些事情，是我長大後才去了解的。種田的
洛克的牌樓就可一窺端倪。但1970年代後，香蕉人不會為此感到驕傲，種田的人都覺得自己沒唸
產業沒落，繁榮不再，在地生活不易，人口外移書。」黃堂軒有點義憤填膺地說。
嚴重。蕉業無前途，留在故鄉，沒有出路，家裡老王、王繼強兄弟倆的父親王中義，是旗山
的長輩多希望孩子外出發展。「尊懷文教基金會」的創辦人，長期投入旗山的
1983年出生，團員年紀最長的老王，聊起人本教育與社區營造。王繼強和郭合沅、黃堂軒
兒時的旗山。旗山學音樂的人口很多，大概與是一起長大的玩伴，也是基金會的志工，大夥兒
YAHAMA功學社的創辦人出身此地有關，小鎮上一起玩鬧，一起探索街頭巷弄，一起打掃社區環
每個月都有音樂活動，老王記憶中，小虎隊、迪境，參與守護旗山火車站，把當初在荒煙漫草中
克牛仔都來旗山表演過。的車站慢慢整理起來，王繼強說：「守護旗山火
郭合沅說，小時候他一整群玩伴，有一整片後山車站影響我蠻大的，那時候才真正開始慢慢認識
可以玩耍，放學後會跟著路隊，去探險鄉間的小路。旗山。」

a banana shirt with no future / Taking care of a banana train station, slowly cleaning up the old building, which
plantation / They held fast at home / But didn’t give me was overgrown with weeds. Jiang Wang says: “The work
a chance to stay / They told me / My future would be to preserve the train station affected me a lot; it was only
brighter if I left my hometown.” then that I really began to get to know Qishan.”
These lyrics come from the single “His Story,” from A response from the world
Youth Banana’s debut EP Bananas Won’t Make You Fat. It From a young age Lao Wang helped his father and
tells the story and sentiments of young people born in the foundation do things for Qishan, but he realized that
Qishan in the 1990s who left home although they wished “if there is no industry, then even if you improve peo-
to stay. Qishan, once known as the “Banana Kingdom,” ple’s educational and cultural opportunities and put the
experienced a golden age in the 1960s thanks to banana environment into good order, people still won’t stay.”
exports to Japan. But the industry faded in the 1970s, and “Bananas are the greatest common denominator for
consequently many family elders wanted their children Qishan people,” says Lao Wang. They applied for a grant
to leave Qishan and find a better future elsewhere. of NT$100,000 from the National Youth Commission (now
Younger people rarely hear talk about the glory days the Youth Development Administration of the Ministry of
of Qishan bananas. “My family grows bananas. But [the Education) to do a field survey, engage in food processing,
older generation] didn’t talk about these things, and I only and undertake product development and marketing, in
learned about it after I grew up. Farmers didn’t feel proud an effort to transform townspeople’s ideas about bananas
of their work—they just felt they were uneducated,” says and to increase value-added for this crop. Wang had to
Huang Tang Hsuan, with a touch of righteous indignation. organize an exhibition of results at the completion of the
Wang Zhongyi, the father of brothers Wang Kiwei and project, and in wondering how best to communicate with
Jiang Wang, is the founder of Qishan’s Zun-Huai Founda- the public he thought of his own experiences in bands and
tion, and has long been dedicated to cultural education called together some friends to form Youth Banana in 2008.
and community development. Jiang Wang, Zack Guo, In 2009 the band released its first banana-themed single,
and Huang Tang Hsuan grew up together, and are all “Bananas Won’t Make You Fat.” They filmed a music video
volunteers at the foundation. They joined in community in this down-to-earth little town that featured the band
clean-ups and took part in efforts to preserve the Qishan wearing conical farmers’ hats and playing their instru-
ments in a banana plantation, swaying back and forth
with bananas in hand, and getting people in the streets of
Qishan’s old commercial quarter to dance along. It was a
「搖旗吶喊C i s h a n
Rock音樂節」上，老
王與95歲的阿公親切
互動。
At the Cishan Rock
music festival, Wang
Kiwei enjoys a friendly
interaction with a 95-
year old from the
crowd.
23
邀請旗山居民一起拍攝〈作伙那卡西〉歌曲MV，氣氛
歡愉也凝聚居民的向心力。（台青蕉樂團提供）
Youth Banana invited Qishan residents to join in the 器搬進香蕉園，拿著香蕉搖擺，在旗山老街上，
filming of a music video for the song “Nakasi Together.”
Shot in a fun-filled atmosphere, the project brought local 號召大夥跳舞拍MV，大唱「香蕉他不肥，吃他
people closer together. (courtesy of Youth Banana)
可減肥」宣導香蕉好處多多，也披露香蕉價格直
落，蕉農心酸。用音樂來行銷香蕉，在小鎮是新
鮮事，年輕人用創意贏得眼球。
他們在地方向世界吶喊，有了回音，媒體報導
向世界吶喊有了回音
他們是真人版的「海角七號」，「其實那時候覺
老王從小跟著父親、基金會為旗山奔走，卻發得蠻高興的，因為人生從來沒有被這麼重視過，
現從教育、社區、環境教育等面向著手還不夠，即便你的女朋友都沒有這樣看重你，」老王玩笑
「如果沒有產業，就算把人提升了，把環境整治地說，「當時大家都很年輕，年輕有的是時間，
好了，人還是留不下來。」原本你只是期待了解世界，可是後來你發現世界
「香蕉是旗山人的最大公約數，所以從香蕉著回應你的時候，你就會更想要再多做一些。」
手。」老王說，他們向行政院青年輔導委員會（今
成為故事裡的人
教育部青年發展署）申請十萬元經費，從田野調
查、食品加工、產品研發、行銷推廣，想翻轉鎮民媒體報導讓他們在島上有了知名度，但家鄉的
對香蕉印象，提升香蕉的附加價值。計畫結案需舉「結」不容易解，產業仍未見起色，年輕人留鄉的
辦成果展，如何跟大眾溝通，老王想到自己玩樂團機會鮮少。「人留不下來，就想辦法先讓自己留下
的經驗，於是吆喝同伴，2008年「台青蕉」成團。來。」台青蕉樂團的另一場實驗在田間展開──成
2009年發行首張香蕉概念單曲《香蕉他不為蕉農。王繼強說：「我們自己去種香蕉，去跟阿
肥》，在純樸的小鎮上，他們頭戴斗笠，把樂公學方法，又走了兩三年。」剛開始是在「幫」農

novel idea to use music to market bananas and the young for once you become a banana farmer yourself it is no lon-
people garnered a lot of attention with their creativity. ger a question of “helping” others—it becomes your own
From their small locality they called out to the world, predicament, and you have to figure out a way forward.
and the world responded. The media reported their story Rolling up their pant legs and getting down to work, they
as a real-life version of the film Cape No. 7. “In fact at the were no longer outside observers. Instead, says Jiang Wang,
time we were really happy, because we’d never been taken “We became the people in the story.” Experimenting with
so seriously in our whole lives,” says Lao Wang with a their own lives, they have tried out all kinds of possibilities.
laugh. “At that time we were all very young, and the one Over the past decade, the members of Youth Banana have
thing you have when you’re young is time. We had our extended their fields of endeavor, and you may find it hard
ideals and we put them into action. And when we dis- to imagine how far this band has gone beyond just creating
covered that the world was responding positively to us, music and releasing albums. They developed their own ba-
this encouraged us to keep on.” nana cake, and have thought up all kinds of banana-themed
Like people in a story souvenir and gift items. They created the “Hope Farm” ba-
Media reports made them well known across Taiwan, but nana plantation and became banana farmers, learning about
the main problem in their hometown remained unsolved: banana growing from other local farmers. They devised lit-
With no improvement in the local economy, there were few tle community tours featuring the stories of the town. And
opportunities for young people to make a living and stay
in the town. “When others couldn’t stay, we had to figure
out some way for ourselves to remain here.” And so began
another experiment by Youth Banana: becoming banana
台青蕉發行過的三張專輯：《香蕉他不肥》、《社
farmers. At first they aimed to “help” farmers by promoting 區大小事》、《種下青春》。（台青蕉樂團提供）
banana sales, but this was a misnomer, explains Lao Wang, The three albums released so far by Youth Banana
(clockwise from left): Community, Cultivating Youth, and
Bananas Won’t Make You Fat. (courtesy of Youth Banana)
25
台青蕉將田野調查的成果，匯集出書《小鎮
專門店》，介紹小鎮上27道職人風景。
Youth Banana collected the results of five years 的成果，匯集出書《小鎮專門店》，職業欄多一
of field research into a book introducing 27
specialist businesses found in Qishan. 項「作家」。書裡介紹小鎮上27道職人風景，像
是參與過小鎮內人生大小事的照相館、為蕉農特
製農具的打鐵店等，不僅保留下小鎮逐漸消失的
生活感，更提供來到旗山的觀光客不只在老街走
民賣香蕉，幫忙賣，其實很「假掰」，老王解釋，走，還能從老產業深度認識地方。
但當你變成蕉農的時候，就不是「幫忙」的問題，「我們一直拿自己做實驗，如果此路不通，
而是成為自己的處境，要自己想辦法找出路。就繞路而行，不管如何，還是要繼續前進，這就
捲起褲管，撩下去，「我們就是故事裡面的是生活。」老王說。這群一路結伴的同志，發現
人，」王繼強說。拿自己的生活做實驗，嘗試各戰場不必在遠方，成功也不必在他鄉，參與社會
種的可能性。這十年來，台青蕉樂團守備的戰線運動不用搖旗吶喊，也不需衝鋒街頭。「我們這
擴展延伸，你可能很難想像一個樂團可以如此三一輩覺得運動就在我們的生活中，我們的方式也
頭六臂，除了創作音樂，發行專輯，音樂只是解不一樣。比如『教大家怎麼吃香蕉』也是一種運
決問題的方法之一；他們自己研發香蕉蛋糕、香動，不見得是一定要去fighting，它可以在生活中
蕉酵素、香蕉果釀、各式的香蕉伴手禮；開闢希去轉變。」老王說。
望蕉園，成為蕉農，跟著在地農夫學習香蕉的知解決地方的問題其實也是為了自己。十多年的
識，舉行工作假期體驗香蕉農事，契作認養；社區工作，老王自己的人生步調也沒有落後，已
開辦社區小旅行，挖掘山城的故事、在地好食風經結婚生子，是兩個孩子的爸了，談到他的育兒
味、老產業的巡禮；今年他們還將田野調查四年經，他說得委婉，他正學著「欣賞」這年紀的孩

《小鎮專門店》中報導的乾元漢
藥店，記錄下這些老店，同時也
保留下小鎮逐漸消失的生活感。
（尊懷文教基金會提供）
The book that Youth Banana
published on specialist businesses
in Qishan includes a report on the
Qianyuan Chinese herbal pharmacy.
By making a record of small shops
like this, the book helps preserve
the steadily disappearing feeling of
small-town life. (courtesy of the Zun-
Huai Foundation)
小鎮的地圖記錄旗山的文史地
景、產業老店，台青蕉常舉辦社
區小旅行，帶領大家認識不一樣
的旗山小鎮。（台青蕉樂團提
供，蔡政諭繪）。
This map of Qishan includes
historically and culturally important
locations, as well old shops and
businesses. Youth Banana often
organizes mini-tours of local
communities, helping visitors get
to know their little town. (art by Cai
Zhengyu, courtesy of Youth Banana)
this year, after five years of field research, they compiled In fact, it is also in their own interests to solve local prob-
and published a book, adding the role of “author” to lems. During more than ten years of community work, Lao
their professional resumés. The book introduces stories Wang has not fallen behind in his own life, for he is married
of 27 shops and professions (including artisans and shop with two children. With childrearing now a part of his life,
owners), not only preserving the steadily disappearing his future projects or community actions might shift toward
feeling of life in a small town, but providing visitors to activities related to children. “In fact my work is also about
Qishan with information on old industries and busi- solving my own problems, but by meeting my own needs I
nesses that will help them understand the town in depth. can definitely ameliorate social conditions,” says Lao Wang.
“We have always made experiments with ourselves. If Cultivating youth
one road is closed, then you go around and take another, “From now on, you young people who are taking on
but no matter what, you have to keep moving forward— responsibil ity for the land / From now on, as you seize
that’s just life,” says Lao Wang. This group of comrades opportunities for progress / Finding and cultivating an
who have stuck together through thick and thin have ideal life / I’ll be by your side to find sincere steadfastness
discovered that the struggle is not in some distant place, / The times are changing but we are not afraid / Let us
that success need not come only far away from home, join hands to support each other / Connecting with the
and that movements for social change need not involve earth and living with courage / Cultivating youth with a
flag-waving and yelling. “Those of us in this generation firm and calm heart” —from the song “Cultivate Youth.”
feel that social movements are part of daily life. ‘Teaching In 2019, the tenth year since the founding of Youth Ba-
everyone how to consume bananas’ is also a way of cam- nana, the band released the album Cultivate Youth, record-
paigning. You don’t have to go off fighting, but instead ing their feelings about staying on in their small hometown.
you can bring about change in daily life,” says Lao Wang. Zack Guo describes the features of the three albums
27
「搖旗吶喊Cishan Rock
音樂節」還搭配旗山小鎮
老專門店策展，圖中王繼
強親切地為長者導覽。
The 2020 Cishan Rock
festival was accompanied by
an exhibition on specialist
businesses in Qishan. In
the photo, Jiang Wang is
helpfully serving as guide to
an elderly gentleman.
浪漫，走鄉村音樂風。這段歷程如同回顧樂團如
何走過歲月，轉變與成長。
子，卻又哈哈笑的補上一句，「假如這孩子是我成為留鄉的人，台青蕉的實驗還沒結束，他們
大學室友，我鐵定會叫他搬出去。」人生跨入另在故鄉「種下青春」，因為「到哪裡都沒有最美
一個歷程，他未來的規劃可能會轉向與兒童相關好的烏托邦，最好的地點就是在你現在居住的地
議題，「我的工作其實也是解決我自己的問題，方。」老王說。台灣的土地已經被荒廢很久了，需
我呼吸任何一口氣都在解決我的需求，而這個需要去翻動，自己的土地自己經營，找到一個施力
求一定可以解決社會的狀態。」老王說。點，即便是乾旱地帶，只要種下耐旱的植物，一樣
會長出好的作物，都可以被期待，老王如此比喻。
種下青春
從一早與我們碰面拍攝，再移轉基地到工作
「從現在承擔土地的少年／從現在實現進步機室練團七個小時，然後馬不停蹄地接續採訪，這
會／找到所在種下理想的人生／我會陪你找到真群年輕人卻不喊累，與社會標籤1990年後出生的
心的可靠／時代在變咱不怕／用相挺雙手來做伴「厭世代」氣質迥異。台青蕉的每個團員有一股
／接地燒熱勇氣生命／種下青春心頭定」〈種莫名的樂觀，「台青蕉就是很在意每一個人的存
下青春〉在，而且為什麼我們這麼樂觀，是因為我們都相
2019年，台青蕉樂團成軍10年，發行《種下青信人會成長，人會變好。」黃堂軒說。
春》音樂專輯，寫下他們留鄉的心情。會為明天憂慮嗎？已經儼然如專業蕉農的郭
郭合沅數點著台青蕉三張專輯的特色，第一合沅說：「明天？明天還要早起，蕉園裡有工作
張單曲《香蕉他不肥》，是年輕世代要用音樂幫耶！」「明天？我們應該只會憂慮明天的工作還
農民推廣香蕉，也寫下他們的矛盾與掙扎。第二沒做完吧！（搖旗吶喊音樂節的籌備工作堆得如
張寫《社區大小事》，關心公共議題，談政治的山高）」王繼強說。
現實與社會的現況，如〈公聽會〉、〈一個瘋果然，滿滿破表的正能量。搖滾是精神，香
所在〉，這時的曲風憤慨而龐克，搖滾下得重一蕉是信仰，台青蕉的成員努力讓自己在家鄉留下
點。到了第十年，《種下青春》曲風變得溫潤而來，因為這裡是「家」，是一個「好所在」。 l

Youth Banana has released. “Bananas Won’t Make You morning, then going into the studio for a seven-and-a-
Fat,” their first single and the title track of their first al- half-hour band practice session, and finally joining us
bum, was an effort by young people to use music to help again for an interview, all without a break, these young
farmers promote sales of bananas. The second album, people show no sign of tiredness, in sharp contrast to the
Community, focused on public issues, such as the realities label of “frustrated by life” that society places on young
of politics and societal conditions, with songs like “Public people born after 1990. Each member of Youth Banana
Hearing” and “A Crazy Place.” Their musical style at that is optimistic. “Youth Banana cares very much about the
time was angry with a punk edge, rocking harder than existence of every individual. And the reason why we are
they did before. In their tenth year, with Cultivate Youth, so optimistic is because we all believe that people will
their style has become gentler and more romantic, moving grow and change for the better,” says Huang Tang Hsuan.
toward a country music sound. Are you worried about tomorrow? Zack Guo, who is
As young people who have remained in their home- already like a professional banana farmer, replies: “To-
town, Youth Banana’s experiment is not yet completed. morrow? Tomorrow I have to get up early, there’s work to
They have chosen to “cultivate youth” in their hometown do in the banana plantation!” Jiang Wang says: “Tomor-
because “no matter where you go there is no Utopia; the row? Probably the only thing we worry about is that our
best place is the place where you live now,” says Lao Wang. work for tomorrow isn’t finished yet!” (There is a great
From meeting with us for a photo shoot early in the deal of preparatory work still to do for the Cishan Rock
festival.) Their positive energy is off the charts. With rock
as their spirit and bananas as their faith, the members of
Youth Banana are working hard to remain in their home-
1915年落成的旗山車站，經旗山居民的守護，得以保 town because this is “home,” this is “a good place.” l
留下來，修復後成為旗山老街的地標。
(Cathy Teng/photos by Kent Chuang/tr. by Phil Newell)
The Qishan train station, completed in 1915, has been
preserved thanks to community activism. Since its restoration
it has been a landmark in the old quarter of Qishan.
29
超越語言的靈魂撼動
桑布伊
（莊坤儒攝 photo by Kent Chuang）

Sangpuy: Moving Music
that Transcends Language
文•謝宜婷　圖•風潮音樂提供　版面設計•蕭郢岑
他是第28屆金曲獎的「大黑馬」，
不僅贏得三座獎盃，還勝過當年獲獎
A member of Taitung’s Pinuyumayan
community, Sangpuy Katatepan
has been deeply attracted to the ancient
呼聲最高的樂團五月天，打破國語歌
melodies of his tribe since childhood. He
曲掛帥的常態，奪下年度專輯獎。而 composes the lyrics for each song on his
這次獲獎也讓台灣人真正聽見原住民 albums in the Aboriginal language of his
音樂的美，感受到歌曲中「山谷的微 people. This love for the land is chan
風與溫暖的陽光」，體會生命在大自 neled by a robust yet gentle voice that
然裡最純粹的力量。 not only moves the Taiwanese, but also
transcends the language barrier, reson
桑布伊，來自台東卑南族，從小
ating with musicians abroad and earn
就被部落的古調深深吸引，每一首專
ing him a gold medal at the September
輯歌曲都以族語來譜寫。這份對土地 2017 Global Music Awards in the USA.
的熱愛，化作渾厚又溫柔的嗓音，
不只感動了台灣人，也超越語言的 “Singing is my life”
障礙，引起國際音樂人的共鳴，讓 After he removes makeup applied for
他在2017年獲得第60屆美國全球音 a promotional shoot and dons square-
framed glasses, baseball cap and military
樂獎──金獎。
camo pants, the off-duty Sangpuy looks
very casual. Smiling as he recalls his mu-
拍攝當天的地點，在樹林區的原住
sical journey, he says in a slightly raspy
民主題部落公園，已經在當地生活十幾 voice, “Becoming a singer? It never oc-
年的桑布伊，對公園裡的圖騰卻感到陌 curred to me!”
生，他感慨地說：「大家都以為圖騰才 “I never studied how to sing per se.
能代表原住民，其實，不用靠任何符 Singing is just my life.” In Aboriginal
號，原住民的精神就在我的歌聲裡。」 culture, there is no script with which to
chronicle history, so lived experience and
音樂就是生活 wisdom are passed down through carv-
ing, weaving and song. In the tribe, there
褪去宣傳時的妝容，戴上黑色方框
are different songs for different occasions
眼鏡，加上一頂鴨舌帽與一件迷彩長 and moods. Singing is as natural and as
褲，私底下的桑布伊很隨性。回想起 necessary as breathing.
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桑布伊在2017年世界音樂節，吹奏部落傳統樂器
這一路歌唱的歷程，他以些許沙啞的嗓音笑著鼻笛。（莊坤儒攝）
2017 World Music Festival: Sangpuy playing a traditional
說：「我從來沒想過當歌手！」 twin-pipe nose flute. (photo by Kent Chuang)
「我也沒有特別學過唱歌，唱歌就是我的生
活。」原住民的文化裡，沒有文字可以記錄歷
史，所以用雕刻、紡織、歌唱等方式來傳承生活
經驗與智慧。在部落裡，不同的場合與情緒，就
珍惜文化，嚮往自然
會唱不同的歌。也因此，歌唱成為如呼吸一般，
必要且自然的事情。桑布伊形容他的成長階段，是個「充滿誘惑」
小時候的桑布伊，常會與朋友及親戚小孩一的時代，大約在1990年代，電視、電動玩具與其
起練唱。大家相約好帶著樂器，到某個人家裡集他休閒娛樂產品，逐漸在部落興盛，年輕人跟老
合。當時誰也沒想到，這群孩子裡，會出現未來人家相處的時間也因此減少。
的金曲歌王歌后──陳建年、張惠妹，以及當今「但我就比較特別，喜歡跟他們在一起。」
許多出色的幕後音樂人。桑布伊看見老人家身上有一個珍貴的寶藏，他
「那個時代，寫歌是一件很臭屁的事情。哥哥們所吟唱的古謠，撼動著他靈魂的深處，發出
他們高中就創作了很多歌，我就跟著他們走，寫共鳴。為了跟老人家學習族語及古調，他總是
自己的歌。」當時在台東，有個火紅的歌唱比賽格外珍惜與部落長輩相處的時間，也會定期去
「飛揚的一代」，吸引了許多年輕人參賽，也培拜訪耆老們。
育出現今許多原住民歌手。桑布伊就在這樣的環對自我文化的肯定與榮耀，讓桑布伊被推選為
境下，開始創作歌曲。部落青年會會長。連任一屆，總共六年，桑布伊

As a child, Sangpuy often practiced singing with
relatives and friends. After arranging to meet up at
someone’s house, they’d take along some musical
instruments and rehearse. But no one imagined that
from among these children, future Golden Melody
Award winning vocalists such as Paudull (Chen Jian-
nian) and A-Mei (Kulilay Amit) would emerge, along
with other behind-the-scenes musicians.
“Back then, writing songs made you a bad-ass! My
big brothers and their friends composed plenty in
high school, and I followed in their footsteps by writ-
ing my own.”
At the time, there was a very popular singing com-
petition in Taitung, “The Soaring Generation.” It at-
tracted many young participants, and also nurtured
many Aboriginal singers. It was in this environment
that Sangpuy began penning his own compositions.
Cherishing culture, yearning for Nature
Sangpuy describes growing up during the “era
of enticement.” In the nineties, TV, video games and
other forms of entertainment gradually became pop-
桑布伊第二張專輯《椏幹》，是卑南族語
ular in his home village, and so the young spent less 「生命」的意思，展現歌手生命中經歷的
time with the older generation. 各種感動。
Sangpuy’s second album, Yaangad (“Life”),
“But I was a little different. I liked to be with them,” highlights myriad poignant experiences.
recounts Sangpuy. He recognized that they possessed
an invaluable treasure—the ballads of yesteryear they
intoned—that resonated with him, moving the very
depths of his soul. In order to learn the tribe’s mother
tongue and ancient songs, he cherished the time spent
with his elders and regularly visited them. The path to stardom
Motivated by his respect for and pride in his na- Aboriginal vocalist Biung (Wang Hung-en) had
tive culture, Sangpuy won election as head of the recom mended Sangpuy for an audition to appear as a
local tribal youth association. It was not until the end special guest in the concert celebrating the tenth anni-
of his second three-year term that he finally left his versary of A-Mei’s professional debut. Just as Sangpuy
tribal community in Taitung to realize his desire to was trying out, A-Mei happened by. His robust voice,
seek success in society at large. To gain a foothold, he brimming with untold tales, evoked the memory of
chose Shulin District in New Taipei City, where his her father, who had just passed away, and she couldn’t
extended family is based up north, and got a job as hold back her tears.
a metal worker in an industrial zone. In his leisure Then she noticed Sangpuy exiting the recording
time, he cycled along the coast and admired Nature’s studio. “That was you!” she exclaimed, suddenly real-
beauty. izing that the person behind that heartrending voice
Biking through streets and alleys is when musical was a younger but familiar fellow Pinuyumayan.
inspiration is most likely to strike Sangpuy. He often That was the start of some 40 performances on the
hums and sings to himself, and if a melody emerges, road with A-Mei’s concert tour. After three years or so,
he records it with his mobile. If he hears a distinctive Sangpuy—then approaching his thirties—decided to
sound in his environment, he captures it too. put his own songs in order and cut his first solo album.
33
桑布伊首張專輯《路》將部落古調融入現代旋律，讓家
鄉語言繼續被傳唱。
On his debut album, Dalan, Sangpuy adds modern rhythms
to ancient indigenous melodies, so that his native language
can continue to be passed down in song.
在這段時間，沒有工作也沒有補助，全心全意地
意外相逢，開啟站上舞台的機會
奉獻自己，帶領青年會服務部落。
直到任期結束後，他才終於走出部落，實現到同樣也來自台東的原住民歌手巴奈，當時已經
社會闖蕩的願望。桑布伊選擇家人在北部的聚集在台北發行唱片，偶然想起桑布伊的歌聲，於是
地新北樹林，作為落腳處，也開始在工業區裡作邀請他到女巫店當演唱會特別來賓。
鐵工。閒暇時，就騎著車沿著海岸線欣賞大自然「她找我當特別來賓，也不跟我講要做什麼，
美景。即使到都市生活，仍然無法掩沒他骨子裡只說『來看姐姐唱歌』，結果我去之後發現整場
對大自然的嚮往。爆滿！我隔著玻璃門看著滿屋的觀眾，她就喊
騎車穿梭在大街小巷中，是桑布伊創作的精華『桑布伊！』，然後把我請上台。」當下還搞不
時刻。平常喜歡哼哼唱唱的他，只要心中浮現旋清狀況的桑布伊，隔著玻璃牆，向觀眾揮了揮
律，就會用手機錄下來，如果聽見特別的聲響，手，走向舞台。
也會蒐集起來。手機資料夾裡的旋律，每個檔案原來當時懷孕的巴奈，突然腹痛，所以需要桑
的名稱都是路名：忠孝東路、復興南路，由系統布伊代班唱兩首歌。一時反應不過來的桑布伊，
自動偵測地點命名，桑布伊並沒有定義創作當下隨便拿了把吉他，唱出最熟悉的部落古調，沒想
的旋律。到觀眾反應熱烈，也吸引了台下音樂製作人的興
也許這樣的隨性，才能讓音樂展現生命真實的趣。這場意外的演出，就此成為桑布伊出道的起
樣貌。專輯《椏幹》中的歌曲<溫暖的光>，描點，開啟與其他歌手現場合唱的契機。
述人在月光下舒服的感受，雖然溫度不比陽光強後來，另一個幸運的意外，更讓桑布伊踏上海
烈，卻是黑夜中明顯的存在。外演唱之旅。

To raise funds, Sangpuy drafted a plan and ap- Diverse musical manifestations
plied to the Council of Indigenous Peoples for a sub- At the awards ceremony, Sangpuy, dressed in the
sidy. He obtained a modest grant totaling NT$500,000 traditional garb of the Pinuyumayan, went down on
(less than US$17,000 at current exchange rates), but one knee as his mother placed a floral crown upon
despite being strapped for money, he toughed it out his head as a mark of honor. He invited the other
and completed production of Dalan. Surprisingly, nominees for Best Aboriginal Singer to come up and
given the no-frills production process, the album join him, and then, a sign proclaiming “Protect Our
was shortlisted in five categories for the 2013 edition East Coast!” in hand, he spoke out on behalf of the
of Taiwan’s largest music competition, the Golden ecology of his native region. For Sangpuy, the award
Melody Awards, and Sangpuy emerged as the win- was not the result of his personal success in the com-
ner for Best Aboriginal Singer. petition; it was an honor bestowed on the land itself.
Remarks Sangpuy, visibly moved: “As long as the On Dalan (Pinuyumayan for “Road”), half t he
music comes from your heart, even without big-time songs are contemporary interpret ations of ancient
funding, you’ll be heard.” t u nes. Sa ng puy was keen to preser ve h is t r iba l
桑布伊以卑南族傳統文化為榮，曾經擔任兩屆部落青年會
會長。
Deeply proud of Pinuyumayan traditional culture, Sangpuy
served two terms as head of his village’s youth association.
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桑布伊喜歡古老樂器的
聲音，除了部落傳統樂
器鼻笛，也喜歡杜讀
管、魯特琴。
Shown here playing the
twin-pipe nose flute,
Sangpuy also likes
traditional instruments
such as the European lute
and the duduk, an ancient
Armenian double-reed
woodwind.
原住民歌手王宏恩推薦桑布伊參加試音，就有
機會成為張惠妹出道十周年演唱會的特別來賓，
當天試音時，張惠妹正好經過，桑布伊充滿故事者一同上台，手拿「守護東海岸」的牌子，為家
的厚實嗓音，讓她想起剛去世的父親，不禁落下鄉的環境發聲。對桑布伊而言，這個獎項不是競
眼淚。當她抬頭看見桑布伊從錄音室走出來，張爭的結果，而是屬於土地的榮耀。
惠妹驚訝地說「是你！」原來，這催淚的歌聲是第一張專輯《路》，有一半的歌曲都是古調翻
來自於部落裡相識的弟弟。唱，桑布伊想透過這張唱片保存部落的文化，讓
接著，桑布伊跟著張惠妹開始將近40場的巡迴年輕人可以隨時隨地聆聽自己的語言。
演出，擔任開頭及串場的表演。演唱會的工作，對於土地的熱情，讓桑布伊結識了一些具相同
讓他每個月有足夠的生活費，因此他辭去鐵工的理念的歌手：生祥樂隊、滅火器樂團、謝銘祐等
工作。結束大約三年的巡迴演唱之後，即將邁入等，彼此互相鼓勵，透過音樂，為台灣這塊土地
而立之年的桑布伊，決定著手整理自己創作的歌留下時代的歷史與記憶。與音樂人的交流，讓桑
曲，發行第一張專輯。布伊發現更多樂器融入音樂的可能性，就像在第
為了籌措經費，桑布伊自己寫計畫，向原住民二張專輯中，他使用月琴當作配樂，讓原住民音
委員會申請補助。後來雖然只獲得50萬元的補助，樂呈現新風貌。
他還是在拮据的經費下，用心完成專輯製作。沒想桑布伊平常會蒐集獨特的樂器聲，希望能加
到，如此精簡的製作，卻入圍2013年第24屆金曲獎入創作中。採訪當天，他興奮地拿出手機，點開
五個獎項，讓桑布伊感動地說：「只要用心做音 YouTube，分享他最近迷上的樂器──杜讀管，
樂，雖然沒有龐大經費，還是會被聽見。」陶醉地讚嘆「好好聽喔！」
「我喜歡去找古老的聲音、幾乎不再使用的聲
多元的音樂展現
音。」桑布伊坦言，他現在很少聽流行音樂，卻
在金曲獎的舞台上，身穿卑南族傳統服飾的很欣賞義大利盲人歌手安德烈˙波伽利這類型的歌
桑布伊，半跪在地上，讓母親為他戴上榮耀的花手，不知名日本奶奶的吟唱也會吸引他，因為兩
冠。他也邀請其他入圍最佳原住民歌手獎的參賽者都透過歌聲，展現了生命的態度。

c ult ure t h rough t h is record, enabli ng h is fellow almost never heard nowadays.” Sangpuy admits that
Pinuyumayan to hear their mother tongue anytime, he rarely listens to popular music now. He admires
anywhere. singers like Andrea Bocelli, the blind Italian solo-
Thanks to his passion for his home region, Sang- ist, and even the songs of an anonymous Japanese
puy beca me acqua i nted w it h ot her si ngers who granny can attract his attention—because via their
share similar ideas, including Sheng-xiang & Band, vocals, both manifest a dynamic, unredacted sense
Fire EX., and Hsieh Ming-yu. Interacting with them of life.
helped Sangpuy recognize the potential for integrat- Language connects us to the soil
ing more instruments into his music, as he did for his Seeing so many music videos in Sangpuy’s per-
second album, on which he added the sound of the sonal collection, this reporter can’t resist ask ing:
yueqin (“moon lute”) as an accompany ing instrument, “Wh ic h one’s you r favor ite?” The v ide o t hat he
bringing a fresh sound to indigenous folk music. plays in response is a documentary. A swath of pure
Sa ng puy col le c t s u n ique mu sic a l i n st r u me nt white snow, a few Himalayan natives and grazing
sounds, hoping to use them in future compositions.
On the day of our interview, he takes out his mobile
phone, and clearly excited, opens YouTube to share
a video of the latest instrument he has fallen for, the
duduk, an ancient Armenian double-reed woodwind. 桑布伊在2013年的「力量」演唱會，傳遞部落
精神，大家一起舞動搖擺，一起歡樂。
“Sounds neat, eh?” he exclaims dreamily.
At the 2013 “Power” concert, Sangpuy channeled
“I like to search for primeval sounds, ones that are the tribal spirit as the crowd made merry, dancing
and swaying.
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認為族語雖然還沒消失，但正逐漸死亡，不再被
語言是與大地的連結
人使用。為了保存這項無形的世界資產，他平常
看見桑布伊收藏這麼多音樂影片，忍不住問與原住民歌手聊天時，就會使用族語，雖然對方
他：「最喜歡哪一首呢？」他停頓一會，想不出已經不太會講，他還是會開玩笑地說：「你們至
來最喜歡的音樂，後來如開竅一般，啊的一聲，少也要回答我幾句嘛。」
想到一部紀錄片。他點開影片，只見白皚皚的雪這個時代，許多部落裡的年輕人，已經不太會
地裡，喜馬拉雅山的民族正在牧羊，沒有任何講族語，但是，桑布伊從不擔心族語創作會影響專
配樂與文字，只有環境的聲音：羊脖子上的鈴鐺輯銷售量。他瀟灑地說：「我就做我該做的事，不
聲、人類喘氣的聲音、雪地裡的風聲，深深吸引擔心市場。」的確，銷售量對桑布伊不是個問題，
著桑布伊。第一張專輯已經三刷，第二張專輯也正在進行二
「這就是他們的生活，隨便拍都好看。」傳統刷，他向這個世界展現了「超越語言的感動」。
民族的生活，讓桑布伊想到原住民的過去，以前「語言，其實只是你不想去認識一件事情的藉
布農族與泰雅族也有類似游牧的生活，不過後來口。」桑布伊認為現在年輕人即使不懂韓語，也
因為日治時期政府規定原住民要集中居住，這項能享受韓國歌曲，因為真正吸引人的，是旋律本
傳統就此消失。身與背後的態度。
對傳統的懷念，反映在桑布伊專輯語言上，每「音樂，其實，直接感受就好。」這是桑布伊
一張都堅持使用族語創作。「語言是與土地連結對不懂族語的歌迷的建議，也是他一路走來的創
最重要的一環，失去語言，就像離開土地。」他作理念。 l

桑布伊離開部落之後，仍嚮往大自然，常
騎車到山上及海邊放鬆。（莊坤儒攝）
Even after leaving his tribal village, Sangpuy
still yearns for Nature, and often cycles in the
mountains or along the ocean shore.
(photo by Kent Chuang)
sheep aside, there are no subtitles or manu-

fact ured soundtrack—just the tink le of a
bell hanging from a sheep’s neck, a person’s
panting, and the sough of the wind blowing
across the snow-covered land. The sound-
scape fascin ates Sangpuy.
“This is their life. Just a snapshot, but
it ’s a joy to see.” Images of a t radit ional
people’s way of life remind Sangpuy of the
past of Taiwan’s indigenous peoples. The
Bunun and Atayal were formerly somewhat
nomadic, but the Japanese colonial govern-
ment decreed t hat t he Aborigines had to
reside collectively in fixed communities, so
this part of their traditions was lost.
Nostalgia for tradition is reflected in the
lyrics on Sangpuy’s albums. He insists that
they all be in his tribal tongue. “Language
is the crucial link to the land. Losing our
language is like abandoning our land.”
I n t h is moder n era, ma ny you ng peo -
ple in indigenous villages don’t speak the
la ng uage of t heir forebears f luent ly, but
Sangpuy has never worried this would neg-
atively impact record sales. “I just do my
thing without considering the market,” he
says nonchalantly.
And that appears to be the case. Dalan
has already undergone three pressings, and
the second is now underway for his second
album, Yaangad. Such is the appeal of “mov-
ing music that transcends language.” l
(Tina Xie/photos courtesy of Wind Music/
tr. by Bruce Humes)
39
點燃台灣的搖滾之火
滅火器樂團
（莊坤儒攝 photo by Kent Chuang）

Igniting Taiwanese
Rock Music: Fire EX.
文•郭玉平　圖•火氣音樂提供　版面設計•蕭郢岑
來自南台灣高雄的台語龐克樂團
「滅火器 Fire EX.」，歌詞真實反映這
P unk-influenced Kaohsiung band Fire
EX. sings in Taiwanese about the
times we live in and the band’s deep love
個時代與生活，字句流露對台灣濃厚
of Taiwan, writing and performing such
的愛，隨著〈長途夜車〉、〈晚安台 highly popular tracks as “Good Night!
灣〉、〈島嶼天光〉等廣為傳唱的歌 Formosa!” and “Island’s Sunrise” that kin-
曲，點燃起樂迷對台灣未來的希望。 dle their fans’ hopes for Taiwan’s future.
為什麼取名滅火器？每當被問起團 Fire EX.’s members are always a little

embarrassed when asked about the origins
名，他們總回答的有點難為情。2000
of the band’s name. They explain that lead
年，16歲的夏天，主唱楊大正（大
singer Sam Yang was just 16 years old when
正）邀請同班同學貝斯手陳敬元（皮
he asked two classmates, bass player JC
皮）、吉他手鄭宇辰（宇辰）組樂團 Chen and guitarist ORio Cheng, to form a
參加學校活動，苦思不得團名，隨手 band to play at school events in the summer
就將游泳池旁的消防器材拿來取名。 of 2000. Struggling to come up with a name,
「佇風風雨雨的社會／我一直真拍 they ended up settling for the text printed
拚」〈自信勇敢咱的名〉打拚20年， on a poolside fire extinguisher.
Once a bunch of naive young school kids,
滅火器從青澀學生樂團，到站上總統
they’ve grown in their 20 years together—
府百年音樂盛會，成為唱出一世代心
Fire EX. has become the kind of seminal
聲的搖滾樂團。 rock band that speaks for its generation, and
they performed at the Presidential Office
做有意義的事
Building’s 100th anniversary concert.
樂團要玩多久、爬多高，大正說， Doing something meaningful
這從來不是他們的目的。 Sam says that the band has never been fo
三位高中生隨著年紀漸長，面臨把 cused on how long they might stay together
or how famous they might become.
興趣變成工作或職業的決定時，他們
As the years passed, band members ar
走到了人生的第一個岔路口。
rived at the first fork in the road: the ques
宇辰相對叛逆、早熟，小學就意識
tion of whether to turn their musical hobby
到自己不想過被安排好的人生，報考 into a job or career.
41
國中音樂班時，為了落榜，他把原本寫完的答出聲音，這是一件很令人悲傷的事。「所以，這
案，全部用立可白塗掉，塗到整隻手都變白。些團體需要我們去唱歌的時候，我們應該義不容
大正則是在大學正面迎上家人的阻力，他寫了辭。」樂團為了盡一點力，即使日子刻苦，仍願
一封長信給父母：「我不會再拿任何一毛錢，我意無償或友情價去演出。
會為我自己的人生負責。」就連最年輕的鼓手柯「雖然成名之前，做了許多有意義卻不賺錢的
志勛（柯光）也都遇過家人的勸阻。事。」大正笑著說，但現今看來卻是共創生命價
可是「為自己的人生負責」這幾個字，對於20 值的決定。
歲少年來說，是很困難的。
只是社運的配樂者
樂團初期走來坎坷，沒有經濟基礎的大正住
過詩人吳晟的兒子、同時是音樂人吳志寧的練團許多人認識滅火器的起點，是2014年太陽花學
室；就連進錄音室錄製Demo的費用，都是他們打運的主題曲〈島嶼天光〉，只要「天色漸漸光」
電話向同學募資而來。起個頭，年輕人幾乎都能接著唱「咱就大聲來唱
他們秉著高雄人不服輸的性格，堅持著年少時著歌」。
青澀的決定。
大正因為跟著吳志寧到「樂生療養院保留運
動」做音控，聽完漢生病（俗稱「痲瘋病」）病
患面臨居住空間被拆遷的故事分享，他體認到，當滅火器演唱會舞台上映出「台灣」，立刻引燃
這個社會還有很多光照不到的地方，吶喊也發不歌迷的熱情。
Fans go wild when Fire EX. projects “Taiwan” onto the
screen during a concert.
圖說圖說圖說圖說圖說圖說圖
說圖說圖說。
Audience applause is TPO’s
greatest motivator.

2000年跨年夜，滅火器第一
場公開演出時，為加深觀眾印
象，楊大正（右一）於胸前掛
上寫有團名的壓克力板。
Fire EX. vocalist Sam (far
right) wore a plexiglass board
emblazoned with the band’s
name around his neck during the
band’s first public performance
on New Year’s Eve 2000.
He hoped it would help the
audience remember them.
心境與環境都化為創作專輯的靈感，如象
徵樂團歷劫歸來的《重生》（左），與紀
念台灣民主進程的《無名英雄》（右）。
Albums can be inspired by both personal
and environmental factors. For example, Fire
EX.’s Reborn (left) came out of the band’s
brush with breaking up, while Stand Up
Like a Taiwanese (right) was a tribute to the
growth of Taiwan’s democracy.
The somewhat rebellious ORio matured early. Recog they raised the money they needed to rent a recording
niz ing while still in elementary school that he didn’t studio by calling up their classmates and asking for help.
want to live a regimented life, he deliberately failed his Kaohsiungers through and through, the band was
middleschool music program admissions test by cover determined to stick with their pursuit of music in spite of
ing up his answers with correction fluid. the obstacles they faced.
Sam faced his family’s opposition to a career in music When he worked with Wu mixing sound for an event
while he was in university, writing a letter to his parents supporting the Losheng Sanatorium and heard leprosy
to state that he would no longer accept their financial patients share their stories, Sam realized that there were
support, but would instead take responsibility for his still many dark and silent crevasses within Taiwanese
own life. KG Ke, the band’s drummer and youngest society. “When these kinds of groups need help, we are
member, also dealt with resistance from his family. dutybound to give it.” Even when the band was strug
But supporting yourself is hard when you’re just 20 gling to make ends meet, it performed benefit concerts
years old. free of charge or at a discounted rate.
Sam was broke during the band’s early days, and Soundtrack to a social movement
spent some time living in musician Wu Zulin’s practice Fire EX. started its rise to fame in 2014, when the band’s
space. When the group was ready to produce a demo, “Island’s Sunrise” became the theme song of the Sunflower
43
數十萬反服貿民眾湧至凱達格蘭大道靜坐。
（莊坤儒攝）
Hundreds of thousands of people rally on Taipei’s
Ketagalan Boulevard to protest the Cross-Strait 為台灣寫歌
Service Trade Agreement. (photo by Kent Chuang)
「我來自一座海上的島嶼／島上住著我勇敢的
母親／壯闊的海洋和山林／是他們給了我勇氣」
這首〈海島冒險王〉是滅火器為台灣兩位年輕登
學運期間，佔據立院抗議兩岸服貿協議的學生山家呂忠翰與張元植的世界第二高峰K2挑戰攀登
常唱滅火器的〈晚安台灣〉，把心中的焦慮轉化計畫所寫的主題曲。
為祝福：「日頭一出來猶原閣是好天氣／願你平台灣和台灣的人們，常化作他們寫歌的題材，
安／台灣」。在北藝大畢業生陳敬元邀請下，大「是身處的環境給了我們養分，才會形成創作，呈
正花了48小時就寫出〈島嶼天光〉，無償提供版現出來。」大正談到最新專輯《無名英雄》，也是
權，聲援學運。關係著台灣這片土地。
但他們並不會認為自己是社會運動的參與者，「我要告訴大家台灣不是一開始就這麼自由、
相較於全心全意為不公發聲的社運人士，「我們這麼民主，民主是奮鬥來的。」大正講述起專輯的
的付出比他們少太多了，」即便〈島嶼天光〉獲概念，在台灣的民主進程中，無論是日治時期、
得第26屆金曲獎年度歌曲獎，大正謙卑而堅定地二二八、戒嚴、白色恐怖，一直到解嚴後的今天，
說，他們始終將樂團定位在「只是這些事件的配還是有很多社會運動工作者為了這片土地上的自由
樂者，我們是配角。」努力著，這些人都是台灣非常重要的無名英雄。
那年的學運黑潮流過，成為台灣土地上的一道其中一首，專輯發行前就備受矚目的〈雙城
印記；而樂團與他們的歌，持續帶給台灣堅定而記〉，與香港傳奇詞人林夕合作，隔空串聯起
溫柔的力量。 1947的台灣與2019的香港。

student movement. On hearing the song’s first line, “When for Taiwanese climbers Lu Chunghan and Chang
dawn begins to light the sky,” most young people can Yuanchih’s attempt to summit K2, the world’s second
immediately chime in with the next: “I shout out a song.” tallest mountain.
Sam wrote “Island’s Sunrise” at the request of the The band often takes Taiwan and its people as the
students who were occupying the Legislative Yuan to subject of its songs. Sam mentions that their newest
protest the CrossStrait Service Trade Agreement, and album, Stand Up Like a Taiwanese, is also about Taiwan.
completed the song in just 48 hours to support the move He says the idea behind the album was that the
ment. During the movement, the students often sang Fire many individuals active in Taiwanese social move
EX.’s “Good Night! Formosa!” as well, transforming their ments, whether related to the February 28 Incident,
anxiety into good wishes: “As the sun comes up, it’s an martial law, the White Terror, or the modern post
other pretty day / I wish you well / Formosa.” martiallaw era, are unsung heroes.
But the band don’t think of themselves as having been One song from the album, a collaboration with
active participants in the social movement. Even though Hong Kongbased lyricist Albert Leung called “City of
“Island’s Sunrise” was named Song of the Year at the 2015 Sadness” that links the February 28th Incident of 1947
Golden Melody Awards, Sam humbly but firmly says that and the Hong Kong student protests of 2019, created a
the band was nothing more than “the musical accompani stir even before its release.
ment to those events. We were just bit players.” Sam had invited Leung, a fellow Golden Melody
Writing songs for Taiwan jury member, to write with him in May 2019.
The lyrics to Fire EX.’s “K2, We Too!” run: “I come When the Hong Kong protests got underway a month
from an island on the sea / My brave mother lives on the later, he noticed historical parallels with the Taiwan of
island / The vast sea, the mountains and forests / Give the February 28th Incident period. Leung subsequently
me my courage.” The band wrote it as the theme song changed the Chinese name of the song to “Shuang
楊大正以滄桑的嗓音、道地的台語，唱出台灣
人的心聲。
Sam sings in Taiwanese, giving voice to the inner
lives of Taiwan’s people.
45
2019年5月，大正與林夕同為金曲獎評審，林融入了濃厚的台灣情，滅火器希望透過音樂的
夕開玩笑說：「大家都找我寫情歌，沒人找我寫故事，讓人們開啟一扇門，走進去觸碰一點台灣
比較嚴肅的歌。」大正就把握機會向他邀歌。現況的來龍去脈，也許，看待台灣這個母親的觀
也是歷史的巧合，在6月香港發生反送中運點會有一點轉變。
動，時空背景其實跟二二八時候的台灣有很多
越挫越勇，滅不熄的熱情
重疊的地方。在雙方討論過後，林夕將這首原名
「悲情城市」的歌，定調為「雙城記」──時隔不過，大起也有大落，〈島嶼天光〉那年，他
70年的兩個城市。們也經歷過解散的危機。
而「無名英雄」還有另外一個隱喻，大正談到知名度提升，商演邀約增加，樂團卻領不到酬
台灣在國際社會的處境：「那麼多運動員在全世界勞。重情義的他們，面對與前經紀公司的財務糾
發光發亮的時候，你要我們怎麼介紹自己？」紛，一度想解散。大正、宇辰、皮皮三個人飛去
話不多的皮皮也侃侃介紹台灣，不論產業、醫日本石垣島，重新審視人生，他們認為最重要的
療或高科技精密儀器，像是今（2020）年新冠肺還是音樂。回台後，解除經紀約，成立火氣音樂
炎防疫的成績，都是全世界有目共睹的，「台灣公司，創作第四張具象徵意義的專輯《重生》。
雖然像是無名英雄，我們還是可以在國際上有所大正說到這裡，眼神中淡淡哀傷一掃而空。
貢獻。」皮皮說。主動出擊，是滅火器跟其他搖滾樂團不一樣的
地方，他們舉辦過台灣首場棒球場萬人演唱會，
以及台灣第一個由樂團主辦的國際音樂祭「火球
祭」，也是少數進行海外巡演的樂團之一。
為了使台灣晉升為世界一流的展演國家，火球
登上沖繩最大音樂節「What a Wonderful World!! 18 」，
滅火器對全球樂迷唱出台灣的歌。祭的硬體規格沒有做任何的妥協，他們相信唯有
Fire EX. delivered Taiwanese songs to music fans from
around the world at Okinawa’s “What a Wonderful World!!
如此，音樂產業才會有正向的提升。
18” festival.

滅火器應邀至日本
福島縣「騎馬武者
音樂祭」，歌手細
美武士驚喜現身，
一同合唱。
When Fire EX.
performed at
the Kibamusha
Rock Festival in
Fukushima, Japan,
singer Takeshi
Hosomi joined them
onstage for a song.
Cheng Ji” (“a tale of two cities”) to highlight the similari recorded their fourth album, Reborn. When Sam reaches this
ties between two places separated by seven decades. point in the band’s story, the slight hurt in his eyes fades.
The album also addresses Taiwan’s difficult interna Fire EX. has a habit of breaking new ground. They held
tional situation. Taiwan’s first concert in a baseball stadium, and founded
The usually quiet JC states that the whole world takes Fireball Fest, the first international music festival in Taiwan
note of how Taiwan—its manufacturers, medical system, to be hosted by a band. They are also one of the few Tai
and precision instrument makers—handles events like the wanese rock bands to have toured overseas.
2020 coronavirus pandemic. “Taiwan may be an unsung The band believes that it can’t compromise on the hard
hero, but we make contributions to the international com ware for Fireball Fest if Taiwan is going to be a toptier
munity nonetheless.” home for performances, and argues that upgrades in this
Fire EX. hopes that its music will give people a fuller area are the only way for our music industry to advance to
picture of the history behind Taiwan’s current situation. the next level.
An unquenchable fire Establishing their own company and organizing an inter
Big rises often precede big falls. In the year that the band national music festival are aspects of Fire EX.’s effort to find
released “Island’s Sunrise,” they also dealt with the pros its way forward. “For the last few years, we’ve been learning
pect of breaking up. and growing, sharing the good and the bad. We’re pretty
The possibility emerged after the band, who value rela proud of what we’ve accomplished.” ORio is surprisingly
tionships highly, got into a financial dispute with their then emotional when sharing this declaration with young people.
management company. Sam, ORio, and JC flew to Japan’s Rockers forge international ties
Ishigaki Island to think things over. After returning to Tai Having played everything from pubs to Summer Sonic,
wan, they formed their own company, Fire On Music, and one of Japan’s largest music festivals, the band is now
47
2020年新專輯《無
名英雄》巡迴演出
時，樂團與台下粉
絲合影。
Fire EX. paused for
this photo with their
fans while touring for
the 2020 album Stand
Up Like a Taiwanese.
組樂團、開公司或國際音樂祭，滅火器都自己便在音樂中表述自己的政治立場，也不會受到干
摸索，「這幾年來，我們不斷努力學習跟拓展，涉和影響。
有福同享，有難同當，這樣就滿值得驕傲的。」滅火器漸漸形成一個以台灣作基地，向世界輸
宇辰難得感性，說出一段致青春的宣言。出台灣文化的音樂人模組，用最真實的音樂跟各
國音樂人互動。
搖滾人用志氣串聯國際
像是與日本第一線搖滾歌手磯部正文、細美武
從小型live house唱到日本最大音樂祭之一的士合作，廣邀國際知名樂團來台展演，再到推出
Summer Sonic，現在，他們不只是思考怎麼讓城全球巡迴演出，不僅是把家鄉帶給各地的樂迷，
市更好，而是「以台灣為優先」，要蓋一座橋，還能跟當地產業連結，進行實質的交流，延伸台
串聯起世界各國的音樂圈。灣的市場。
團員們開心地和我們分享與歐美日樂團結盟「如果很多人願意一起團結起來走這條路，這
經驗，突然說到他們因為主張台灣主權意識，早條路的風景會更豐富，這是我們想做的事情。」
就被中國大陸封殺市場。清楚表達自己的政治立大正說。
場，滅火器也面臨到很大的考驗與挑釁。採訪結束時，滅火器團員們向我們鞠躬道謝，
「因為我們不跟進去，大家覺得我們很搞怪、筆者突然想起大正在受訪前，眉頭深鎖，將《光
很硬，可是我們都是很隨和的人啊！我們只是把我華》雜誌一頁一頁仔細讀完，如實且認真看待世
們的觀念落實在生活裡面。」大正舉了一個簡單的事的態度，始終如一。
例子，像是不講「內地」，改用國名來尊稱對方。這群大男孩經歷過一次次看似渺小卻意義重大
而且，「還要想什麼話不能講，那來玩音樂要的決定，「有勇氣來選擇／有志氣來承擔」〈繼
幹嘛？」皮皮突然迸出一句很龐克的話，或許，續向前行〉，不只是歌詞，更是滅火器20年來的
這才是真正的「政治歸政治，藝術歸藝術」，即最佳註腳。 l

thinking about how to connect with other bands from a totally punk statement. Perhaps the real way for politics
around the world while “putting Taiwan first.” and art to each mind their own business is for the political
Band members happily share their experience of teaming sphere not to interfere when songs express political views.
up with European, American, and Japanese groups. They Fire EX. has created a model for itself built on establish-
add that their unambiguous politics have also led to tests ing a Taiwanese base, and then working from that base
and provocations, including an early ban from the mainland to export Taiwanese culture abroad and collaborate with
Chinese market for their advocacy of Taiwanese sovereignty. other musicians from around the world.
“We’re not followers, which makes some people think Their recent efforts in this vein have included working
we’re weird and stubborn. But we’re actually really easy- with Japanese rockers Masafumi Isobe and Takeshi Ho-
going. We just try to put our thoughts into practice in our somi; inviting a wide variety of internationally famous
lives.” As an example, Sam mentions that he doesn’t use the bands to perform in Taiwan; and their 2017 world tour.
term “the mainland” for the PRC, but instead respectfully “If people are willing to come together and walk this
calls it by its proper name, “China.” path, it’ll make the scenery even richer,” says Sam. “That’s
“What’s the point of making music if you have to be what we want to do.”
careful about what you’re supposed to say?” exclaims JC, in These men have lived the “choose with courage, bear
up with resolve” ideology that they write about in their
song “Keep On Going.” More than just lyrics, their words
are an apt description of their 20-year journey. l
滅火器透過音樂的故事，為人們開啟一扇認識台灣、 (Camille Kuo/photos courtesy of Fire On Music/
愛護台灣的門。（莊坤儒攝） tr. by Scott Williams)
Fire EX.’s music offers listeners a gateway to understanding,
loving and protecting Taiwan. (photo by Kent Chuang)
圖說圖說圖說圖說圖說圖說圖說圖說圖說。
Audience applause is TPO’s greatest motivator.
49
思慕的城 ◎陳家毅
好讀
月
擁有詩人靈魂的建築師陳家毅一直擅長文字，建築算是視覺
創作，但他始終鍾情於書本，他讀書、藏書，設計書店，當
他注目城市，他的眼光屬於文學的。建築師邊走、邊看、邊
想、邊寫，文學、音樂、繪畫、電影、服裝等各類文化典故
信手捻來，寫出他自己的城市美學，……
節錄作家胡晴舫推薦序
台灣好建築：台灣篇分享成果，聆聽資深前輩、學者的
聽說台灣在近年出現了不少年意見，不止對個人，甚至整體建築
輕建築師的作品，很優秀很有創業，水平才能往前推動。建築除了
意。作品散布在島嶼各處，但多隱要實踐，還需要反思，更要不停的
藏在市區以外的偏僻地方，外人根磨練、更新。
是一趟巡覽好文的旅程，
更是一回賞讀美篇的心靈停駐……
也是一段遍閱佳構的遨遊，
本無法輕易可及，這讓我很好奇。為獎勵建築新秀而辦的台灣
況且台灣新建築的消息國際間報「A D A新銳建築獎」便是一例：由
導得不多（與台灣孤立的政治處「台北市建築世代會」策劃、「忠
境無關），媒體上極少曝光不若泰建築文化基金會」執行。「世代
國際媒體向來喜愛的日本，或近期會」（簡稱 A D A）為當地建設公司
炙手可熱的中國內陸，建築刊物常第二代企業家自發組成的一個聯
見篇幅。印度、越南，甚至馬來西誼團體，「忠泰集團」（簡稱JUT）
亞、印尼的土建、竹構、熱帶綠建是開發高端住宅的著名建設公司。
築，相較之下都有被關注，圖文並來自民間的建築企業，將銷售建
茂也概括了不少。築所得一部份還之並回饋於建築
這也許不是什麼壞事，建築有業。兩年一度的 A D A 獎是台灣建
若寫作，創作期間外人不好干擾。築業的重要事項。既是新生代設
設計者得默默耕耘，從工作室到計師嚮往的最高榮譽，也是國外
工地來回不斷，耗時三五年才見成業界留意台灣未來建築的重要指
品乃等閒之事。可是建築作品在收標，有人戲稱它為台灣建築界的
成時建築師（尤其年輕一代）與人「金馬獎」，實不為過。

二○ 一六年第三屆決賽的九項要）與在地的環境結合，用現代美哼一兩句，尤其耳熟能詳的《帝女
作品有四件為住宅、一件住宅群、學來演繹地方上的鄉土民情，以花》和《紫釵記》。好心的朋友在
一件室內多樣運動場、一件青少年完成的作品來表達心中的理念。最後一分鐘還得以尋獲一張戲票
活動中心、兩件為北市藝術裝置遠在台東的「青林書屋」的三位給我，冥冥中彷彿千里迢迢特趕來
類空間。整體的建造水平高超，技建築師為我們解說設計時便有種與它相會。劇場中朋友關心地問：
術表現與細節處理成熟。住宅和憨憨的、誠摯的態度。很令我聯想「你熟悉這戲目？聽得懂粵語的
非正式建築物的裝置結構，因為起台灣早年的鄉土文學，一看就對白麼（僅唱詞的部份有幕）？」
設計要求條件相對簡單，最能呈是屬於這地方的沒錯。天氣佳的尷尬的答案是：「不太記得也。還
現設計師想嘗試的設計概念。五件時候視野遼闊，台東基地雖不算好，靠猜。」
住宅作品風格各異，挑剔的話仍窮鄉僻壤，田野村落之外就僅有可是黑暗中觀劇，奇異感覺降
略嫌有歐美日現代建築身影，但寂寞的遠山和汪洋。其中二位每週臨的那一刻我來不及告訴他：當梅
大多藉此更進一步與在地的街道、從島北遠至，為教當地黑孩子（書雪詩扮演的謝素秋移步窺探酒後
環境、文化對話，慢慢自成一格。屋創辦人對行為偏差孩子的代沉睡、陳寶珠反串的趙汝州時，舞
例如台中山野間鐵皮屋的改稱）製造土磚造屋，為無業者傳授台布景和古代服裝縱然鮮豔華麗
造，原本簡陋的農舍提升到北歐一技之長。照耀在燈光下，我腦子裡不知不覺
式的樹林小屋。或是台中另一端更難得的是「青林書屋」的建
橘紅色的合院之家，以雕塑的方式造就地取材，夯土築牆、木扇窗與
安排建築格局，顛覆了傳統合院的門，結實的鋼結構防颱風，房子的
構成，包括入門即見的藝術展廊，外殼卻大都能打開，熱天保持自
取代了祭拜祖先的寺堂。在彰化工然通風。原本也許就散失的黑孩
業老區，某棟絲襪工廠屋頂上加子們下課後繼續在書屋裡溫習功
蓋的四合院新宅就更加奇特了：老課、讀書、嬉戲、打球、燒菜、吃
台灣亂是美的廠房空間忽戴上西飯、歌唱。生活因此有了保障，成
方簡約的新桂冠，竟一點不覺得彆長有了快樂的印記。
扭。一道幽徑串聯兩種美學，上下非物質文化遺產．紅梨再現：

皆別有洞天。這是南方華人熟悉香港篇
不過的店+屋，靈活維持了老人家我已有好一陣子沒到香港。這
對三代同堂的期許。次因為公事赴港數天，湊巧遇上
二、三十年前台灣建築師多愛任白戲寶《蝶影紅梨記》翻新作
聚在北市飲台啤高談闊論建築形盛大演出。戲曲，對我這門外漢而書名：思慕的城

作者：陳家毅
式和主義，對外國建築理論如數言，肯定是霧裡看花，掛一漏萬。
定價： 390元頁數：295頁
家珍，一時蔚為當代潮流。今天的粵劇，因為童年時耳濡目染，像我出版：聯合文學
電話：02-27666759分機5107
建築新生代反而從都市倒流向村這樣年紀的坡仔（港人給我們的
鎮，二話不說即捲起袖子、褲腳現親切俗稱，以現在年紀該稱為「坡
場參與，用學來的（國外與否不重佬」甚至「坡伯」了矣），大多還能
53
自動浮現的，卻是個黑白的場面，星馬無不街巷通行。小思近編的步入繁花園裡看風景：
眼前人物還是任劍輝與白雪仙。二冊《香港思文化眾聲道》，讓我中國大陸篇
似曾相識的強烈既視感，在最後們再次「看見香港」，和當年我們大都會如上海，市容改觀義無
一場氣氛熱鬧眾星齊聚的「大團都仰慕的香港文化（包括同樣重反顧說變就變。老區、舊建築消失
圓」，又波濤洶湧般拍進腦岸—— 要的次文化）。曾幾何時，因政治的速度驚人。尤以坊間簡單樸實、
星洲童年故居的下午，黑白電視（如新加坡八十年代開始強執的趕不上時代要求的民居如石庫門
屏幕播放著這齣戲的電影版本。「去方言」政策、如香港回歸二十社區、弄堂、里弄老房子，要不來
沉睡的記憶，原來一直完好無恙年，忙於應對和適應）與其他種不及謝幕早已大片拆除，被國際
隱藏在腦子裡，並未隨時間湮滅。種因素，星洲與香港這對「雙城線條的現代高樓取代，要不靈魂
除任白二人猶歷歷在目，還有大老記」，業已各自漸行漸遠。淘空剩下個歷史軀殼進駐了不相
倌梁醒波、靚次伯，他們獨一無二據紀錄，《蝶影紅梨記》初次完干的名牌商店、餐廳和Spa。
的唱腔驟然又迴響於耳邊。稿於一九五七年，距今超過一甲北京有胡同上海有弄堂房子，
離港那天在機場便利店隨手買子。電影版在一九五九開拍，曾經京滬二都的老建築物皆敵不過
了本《明周》，機上翻閱到有關首過劇作家唐滌生的修飾，使情節城市現代化的狂潮。民間舊滬魂
晚演出的讚美報導，少不了還穿更合理細部更臻完美。唐滌生真以後恐怕只能在老照片中尋獲得
插了幾則花邊新聞：演小生的陳寶是個奇才，在忙亂、商業味濃的舊到。幸虧現在考證工作還有《繁
珠「因坐骨神經痛致腳部不適，演香港，為任白「仙鳳鳴」劇團編寫花》一書可以溯源：自二○ 一二年
出時又會有跪地的場面，所以在下的粵劇無不膾炙人口，其中一些曲於《收穫》文學雜誌刊登後又簡
午做完針灸才裝身預備演出」，花調連小孩兒也能朗朗上口。文詞高體、繁體都出了書，立即紅遍華文
旦梅雪詩也「有輕微感冒…… 有雅卻又能普及大眾，誠屬難能可世界的長篇小說十分耐人尋味。書
點兒咳嗽」，方明白前一晚的演出貴。可惜唐滌生短命，等不及電影中人物迂迴曲折去來互動，箇中情
她顯然在「假戲真做」，當場抹的版的《蝶影紅梨記》上映，在開映節以文革到新時代和上海老民宅
是真鼻水。我掩頁時暗忖，她倆年的前一天便與世長辭了。墊底為大背景。
紀少算也應該有七十開外（任冰兒《蝶影紅梨記》從舞台（五七作家金宇澄生於斯長於斯，日
也九十多歲了吧），厚妝在台上三年）到電影（五九年）到這次在香日同區同街道往返來回數十載，恐
個半小時又唱又做實在不易為也。港文化中心的再演，策劃者也曾是怕沒誰比他對這地方，以及這地
如此為戲曲的傳承而忘我落力演首演者的白雪仙，在唐滌生冥壽百方的人物更了解，更富情感了。
出，已經遠遠超越樂業精神。歲（他生於一九一七年）之際，總此部長篇小說中觸及的每個
《蝶影紅梨記》再現，促人思結了原創者改寫劇本的心願。並區，皆與黃浦江、蘇州河有著不可
考另個課題：五十至七十年代的香且終於能夠，讓它在舞台上亮麗分割的親密關係。每條街、每個
港，生活僅屬基本，但文化活力四重來一次。雖然這彷彿遲了好幾十轉角、每棟樓，街上每家店舖的外
射，其影響力無遠弗屆。星洲（港年，雖然白雪仙也明白，在本月底觀、屋裡樓梯連同扶手的模樣，深
人給獅城的暱稱）與香港，在那年戲落幕後瞬即又逝。可是她的視入至大廳中傢俱的擺設、十字架，
代似乎比當今還要關係密切。電野、恆心和執著，教人感動，且對以及臥室裡的床舖，如同電影鏡
影、書籍、流行歌曲、中文雜誌在她加倍地肅然起敬。頭無不詳盡描述，也如偵探於事

後深入案發現場，提供筆錄和素
描給讀者補充在場的一手資料。
這也是為什麼重讀《繁花》多遍仍
有新發現百看不厭的原因。
書中對於所處的城市有其他著
作少見的關懷，處處可見上海市
容的變遷，時光的流逝。偶而作者
甚至跳出故事敘述的框架，加進
看似不相干的手繪插畫（如第四
章前的國泰電影院畫，還附加了
當年場內提供的消暑紙扇，而今
兩者都不復再有），閱讀時這些插
畫彷彿書頁內掉出的一幀幀老照
片，以此為證，讓故事大大增強了小毛家。（聯合文學提供）
時代感。
忽然的跳出來為觀眾加旁白宛作者後來竟然從不同角度將此段晚掉入她編織好，軟綿綿的網。重
似說書人的評述時事，又多與城市重述一次，令我聯想及《羅生門》複細看插圖，它又對照文中的敘述
建築有關。例如第拾壹章和十二和《春琴抄》，有些事情彷彿天註（第貳拾壹章），往後二人樓上樓
章之間，穿插三張小圖繪評瑞金定就算真有機會重來一次也改變下的偷情，房門裡外的鞋子、樓梯
路、長樂路一角的變遷，從老教堂不了悲情的結局。上下的腳步、地板與天花的隙縫，
到新錦江飯店，拆了又建，建了又時空交錯的幽徑書裡層出不圖中建築細節聲色齊備全有好戲
改，四十年來連續變化連當地人都窮，老貓搖曳長尾巴帶我們隨處在上演。
認不出原有的角落。是作家對這蹓躂，看盡園中風景繁花似錦，卻身為建築素人的金宇澄繪圖取
城市無序變遷之無奈，黯然神傷也目睹枝葉花果的敗落。第拾柒角異常精準，有股非專業筆法的真
之控訴。章回小毛不能自控失去童身後，這樸味，插圖相信是他記憶中已有，
人物雜多、對白紛呈一點不淹沒頭老貓曾出現於事發現場：建築素或腦子裡已預見的，從筆端流露
書中的重要情節。毛頭小子小毛的人《繁花》作家金宇澄以立體透視到紙上對他而言只不過順勢摘下
「失身」於獨守深閨的少婦銀鳳圖描繪小毛家，是所有插畫中難度那麼輕鬆自然。開場第壹章第壹
是一節，做愛一段僅見小毛魂飛最高的一幀。繪圖剝敞開一棟三節，十歲的阿寶和六歲的蓓蒂爬
到鋼鐵工廠的敲打聲，既真實又層樓的上海老弄堂房子，老貓徘上屋頂相依偎看風景，插圖中連
超現實。小毛對感情的執著和認徊門外街燈下。在這裡我們終於綿起伏的屋瓦穿插於大樹端，葉
真，因對方的「失信」而翻臉，是明白了夾在中層的銀鳳，如何在喧海間但見一幢蘇俄式大教堂。「瓦
他後來每下愈況的開端。小毛入鬧無比的理髮店之上，二樓爺叔家片溫熱，黃浦江船鳴」，兩小無猜
門看見銀鳳和好友阿寶、滬生在閒之旁，仍可以蜘蛛一般輕巧，引誘歲月靜好。我們的人生旅程，不都
聊，翻臉而去是另一精彩的情節。住在三樓的小毛，不偏不倚不早不也從那刻出發？
55
影像對話　PHOTO ESSAY
外在文明與內在心境之間
鍾順龍《路過》
圖•鍾順龍　文•沈柏逸　版面設計•胡如瑜
擁有多重身分的鍾順龍，一直在攝影
這條路上前行。他是攝影家，又有裱框專 A rare polymath, Chung Soon-long has long been dedic-
ated to photography. He is a photographer, but also a
picture framer; he is both a hard-working farmer based in
業；既是在花蓮鳳林辛勤耕作農夫，又是
Hualien’s Fenglin Township, and a devoted husband who
必須往返南投埔里奔波的丈夫。這些不同
regularly travels to Nantou’s Puli Township. These diverse
的身分，也不斷滲透到他的攝影實踐中。 roles have permeated Chung’s photographic practice, which
無論是農夫在耕作時對生活細節與當下的 draws inspiration from the way he perceives every moment of
感知，又或是身為丈夫，必須在中橫公路 his life as a farmer, as well as from all the time he spends com-
上花上許多時間往返。新作品《路過》則 muting on the Central Cross-Island Highway. His new series
是在攝影創作中，綜合上述各種身分交織 of photographs, Transition, elucidates the perceptions gained
from the interplay of his various roles, exploring the vexed
下的生活感知，探問著目的與過程、文明
relationships between ends and processes, civilization and
與自然、外在與內在等等的交互關係。
nature, the mind and the external world, and other binaries.
客觀疏離的攝影方法《里程碑》 The Marker: Photography with a cold eye
Chung has always been contemplating the process of
鍾順龍一直以來都關注著文明的進程 civilization and its impact on humanity. His most impressive
以及其對人類的影響。他最讓人印象深刻 work has to be The Marker. This series of photographs offers
的作品莫過於《里程碑》，此系列以疏離 detached observations of bridge piers that are under construc-
的觀點，凝視著那些正在建構中的橋墩， tion. Seen from the viewpoint of the future, these piers as-
sume an aura comparable to that of the memorials left behind
而這些橋墩如果用未來角度往現在看，就
by ancient civilizations. Grand and sacred, they hold their
像是古代文明的紀念碑般，崇高又神聖地
ground upon the earth. Paradoxically, despite their resemb-
聳立在大地之上。弔詭的是，象徵永恆的
lance to timeless memorials that symbolize eternity, Chung’s
紀念碑，卻是不斷「加速」文明進程的產 piers are in fact products that help to accelerate the advance of
物，支撐著各種讓人通行的公路。 civilization, as they are built to support all kinds of highways.

里程碑－國道6號－南投埔里－2007年
The Marker: National Highway 6,
Puli Township, Nantou County, 2007.
值得一提的是鍾順龍拍攝台灣地景的方法，他們雖然記錄著卑賤的、被人漠視的水塔建築，
他並非去捕捉一些奇觀美景，而是以中性、客但卻是以權威的、可信的和莊嚴的方式呈現這些
觀、序列、重複、系統性、大畫幅等冷冽方式，水塔。
讓觀者直面這些建設中的橋墩。這讓人想起德回頭來對照《里程碑》的攝影策略，雖說作品
國當代攝影的杜塞道夫學派（K u n s t a k a d e m i e 富含杜塞道夫學派的特色，但是鍾順龍記錄的
Düsseldorf），這學派發起人貝歇夫婦（Bernd 不是已經建構好的建築物，而是正在建設中的橋
& Hilla Becher）也一樣用抽離攝影家主觀情緒墩，而橋墩正在建設又尚待完成的「在之間」
的類型學（Typology）方式記錄著極其無聊的水（In Between）狀態，也間接呼應著攝影本身的
塔。然而，這組作品中充斥著弔詭的風格，因為曖昧特質。
里程碑－台84線快速道路－台南麻豆－2009年
The Marker: Provincial Highway 84, Madou District, Tainan City, 2009.

The way Chung records Taiwan’s landscapes is worth photographs by the Bechers betrays a paradoxical style:
noticing. Rather than capturing sublime or beautiful although they record the commonplace and neglected
views, he exposes these bridge piers to the full gaze of architecture of water towers, they do so in an authorita-
the viewer in a coldly detached manner, in large-format tive, trustworthy and dignified way.
photographs that are at once neutral, objective, serial, Compare this with Chung’s photographic strategies
repetitive and systematic. This recalls modern Ger- for The Marker. Though his work is reminiscent of the
many’s Düsseldorf School of Photography. The founders Düsseldorf School, what Chung has captured is not
of this school, Bernd and Hilla Becher, also employed a finished architecture but bridge piers that are in the pro-
”typology” that distanced itself from the photographer’s cess of being built. The in-betweenness of the unfinished
subjective emotions in recording apparently unremark- piers also gestures toward the ambiguities inherent in
able objects like water towers. However that group of photography itself.
59
Transition: A dialectic between mind and matter
內在與外在的辯證《路過》 If The Marker presents civilization in an objective and
rational manner, Chung’s new project Transition is more
若說《里程碑》以一種客觀理性的方式呈現
introspective in that it explores the photographer’s pres-
文明；新作品《路過》則以更內在的方式映射著
ent frame of mind, even while continuing to brood on
攝影家當下的心境，同時也沒有忽略對文明的反
civilization. Through Chung’s composition of images, for
思。舉例來說，在《路過》的影像構成上，不再 example, rather than merely highlighting the neutral ity
只有凸顯被攝物自身的中性景象；而是呈現許多 of the objects portrayed, Transition presents many scenes
籠罩迷茫霧氣的景象，使得這些景象更具某種詩 that are shrouded in mists, giving them a more poetic
意氛圍。這些霧氣同時呼應著攝影家的內在心 mood. At the same time, these mists reflect the photo-
境，就如同他平時在農耕時體會到的四季變化， grapher’s mindscape, reminding us of his perception
of seasonal changes in his farming life, and this sea-
而這些氣候循環，也在《路過》中呈現出來。另
sonal and meteorological flux is also directly depicted
一方面，文明的探討也沒有在當中忽略，我們所
in Transition. On the other hand, the project does not
見到的許多照片場景都有人造的痕跡，這些看似 neglect to comment on civilization. Many of the photo-
自然的場景並非原生自然，而都是人造自然的文 graphs are of scenes that carry human traces. They seem
明進程。 to show pristine nature but are in fact manmade scenes,
《路過》不由得會讓人聯想到西方的公路攝影 their artificiality being part of the process of civilization.
傳統，強調某種個人主義、自由不羈、無目的地 Transition inevitably brings to mind the Western
tradition of road photography, which usually throws
「在路上」（On The Road）。然而，《路過》形
into relief a free and aimless on-the-road individualism.
式雖像公路攝影，但是鍾順龍卻並非個人主義自
While Chung’s work shares some formal similarities
由奔放地在路上；而是由於家庭關係，必須往返
with road photography, however, it does not foreground
鳳林與埔里兩地。換言之，中橫公路就像因為婚 a liberated individual expressing himself on the road.
姻關係而必須不斷重複往返的日常歷程，而非像 Rather, it portrays his travels between Fenglin and Puli,
西方公路攝影朝外在未知世界探索的過程。 which are necessary in order to maintain family ties.
That is to say, the Central Cross-Island Highway em-
bodies those repetit ive daily routines that are vital to
marital relation ships; it does not bespeak the process—
enshrined in Western road photography—of exploring
the unknown world “out there.”
路過－轉山
Transition: Serpentine
61
路過－路面
Transition: Surface
路過－光點
Transition: Spots of Light
路過－入境
Transition: Entry
「在之間」的影像
鍾順龍猶如在中橫公路漫長歷程中自得其樂，
並且同時觀照他自身的內心狀態。如果說，他大
部分時間都是具目標性的必須回家趕路，那麼
《路過》則是探索著起點與終點的「在之間」狀
態。而他運用大型相機緩慢拍攝時，也脫離了必
須趕回家的目的性。當他拍攝通常被人「路過」
的中途景觀時，也是以「身在當下」的方式跟中
橫公路共處，抵抗著不斷前行的時間之箭。
從《里程碑》到《路過》我們可以看到鍾順龍
不斷透過攝影尋找著事物「在之間」的狀態，這
同時也回應了攝影自身的曖昧特性。重要的是，
這種無法立即辨明的狀態，並不是給我們一個精
彩風景或是清楚地報導目的，而更多是喚起我們
反思人類的文明進程，以及邀請我們想像跟當下
自然共處的生命態度。 l
Images of in-betweenness
It seems as if Chung enjoys himself during his long
journeys on the cross-island highway, where he also probes
his own state of mind. If most of his time on the road is
dominated by the intention of getting back home quickly,
Transition explores what lies “between” his point of de-
parture and his destination. In the slow process of taking
photographs with his large-format camera, he shakes off his
original sense of purpose, no longer aiming to rush back
home. While he is capturing scenes that are rarely noticed
by people “in transit,” he interacts with the highway in the
here and now, withstanding the relentless pressure of time.
From The Marker to Transition, we see Chung Soon-long’s
ceaseless efforts to contemplate the “in-betweenness” of ob-
jects through photography. These efforts also respond to the
ambiguous nature of photography per se. Importantly, the
liminal state he seeks, which resists immediate clarification,
does not open a window on attractive landscapes; nor does
it resemble reportage with clearly defined purposes. In-
stead, it helps us reflect on the process of human civilization
and invites us to imagine a philosophy of life that facilitates
our coexisting with nature in the here and now. l
(photos by Chung Soon-long/text by Shen Bo-yi/
tr. by Brandon Yen)
65
全球視野　GLOBAL OUTLOOK
打造台灣醫療品牌
醫衛國家隊前進新南向
Creating Taiwan’s Medical Brand
—Taiwan Hospitals Support Partner Countries’ Healthcare
文•曾蘭淑　圖•彰化基督教醫院提供　版面設計•胡如瑜
越南越德醫院2019年完成越南換對專程來台參觀智慧醫療的東南亞
肝史上年齡最小的肝臟移植手術，是醫護代表團而言，從台北搭高鐵再轉
由台北榮民總醫院肝臟移植團隊來車到彰化縣員林市，有些許違和感！
執行；泰國官方宣傳智慧醫療的影片遠離台北首善之都，拉車到一個前不
中，有一台生理量測器是由台灣出著村、後不著店的小鎮，參觀一個急
廠；美國空軍一號飛機上，配置了台性病床不到300床、彰化基督教醫院
灣製造的遠距醫療數位攝影機，也在（簡稱「彰基」）的分院。
行銷東南亞的市場上也大有斬獲。但一到員林基督教醫院（簡稱「員
台灣具有國際公認的醫療實力，兩基」），這間台灣第一所綠能智慧醫
年來在衛生署號召之下，組成台灣醫院，明亮的大廳，不論老阿嬤或老阿
衛國家隊前進新南向國家，有的醫院伯，自行掛號與領慢性處方箋；門診
向友邦展現精湛的醫術與醫療實力；區不靠護理人員，患者自己DIY用生理
有的則整合自身資源，帶著台灣醫材量測機來量血壓與心跳；智慧護理站
與藥品廠商，打進陌生的東南亞與印看不到大白板，護理人員拿著平板查
度醫療市場，擦亮台灣醫療品牌。看患者的治療紀錄；病房中家屬為患

護理長向新南向國家的培訓
人員，介紹智慧白板如何提
升護理人員工作效能。
A head nurse introduces
the smart whiteboard to a
“seed trainer” from a New
Southbound partner country,
explaining how it can improve
nursing staff efficiency.
慧誠智醫賣至泰國的生理
量測機，有泰文字樣的說
明與語音，讓患者可以用
身分證自行掛號，量血壓
與心跳。（林旻萱攝）
An imedtac wellness diagnostic
kiosk destined for Thailand
has both written and audio
instructions in Thai, allowing
patients to register with their
ID cards, and measure blood
pressure and pulse rate.
(photo by Lin Min-hsuan)
I n 2019, Vietnam’s Viet Duc Hospital conducted

a successful liver transplant on the youngest pa-
tient in the nation’s liver-transplant history; a sur-
gical team from Taipei Veterans General Hospital
performed the operation. A Thai government pro-
motional video on smart medical care featured a well-
ness diagnostic kiosk manufactured in Taiwan. And
US Air Force One—the plane that carries American
presidents—is equipped with a Taiwan-made digital
telemedicine camera, which has also enjoyed excellent
sales in the Southeast-Asian market.
Taiwan’s medical strengths are recognized inter-
nationally. For the past two years, as part of the Tai-
wan Medical and Healthcare Regional Partnership
promoted by the ROC Ministry of Health and Welfare, incongruous to take the high-speed rail from Taipei
Taiwanese medical centers have been supporting the but then change to a slow local train to go to Yuanlin
healthcare systems of countries that are targeted by in Changhua County. Far from Taiwan’s preeminent
Taiwan's New Southbound Policy. As well as apply- metropolis, they find themselves pulling into a one-
ing their excellent medical skills and treatments for horse town to tour a branch of Changhua Christian
the benefit of friendly nations, these hospitals have Hospital, a facility with less than 300 acute care beds.
integrated their resources with medical equipment and However, upon entering the well-lit main lobby of
pharmaceuticals manufacturers to introduce these ven- YuanlinChristianHospital,Taiwan’sfirst green-energy
dors into the unfamiliar markets of their partner coun- smart hospital, the visitors see senior citizens registering
tries, thus burnishing the nation’s medical credentials. for consultations and collecting prescriptions for chronic
ailments all by themselves. In the outpatient clinic, pa-
For the Asian medical delegations that travel to Tai- tients measure their own blood pressure and heart rates
wan to visit smart healthcare facilities, it feels a little without help from nurses. At the nurses’ station there’s
67
中經院團隊協助介接台灣醫院團隊，帶領醫療相關業者前進 30％的電費；開完刀，醫護人員用平板呼叫
東南亞。（林旻萱攝）
A team from the Chung-Hua Institution for Economic Research ORber（暱稱「阿寶」），它是整合門禁、通報
assists in interfacing with Taiwan hospital teams and leads
medical-related businesses into New Southbound Policy partner 與視訊等系統，在開刀房負責運送一百多公斤
countries. (photo by Lin Min-hsuan)
醫療廢棄物與開刀器械的拖曳機器人，藉此減
少交叉感染，推車太重，阿寶臉上表情還會冒
汗，卻讓參觀者「Wow」聲連連。
者透過床邊照護系統的觸控式螢幕點餐，順便這是衛生署2018年推出「醫衛新南向」的政
通知點滴快打完了。策中，所帶出實際行動的場景之一。
「從掛號到拿藥，從開刀手術至出院排程，
公私協力，為醫衛產業搭橋
透過物聯網整合醫療資訊系統所提供的智慧
就診服務，讓員基每天最多可以看3,000位病衛生署長陳時中2018年開始推出「一國一中
患。」當解說人員介紹智慧醫院帶來的效率，心」的醫衛新南向政策，要求參加的六家醫院
讓同樣飽受人滿為患之苦的泰國、越南等醫院（2019年增加為七家），各自向負責的國家搭
的院長們，不免發出讚嘆之聲，先前舟車勞頓建醫衛交流平台，帶領台灣醫材與藥品廠商，
的不適感早已拋諸腦後。開拓新南向國家市場，貫徹了新南向政策分散
為了讓東南亞的訪客更了解智慧綠能醫院的市場的精神，強化與夥伴國家的連結。
設計，員基更分享回收雨水、廢水的節能設「縱使沒有新南向政策，台灣許多醫院長久
計，地下樓層在夜間電力離峰時段進行製冰，以來在東南亞國家，進行醫療人道救援、培訓
白天冰塊融化幫助降低建築溫度，因而減少醫事人員的工作。」中經院衛福新南向專案辦

員林基督教醫院大廳
的自助掛號機，患者
可以自行掛號與領慢性
處方箋。
With the self-service
registration machine
in Yuanlin Christian
Hospital’s main lobby,
patients can register and
pick up prescriptions all
by themselves.
no whiteboard; nursing personnel check pa- (seven in 2019) set up a medical and health 在開刀房工作的ORber
tients’ medical records on tablet computers. exchange platform with the country it serves, （暱稱「阿寶」）是拖曳
機器人，推車太重，阿
And on the wards, bedside care systems with introducing Taiwanese medical equipment 寶臉上表情還會冒汗。
touchscreens allow patients’ family members and pharmaceuticals manufacturers to South ORber, a towing robot,
works in the operating
to order food for patients and to let nurses and Southeast-Asian markets. In this way, room. When ORber totes
knowwhenIVdripsarealmostfinished. Taiwan is implementing the spirit of the New a heavy load, beads of
sweat appear on his face.
“From registration to picking up pre- Southbound Policy (NSP), by diversifying its
scribed medicines, from surgery to discharge markets and strengthening ties with other
procedures, through integration of the Inter- Asian countries.
net of Things into the medical information Yen Huai-shing, principal coordinator
system,smartmedicalservicesallowthestaff in the Health & Welfare NSP Project Office
to see up to 3000 patients a day.” When the at the Chung-Hua Institution for Economic
guide describes the smart hospital and the Research, notes that what lies at the policy’s
efficiencyitaffords,directorsofovercrowded core is not public welfare but rather “business
Thai and Vietnamese hospitals can’t help but thinking.” That is, the hospitals play a path-
sigh in admiration, the discomforts of their finding role, using their long-term connec-
long journey well forgotten. tions and reputations to introduce Taiwanese
Public–private partnership medical equipment vendors and pharma-
In 2018, Taiwan’s minister of health and ceuticals manufacturers into emerging mar-
welfare, Chen Shih-chung, launched the kets; formerly, over 70% of those companies’
“One Country, One Center” project under export markets were in Europe, the Amer-
the Taiwan Medical and Healthcare Re- icas, Japan, South Korea, and China. Chang-
gional Partnership, an arm of the nation’s hua Christian Hospital (CCH) and National
New Southbound Policy. The project pairs a Cheng Kung University School of Medicine
Taiwanese medical center with each partner Hospital (NCKUH) are model participants in
country. Each of the six participating hospitals this public–private partnership.
69
彰基海外醫療中心執行長高小玲，清楚定位彰基在智慧醫療
的強項，形塑台灣醫衛國家品牌。（林旻萱攝）
CCH Overseas Medical Mission Center director Kao Hsiau-
ling spells out CHH’s smart healthcare advantages, burnishing
Taiwan healthcare’s credentials. (photo by Lin Hsuan-min)
期經營的人脈與聲望，順水推舟，帶著過去七
成以上以歐美、日韓與大陸為主要出口市場的
醫材廠商與藥廠，前進新興市場。而彰基與成
功大學醫學院附設醫院（簡稱「成大醫院」）
則是公私協力行動中的模範生。
新南向亮點：智慧醫療、Taiwan M Team
彰化基督教醫院自2009年起，即展開與泰北
Overbrook 醫院在義診與醫事人員培訓等方面的
合作，透過「醫衛新南向」政策，讓彰基與泰
國合作區域從泰北拓展至全國，醫療合作的項
目也更多元。
彰基海外醫療中心執行長高小玲指出：「我
們事先進行調查與研究，發現泰國正在推動工
業4.0與東部經濟走廊發展計畫，而彰基有興建
全台灣第一座智慧綠能醫院的經驗，正好可以
符合泰國推動e-health計畫的需要，可以提供經
驗與技術上的分享。」
目前員基每年至少接待來自國內外約一百個
醫療團體參觀。泰北Overbrook 醫院院長Witoon
Yongmethawut直接告訴醫護人員說：「能夠發
展像台灣這樣的智慧醫療，就是我的夢想。」
「在產業思維」主導下，衛生署要求帶頭的醫
公室計劃主持人顏慧欣點出此項政策的核心，院帶著廠商參加台灣形象展與醫材展。例如2019
不在公共利益，而在「產業思維」。年在泰國舉辦的M DA東盟醫療器械展上，台灣
由於東南亞各國法規複雜，加上大多具有扶 16家廠商得以站上主舞台展示台灣的產品，形成
植本國產業的保護主義政策，讓台灣醫衛廠商台灣攤位門庭若市、日韓攤位乏人問津的場面。
之前對東南亞市場裹足不前。原本以美國市場為主的晉弘科技，美國空軍一號
鑽研經貿法規的顏慧欣指出，東南亞國家這飛機上，就裝了晉弘用於遠距醫療的數位五官
幾年拜經濟成長之賜成為重要的外貿市場，各鏡，不僅參加M DA展立即收到訂單，2019年在
國也配合東協整合的進程，跟著進行國內法規 ASEAN市場的營收較2018年成長25％。
的調整，例如印尼放寬外資投資醫藥產業的比母雞帶小雞的效應也讓廠商感恩在心頭。
例，或是業者只要在歐美日拿到藥證上市許「如何讓一個外國醫院的院長相信一個只有三
可，在越南也可以比照申請。醫衛新南向政策年多的新創醫材公司？」慧誠智醫經理謝秉融
的產業思維，即是由醫院打前鋒，運用醫院長坦誠地說，要打入陌生的東南亞市場，論知名

Smart medicine and the Taiwan M Team the Taiwan Expo and medical equipment ex-
Since 2009, CCH has worked with northern positions. For example, at the Medical Device
Thailand’s Overbrook Hospital, providing ASEAN Exhibition held in Thailand in 2019, 16
free clinics and training medical personnel. Taiwanesefirmsshowedtheirproductsonthe
Taiwan’s Medical and Healthcare Regional main stage. As a result, the Taiwanese booths
Partnership policy has enabled the two hos- were mobbed, while Japan ese and South
pitals to expand their services throughout Korean booths were virtually deserted. Med-
Thailand, offering a wider array of medical imaging Integrated Solution Inc. (MiiS), which
projects and resources. in the past dealt primarily with the American
Nina Kao, CEO of CCH’s Overseas Med- market and whose Horus scope digital tele-
icalMissionCenter,says,“Wefirstconducted medicine camera is installed on US Air Force
investigationsandresearch,findingthatThai- One, took part in the MDA exhibition and
land is promoting Industry 4.0 and the Eastern immediately received a slew of orders. Conse-
Economic Corridor. CCH has experience in quently, the company’s 2019 ASEAN market
buildingthefirstsmartgreen-energyhospital revenue grew by 25% as compared to 2018.
in Taiwan. We can meet the needs of Thai- Vendorsappreciatetheeffectivenessofthis
員基一樓大廳的互動電
land’s e-health plan by sharing our experience “mother hen leading the chicks” approach. 視牆，展現智慧醫院的
and technology.” “How do we convince directors of foreign 科技印象。
The interactive TV wall
Guided by “business thinking,” the Minis- hospitals to trust a medical equipment com- in Yuanlin Christian
try of Health and Welfare asked the particip- pany that is only three years old?” asks Beren Hospital’s main lobby
shows off imedtac’s
ating hospitals to lead vendors in exhibiting at Hsieh, business development manager at technological knowhow.
71
度拚不過百年歷史的奇異與西門子公司，論價灣醫療廠商到印度取證許可的相關資訊，同時
錢贏不了大陸低價促銷。但在政府醫衛新南向整合經濟部提供前進新南向市場的資訊。
的帶動與彰基的牽線下，這些醫院院長們實際在印度設立超過1,700個經銷據點、24個發貨
看到慧誠智醫的生理量測站與ORber等產品在員倉庫的康揚輔具，更大方分享在印度的據點，
基的運作，令人眼睛為之一亮的事實勝於口沫提供台灣廠商寄賣，傳授在地化、客製化的行
橫飛的廣告。銷策略與心得，讓後進的廠商得以縮短摸索
負責成功大學醫學院附設醫院2018∼2019年期，形成「聯盟」的戰力。
一國一計畫的許以霖醫師，亦借力使力，與深
醫療國家隊，深化台灣醫療品牌
耕印度市場十多年的康揚輔具合作，2019年6月
開始籌設「Taiwan M-Team」網站，吸引40間對除了協助廠商進軍新南向國家市場，七國七
印度市場有興趣的醫衛廠商加入，不只提供台中心所組成的國家隊，亦擦亮「台灣醫療品
牌」。顏慧欣強調：「第一步是借重台灣醫院
的光環，與負責國家簽訂合作備忘錄，深耕人
脈網絡，透過醫衛合作，強化台灣在新南向國
台灣醫療廠商在泰國舉辦的MDA東盟醫療器械展的主舞台，
家的連結；第二是透過每個醫院的特色醫療，
一一介紹台灣的產品。
Taiwan medical manufacturers introduce their products on the 重新定位台灣醫衛國家品牌的影響力。」
main stage at the 2019 Medical Device ASEAN Exhibition in
Thailand. 其中，醫術交流與合作是台灣醫衛品牌最大

2018年在泰國舉行的
智慧醫療會議，台灣廠
商展示的智慧機器人最
吸睛。
At a smart medical
conference in Thailand
in 2018, Taiwan vendors’
smart robots stole the
show.
imedtac Co., Ltd. Thanks to the government’s Medical teams burnish Taiwan’s image
New Southbound Policy and CCH’s leader- Besides bringing Taiwanese suppliers
ship, the visiting hospital directors witnessed into new Asian markets, the seven medical
imedtac’s smart vital signs station, its postop- centers paired with seven countries have
erative waste disposal robot ORber, and other put together medical teams that are burn-
products in action at Yuanlin Christian Hos- ishing Taiwan’s medical brand.
pital. Seeing is believing! Medical exc hanges and cooperat ive
Dr. Hsu I-lin, director of the International endeavors are Taiwan healthcare’s biggest
Medical Center at NCKUH, who was in charge advantages. For example, Taipei Veterans
of the hospital’s One Country, One Center General Hospital provided training for the
project with India from 2018 to 2019, has also entire transplant team of Viet Duc Hospi-
contributed to the effort. In cooperation with tal, Vietnam’s largest surgical hospital, and
Karma, a Taiwanese assistive devices manu- in 2019 conducted a liver transplant on the
facturer with deep roots in the Indian market, youngest patient in Vietnam’s 15-year his-
Hsu set up the “Taiwan M-Team” website in tory of liver transplants.
June 2019, and was joined by 40 medical and Wang Wen-fu, director of CCH’s “Long-
healthcare device vendors with their eyes on Term Care e-Hospital” notes that CCH has
the Indian market. developed an integrated dementia care sys-
Karma has more than 1700 distribution tem for patients ranging from those with
bases and 24 delivery warehouses in India. The only mild symptoms to those requiring
company shares its bases in India with newly hospitalization. The program is based on
arrived Taiwanese vendors, provides them a combination of community care and the
with consignment sale facilities, and teaches government’s Long-Term Care 2.0 policy.
localized and customized marketing strategies, Experience and knowhow of this kind are
enabling manufacturers to shorten exploration the highlights of Taiwan’s overseas medical
periodsandenjoythebenefitsofteamwork. activities.
73
彰基前進泰北義診、培訓醫事人員，已長達十年。
CHH has been providing free clinics and training medical
personnel in northern Thailand for more than ten years.
的優勢。以負責越南的台北榮民總醫院來說，
不只越南第一大外科醫院越德醫院的整個移植
外科團隊都送到北榮訓練，2019年北榮團隊更
完成越南15年換肝史上，年齡最小的肝臟移植
手術的紀錄。
彰基長期以來結合社區照護、政府長照2.0政
策，針對從輕度到住院的失智患者，發展出一
條龍的失智照顧系統，如此完整的know how與
經驗，更是海外輸出的亮點。
彰基甚至受邀到泰國公共衛生部傳統醫藥司舉
辦長照工作坊。彰基「長照e院」院長王文甫指
出，彰基在社區長照據點的創新服務，同時將中
醫坐式太極、坐式八段錦，運用在長期照護中，
還有台灣點睛科技展示SODA樂活認知訓練機，
均讓泰國護理人員大為驚豔，希望與台灣合作，
舉辦「專業培訓課程」。連泰國傳統醫藥師都受
到啟發，認為泰式按摩也可以用在長照上。
重新定位新南向夥伴關係
根據衛福部的統計，2018年到台灣使用醫
療服務的外籍人士已超過42萬人，其中有三分
之一來自東南亞。負責馬來西亞的長庚醫院胸
腔外科醫師劉會平，本身是來自馬來西亞的僑
生，基於回饋故鄉的使命感，不管是到馬來西
亞舉辦研討會或產業媒合會，或是接受馬來西營養衛教教室，進入帛琉公立小學進行營養教
亞政府官方通訊社馬新社新聞台的專訪，都大育課程，2019年開始參加醫衛新南向計畫，將
力推介長庚醫院在國際上整合癌症治療與口腔其累積豐富的醫療合作經驗複製至緬甸，新光
重建等醫療技術的實力。團隊更是胸有成竹，今年三月更透過視訊，協
「馬來西亞對台灣的醫療技術與實力並不太助緬甸當地醫院防治新冠肺炎疫情。
了解，透過醫衛新南向計劃，讓馬來西亞的醫負責協調一國一中心政策的中經院執行秘書
師、病人與家屬都了解到，除了去新加坡、澳蘇怡文有感而發地說，台灣醫衛國家隊在東南
洲、中國之外，原來台灣也是優質的選擇。」亞的醫材展、研討會的表現，均讓地主國驚
劉會平醫師說。豔。她相信，醫衛新南向深化東南亞市場，有
還有新光醫院長期投入帛琉的國際醫療服朝一日當台灣人到東南亞遊玩時，一提到台
務，從最初單純派遣醫師、護理師駐診、代訓灣，東南亞的國民不只是知道台灣，還會加上
當地醫護人員，到建立後送轉診制度，還成立一句：「你們的醫療很棒！」 □

台灣醫療廠商在泰國舉辦的MDA東盟醫療器械
展上，介紹台灣的產品。
Taiwanese medical device vendors introduce
Taiwan-made products at the Medical Device
ASEAN Exhibition in Thailand.
such as integrated cancer treatment and oral

reconstructive surgery. That’s his way of giv-
ing back to his homeland.
Shin Kong Wu Ho-Su Memorial Hospital,
which joined the regional partnership pro-
gram in 2019, has duplicated in Myanmar the
cooperative medical experience it gained in
Palau, and since March 2020 has been using
videoconferencing to assist hospitals in Myan-
mar to prepare for the coronavirus outbreak.
One Country, One Center project co-
ordinator Evi Su reports that participating
Redefining Southbound partnerships hospitals’ performance at medical equip-
According to Ministry of Health and ment exhibitions and seminars sponsored
Welfare statistics, more than 420,000 foreign by Taiwan’s medical and healthcare teams
nationals traveled to Taiwan to use med- in South and Southeast Asia have amazed
ical services in 2018, a third of whom were the host countries. Su believes that the New
Southeast Asians. Liu Hui-ping, a thoracic Southbound Medical Care Program will ex-
surgeon at Chang Gung Memorial Hospital, pand the Southeast-Asian market. One day
is a Chinese-Malaysian who came to Taiwan when Taiwanese are vacationing in Southeast
for his higher education. Whether conduct- Asia and tell people they’re from Taiwan,
ing symposia or industry matchmaking Southeast-Asian citizens will not only know
meetings in Malaysia or giving interviews about Taiwan but will also exclaim, “Your
ontheMalaysiangovernment’sofficialBer- medical care is great!” l
nama News Channel, Liu vigorously pro- (Esther Tseng/photos courtesy of Changhua
motes Chang Gung’s inter national efforts, Christian Hospital/tr. by Robert Fox)
75
全球視野　GLOBAL OUTLOOK
來自台灣獎學金的祝福
與台灣的緣份：邱亞伯&馬諾基
Scholarships Build Lifelong Bonds
—Albert Linton Charles and Manoj Kriplani
文•曾蘭淑　圖•林格立　版面設計•胡如瑜
一項官方為了友好國家所提供獎學
金資助的政策，冥冥之中改變了二位年
R OC gover nme nt scholarships of-
fered to citizens of friendly nations
have changed two young people’s lives.
輕人的一生。
“This is my karmic connection with
「這是我與台灣的緣份。」屏東 Taiwan,” say both Albert Linton Charles,
科技大學熱帶農業與國際合作學系教 a professor in the Department of Trop ical
授、多米尼克籍的邱亞伯與世正開發 Agriculture and International Coopera-
公司業務處專案經理、印度籍的馬諾 tion at National Pingtung University
基，不相識的兩人在十多年後，各自 of Science and Technology, and Manoj
Kriplani, director of marketing and sales
回首前塵，不約而同地為他們的命運
at Century Development Corpora tion.
下了這樣的註腳。
Although the two have never met, look-
ing back over the past ten-plus years,
離開又溼又冷的台北，來到屏東科 each voices the same sentiment.
技大學，卻是豔陽高照，輾轉問了三
位師生，好不容易找到熱帶農業暨國 Charles, who hails from the Common-
際合作系，穿著短袖polo衫的教授邱亞 wealth of Dominica, a Caribbean island, is
伯露出燦爛的笑容說：「抱歉，屏科 not only the first international student to ob-
tain a doctorate at National Pingtung Univer-
大校園很大，我的辦公室不好找。」
sity of Science and Technology (NPUST), he’s
來自中美洲加勒比海島國多米尼克的
also the first foreign national to serve as a
邱亞伯，不只是屏東科技大學第一位拿 department head at the school. “Unlike many
到博士學位的外籍生，他也是屏科大第 other countries, there’s no implicit sexism or
一位當上系主任的外籍人士。「台灣不 racism in Taiwan. Here, a black person like
像很多國家在性別與種族上存在著看不 me can be a university department head.”

77
受到同學一家熱情的接納，
異鄉遊子成為客家庄家族的一份子。
（邱亞伯提供）
Warmly received by a student’s family,
Charles has become part of a Hakka
community. (courtesy of Albert Linton Charles)
見的歧視，在台灣，像我這樣一個黑人，也可以聘到屏東美和科技大學任教，準備九月上任。沒
當上系主任。」有想到母校六月正好有教職出缺，經過嚴謹的面
試，邱亞伯順利拿到教職，讓指導老師黃卓治十
過關斬將，水到渠成
分以他為榮。
1999年邱亞伯申請到我外交部國際合作發展「我常常在想，如果當時沒有聽從指導老師的
基金會（簡稱「國合會」）「國際高等人力培建議，因為兩國斷交就離開台灣，我的人生可
訓外籍生」的獎學金，到屏科大就讀熱帶農業能因此而不同。現在想想，或許失去國合會的獎
研究所，二年後拿到碩士學位的他，又直接攻學金並非全然是壞事，獎學金斷炊雖然不幸；但
讀博士學位。2003年多米尼克與台灣斷交，正幸運的是，我因此特別努力，提早拿到博士，剛
值博二的他，獎學金乍然被取消，原本答應父好屏東科大教職出缺，時間、機會都配合的剛剛
母親念完碩士就要回去，邱亞伯的第一個念頭好。」邱亞伯回首來時路說。
就是回國。
為何不想離開台灣？
「但是當時的所長賴博永、指導老師黃卓治
卻沒有因此放棄我。」回想在那關鍵的當頭，起初剛接下屏科大教職的邱亞伯，給自己十
邱亞伯語氣充滿了感恩：「他們鼓勵我盡快完年的時間留在台灣，沒有想到一待就是20個寒
成學位，幫我申請校內獎學金，如父如兄的老暑。「我教的許多外籍學生，每人畢業後都急
師黃卓治讓我擔任他的研究助理，藉此賺取生著返國，為何我會在台灣留這麼久？」邱亞伯
活費。」常常這樣問自己。
為了儘早畢業，邱亞伯夜以繼日地在實驗室邱亞伯有許多學生來自史瓦帝尼，因著史瓦
裡做實驗，有時到凌晨四、五點要回宿舍睡覺帝尼大使的一席話，點醒了困惑的邱亞伯：
時，已經遇到早上出來運動的人，連室友都抱「你回去多米尼克，只對多米尼克有貢獻，但
怨總是看不到他的人影。你留在台灣，透過指導甘比亞、貝里斯、海
如此拚命努力，邱亞伯以三年時間拿到博士學地、聖文森、印尼等國家的學生、造就人才，
位，這在台灣不僅十分罕見，他就學期間還發表可以對全世界的國家都作出貢獻啊！」
了十篇收錄於「科學引用文獻索引」（SCI）的邱亞伯研究樹薯、葛根等多醣類食物的抗癌
論文，學術成就斐然。2004年一月畢業時，即獲功效。他指出：「樹薯、葛根是南美洲貝里斯與

Surmounting difficulties, finding success of gratitude. “They encouraged me to com-
In 1999, Charles received a scholarship plete my degree as quickly as possible, and
from the International Higher Education helped me apply for an on-campus scholar-
Scholarship Programs of TaiwanICDF (the ship. Professor Huang was like a father to
International Cooperation and Develop- me, taking me on as his research assistant
ment Fund of the ROC Ministry of Foreign so that I’d have money to live on.”
Affairs), and enrolled in the graduate pro- The diligent Charles got his PhD in only
gram at NPUST’s Department of Tropical three years, a rarity in Taiwan. He also
Agriculture, where he completed his mas- published ten papers in journals that are
ter’s degree after two years and then began included in the Science Citation Index (SCI),
studying for a PhD. But in 2003, Dominica a remarkable scholarly achievement, and
broke off diplomatic relations with Taiwan was hired as a teacher at NPUST.
and Charles’s scholarship was abruptly “I often think that if I hadn’t followed
邱老師常以自身的
terminated in his second year of doctoral my instructor’s advice, and had left Taiwan 經驗鼓勵學生，
studies. Having originally promised his because of the break in diplomatic rela- 來台灣不只學科學，
parents he’d return home after completing tions, my life would be different today,” 也要了解台灣的文
化，會有許多意外
his master’s, his first thought was to go back says Charles. 的收獲。
to Dominica. Why did I stay? Citing his own
experiences, Charles
“But Lai Boyong, the department head, Initially, after accepting the teaching tells his international
students they’ll reap
and my academic advisor, George Huang, position at NPUST, Charles had planned to many unexpected
didn’t give up on me.” Thinking back to stay in Taiwan for ten years, but 20 years rewards by learning
about Taiwanese
that crucial moment, Charles’s voice is full have passed and he’s still here. “I’ve taught culture.
79
聖文森等島國原住民的主食，做成保健食品，不的行列。」在許多國家，黑人可能面臨某種程
僅兒童與老人易消化，而且具有降低便秘及罹度的種族歧視。30歲即當上系主任的邱亞伯
患大腸癌機率的功用。」他所指導的碩、博士說，「美國是很多人心目中的機會之地，但依
學生，研究的主題也是能對他們母國作出貢獻我的經驗，台灣提供了公平競爭的機會，尤
的食品，例如印尼學生作海草研究、印度學生其對來自發展中國家的學生來說，只要努力工
將葡萄作成抗氧化的茶等。作，台灣才是機會之地。」
「台灣擁有豐富的學術資源環境，加上台灣不只學術研究、作育英才的成就感，對邱亞
經常透過各種計劃協助低收入發展中的國家，伯來說，台灣人情的溫暖，也是牽絆著他離不
透過我的研究，我也可以加入協助發展中國家開台灣的原因。
邱亞伯最好的三位朋友是來自屏東內埔、南
投與苗栗的客家人。18年前的農曆過年，其
中一位同學邀他到苗栗客家庄做客，把他當成
家族的一份子看待，還發紅包給他。「盧媽媽
時尚自信的馬諾基，頗有寶萊塢明星的架勢。
的燉五花肉非常好吃，讓不喜歡吃肥豬肉的我
Stylish and confident, Manoj Kriplani could pass for 也愛上，每次她都會多準備一份讓我帶回屏
a Bollywood star.
東。」嘖嘖讚賞的語氣中，有著受寵的滿足：
「縱使現在我已結婚，每年農曆過年我還是會
到盧家，但現在換我發紅包給小孩們，因為他
們是我的家人。」
「國合會獎學金成為開啟我人生命運的鑰匙！
當初如果離開台灣，我可能不會如此順遂成功。」
邱亞伯露出不可置信的笑容作出結論地說。
因緣巧合，台灣我來了！
華燈初上，台北南港軟體園區矗立著高聳、
曲形的建築立面，玻璃帷幕牆上流動的藍、白
光束，映照著摩登、科技的氛圍。穿著細格子
羊毛絨西裝的世正開發公司業務處專案經理馬
諾基，同時也是台灣印度經貿協會副秘書長，
他熟稔印度投資環境與經濟趨勢，每年演講近
百場，是引薦台商到印度投資的專家。
馬諾基是外交部2001年提供第一批印度學生
華語學習獎學金的21位受獎助者之一。自印度
最好的德里大學商學系畢業，因為一位親戚在
俄國總統普丁身旁擔任口譯，提醒他學中文的
重要性，因此他雙修了東亞研究的學位。
想要學中文，當時印度的學生都跑到中國，
也申請到中國獎學金的馬諾基說：「當時中國
傾向我隔年才能去，但台灣外交部的獎學金卻
讓我可以馬上成行。」他接著說：「你知道我
當時連護照都沒有嗎？由於印度行政效率如蝸

三年前，從科技業
轉換跑道的馬諾
基，與同事力拚前
進印度市場。
Three years ago,
Kriplani switched to
a new career path,
leaving the tech
industry. He and his
new colleagues are
vying for a share of
the Indian market.
many international students. Most return to Taiwan, here I come!

their countries right after graduation,” says Dressed a fine-lined plaid woolen suit,
Charles. “Why have I stayed in Taiwan?” Manoj Kriplani, director of marketing and
An Eswatini diplomat said something sales at Century Development Corporation,
that resonated with Charles: “If you return is also deputy secretary of the Taiwan In-
to Dominica, you’ll only be contributing to dia Business Association. With a thorough
Dominica. But if you stay in Taiwan, train- knowledge of India’s investment environ-
ing students from countries like the Gambia, ment and economic trends, Kriplani de-
Belize, Haiti, Saint Vincent, and Indonesia, livers nearly a hundred lectures annually,
you can contribute to the whole world.” intro ducing Taiwanese businesspeople to
“Taiwan is ver y strong academically, investment opportunities in India.
with abundant resources, and often assists In 2001, Kriplani was one in the first
low-income developing countries through group of 21 Indian students to receive a
various programs. Through my research, I Chinese Enrich ment Scholarship from the
can also join in the effort to aid developing ROC Ministry of Foreign Affairs (MOFA).
nations.” At the time, most Indians who wanted
In many countries, black people face to learn Mandarin went to China. China
some level of racial discrimination. Says also awarded a scholarship to Kriplani. “It
Charles, who became a department head looked as if I would have to wait a year to
at age 30: “Many people believe America is go to China, but with the MOFA scholarship
the land of opportunity. But based on my I was able to come to Taiwan immediately,”
experience, Taiwan offers opportunities for Kriplani says. “I didn’t even have a passport
fair competition, especially to students from then. India’s bureaucracy moves at a snail’s
developing countries. As long as you work pace, so I didn’t get my passport until three
hard, Taiwan is the land of opportunity.” days before my flight, and it took another
“The TaiwanICDF scholarship was the two days to get a visa. If I hadn’t gotten a
key to my destiny! If I’d left Taiwan, I might passport then, I wouldn’t be here today!”
not have been so successful,” Charles con- Kriplani says without hesitation, “This is
cludes, smiling as if he still can’t believe it. my destiny! Taiwan is my destiny!”
81
騎重機環島是馬諾基抒壓的方式，圖為他在合歡山頂享受
自然風光。（馬諾基提供）
Motorcycling around the island is Kriplani’s way of relaxing.
Here he’s enjoying the scenery atop Mt. Hehuan. (courtesy of
Manoj Kriplani)
牛行步，我直到起飛前三天才拿到護照，再隔
兩天才拿到簽證。如果當時沒有拿到護照，我
現在就不會在台灣了！」馬諾基不假思索地
說：「這是緣份！我的緣份都在台灣！」
台灣的緣份又牽引著馬諾基，再度申請到台
灣外交部的獎學金，到銘傳大學攻讀EMBA，由
於他的成績優異，他又順利拿到銘傳大學的獎
學金，直升博士班。
攻城掠地，累積就業能量
就在馬諾基讀博一時，廣穎電通需要會說中
文的印度人到印度開拓市場，馬諾基雖然完全
沒有工作經驗，但經由他的努力，將記憶卡市
場從零市佔率打到台灣廠商中的第一名。
2011年馬諾基的主管帶著他跳槽到和碩旗
下的華擎科技，當時華擎在印度的市佔率不拜訪的第三年才進貨。最終，馬諾基將業務範
到2％，馬諾基努力與代理商溝通，發現品牌圍，從印度拓展到了巴基斯坦、孟加拉、斯里
曝光度不夠，導致後端銷售困難，加上售後蘭卡，甚至到南非等七個國家。
服務也做得不好，在問題一一解決後，並透過三年前，馬諾基轉換全新的跑道到以營建、
提供代理商深具誘因的銷售計劃，業績從此工業園區規劃為主的世正開發公司。他認為，
一路攀升。印度這幾年在總理穆迪的努力下，經商便利度
「在印度，關係很重要，產品價格或是售不斷在提昇，每個台商都看好印度市場，但因
後服務都是其次。」深諳個中道理的馬諾基，為不了解，抱持著觀望的態度，也讓他的工作
勤於拜訪代理商，帶個小禮物，不在乎成交下充滿挑戰。
訂，而在乎建立信任的關係。一開始許多與知憑藉著馬諾基多年來在印度累積的人脈，世
名大廠做生意的代理商根本不把他看在眼裡，正開發以優異的條件希望他到印度駐點，甚至
馬諾基說：「我領悟當業務最重要的心法，第以前的老東家也想挖角。馬諾基說，許多會講
一不能怕失敗；第二是不能放棄。今天不成中文的印度人，一旦回到印度，很快就會被中
功，不代表明天不會成功。」有代理商直到他國的公司高薪挖角，「我選擇留在台灣，不只

Kriplani’s karmic connection with Taiwan utors with gener ous incentives, and sales
landed him another MOFA scholarship and a skyrocketed.
slot in Ming Chuan University’s EMBA pro- At the outset, distributors doing business
gram. Thanks to his outstanding academic with big-name companies wouldn’t take
record, Ming Chuan also awarded Kriplani Kriplani seriously. He says, “I came to under-
a scholarship and advanced him to doctoral stand a sales representative’s most important
studies. mindset: First, don’t fear failure; second, don’t
Ambition and experience give up. If you don’t succeed today, it doesn’t
While Kripali was studying for his PhD, mean you won’t succeed tomorrow.” It was
Silicone Power Co. was looking for a Chinese- three years before some of the distributors
speaking Indian to open up the market in he called on placed orders with him. Later,
India. Although Kriplani had no working Kriplani expanded his sales activities into
experience at all, through his efforts, Silicone seven other countries, including Pakistan,
Power’s position in India’s memory card Bangladesh, Sri Lanka and even South Africa.
market was driven from zero market share to Three years ago, Kriplani switched to a
number one among Taiwanese vendors. new career path, moving to Century Develop-
In 2011, Kriplani’s boss left Silicone Power ment Corporation, an enterprise primarily
and took Kriplani with him to ASRock, a involved in construction and in developing
Pegatron subsidiary. At that time, ASRock industrial parks.
had a market share of less than 2% in India. Owing to the many business contacts
In talks with distributors, Kriplani found Kriplani had accumulated over the years in
that the brand suffered from underexposure, India, Century wanted to station him there,
leading to poor back-end sales, and after- offering him an exceptional package, and
sales service was inadequate. Kriplani solved one of his old employers even tried to poach
the problems one by one, motivating distrib- him back. Kriplani says that a lot of Indians
馬諾基2019年帶
著未婚妻回印度，
與家人一起過印度
新年。（馬諾基提
供）
In 2019, Kriplani took
his fiancée back to
India, where they
celebrated the Indian
new year with his
family. (courtesy of
Manoj Kriplani)
83
是我拿了台灣的獎學金，希望對台灣有所貢環台四次的他，總是可以在大自然的山光水色中
獻；而是因為我愛台灣。」重新充電。他還自信的說，他可能比台灣人更知
道台灣各處的景點與小路。不論多忙，馬諾基每
飲水思源，貢獻所長
週一定換上運動服練習板球，現也是台灣歷史最
馬諾基號稱是「台灣印度人的Google，印度台悠久的台北板球協會（Taipei Cricket Association，
灣人的Google。」他是台商眼中的印度通，更是簡稱TCA）隊長的他，打板球跟他衝業績一樣出
印度朋友眼中的台灣通。朋友在台灣的山上迷類拔萃，在台灣年度板球大賽三度獲選為最有價
路、在路上出車禍，都會打電話向他求救；連要值球員（MVP, most valuable player）。
在台灣學寶萊塢舞、哪裡可以訂到印度便當都可在他的眼裡，台灣是一個很被祝福的國家。
以從他那裡得到答案。「我的弟弟住在美國，他旅行過40多個國家，他
其實台灣是他人生第一次離家遠行的國家，說，沒有看過像台灣這麼好的國家，這麼的友
問及剛到台灣，馬諾基似乎陷入不堪回首的回憶善、安全、便利……。」他噗哧一笑地說：「20
裡，在短暫的沈默後透露：「除了人生地不熟，年來，我也跑過世界很多國家，就是沒有去過中
最折磨人的是食物，前半年幾乎天天掉淚，每天國大陸。」
只能吃日式咖哩，至少還有咖哩味。」但話鋒一但是，如果當時去了北京，而不是台灣呢？
轉，他說，「可是現在我超愛台灣菜，火鍋、快馬諾基斬釘截鐵地說：「如果當時去了北京，我
炒、甜不辣我都愛。」只會像一滴掉入海洋的水滴，淹沒不見；但在
每當想抒壓時，馬諾基就去登山、騎重機旅台灣，我就像一滴滾動在葉子的露珠，容易被看
行，並帶著心愛的相機四處拍照，已經騎著重機見，熠熠生輝。」 □

假日印度、巴基
斯坦舉行板球友誼
賽。馬諾基說，
印巴兩國關係雖然
不好，但我們人民
都是好朋友。
A weekend friendly
cricket match
between Indian and
Pakistani residents
in Taiwan. Although
the two countries’
relations are rocky,
their two peoples are
good friends, says
Manoj Kriplani.
who speak Mandarin are lured to Chinese being a stranger in an unfamiliar place, the
companies by high salaries when they return hardest part was the food. For the first half
to India. “I chose to stay in Taiwan, not just year I cried every day. All I ate was Japanese
because I wanted to give something back for curry—at least it had a little flavor of home.
the scholarships I’d received, but because I But now I’m in love with Taiwanese cuisine,
love Taiwan.” including hot-pot, stir-fry, tempura, the lot.”
Gratefully contributing In Kriplani’s eyes, Taiwan enjoys many
Kriplani has been called “Taiwan’s Indian blessings. “My younger brother lives in the
Google and India’s Taiwan Google.” In the US. He’s visited over 40 countries and says
eyes of Taiwanese businesspeople, he’s an he’s never seen a country as friendly, safe,
expert on India, and Indians regard him as and convenient as Taiwan.” With a chuckle,
an expert on Taiwan. If Indian friends lose he says, “In the past 20 years, I’ve also trav-
their way on a Taiwan mountain road or eled to many countries, but I’ve never been to
are involved in traffic accidents, they phone China.”
Kriplani for help. He even knows where to What if back in the day he’d chosen to go
find Bollywood dance classes and Indian- to Beijing rather than Taiwan? “I’d have been
style bento boxes in Taiwan. like a drop of water falling into the ocean,”
Taiwan was the first foreign country Manoj he says unhesitatingly, “I’d have disappeared.
Kriplani ever visited. When asked about But in Taiwan, I’m like a dewdrop rolling on a
his initial impressions of Taiwan, it seems leaf, easy to see, glistening in the sunlight.” l
as though he’s revisiting unpleasant memo- (Esther Tseng/photos by Jimmy Lin/
ries. After a short silence, he says, “Besides tr. by Robert Fox)
85
藝文脈絡　CULTURAL TRENDS

為地方策展
北投×鳳甲美術館
Expos for Locals:
Beitou’s Hong-Gah Museum
文•蘇俐穎　圖•林旻萱　版面設計•王敬勛
在晴天時踏上鳳甲美術館的頂樓，丹鳳山、七星山、大屯山
與軍艦岩，稜線鮮明，甚至連在地藝術重鎮的北藝大也盡收眼
底。美術館所在的關渡平原，大馬路分割出截然不同的地景，
一邊是一望無際的田野，一邊是櫛次鱗比的鐵皮工廠與民宅。
目睹此景，依稀明白，坐擁人文與自然薈萃之地，鳳甲美術
館為何選擇以北投之名，發揚美學於民間。
鳳甲，並不是一間容易親近的美術館，藏在大樓裡的11樓，若沒
留心，太容易錯過。連館長蘇珀琪也自嘲，鳳甲既沒有美麗的外
觀，吸引遊客打卡拍照；也沒有開闊的空間，用以舉辦大型活動。
S tepping foot on the rooftop of the Hong-Gah Museum on a

clear day, the outlines of Mt. Danfeng, Mt. Qixing, Mt. Datun,
Battleship Rock, and even that stronghold of local arts, Taipei
National University of the Arts, are all visible. On the Guandu
Plain in Taipei’s Beitou District, where the museum is situated, a
wide road splits the landscape into an endless expanse of fields to
one side and a forest of metal factories and homes to the other.
Upon taking all this in, it vaguely dawns on one why Hong-Gah
Museum, surrounded by both culture and nature, chose to promote
aesthetics to the public using the name of Beitou.
Hong-Gah is not the easiest museum to approach. Located on the

11th floor, it’s easy to miss if you aren’t paying attention. Frankie Su,
the museum’s director, jokes that Hong-Gah Museum does not have
87
像這樣一間低調到不行的美術館，除了謹守北投車站前送往迎來的人們、公園中泡腳的遊
「本份」，策劃一場又一場的展覽，還有什麼方客（池中還有小魚群）、種菜的居民……從生活
法，能吸引人走入？中拾掇的點點滴滴，在陶作中一一定格，樸拙的
陶作正是他們所熟悉的日常。
遇見行動美術館
當北投有了鳳甲
冬日的某一天，我們尾隨鳳甲美術館策展人
葉佳蓉，來到位於苗栗山區的「八窩窯」，親躬談鳳甲，必須從企業家邱再興說起。成立超
「開窯」儀式。蜿蜒山徑上，她領著北投大屯國過廿年的鳳甲美術館，便是由他創辦，命名的來
小兩個班級的師生，一大群人吱吱喳喳地往前。由，是為了紀念其父親──邱鳳甲。
在這一日前，學生先歷經六週的陶藝課洗禮，喜好文藝的邱再興，在本業以外，也是知名的
最後由授課的陶藝家彭春榮協助，將學生的創作收藏家，因著與藝文界互動熱絡，才決定開闢空
送入柴窯燒製。間，共饗藝術愛好者，早年沙龍形式的空間，成
不似工廠的機械化生產，成品總是整齊劃一，了鳳甲美術館的前身。
柴燒的獨特性在於燒窯過程中，木料產生的落灰雖然名字肖似鳳山，鳳甲經常被誤認在高雄，
與作品隨機結合，產生猶如釉藥一般的古拙顏但創辦初始，因希望臨近邱再興的私人寓所，故
色，美麗非常。燒窯是大工程，動輒兩、三天不
能間斷，但漫長的等待，絕對值得。
走進窯場，只見彭春榮在比人還高的磚窯內忙
著搬磚、取件，作品陸續出窯，換來師生的一陣館長蘇珀琪，期待鳳甲是一間容易親近的地方美術館。
Frankie Su, the museum director, wants Hong-Gah to be a more
陣驚嘆。 easily approachable local art museum.

a beautiful, photogenic exterior. It also doesn’t have 大量的刺繡藏品，也是鳳甲的重要特色，吸引到許多人特地
前往觀賞。（鳳甲美術館提供）
a wide-open space large enough to hold big events. Many visitors come to Hong-Gah specifically for its vast collection
Other than guarding its “turf” and planning one exhi- of embroidery art. (courtesy of Hong-Gah Museum)
bition after another, how does an exceedingly low-key

museum like Hong-Gah attract visitors?
Hong-Gah’s arrival in Beitou
When discussing Hong-Gah, we should begin with
the entrepreneur named Andrew Chew. Established
more than 20 years ago by Chew, the museum gets its
name from his father, Chew Hong-gah.
A fan of the arts, Andrew Chew is also a re-
nowned art collector when not at his day job. Ac-
tive in the art world, he decided to open a space
where arts enthusiasts could gather. From this
salon-inspired space arose the forerunner of
the Hong-Gah Museum.
Having begun his career in the electronics
industry, Chew pays particular attention
to the technological applications of art.
Accordingly, Hong-Gah is actively engaged
in organ izing video art exhibitions. The
museum’s biennial international video art
exhibition is a major arts event.
However, video art still does not have
mainstream appeal like the more popular art
forms of oil painting and sculpture.
Building public support through schools
It’s hard to get people to go to an art museum,
yet much easier for the museum to go out to them.
Hong-Gah Museum has prided itself on being a
“community art museum” from the very beginning, and
is devoted to the instruction of aesthetics. It attempts to
utilize local resources to create reasons for people visit
an art museum.
For example, early on the museum partnered with
Peitou Culture Foundation (“Peitou” is another spelling of
“Beitou”) to hold the “Citizens’ Art Exhibition,” inviting Gah Museum and Peitou Culture Foundation, local
local self-taught artists to the exhibit and placing no re- ele ment ary schools made proposals for exhibitions
strictions on the art media or thematic content of works and implemented them all on their own. When the art
submitted. This greatly raised the museum’s profile. pieces entered the museum, the curators managed the
Later on, the museum kept Beitou as the core theme, layout and planning.
and held an exhibition every year while also inviting Since the elementary schools enroll students accord-
independent curators, which helped to keep clear themes ing to a school attendance zone system, the students’
and objectives for the exhibitions. homes are all close to the museum. Thus, putting the
The “Communit y Art Empowerment Program” works of schoolkids on display got many parents to
launched in 2014 is an example of this. Funded by Hong- come visit the museum.
89
選擇設點北投，這一無心插柳，恰好彌補北投沒接著，以北投為主線的理念不變，但改為計劃
有大型、公立美術館的缺憾。性，三年為一期的展覽，同時邀請獨立策展人加
電子業起家的邱再興，格外關注藝術中的科技入，讓展覽主題、目標更明確。
運用，因此鳳甲積極舉辦錄像藝術的展覽，每兩 2014年推動的「社區藝術培力計畫」可視為代
年舉辦一次的國際錄像藝術雙年展，是藝術圈知表，鳳甲美術館與北投文化基金會共同出資，由
名的盛會。當地國小自主提案、執行，待作品進入美術館，
不過，從一般觀眾的角度來說，相較普及性較高再經由策展人統一配置、策劃。
的油畫、雕塑，錄像藝術仍是小眾，吸引力不足。因國小採學區制，家庭都在鄰近區域，學童的
館長蘇珀琪回憶，過去館方為了吸引更多人前作品展出，自然吸引到了不少家長前往。
往，想盡方法，甚至還動員到早餐店發傳單，成就這樣，從藝術愛好者到一般觀眾，逐漸為美
效卻相當有限。術館打開了知名度。
但很快的，下一階段的問題相繼衍生，「學校
深蹲校園，累積長期觀眾
老師會調派，即便合作得很好，老師被調走就等
不過，要請人走進美術館很難，主動走出去，於又失去了窗口；另外，跟國小合作，觀眾性質
卻容易得多。較單一，以家長為主，他們雖然會來，但來了一
打從創辦初始便自詡「社區型美術館」的鳳次以後，也就不會再來了。」葉佳蓉觀察到。
甲，秉具美學教育的使命，嘗試連結在地資源，
為民眾創造出各種拜訪美術館的理由。
好比最早與北投文化基金會合作舉辦「市民美
展」，不限媒材、主題，廣邀在地素人藝術家參藉舉辦工作坊之機，民眾深入認識在地。（鳳甲美術館提供）
Locals gain a deeper understanding of their hometown through
與，由此打開知名度。 art workshops. (courtesy of Hong-Gah Musuem)

In this way, by appealing to both art connoisseurs 藝術家將磺港溪源頭的風景展示在沿途流域，觸動居民思考
人與自然的關係。（鳳甲美術館提供）
and regular people, the museum gradually further Artists display a photo of the source of the Huanggang Creek
raised its profile. over the course of the now buried river, getting residents to
ponder the relationship between humans and nature.
But new problems ensued in t he next phase of (courtesy of Hong-Gah Museum)
the museum’s operations. Curator Zoe Yeh observes,
“Teachers would be transferred. Even if the teachers
had a good partnership with the museum, transfers
meant losing a point of contact. Also, partnering with
elementary schools meant the target audience would Different resources and approaches such as historical
be relatively homogenous, comprising mostly parents. documents, field surveys, and game play have helped
Most of them would show up to an exhibition once, but people notice the texture and beauty of local life, and
they rarely came a second time.” take an interest in their homeland.
Yeh, who joined the museum team five years ago as Small private art museums have their own advan-
an in-house curator, reformulated the program so that tages. For one, they are unfettered by the policies large-
the curation rights went back to the museum, and cur- scale public art museums must follow. They also do not
ators were in charge of the theme. Based on this theme, need to strive to include all art forms and media out of
the curators would negotiate for different artists to go concern for comprehensive coverage. Hong-Gah Mu-
to the schools. The range of students was expanded to seum has a clear goal to advance Beitou studies, and
include preschoolers all the way to primary and middle through their choice of expo themes, they are able to
school students, and the program was also opened up discover, chronicle, and enhance the spirit and look of
to elderly people in senior citizen learning centers. life in Beitou one step at a time.
Unveiling the Beitou life For example, the theme of the 2019 exhibition “Beitou
Hong-Gah Museum then focused on developing Local Flavors Collecting Project” was “flavors.” The cur-
“Beitou studies,” echoing a trend towards local studies ators invited the Yanzhi Pickling Club to make three
that has gained popularity all over in the past decade. fermented dishes using Beitou products. The “Weed
91
生活經驗化作創作動機，為期六週的陶藝課在學生心
中留下深刻的一頁。
In turning life experiences into works of art, this six-week
ceramics class is a memorable experience for the students.
五年前以in-house策展人身分加入團隊的她，重
擬策略，讓策展權從校方回歸館方，策展人掌握
主題，再依主題，媒合不同的藝術家進入校園，
學生也擴大到學齡前的幼童、國中小學的學生、
樂齡班的銀髮族。不須顧及展覽的普及性，務求雨露均霑地照顧到
經過二十餘年的努力，「不論是在發展過程中所有媒材。方向清晰，致力發展「北投學」的鳳
的反省與改變，或者是跟社區互動的方法，如今甲，透過展覽主題，一步步挖掘、載記與發揚北
都已經有了大大的開展。」蘇珀琪以此作結。投生活的精神與風貌。
好比去（2019）年展出的「藝遊味境─北投在地
挖掘北投生活肌理
風味採集計畫」，策展主題定調於「風味」。策展
鳳甲美術館專注發展的「北投學」，正呼應近人邀請到「胭脂食品社」，以北投物產製作出三種
年各地興起的「地方學」風潮。藉文獻史料、田發酵食品，藝術團隊「雜草稍慢」則以19種野地雜
野踏查、遊戲體驗等不同方法，看見地方生活的草製作成複方的雜草茶，以大鍋熬煮成的「女巫
肌理美感，喚起大眾對於地方的關切。湯」，正與北投平埔族的女巫傳說遙相呼應。
再加上私人、小型美術館有其優勢，一來不至於今年，則鎖定在「身體」的主題，除了靜
須像大型的公立美術館，受限於政策方向，二來態展覽，也有動態的舞蹈、戲劇，交錯呼應。陶

Day” art group used 19 types of wild weeds to create Yeh, summing up the core principle of the exhibitions
a weed tea formula. A cauldron was used to make a over the past decade. “By venturing outside the mu-
“Witch’s Brew” in a salute to the legends of witches seen seum, we have actually inspired more people to come
in the folklore of the local Ketagalan Aborigines. visit,” she says with some satisfaction.
This year the theme is “the body.” In addition to Another story of the Ketagalan people
static artworks, there is also performance art in the Since Beitou and the art museum are so deeply con-
form of dances and plays. For example, in the pottery nected, “Beitou” has become the token by which people
classes given by the ceramic artist Peng Chun-rong at get to know the museum. In other words, if you fancy
Datun Elementary School, the children draw on their learning about a different side of Beitou, come to Hong-
observations of the movements of the body in daily life Gah Museum.
for inspiration to create works of ceramic art. It is also a “In Search of Tiger’s Claw—Where are the Ketagalan
nod to Beitou’s once-flourishing ceramic industry. People?” was the second expo featuring Beitou’s Keta-
“Our promotion policies in the early stages involved galan Aborigines in a three-year exhibition plan.
inviting local residents to our museum. For the longer As the earliest rulers of Beitou, the Ketagalan people
term, we need to go out into the community,” says Zoe have seen their cultural heritage swept away in the torrent
of history through forced migrations, land acquisitions,
and assimilation into the incoming Han Chinese culture.
The critical event which led to the creation of the
exhibition occurred some years ago when the public cem-
陶藝家彭春榮小心翼翼地將作品一件件取出，窯場
外，師生無不翹首期盼。 etery for the Ketagalan people of Ki-Pataw (“the place of
Ceramic artist Peng Chun-rong carefully removes each the witch”—the old Ketagalan name from which “Beitou”
work from the kiln before revealing them to the expectant
gazes of the teachers and students waiting outside. is derived) was expropriated by the city government to be
93
藝家彭春榮在大屯國小的陶藝課程，即是一例，「22號公園」，北投社後代不滿歷史被粗暴地抹
藉由觀察生活中的肢體動作，化成陶藝創作的能去，開始一連串的抗爭行動，後來公園處雖然將
量，也隱隱回應北投曾經存在的陶藝產業。之更名為「北投社三層崎公園」，但包括園內長
去年，為展覽提供作物的農友，也踏進了美達50公尺的歷史文化走廊，居然沒有任何的平埔
術館，透過玻璃窗景，指向遠方，告訴館方：族紀錄。
「我的田就在哪裡，我的菜都是聽農禪寺誦經為弭平族人的憤怒，在文化局的委託之下，
聲長大的。」鳳甲承接下計畫，透過展覽、工作坊、講座等方
「前期推廣，是我們邀請居民來美術館，中後式，重新講述平埔族在北投歷史上的歷史痕跡。
期，是自己走出去。」葉佳蓉總結這十餘年來的從失落到復振，尤其需要不厭其煩的溝通。以
策展核心概念，「走出美術館以後，反而有更多「保德宮」為例，這是北投社族人在漢化以後重
人再走進來。」她的語氣不無滿足。要的信仰中心，但恰如族人公墓的命運一般，為
了興建捷運，被迫拆遷，讓廟方倍覺委屈，「一
再說一段平埔族故事
開始接觸的時候，保德宮裡的大哥很退縮，不管
因著北投與美術館的聯繫之深，「北投」開始問什麼都不想多說。」蘇珀琪回憶。
成為大眾認識美術館的重要符碼。換言之，想了經過策展人、藝術家鍥而不捨的蹲點、搏感
解不一樣的北投？不妨就走一趟鳳甲。情，與廟方建立起情誼，保德宮不僅成了文獻史料
譬如近期正展出的「尋找刺桐的家─平埔族群的重要核心，也是鳳甲推廣藝術教育的重要據點。
在哪裡？」，這是以北投平埔族為主題所策畫，藝術家梁廷毓在此舉辦工作坊，藉大哥們的
三年期展覽中的第二檔。口述，邀請民眾一起用陶土捏出「心目中的保德
作為北投最早的主人──平埔族，因著多次的宮」，並計畫將作品數位化，利用3D掃瞄，重新
遷徙、土地徵收，加上漢化等緣故，文化資產逐合成到保德宮原址所在的位置。原本難以平復的
漸在歷史洪流裡流失。傷，逐漸從中得到慰藉。
辦展的契機，源於若干年前，作為凱達格蘭美學為本，地方學為路徑，扎根在地，厚實文化，
族北投社族人公墓的場域，被強行徵收轉換成為鳳甲的存在，已然成為北投生活幸福的理由。 l
復興高中戲劇班學生
經過老師的指導，在
校園中尋找場景，展
開創作行動。
Under the guidance
of their teachers,
students from the
drama class at Beitou’s
Fuxing High School
scour the campus for
scenes where they
can stage their own
dramatic creations.

沃野平疇的北投，孕育豐富的景觀資源，踏入鳳甲， it was torn down to build a metro station, creating a deep
便能一探究竟。
The fertile lands of Beitou form a rich and beautiful landscape.
sense of grievance. “At the beginning, the temple elders
Come to Hong-Gah where you can get a closer look! were very reticent. They didn’t want to talk much about
it, no matter what they were asked,” museum director
Frankie Su recalls.
By having the museum curators and artists work un-
turned into “Park 22.” The descendants of the local Keta- tiringly to form amiable relations with the temple elders,
galan were not content to have their history violently the relocated temple not only became a crucial hub for
erased, so they began a series of protests. In the end, historical documents, it is now also a key center for Hong-
although the name of the park was changed to “Ki-Pataw Gah Museum’s promotion of art education.
Shan Tseng Chi Park,” the more than 50-meter-long Artist Liang Ting-yu held a series of workshops at
history and culture corridor inside the park completely which the temple elders recounted local history and resi-
lacked any mention of the area’s indigenous people. dents were invited to come and mold clay into sculptures
To dispel the anger of the Aborigines, Hong-Gah Mu- representing “Baode Temple as they saw it.” Liang plans
seum was commissioned by the Taipei City Department to digitize their works using 3D scanning and place rep-
of Cultural Affairs to retell the story of the Ketagalan in licas of them at the site of the original temple, and in the
Beitou’s history by holding exhibitions, workshops, lec- process ease some of the deep pain of its loss.
tures, and the like. With aesthetics as the core, local studies as the path, and
For example, Baode Temple was an important place its deep local roots and rich culture, the existence of Hong-
of faith for the Ketagalan of Ki-Pataw after they became Gah has become a reason for enjoying life in Beitou. l
sinicized, but faced a similar fate to the cemetery when (Lynn Su/photos by Lin Min-hsuan/tr. by JR Lee)
95
多元族群　COMMUNITIES
銀髮大廚上菜
私廚「食憶」傳承家滋味
Silver-Haired Chefs
Serve Up Family Fare:
Taipei’s Shi Yi Restaurant
文•蘇俐穎　圖•林格立　版面設計•王敬勛

民生社區總是綠蔭婆娑，格外怡人，一幢座落公園旁、寬敞的民宅，自
從屋主搬離，家屋轉身，成了典雅時髦的餐館。
夜晚，鵝黃色的燈捻亮，屋內飄出的飯菜香，引人聞香下馬。只是，這
不是尋常的餐館，推開厚重的門扉，吃下餐桌上的食物，就像瞬間開啟記
憶的迴廊，轉瞬之間，回到童年……。
T he tree-shaded Minsheng Community in the Songshan District of Taipei City

is home to an unusual, fashionable restaurant located in a spacious former
home in a parkside apartment building.
As night falls and the restaurant’s goose-yellow lights come on, the scent of
cooking food causes passersby to pause. But this is no ordinary restaurant. A meal
here throws open the halls of memory and transports you back to your childhood….
97
主廚玲玲姊在家附這不像一般館子裡的菜色。味。有了情懷，飲食生活間的文化感，
近的傳統市場採購
餐廳食材，就如同腆著肚皮，回想著剛剛輪番下肚的醉也就迷人了。」
在家做菜一樣。
雞、素燒什錦、白菜滷、魚香肉絲麵、俗語有句「適口為珍」，用來形容家
Chef Lingling shops
at the same traditional 肉丸子……八道菜，過去雖不曾嚐過，常菜，再適合不過。吃過山珍海味，最
market near her home
whether she’s cooking 卻覺得親近；沒有炫技的刀工，也不是後戀戀不忘的，卻總是尋常菜色。家常
for restaurant patrons
or her own family. 龍蝦、鮑魚一類的高檔料理；不匠氣，菜的魅力即在於此，經典搭配，耐得起
也不嘩眾取寵，但是手藝是到位的，材時間考驗，吃進去的除了營養，還有不
料的品質是好的，調味乾淨、無人工添可言傳的文化記憶，勾動人心。
加物。只不過，對不善庖廚的人來說，想吃
每一道都像一份心意，縈繞於心。這樣的食物，該上哪找？
「食憶by SUi」就是這麼一個地方。
高手在民間
沒開過餐廳，長年作企劃行銷的Cherry
食材專家徐仲曾這麼說：「台菜的（本名陳映璇），看到家中長輩退休以
『家常菜』少了許多鎂光燈，諸如美好後，動輒二、三十年的空白生活，無事
的白斬雞、菜脯蛋、煎豬肝、滷豬腳可做，因此靈機一動。
等，比較少有論述推廣，這點很可惜，「很多長輩，從小就開始做菜，退
一如義大利菜餚的根基在於『媽媽的休後，他們有很多閒置的時間，也有
菜』，我總認為台菜的根基，也在家庭很豐富的人生故事，」Cherry說。「兒
餐桌上，畢竟味與心融，方覺盤中滋女聽到膩的故事，但別人從沒聽過；

Shi Yi by SUi doesn’t serve typical res
taurant fare.
Bellies bulging, we reflect on the eight
dish meal we just ate. The drunken chicken,
stirfried mixed vegetables, braised cabbage,
noodles with yuxiangflavored pork, and
meatballs were not quite like anything we’d
had before, yet they were also familiar. Nei
ther pedestrian nor over the top, the dishes
didn’t incorporate dazzling knife work, or
expensive lobster or abalone. Instead, they
were just well crafted, made with high
quality ingredients, and simply seasoned
玲玲姊／63歲／行銷主管退休
without any artificial additives.
Lingling, 63, retired sales manager
Each dish was seemingly prepared with
loving care, and that feeling lingered after
the meal. 始終樂在工作的玲玲姊，退休以後依舊閒不下來，全
Skilled non-professionals 心投入料理工作。從小就喜歡做菜的她，大學念的是文
There’s an old saying that home cooking 化大學家政系，還擁有文化家政研究所、紐約大學餐飲
“suits the mouth to a T,” suggesting that 管理碩士等多張文憑，雖然從沒真正踏入餐飲業，但科
nothing could be more delicious. People 班生的她，對料理一點就通。
never forget t he taste of home cook ing, 積極好學的玲玲姊，每年為自己設下目標，考過中餐

丙級證照，也研究過月子餐，今年則專注探索台菜中的
even after consuming the most exotic of
香料，以及食物攝影。
dishes. The allure of homey fare lies in its
玲玲姊端出的料理，風格平易近人，老少皆宜。一道
classic, timetested flavors. More than just
手工肉丸子，「愛吃什麼就加什麼，這次我加了洋蔥、
蘿蔔、芹菜和青蔥。」無形裡讓小孩子吃下多樣的蔬
菜，且採水煮而非油炸，健康不膩口，腸胃欠佳的老人
家也能輕鬆消化。
對於來食憶做菜，玲玲姊打包票：「這裡吃的，和在
家吃的一模一樣。」
dma de m eatballs
H a n Lingling has always taken pleasure in work, and retirement
hasn’t slowed her down. She has enjoyed cooking since she
was a girl, and majored in home economics at Chinese Cul-
ture University. She also holds a master’s degree in home
economics from CCU, and another in restaurant management
from New York University. Though she’d never worked in a
restaurant prior to Shi Yi, she was well versed in the field.
Lingling’s cooking style is straightforward, and her dishes
are enjoyed by young and old alike. When making her hand-
made meatballs, she adds whatever she’s in the mood for.
“Today, it’s onions, daikon, celery and scallions.” Such ad-
ditions get children eating vegetables without being aware
they’re doing so. And her preference for cooking in water,
rather than frying in oil, makes her dishes healthy, light, and
easy on the stomachs of the elderly.
99
家裡的菜，覺得每天吃都一樣，但別台，重複動作，追求效率，藉此控管品
人沒吃過。」質。但食憶不是，每位主廚各自負責二
從「家常菜」著手的她，從身邊的至三道菜，從採買、備料、烹調，通通
人循線找起，逐一試菜，找齊人，先一手包辦。
以快閃店的形式開始，成為「食憶」想靠大量採購、壓低食材成本，在
的雛型。這兒行不通。為了端出原汁原味的家滋
味，長輩各有各的堅持。非得趕在凌晨
家廚的延續
時購買，剛宰殺的新鮮雞肉；從南門市
食憶結合了現下流行的「私廚」、場裡買來的金華火腿……。
「無菜單料理」、「共同廚房」、「銀「有幾個還專門買有機店的！」雖
髮經濟」、「體驗經濟」等元素，將之是抱怨，C h e r r y的語氣，卻多了一份
結合，做到了專業餐廳的水平。包容。
菜色一套八式，日日不同；主廚由20 特定的賣店、部位、產地以外，這
主廚逐桌問候餐廳來位的長輩輪替，從最年輕的57歲，到裡的菜色也容許信手捻來的創意。因
客人，從客人的熱
最高齡的94歲，每日三位當班。此，就算是同一道菜色，沒有一日完
烈回應得到鼓舞。
One of tonight’s 菜譜來源？完全是長輩的手路菜。全相同。
chefs checks in with
diners, and is thrilled 坊間餐廳，廚房就像流水線生產的回鍋肉裡平常用台灣蔥，難得在菜市
by their enthusiastic
response to the meal. 微型工廠，備料的備料、站爐台的站爐看到淨白的日本大蔥，也取來試試；與

nutritious, home cooking serves up cultural
memories that are hard to put into words,
yet pull on our heartstrings.
But some of us crave this kind of food and
lack the skill to cook it for ourselves. Where
are we to find it?
Sh i Yi by SUi is here to help. O w ner
Chen Ying xuan, who goes by “Cherry,” is a
restaurantindustry novice who spent years
in corporate planning and marketing. She
was inspired to open Shi Yi when she noticed
that retired members of her family were fac
ing decades with nothing to do.
陳媽媽／63歲／愛心家庭主婦
“Many senior citizens have been cooking
Mama Chen, 63, loving homemaker
since they were kids, and have a lot of time on
their hands after their retirement,” explains
Cherry. “They also have rich life stories that
陳媽媽當了大半輩子的家庭主婦，因為兒子幫她報名，讓
are old hat for their own kids, but interesting 她來到了「食憶」。
to other people. Similarly, while their families 個性內向的她，其實非常熱心，平時還會上老人安養院、
feel like they’ve eaten their cooking a million 教會幫忙做菜。問到好手藝怎麼來的？她說：「因為老公、
times, these same dishes are new to others.” 小孩都很挑。」
陳媽媽的紅露醉雞，是食憶常出場的招牌菜色。她特地
指定要用七到八斤的雞隻，肥瘦恰到好處；為了確保食材品
質，她不辭辛勞，趕在三、四點的凌晨就到市場搶鮮採購。
這道菜譜的來由，出於一樁意外，因為家中的紹興用完，
順手用上了家人從喜宴帶回來的紅露酒，沒想到嘴叼的兒子
一吃力讚，遂拍板定案，至此，紅露的甘取代了紹興的苦，
成了家傳食譜的獨門配方。至於今日與醉雞一同登場，作為
盤飾用的甜菊，還是自家栽種的，滋味甘甜解膩。
Mama Chen has been a homemaker for most of her life. She
came to work at Shi Yi after her son threw her name into the hat.
Asked how she developed her skills in the kitchen, she ex-
plains, “My husband and children are all picky eaters.”
Mama Chen’s “red-yeast rice wine drunken chicken” is one
of the restaurant’s signature dishes. She makes it with four to
five kilograms of chicken at just the right level of leanness, and
shops the market at three or four in the morning to be sure of
getting fresh, high-quality ingredients.
The recipe itself has an unusual source. While making the dish
one time, she discovered she was out of Shaoxing wine and
substituted a bottle of red-yeast rice wine that she had sitting
around, one that a family member had brought back from a wed-
ding. She was surprised when her usually picky son gave it high
marks. She’s used the sweet red-yeast rice wine instead of the
e n c h i cken
ine drunk
more bitter Shaoxing wine ever since, and has passed the new
Red-yeast rice w recipe on to the younger generation of her family.
101
肉丸子的搭配多用花椰，今日改添些
甜椒。
這些微小的變化，家裡主中饋的煮夫
煮婦都能明白，是因為家廚不是SOP的
產線，容許實驗空間，做起菜來才格外
有趣味。
「家的味道」，在這裡，不再是行銷
話術，成了精神上的延續。
色香味俱全的演出
「對愛下廚的人來說，採買食材，就
吳大姊／60歲／證券營業員退休已經是下廚的開始。」Cherry這席話，
Big Sister Wu, 60, retired securities broker 說進了煮夫煮婦的心。
為了「當班」的這一天，玲玲姊、陳
媽媽、吳大姊等三位主廚，提前開工。
聽聞食憶的消息，主動「衝進」餐廳搶報名的吳大姊，
她們先從家附近熟悉的菜市、賣店，購
原生家庭是上海人，也因此傳承了一手本幫菜好手藝。她
開出私家菜譜，洋洋灑灑寫了三頁A4紙，「這只是春夏版齊青蔬、肉品，再加上親手製作的調味
的！」讓人瞠目結舌。佐料，千里迢迢，從家帶到餐廳。
道地的上海菜飯、醃篤鮮、腐皮卷，難不倒她。既然是下午四點鐘，餐廳還空蕩蕩，廚房已
家廚，當然盡量不假他人之手，因此，就連費工的蛋餃、餛
經開始暖身。
飩，甚至常用佐料如桂花釀、酒釀，通通自己來。
今日端出的冬瓜排骨湯，慧思巧心，加入了金華火腿，平
凡菜色也變得非凡。上海菜尤其著名的盆頭小菜，自然少不
了，一道素燒什錦，豆干、豆包、麵腸先分開炒，最後一塊
兒紅燒，最後加入手剝鮮綠豌豆。
「這個季節的豌豆好吃，過季就老了。」對自己的菜，吳
大姊總是相當自信，「一吃就停不下來！」
ribs soup
winter elon and pork
Big Sister Wu sought work at the restaurant on her own initia- m
tive. Scion of a family with its roots in Shanghai, she was well
versed in many of the techniques used in Shanghainese cooking.
She easily manages authentic Shanghainese dishes like
vegetable rice, yanduxian, and fried beancurd rolls. As a home
cook, she strives to do everything herself, even when preparing
time-consuming items such as egg dumplings or wontons, or
common condiments such as osmanthus syrup and sweet wine.
Today, the restaurant is serving winter melon and pork ribs
soup, which Wu has transformed into something exceptional with
the addition of Jinhua ham. Shi Yi’s offerings naturally include
famous Shanghainese appetizers. Today it’s a vegetarian mixed
braise. To prepare it, she first stir-fries dried tofu, tofu skin, and
gluten rolls separately, then simmers everything together, and
finally adds hand-shucked green peas.
Wu is very confident in her own cooking. “Just one bite and you
won’t be able to stop eating!”

Beginning with family fare and drawing kitchens aim for efficiency and quality con
on the people around her, she tastetested trol. Shi Yi takes a different approach. Each
recipes, recruited cooks, and started the pop chef prepares two or three dishes, and per
up that later grew into Shi Yi (which means sonally handles every step in their prepara
“food memories”). tion, from the purchase and preparation of
Extending the home kitchen the ingredients to the actual cooking.
Shi Yi has drawn on several trends, in Here, “tastes like home” is more than a
cluding “private chefs,” “menuless dining,” slogan. It’s the extension of Shi Yi’s founda
“shared kitchens,” the “silver economy,” and tional ethos.
the “experience economy,” to create a top Presentation, scent, flavor
flight restaurant. Today’s t h ree c hefs, Li ngli ng, Mama
It features an eightdish meal that changes Chen and Big Sister Wu, started their work
daily, and 20 silverhaired chefs who range day early. They bought the meats and veg
in age from 57 to 94 and run the kitchen in gies they needed from familiar markets near
groups of three that change from day to day. their homes before making their way from
Where do the recipes come from? All are their homes to the restaurant, bringing with
Cherry用好企劃打
specialties of the individual chefs. them seasonings and condiments that they 開「食憶」在美食
Modern restaurant kitchens tend to operate had prepared themselves. 圈的知名度。
Cherry employed a
like mini production lines, with each worker Though Shi Yi is still empty at 4 p.m., the sound plan to make
assigned a specific task. The prep cooks pre kitchen is already warming up. her restaurant, Shi
Yi, known to the
pare ingredients and the cooks cook. Such Today’s three chefs may not have any fine-dining world.
103
Jimmy（左）與主廚陳媽媽（右）合作，
象徵年輕世代與銀髮族交流。
The cooperation between Jimmy (left) and
chef Mama Chen (right) is an example of
intergenerational exchange.
雖然三人都沒有開餐廳的經驗，但有
專業的行政主廚Jimmy坐鎮。長輩大廚
成了粉墨登場的演員，Jimmy是發號施
令的導演，四口爐台，孰先孰後，由他
決定，他顧前顧後，隨時機動性支援。
這是一場跨世代的合作，像一個大家
庭，同心協力，為了家人做一頓飯。
直到時針指向六，「確認一下，是不
是所有東西已經準備好？」Jimmy喊聲。
分針指向30，客人開始陸續湧入。餐
桌上的冷盤（今日端出的是陳媽媽的獨
門醉雞）已經備好。
開飯以前，還有一段必要的「開場」
儀式，由Cherry朗聲向客人分享餐廳理
念，同時介紹當班的三位主廚。
儀式結束，廚房熱絡了起來，煎煮炒
炸，搶快出餐。緊接在冷盤以後的，湯
品、飯麵類的主食、禽肉魚鮮豆製品等
……行雲流水地登場。
中間穿插著主廚抽空出場，逐桌問
候，與客人交換心得。
此時此刻的長輩，像極了光芒萬丈的
星級大廚，以好廚藝贏得客人的讚嘆；
也像家裡的婆婆媽媽，席間不忘噓寒問
暖，千叮萬囑，要大家多吃幾口菜、多
挾幾塊肉。
巧合的是，她們不約而同穿上喜氣的
紅色，搭配餐廳裡的喧嘩、驚嘆，恍惚
之間，讓人覺得像踏入了某個大家族享
用過年團圓飯的情境。
此時，才意會了過來，在食憶用餐，
就像親臨了一場不可思議的演出現場，
由跨族群、跨世代串聯，以色香味俱全
的食物，召喚著每個人，對家的無限
眷戀。 l

食憶的存在提醒我們，永遠有
人等著我們「回家吃飯」。
Shi Yi reminds us that there is
always someone waiting for us
to “come home and eat.”
previous experience with restaurant work, but they and noodle dishes; and poultry, meat, fish, and soy-based
have Jimmy, a professional executive chef, there to dishes follow the cold appetizer in quick succession.
supervise. He acts as the kitchen’s director, barking out The chefs take a moment midway through to make
commands to the rookie seniorcitizen chefs and decid the rounds of the tables and chat with the guests.
ing when each gets to use the four wok ranges. Coincidentally, all of the chefs today are wearing
At half past the hour, guests begin filtering in. To lucky red, matching the restaurant’s energetic atmo
day’s cold appetizer (Mama Chen’s special drunken sphere. The colors and excited clamor make it feel as if
chicken) is already prepared. we’re attending a big clan’s New Year’s banquet.
The restaurant performs an “opening ceremony” each It’s then that we realize that dining at Shi Yi is like
night before service begins: Cherry shares the restaur attending a remarkable performance, one that uses
ant’s guiding philosophy with the evening’s guests and food and connections that reach across ethnic and gen
introduces the chefs who are working that evening. erational lines to call forth the boundless yearning for
Once the “ceremony” is complete, the kitchen gets roll family that exists within each of us. l
ing, hastening to get dishes out to the tables. Soup; rice (Lynn Su/photos by Jimmy Lin/tr. by Scott Williams)
105
多元族群　COMMUNITIES
許孩子
更寬闊的未來
「我是兒童，我有權利」特展
“I’m a Child! I Have Rights!”

Exhibit Highlights Human Rights of the Young
文•陳群芳　圖•林格立　版面設計•王敬勛
還記得小時候的作文「我的志願」嗎？多年約納入國內法，但多數的民眾對兒童權利的概念
過去，你長成你想成為的大人了嗎？那些曾束縛仍十分陌生。去年適逢公約頒布30周年，國家人
你的教條，仍默默影響著你嗎？權博物館（以下簡稱人權館）在景美園區舉辦了
兒童權利之父雅努什．柯札克說：「每個孩「我是兒童，我有權利」特展，讓人權教育向下
子都有權利擁有自己的夢想和秘密。」、「如果扎根。
禁止孩子吵鬧，就像是禁止心臟跳動。」我們的
創造親子對話空間
現在，構築了孩子的未來，現在就來了解兒童權
利，一起打造對孩子友善的世界，讓他們長出獨走入展區，立刻被眼前的多媒體裝置吸引，螢
一無二的美麗姿態。幕裡童趣的動畫，有展開翅膀的小童搭配「請給
我們做自己的自由，讓我們自由翱翔」的文字；
1989年聯合國頒布《兒童權利公約》，宣示一扇開啟的窗，代表的是「請為我們打開理解世
大人會盡力讓兒童享有生存權、發展權、受保護界的大門」。這些由公約內容轉化而成的動畫，
權、參與權這四大基本權利。台灣在2014年將公彷彿孩子對大人發出的誠懇訴求。

國家人權博物館提供　courtesy of the National Human Rights Museum
“W hat I want to be when I grow up.” Do

you re m e mbe r that assig n m e nt f rom
ele ment ary school? Now, years later, have you be-
enjoy four basic rights: the rights to survival, to develop-
ment, to protection and to participation. Last year was
the 30th anniversary of the adoption of the convention,
come the adult you envisioned? and to mark the occasion the National Human Rights
Janusz Korczak, known as the father of the chil- Museum (NHRM), located in the Jing-Mei White Terror
dren’s rights movement, once said, “Every child Memorial Park, staged a special exhibition entitled “I’m a
has the right to their own dreams and secrets.” Our Child! I Have Rights!”
present constr ucts our children’s f uture. Let us A space for family conversations
under stand the rights of children and build a world Inside the exhibition space, childlike animations
that is friendly to children now, so that they can appear on a screen. A window opens, to represent the
cultivate what is beautiful and unique to them. sentiment: “Please open a door for us to understand
the world.” Content from the CRC has been turned into
In 1989 the United Nations adopted the Convention animations to express children’s sincere appeals to adults.
on the Rights of the Child (CRC), which declares that Chien Hsiao-shan, secretary of the Exhibition and
adults should do their best to ensure that children Education Division at the museum, who planned the
107
翻閱《兒童權利公約》的內容，其對生命、自自覺中，習慣替孩子做決定，忽略了孩子表達意
由、尊嚴等權利的追求，與《世界人權宣言》相見的權利。錢曉珊鼓勵孩子將想法畫成創作，而
似。負責企劃特展的人權館展示教育組秘書錢曉珊孩子的發言及作品被做成影像，在展區內播放，
表示，兒童個子小、力氣小，無法獨立養活自己，讓特展成為孩子發聲的平台。
相對弱勢，所以需要大人的保護與照顧；但仍要尊為跳脫公約條文生硬的刻板印象，人權館邀集
重他們是有想法的個體，我們不能剝奪他們的聲專家及深耕兒童權利的民間團體，共同將文本轉
音，必須尊重聆聽，審慎評估意見是否可行。譯。研究兒童文學的林真美與台灣插畫家們，將
展覽籌備期間，錢曉珊走訪小學、國中、高 54項條約創作成16幅繽紛生動的繪畫。又或透過
中，向孩子介紹兒童權利，蒐集孩子的想法。有 VR互動裝置，點出大人常對孩子講的酸言酸語，
人希望打破制服裙的規定改穿褲子，有孩子想爭只要對著螢幕揮手抹去，就會跳出正面的表達方
取打球的時間，有的則希望能有選擇餐食的自由式等，各種有趣的題目設計，讓大人小孩都能在
……。這些看似微小的心願，反映的是大人在不展覽裡玩得開心。
華人社會長久以來望子成龍、望女成鳳的期
盼，認為小孩甚麼都不懂，乖乖聽大人的話就對
了……的想法，早已根深蒂固刻進骨子裡，觀念
扭轉不是一時就能達成。錢曉珊強調，了解兒童
人權館的錢曉珊透過展覽來強調兒童力，讓孩子知道自己
是有能力改變社會的，進而邁向更有人權意識的未來。權利不是要責備父母，而是開啟對話、討論的空
Chien Hsiao-shan of the National Human Rights Museum 間，成為改變的契機。
planned the exhibit on children’s rights to help young people
understand that they have the power to change society and
build a future with greater consciousness of human rights. 體制內的小革命
行動，才能讓理想成為現實。親子共學促進會
便是一個致力落實兒童權利的團體，提倡親子間
不打、不罵、不威脅、不恐嚇、不利誘，開啟小
孩與大人間平等對話與相處的方式。他們帶著孩
子參與社會議題，318學運時在立法院外駐紮支
持；發起「兒童連儂牆撐香港」聲援香港反送中
運動，與孩子共同在生活中貫徹他們所相信的平
等、自由、民主等普世價值。
親子共學促進會也持續推動對兒童友善的環
境，例如促成台鐵親子車廂的設置。親子共學促
進會理事翁麗淑表示，不希望大眾認為是怕吵，
所以把親子驅趕至特定車廂，而是希望大家理解
長途旅行對小孩來講很不容易，空間狹窄、無
聊、不能玩，有違孩子想玩、好動的本性，不能
一味以成人的立場，要求孩子守秩序、不吵鬧，
以符合社會對兒童不切實際的規範。
同時也是國小老師的翁麗淑，在教育現場20
多年的觀察，升學主義的價值觀，始終換湯不換
藥。小學生除了學校作業外還要應付安親班的功
課，陷在僵化背誦、抄寫的循環裡；而翁麗淑鼓
勵學生閱讀國語日報、寫日記等非常規的作業形

exhibition, explains that children are vulnerable and
unable to feed and support themselves. Therefore, they
need adults to protect and care for them. But they also
need to be respected as thinking individuals. We can-
not deprive them of their own voices.
During the planning stage, Chien visited both ele-
ment ary schools and junior and senior high schools,
introducing the concept of children’s rights and gather-
ing children’s thoughts on the subject. Some girls hoped
to overturn dress-code regulations so they could wear
pants instead of skirts; other students hoped to have
the freedom to select their own meals…. These small
aspirations reflect how adults are accustomed to un-
selfconsciously making decisions on behalf of children
while overlooking their right to express their own opin-
ions. Chien encouraged children to turn their thoughts
into creative illustrations, and then the children’s voices
and creations were turned into videos, as the exhibit
became a platform for children’s voices.
In Chinese society parents have long held great hopes
for their offspring, while believing that children should
listen to adults and be well behaved. Those notions are
deeply rooted and will not be changed overnight. Chien
emphasizes that the point of understanding children’s
rights isn’t to blame parents but rather to open a space
for conversation and to create opportunities for change.
A small systematic revolution
Action is what brings ideals into reality. The Associa-
tion of Parent Participating Education in Taiwan (APPET)
is a group that forcefully promotes the implementation
of children’s rights and pushes for the elimination of
hitting, scolding, threatening, terrorizing, and other
harmful behaviors in the parent–child relationship.
The group has also continually promoted a child-
friendly environment. For instance, it has pushed
the Taiwan Railway Administration to establish cars
reserved for families. Ang Le Siok, an APPET board
member, explains that they don’t want people to think
沒有生硬的教條，而是繽紛的圖文、影像和好玩的互動
裝置，「我是兒童，我有權利」特展值得一遊。
The lack of rigid dogma, along with the wide variety of colorful
illustrations and videos and fun interactive exhibits, make the
exhibition “I’m a Child! I Have Rights!” worth a trip.
109
式，雖能增進理解力與思考，卻常因看不到成績對比教育界對教材的保守，翁麗淑認為，教
效果而得不到家長支持。當小孩在反覆練習後育必須走在時代的前端。不論是情感教育、性平
能不加思索寫出考題的答案時，多數成人引以為教育，都應該把世界敞開在孩子面前，讓他們看
傲，翁麗淑卻看到危機。孩子在這樣的環境下長見世界各式的樣貌，理解與自己不同的族群。她
大，看起來井然有序，卻缺乏創造力與想像力，舉例，兒子小時候看到路邊樹叢的聖誕節燈飾
「大家都長得像是罐頭一樣。」翁麗淑說。時，提出對夜行性動物因人類節日而備受打擾的
在翁麗淑的課堂裡，她致力讓孩子看見世界關懷。這種看待事物的獨特眼光、探索世界的熱
多元的樣貌，例如課本提到王永慶，形容他是白情，想讓世界變得更好的企圖心，大人也因此被
手起家、創造就業機會的企業家；翁麗淑則會將孩子啟發。
六輕氣爆、王永慶娶了多位太太等其他面向一併
大人給問嗎？
提出與學生討論；又或是在課堂上介紹女性科學
家、同志運動員等，帶入性平教育的內容。人是錢曉珊表示，透過特展讓大眾認識兒童權利，
立體多面向的，翁麗淑希望孩子看到的世界是繽另一個核心目標，是希望兒童看見自己的兒童
紛而多元，成功的定義不會只有賺大錢一種，投力，所以特闢「看見兒童力」的專區。去年，高
身友善耕種的小農，也擁有屬於自己的成功。雄中學、女中共同發起「終結放榜新聞：拒絕成
在人權館舉辦的紙
上策展工作坊裡，
孩子以自己的創
意，創作一本本充
滿想法的小誌。
In a workshop
space set up at the
National Human
Rights Museum,
children let their
creativity run wild in
zines that express
their own opinions
and ways of thinking.

新世代的家長帶著孩子參加社
運，以開放的思維與孩子討論
各種議題，拓展孩子的視野。
The parents of this new era
bring their children to participate
in social movements, open-
mindedly discussing all manner
of issues with them and
broadening their horizons.
that this step was taken because the public thinks that In her classroom, Ang does her best to let children
children are too loud. Rather, they hope that everyone gain multiple perspectives. For instance, when the text-
understands that long-distance travel isn’t easy for chil- book mentions Formosa Plastics founder Wang Yung-
dren: Spatially constricted, they become bored, since sit- ching, lauding him as an entrepreneur who created
ting for hours goes against their basic nature of wanting employment opportunities, Ang will also bring up the
to move and play. One can’t simply take the standpoint of explosion at the Sixth Naphtha Cracker plant, his numer-
adults and demand that children maintain perfect order ous marriages, and other aspects of his life for discus-
and stay quiet to conform to un realistic standards that sion. Or when the class discusses topics such as women
society has about children. scientists or gay athletes, she introduces content about
An elementary teacher with more than 20 years of ex- gender and sexual orientation equality. Ang hopes that
perience, Ang knows that the high value placed on edu- children will come to see that the world is colorful and
cational advancement in Taiwanese society is something diverse, and that success doesn’t simply mean making a
that is highly resistant to change. Apart from needing to lot of money. Ecofriendly small farmers, for example, can
do their homework for school, elementary-school students also achieve success on their own terms.
also must go to after-school classes. They all too easily With respect to the educational realm’s cautious atti-
fall into an abyss of rigid memorization and rote copying. tude toward teaching materials, Ang believes that edu-
Ang, meanwhile, encourages reading, journal writing cation must be at the cutting edge of an era. Whether
and other unconventional assignments. Although such one is talking about relationships education or gender
assignments increase understanding and critical think- equality education, these should broaden children’s
ing, they often meet with little support because they don’t horizons so that they can see the world in all its diver-
necessarily bring higher marks. When children, after sity and gain empathy for groups unlike their own.
drilling with repetitive exercises, can answer exam ques- Can adults be questioned?
tions without really needing to think about them, most Chien Hsiao-shan explains that apart from intro-
adults consider that a point of pride. Ang, to the contrary, ducing adults to children’s rights, the exhibition has an-
regards it as alarming. Children may look well organized, other core goal: to get children to see their own power.
but they lack creativity and imagination. “Everyone be- Consequently the museum came up with the theme
comes an object of mass production,” Ang says. “Seeing children’s power” for a section of the exhibition.
111
功模板，停止製造神話」的連署，獲得許多高中有一群支持兒童發聲的大人們作後盾，大研社的孩子們說
起話來條理分明、思慮清晰。
響應，紛紛停止發布升學率、滿級分的新聞。學 Supported by a group of adults who want children’s voices to
be heard, the children of the Adult Thinking Society voice their
生用行動提醒大人，不要鼓吹升學主義，忽略多 opinions in a well-organized and clear manner.
元發展，正是台灣兒童力的展現。
在特展活動──紙上策展工作坊裡，人權館邀
請師大附中青年社的學生擔任講師，向學員們分
享校刊編輯的心得，我們驚訝的發現，校刊已不小孩有言論自由，「透過活動討論及批判性思
再是校務宣導或藝文徵稿，而是孩子對社會議題考來研究大人。」今年小六的現任社長邱子謙
提出觀點的平台。學員們發表小誌的製作時，說。自2018年起，大研社陸續舉辦了「大人的善
他們侃侃而談自己對於權利議題的見解，條理分意謊言」和「請問大人∼」等活動。內容、形式
明，每本小誌都充滿創意與觀點，令現場從事編全由孩子策劃，「為什麼大人總是把年齡當成衡
輯工作的講師們讚賞不已。量一切的標準？」、「為什麼大人總是忘記自
或許有人會擔心讓孩子在重視兒童權利的環境己曾經也是小孩？」……孩子提出心中的疑問，
下成長，會養出桀驁不馴的小孩。但在大人思想邀請大人回答，在一來一往的答辯中，促進彼此
研究社（以下簡稱大研社）的孩子身上，我們看的了解。
見了小孩的思辨能力與批判精神。推廣兒童權利這條路，台灣有許多團體努力不
大研社是由一群從小跟著爸媽參加兒童文化懈，他們的步伐有快有慢，以各自的方式為兒童
研究社的孩子創立，成員最小5歲，最大的是今發聲，但共同不變的，是那份讓孩子活出自己樣
年14歲的上屆社長暨現任顧問的李胤賢。主張子的初心。 l

Last year, students at Kaohsiung Senior High School former society president Hans Li, is 14. The group advoc-
and Kaohsiung Girls Senior High School collected their ates for children’s free speech and for “researching adults
classmates’ signatures for a petition entitled, “End the via discussions and critical thinking,” says sixth grader
Posting of College Acceptances: Resist Rigid Models and current society president Charlie Qiu. Since 2018, the
of Success and Stop Perpetuating Myths.” It caused society has been putting on a series of Q&As, including
quite a stir on high-school campuses, and quite a few “Adults’ White Lies” and “Adults, May We Ask…?” The
schools stopped posting college acceptance rates or lists children themselves planned both the style and the con-
of students earning full marks. Through their activism, tent of these events. “Why do adults always use age as the
students reminded adults that they shouldn’t emphasize ultimate litmus test?” “Why do adults always forget that
educational advancement at the expense of the develop- they too were once children?” The children came up with
ment of the whole person. It was a true demonstration of questions on their own and invited adults to answer. With
the power of children in Taiwan. the give and take came greater mutual understanding.
Some may worry that if children grow up in an en- Many organizations in Taiwan are striving to pro-
viron ment that puts an emphasis on children’s rights, mote children’s rights. Some are moving quickly, others
they may become arrogant and obstinate. But in the pushing more slowly—but each has adopted its own
children of the Adult Thinking Society, we can observe methods with the aim of allowing the voices of children
critical thinking and a reflective spirit. to be heard. And alike they aspire to let children be
The group was founded by children who had particip- themselves. l
ated with their parents in Children’s Culture Study (Chen Chun-fang/photos by Jimmy Lin/
activities. The youngest member is five, and the oldest, tr. by Jonathan Barnard)
「我是兒童，我有權利」特展在人權館景美園區展至2020
年5月3日，下半年將移至嘉義故宮南院、台南國立台灣歷
史博物館展出；除此之外，人權館也將規劃把展覽內容設計
成行動展板，供學校借用展示。一切的努力，只為把兒童權
利的核心價值帶到更多孩子面前，讓人權教育向下扎根，改
變未來的社會。
I’m a Child!
I Have Rights! “I’m a Child! I Have Rights!” is being held at the National Human
Rights Museum until May 3. In the latter half of the year it will
move to the Southern Branch of the National Palace Museum
in Chiayi and the National Museum of Taiwan History in Tainan.
The National Human Rights Museum also plans to put content
from the exhibit on exhibition boards that schools can borrow
for their own displays. All the hard work put into the exhibit was
undertaken to put the core values of children’s rights in front of
more children, so that human rights education can gain strong
crc30th.nhrm.com.tw roots in society for a better future.
113
島嶼行旅　AROUND TAIWAN
電音尬古謠阿爆遊走的雙軌人生
Electronic Pop and Paiwan Melodies:

The Two-Track Life of Singer Abao
文•蘇晨瑜　圖•那屋瓦文化有限公司提供　版面設計•王敬勛
聽好了／現在這首歌我來教你們／從一慢慢數到十／這是一個排灣家庭的故事／我心裡守著一個願望好久／
我要我們兩個永遠在一起／有三個地瓜就剛好夠吃了／若四個芋頭就太飽了／生五個很有力量的孩子／打到
六個獵物有夠英勇／七個阿拜糕分他們吃就不會吵架／八個斗笠給他們就不會受日曬／九件衣服給他們穿得
暖暖的／再十個孫子我也太幸福了吧
──〈1─10〉歌詞
Listen up! / Now I will teach you a song / Counting from one to ten / This is the story of a Paiwan family / I have
had one wish in my heart for a long time / I want the two of us to be together forever / Three sweet potatoes are
enough for us / Four taros would be too much / Let’s have five strong babies / They will be so brave and hunt six
prey / They will share seven rice cakes with no quarrel / Eight bamboo hats will protect them from sunburn / Nine
sets of clothes to keep them warm / Then with ten grandchildren, I’ll be the happiest person in the world.
—Lyrics to “1–10”

115
這是一個排灣族家庭的故事，也是金曲歌手阿經驗，讓我更懂得融合現代音樂工業與原民的自
爆（Abao、排灣族名：阿仍仍）的個人故事。有然風格。」
無窮創作力的阿爆在2019年底發行了她的第二張留著原民的血液，阿爆的表演風格卻相當主
專輯《kinakaian 母親的舌頭》。距離上一張和製流。許多原民朋友問她：「妳唱歌的表情怎麼跟
作人荒井十一合作的《vavayan女人》，已經間隔我們不一樣？」這種表演方式，其實是流行音樂
三個年頭。時隔許久，阿爆累積出更多的創作能時期「雕」出來的。唱國語歌時，一段歌詞中的
量，並把她擅長的融合功力再度注入詞曲，讓近兩個字，必須重複練唱一小時，不同於原住民的
乎失傳的排灣古調與流行電音結合，展現令人耳自然吟唱。
目一新的曲風。
跨界跨域的雙軌人生
流行音樂奠定表演實力
表演跨足流行與傳統，阿爆說：「這很像我的
2003年，頂著一頭爆炸頭的阿爆，與多年搭檔經歷，一直以來，我的生活與工作經驗也是非常
Brandy組成團體出道，兩人首度出片便獲得金曲的Mix。」出身台東排灣族，阿爆的父母與許多
獎最佳重唱組合，但是這對頗受看好的新人組合原住民一樣，為了生計而移居高雄，讓阿爆成為
仍逃不過金曲魔咒，所屬的唱片公司倒閉，阿爆不折不扣的「都會原住民」。雖然在高雄成長，
只能重回學校轉行當護理師。短暫的發片經歷，每逢寒暑假，阿爆就會被爸媽丟回部落，與族人
讓阿爆相當珍惜。「因為有前段流行音樂的製作相處，不致與部落的生活脫節。
阿爆依稀記得，兒時常看到外婆抽著傳統的
長煙斗，只要天氣好，外婆就會把煙絲拿出來，
噴些米酒，放在太陽下曝曬。「外婆自己種，自
阿爆出身台東嘉蘭部落，在部落有許多兒時美好的回憶。
己抽，有點像雪茄自產自銷的概念。」阿爆也曾
Abao hails from Buliblosan (Jialan) in Taitung, and has many
beautiful childhood memories of this place. 跟著族人一起去採收薑、挖芋頭，燒柴洗澡，過

遊走在都會與部落之間，阿爆跨足流行與傳統，唱出屬於 Award for Best Vocal Ensemble. But their record com-
自己的風格。
Splitting her life between the city and indigenous communities,
pany went out of business and they got nowhere. Still,
Abao combines pop and traditional music into a style that is Abao fondly remembers this brief period of profes-
uniquely her own.
sional work. “It is because I had that previous experi-
ence of making pop music that I have understood how
to blend the modern music industry with the natural
This song tells the story of a Paiwan indigenous fam- style of Aboriginal music.”
ily, but it is also the personal story of Golden Melody A two-track life
Award winning singer Abao (Paiwan name Aljenljeng With performances that combine pop and traditional,
Tjaluvie). The abundantly creative Abao released her Abao says: “This is like my life experience. My life and
second solo album, Kinakaian: Mother Tongue, at the end work experience have always been very mixed.” Born
of 2019. It had been three years since she released her into a Paiwan indigenous family in Taitung County,
first solo album, Vavayan: Woman, produced by Soichiro Abao’s father and mother, like many Aboriginal people,
Arai. During this long interlude, Abao continued to en- moved to the city (Kaohsiung in their case) to make a
hance her creative powers, and the new album displays living, and Abao became a 100% “urban Aborigine.”
her skill in musical fusion, combining disappearing However, although she grew up in Kaohsiung, each
traditional Paiwan melodies with electronic pop music summer and winter vacation Abao’s parents sent her
to come up with a fresh new style. back to their home village to live with her people, so as
Building on a pop music foundation not to lose touch with the Paiwan way of life.
In 2003 Abao, sporting a head of Afro-style hair, Abao still faintly recalls how, as a child, she often
formed a group with her longtime partner Brandy. The saw her grandmother smoke her traditional long pipe.
first album put out by the duo won a Golden Melody Whenever the weather was good, her grandmother
117
著無憂自在的部落生活。即使離開流行音樂圈那
段期間，阿爆一邊在醫院擔任護士，一邊又在原
民台擔任主持人，過著週一到周五在醫院上班，
假日錄影的雙軌生活。因為有這種游移的成長經
驗，讓阿爆的音樂與創作，不斷展現融合的元素
與氛圍。
那屋瓦環島收音計畫收錄族人古調
從2015年起，阿爆啟動了「那屋瓦（Nanguaq）
環島收音計畫」，走入部落的各個角落收錄原住
龐志豪、杜瓦克．都耀
民族的歌謠，尤其希望為年輕人留下一些古調。 Tatun and Tuwak Tuyaw
「那屋瓦」是排灣族語，意為「好的」、「美好
的」之意，阿爆也希望藉此能發掘具有天份的原
民音樂人及創作人，引領他們繼續創作。
啟發她做這項計畫的契機，是在原民台主持
時認識的藝術家。這些原民藝術家從事不同形式
的藝術創作，有的玩劇場，有的跳現代舞，有
些是雕塑家，或展現編織的技藝……。「我覺得
他們很像走在前面的老師，示範怎麼去做文化
這件事。」看似非主流的藝術創作，其實視野更
寬廣。原民藝術家並不把自己封閉在自我的創作
張威龍
世界裡，他們走出台灣，參與國際音樂節與藝術 Kalevuwn Tzutjey
祭，藉由藝術讓人們共感，進而理解自己的理
念。這種無拘的生活方式，讓阿爆覺得或許族語
音樂也有這種可能。
隨心自在，收錄好聲音
原音採集的工作並不輕鬆，需要遇到適合的
人以及適當的時機，阿爆形容是一種「很隨緣的
計畫」。例如有人告訴阿爆，台東有位VUVU奶
奶很會唱歌，老人家身上有很多歌，可是冬天去
收歌時，老人家的氣管不好，又要再隔一個春夏
秋冬。還有一次收音工作結束，阿爆一行三人遇 Dremedreman 曾妮
Dremedreman Tjuleng Kisausau
上大暴雨，車子卡在半路動彈不得，山上落石滾
滾不斷砸落，一邊就是大海，讓阿爆連連尖叫，
「做這個計畫有時遇到危急生命的時刻，是真的好了收音時間，對方卻說要去倒垃圾，一去就是
會有一點懷疑人生！」一小時。部落的步調很放鬆，阿爆也不太壓縮自
收音需要獲得對方的信任，阿爆在原民台的己，大部分會配合對方的生活節奏。「你不要管
主持經歷，讓她在部落間享有很高的知名度，他是不是真的去倒垃圾，總之他那個timing就是
成為計畫很好的起點。與不同族人間的相處模沒有很想唱。」不管對方要幹嘛，反正會出現就
式，也需要一種原民才可體會的默契。有時約好了，阿爆就是以這樣的態度耐心等候，因緣聚

原音採集的工作需要天時、地利、人和，記錄不同部落傳唱
已久的歌謠，是阿爆心心念念且樂在其中的事。
It takes the right combination of people and circumstances to
be able to record old songs that have been passed down in
indigenous communities. This is a task that Abao has long had in
mind and takes great joy in doing.
gone deep into indigenous communities to record tradi-

tional songs, hoping to preserve some of the old melo-
dies for young people.
The task of making the recordings is not an easy one.
拉夫拉斯．馬帝靈和 VUSUM HANA 扶桑花樂團
Lavuras Matilin and the Vusum Hana band They have to meet the right people at the right times,
and Abao describes Nanguaq as “a very contingent proj-
ect.” For example, someone told her of an elderly woman
in Taitung who was a fine singer and knew many old
songs, but when they went there in winter to record her
she was having respiratory problems, and they had to
wait another full year.
To make the recordings they need to win the trust of
the people they want to work with, and they also need
the kind of tacit understanding that exists between fellow
indigenous people. Sometimes when they have arranged
a time to make a recording, the person to be recorded
小魯凱音樂傳創隊 says they have to take out the trash and then doesn’t
Traditional Rukai musical duo Drekai Yacengeceng
return for a whole hour. The pace of life in indigenous
communities is relaxed, and Abao doesn’t put too much
pressure on herself, but usually accommodates herself to
the rhythm of life of her counterparts. “You can’t concern
yourself with whether or not they really went to take out
the trash—the point is that they didn’t really feel like
singing at that particular moment.”
Upholding a culture
Indigenous communities are continuously changing
as traditional culture steadily disappears and elderly
people pass away. Hence the recording project is both
a race against time, aiming to preserve the common
清泉部落泰雅原少樂團
Ulay indigenous community's Atayal youth band atl (atayal team lokah)
heritage of Taiwan’s Aboriginal peoples, and also a
chance for Abao to observe different tribal cultures at
first hand. Abao has never intended to make any money
would bring out her tobacco, splash some rice wine out of these old melodies that she has worked so hard to
over it, and put it in the sun to dry. “Grandma grew her collect. Instead, the edited recordings are uploaded onto
own tobacco that she smoked herself.” YouTube along with the songs’ lyrics, while the project is
Recording old Aboriginal songs also accessible via a cellphone app, allowing everyone to
Starting in 2015, Abao launched a project to record learn the songs free of charge.
Aboriginal music from all over Taiwan, which she calls On her new album, Abao has four new songs that
“Nanguaq” (Paiwan for “good” or “happy”). She has integrate old Aboriginal melodies, while many of the
119
合就能收到原民近乎失傳的好聲音。有時
長輩「倒完垃圾」後，本來講好只唱一
首歌，看在阿爆等候那麼久的份上，往
往還會再多唱幾首。「得與失之間，到
底是誰得誰失呢？其實很難論斷。」阿
爆有感而發，難得的原音採集經驗，讓
阿爆個人有更多的成長。
傳承古謠，文化延續
阿爆坦言，部落也一直在改變，一直在
進步，古早的文化逐漸流失，老人也在凋
零。有時一轉眼，原鄉部落已今非昔比，
不是兒時的模樣，因此原音採集的計畫，
一方面是跟時間賽跑，盡力保留原住民的
公共財，一方面是親眼去見證不同的部落
文化。阿爆苦心收集來的古調，從未想過
牟利，而是經過後製，連同歌詞上傳到
YouTube，這項計畫也提供了手機APP的
載體，無償供大家學習。
在新專輯裡，阿爆有四首新歌融合了
原民古調，很多詞曲的創作來源，來自再
平凡不過的日常生活。「我覺得新舊一定
要融在一起。」阿爆注意到，年輕人的生
活，可能沒有機會學習這些歌，如果把古
調置入到流行音樂之中，「起碼年輕人可
以藉由流行歌曲，聽到古早的歌謠。」
新舊融合再創排灣語言新面貌
例如專輯中與李英宏合作的新歌〈無
奈〉，巧妙使用排灣族社會中的流行語
tjakudain（不然怎麼樣呢？）呼應台語的
「恁毋答應」，紀念排灣族與漢族間不被
允許的愛情，中段高亢的吟唱，就是採用
了排灣族流傳的〈無奈歌〉。
阿爆以母語反覆唱著「我們說的話自然而然／說起
來是多麼美」，相信聽者能心領神會她所吟唱出的
生命大愛。（林旻萱攝）
In her song “Kinakaian,” Abao sings “The language
we speak flows naturally / How beautiful it sounds.”
Listeners will surely feel the joie de vivre she
expresses in song. (photo by Lin Min-hsuan)

阿爆在紐約中央公園表演， songs have their origins in ordinary daily life. “I feel that the
用音樂與各國聽眾交流。
Abao performed in New York’s
old and the new must be blended together.” Young people
Central Park, interacting with are unlikely to have the chance to learn these old melodies in
the international audience
through music. their daily lives, but if they are incorporated into pop music,
“at least young people will be able to hear them by listening
to these songs.”
Combining old and new
Take for example the album’s new song “Tjakudain”
(“Helpless”), made in collaboration with DJ Didilong. The song
cleverly employs the expression “tjakudain” (meaning “what
can we do?”) that is currently hip in Paiwan society, echoing
against the Taiwanese expression “you don’t accept me,” to
commemorate a forbidden love between a Paiwan and a Han
Chinese. The soaring middle passage is taken from “Song of
Helplessness,” passed down among the Paiwan people.
The lyrics for “1–10,” meanwhile, were written by Abao’s
mother. Constructed around the Paiwan numbers for one
through ten, the song is like basic teaching material for the
Paiwan language.
However, not all old melodies are suitable for this kind of
fusion. For example, Abao avoids the use of traditional songs
of worship. “Frankly, what’s the point of calling the souls of
the ancestors without purpose? You can’t tell them to come
down to see a pop concert, right?”
121
〈1-10〉的歌詞則是由阿爆的媽媽愛靜作詞，阿爆新專輯《母親的舌頭》以母語創作，融合電音、饒舌等
曲風，頗有進軍國際的企圖心。
以排灣族數字1到10為創作素材，如同排灣語的 Abao’s new album Kinakaian: Mother Tongue mixes Paiwan-
language songs with electronic music, rap, and other styles; it
基礎教學。不過阿爆覺得這首歌與其說是教材， seems Abao is ready to go international.
不如更像是自己的族語作業簿。
新舊融合也不是什麼古謠都能適用。例如傳
統的祭祀歌，阿爆就盡量避免使用，「因為那是
在祭儀中才使用的歌曲。」阿爆睜著古靈精怪的
Following the release of Kinakaian: Mother Tongue,
大眼睛，語調搞笑地說：「講白話，你沒事叫那 many people were so impressed by the nimble elec-
麼多祖靈來幹嘛？總不能叫他們下來看個演唱會 tronic music and rap vibe, the mainstream production
吧？」用她自己的話來說，阿爆採用的是「人間 values, and the cool “sun god” cover art on the album,
在唱的歌曲」，是日常隨手捻來的歌謠。 that they thought Abao could go international. One
《kinakaian 母親的舌頭》專輯推出後，輕快 fan won over by Abao, who declared that her knowl-
edge of the Paiwan language was zero, still made an
的電音或饒舌，主流的MV拍攝手法，酷炫的太
elaborate linguistic analysis of the lyrics, from function
陽神造型，讓不少人大讚足以進軍國際。一名被
words and word roots to affixes and nominalization.
阿爆圈粉的粉絲，宣稱自己的排灣語程度為零， The amount of effort required caused Abao’s mother
卻鉅細彌遺地把〈無奈〉歌詞，從虛詞、詞根、 to ask: “Did the person who analyzed ‘Tjakudain’ do it
詞綴到名物化，全數做了詳盡的文法分析。認 because they want so much to fall in love?”
真的程度，讓阿爆的媽媽忍不住問：「那個分析 “Look at your shoes, are they different from the ones
tjakudain〈無奈〉的人，是不是很想談戀愛？」 we wear? Look at your skin, it is so fair….” Abao rises
above stereotypical cultural symbols and through the
「看看你的鞋子，跟我們穿的不一樣？看看你
lyrics of “Tjakudain” talks about the differences be-
的膚色，是那麼地白皙……」阿爆跳脫了刻板的
tween Paiwan and Han Chinese. This Paiwan woman
文化符號，透過〈無奈〉的歌詞訴說著排灣族與
uses her beautiful voice to prove that music can tran-
漢族的差異，這位古老傳說中太陽的後裔、排灣 scend ling uistic and ethnic boundaries. l
族的女兒，以美麗的聲線，證明音樂可以超出語 (Sharleen Su/photos courtesy of Nanguaq/
言與族群的界線。 l tr. by Phil Newell)

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全 球 ． 在 地 ． 人 文

中華民國109年5月 第45卷 第5期

The Wondrous Rocks of Nanya

總 監 ／ 鍾宜蓉 活動等方式，讓台灣的「人權教育」向下 「這是我與台灣的緣份。」屏科大教

and Human Rights

Museum in Taipei City’s Jingmei area is memories.

expresses support for social justice through

8 封面故事 Cover Story

2 自由人權之島 1 南雅奇岩 52 月月好讀

藝文脈絡 Cultural Trends

島嶼行旅 Around Taiwan

2 台灣光華 Taiwan Panorama

8 台灣光華 Taiwan Panorama

10 台灣光華 Taiwan Panorama

12 台灣光華 Taiwan Panorama

14 台灣光華 Taiwan Panorama

lives despite the 者擔心自己在音樂生涯的斷裂是不是要發

16 台灣光華 Taiwan Panorama

18 台灣光華 Taiwan Panorama

20 台灣光華 Taiwan Panorama

22 台灣光華 Taiwan Panorama

24 台灣光華 Taiwan Panorama

26 台灣光華 Taiwan Panorama

28 台灣光華 Taiwan Panorama

（莊坤儒攝 photo by Kent Chuang）

30 台灣光華 Taiwan Panorama

32 台灣光華 Taiwan Panorama

34 台灣光華 Taiwan Panorama

36 台灣光華 Taiwan Panorama

38 台灣光華 Taiwan Panorama

sheep aside, there are no subtitles or manu-

（莊坤儒攝 photo by Kent Chuang）

40 台灣光華 Taiwan Panorama

為什麼取名滅火器？每當被問起團 Fire EX.’s members are always a little

42 台灣光華 Taiwan Panorama

44 台灣光華 Taiwan Panorama

46 台灣光華 Taiwan Panorama

48 台灣光華 Taiwan Panorama

輕 建 築 師 的 作 品，很 優 秀 很 有 創 業，水平才 能往前 推 動。建 築 除了

意。作品散 布在島嶼各處，但多隱 要實踐，還需 要 反 思，更要 不停的

導 得 不多（ 與 台 灣 孤 立 的 政 治 處 「台 北 市 建 築 世代 會」策 劃、「忠

國際媒體向來喜愛的日本，或近期 會」（簡稱 A D A）為當地建設公司

見 篇幅。印 度、越 南，甚 至 馬 來 西 誼團體，「忠泰集團」（簡稱JUT）

亞、印尼 的土 建、竹 構、熱 帶 綠 建 是開發高端住宅的著名建設公司。

築，相較 之下都有 被關注，圖文並 來 自 民 間 的 建 築 企 業，將 銷 售 建

茂也概括了不少。 築 所得一部份還之並回饋 於建築

若寫作，創作 期間外人不好 干擾。 築 業 的 重 要 事 項。既 是 新 生 代 設

成時建築師（尤其年 輕一 代）與人 「金馬獎」，實不為過。

橘紅色的合院之家，以雕塑的方式 造 就 地 取材，夯土 築 牆、木扇窗與

安排建築格局，顛覆了傳統合院的 門，結實的鋼 結構防颱 風，房子的

蓋的四合院新宅就更加奇特了：老 課、讀 書、嬉 戲、打 球、燒 菜、吃

台灣亂是美的廠 房空間忽戴上西 飯、歌 唱。生 活 因 此 有 了保 障，成

扭。一 道幽 徑串聯兩 種 美 學，上下 非物質文化遺產．紅梨再現：

聚在 北 市 飲 台 啤 高 談 闊 論 建 築 形 盛 大演出。戲曲，對 我這門外漢而 書名：思慕的城

鎮，二話不 說 即捲 起 袖子、褲 腳 現 親切俗稱，以現在年紀該稱 為「坡

場 參 與，用學來的（國外 與否不重 佬」甚至「坡伯」了矣），大多還能

一 場 氣 氛 熱 鬧 眾 星 齊 聚 的「大 團 都 仰 慕 的 香 港 文 化（包 括 同 樣 重 反 顧說變就變。老區、舊建築消失

圓」，又 波 濤 洶 湧 般 拍 進 腦 岸—— 要 的 次 文化）。曾幾 何 時，因 政 治 的速 度 驚人。尤 以坊間簡單樸 實、

屏 幕 播 放 著 這 齣 戲 的 電 影 版 本。 「去 方 言」政 策、如香港 回歸二十 社 區、弄 堂、里 弄 老 房 子，要 不 來

沉 睡 的 記 憶，原 來 一 直 完 好 無 恙 年，忙 於 應 對 和 適 應 ）與 其 他 種 不 及 謝 幕 早 已 大 片 拆 除，被 國 際

隱藏在腦子裡，並未隨時間湮滅。 種 因 素，星 洲 與 香 港 這 對「 雙 城 線 條 的 現 代 高 樓 取 代，要 不 靈 魂

倌梁醒 波、靚次伯，他們獨一無二 據 紀錄，《蝶 影紅 梨記》初次 完 干的名牌商店、餐廳和Spa。

離 港 那天 在 機 場 便 利 店 隨 手買 子。電 影版在一九 五 九開拍，曾經 京滬二都的老建築 物皆敵不過

了本《明周》，機 上 翻 閱 到 有 關 首 過 劇 作 家 唐 滌 生 的 修 飾，使 情 節 城 市 現 代 化 的 狂 潮。民 間 舊 滬 魂

全球．在地．人文

中華民國109年5月第45卷第5期

總監／鍾宜蓉活動等方式，讓台灣的「人權教育」向下「這是我與台灣的緣份。」屏科大教

輕建築師的作品，很優秀很有創業，水平才能往前推動。建築除了

意。作品散布在島嶼各處，但多隱要實踐，還需要反思，更要不停的

導得不多（與台灣孤立的政治處「台北市建築世代會」策劃、「忠

國際媒體向來喜愛的日本，或近期會」（簡稱 A D A）為當地建設公司

見篇幅。印度、越南，甚至馬來西誼團體，「忠泰集團」（簡稱JUT）

亞、印尼的土建、竹構、熱帶綠建是開發高端住宅的著名建設公司。

築，相較之下都有被關注，圖文並來自民間的建築企業，將銷售建

茂也概括了不少。築所得一部份還之並回饋於建築

若寫作，創作期間外人不好干擾。築業的重要事項。既是新生代設

成時建築師（尤其年輕一代）與人「金馬獎」，實不為過。

橘紅色的合院之家，以雕塑的方式造就地取材，夯土築牆、木扇窗與

安排建築格局，顛覆了傳統合院的門，結實的鋼結構防颱風，房子的

蓋的四合院新宅就更加奇特了：老課、讀書、嬉戲、打球、燒菜、吃

台灣亂是美的廠房空間忽戴上西飯、歌唱。生活因此有了保障，成

扭。一道幽徑串聯兩種美學，上下非物質文化遺產．紅梨再現：

聚在北市飲台啤高談闊論建築形盛大演出。戲曲，對我這門外漢而書名：思慕的城

鎮，二話不說即捲起袖子、褲腳現親切俗稱，以現在年紀該稱為「坡

場參與，用學來的（國外與否不重佬」甚至「坡伯」了矣），大多還能

一場氣氛熱鬧眾星齊聚的「大團都仰慕的香港文化（包括同樣重反顧說變就變。老區、舊建築消失

圓」，又波濤洶湧般拍進腦岸—— 要的次文化）。曾幾何時，因政治的速度驚人。尤以坊間簡單樸實、

屏幕播放著這齣戲的電影版本。「去方言」政策、如香港回歸二十社區、弄堂、里弄老房子，要不來

沉睡的記憶，原來一直完好無恙年，忙於應對和適應）與其他種不及謝幕早已大片拆除，被國際

隱藏在腦子裡，並未隨時間湮滅。種因素，星洲與香港這對「雙城線條的現代高樓取代，要不靈魂

倌梁醒波、靚次伯，他們獨一無二據紀錄，《蝶影紅梨記》初次完干的名牌商店、餐廳和Spa。

離港那天在機場便利店隨手買子。電影版在一九五九開拍，曾經京滬二都的老建築物皆敵不過

了本《明周》，機上翻閱到有關首過劇作家唐滌生的修飾，使情節城市現代化的狂潮。民間舊滬魂

插了幾則花邊新聞：演小生的陳寶是個奇才，在忙亂、商業味濃的舊到。幸虧現在考證工作還有《繁

珠「因坐骨神經痛致腳部不適，演香港，為任白「仙鳳鳴」劇團編寫花》一書可以溯源：自二○ 一二年

午做完針灸才裝身預備演出」，花調連小孩兒也能朗朗上口。文詞高體、繁體都出了書，立即紅遍華文

旦梅雪詩也「有輕微感冒…… 有雅卻又能普及大眾，誠屬難能可世界的長篇小說十分耐人尋味。書

點兒咳嗽」，方明白前一晚的演出貴。可惜唐滌生短命，等不及電影中人物迂迴曲折去來互動，箇中情

她顯然在「假戲真做」，當場抹的版的《蝶影紅梨記》上映，在開映節以文革到新時代和上海老民宅

是真鼻水。我掩頁時暗忖，她倆年的前一天便與世長辭了。墊底為大背景。

也九十多歲了吧），厚妝在台上三年）到電影（五九年）到這次在香日同區同街道往返來回數十載，恐

個半小時又唱又做實在不易為也。港文化中心的再演，策劃者也曾是怕沒誰比他對這地方，以及這地

如此為戲曲的傳承而忘我落力演首演者的白雪仙，在唐滌生冥壽百方的人物更了解，更富情感了。

出，已經遠遠超越樂業精神。歲（他生於一九一七年）之際，總此部長篇小說中觸及的每個

《蝶影紅梨記》再現，促人思結了原創者改寫劇本的心願。並區，皆與黃浦江、蘇州河有著不可

考另個課題：五十至七十年代的香且終於能夠，讓它在舞台上亮麗分割的親密關係。每條街、每個

港，生活僅屬基本，但文化活力四重來一次。雖然這彷彿遲了好幾十轉角、每棟樓，街上每家店舖的外

射，其影響力無遠弗屆。星洲（港年，雖然白雪仙也明白，在本月底觀、屋裡樓梯連同扶手的模樣，深

人給獅城的暱稱）與香港，在那年戲落幕後瞬即又逝。可是她的視入至大廳中傢俱的擺設、十字架，

代似乎比當今還要關係密切。電野、恆心和執著，教人感動，且對以及臥室裡的床舖，如同電影鏡

影、書籍、流行歌曲、中文雜誌在她加倍地肅然起敬。頭無不詳盡描述，也如偵探於事

容的變遷，時光的流逝。偶而作者

片，以此為證，讓故事大大增強了小毛家。（聯合文學提供）

忽然的跳出來為觀眾加旁白宛作者後來竟然從不同角度將此段晚掉入她編織好，軟綿綿的網。重

似說書人的評述時事，又多與城市重述一次，令我聯想及《羅生門》複細看插圖，它又對照文中的敘述

建築有關。例如第拾壹章和十二和《春琴抄》，有些事情彷彿天註（第貳拾壹章），往後二人樓上樓

章之間，穿插三張小圖繪評瑞金定就算真有機會重來一次也改變下的偷情，房門裡外的鞋子、樓梯

路、長樂路一角的變遷，從老教堂不了悲情的結局。上下的腳步、地板與天花的隙縫，

到新錦江飯店，拆了又建，建了又時空交錯的幽徑書裡層出不圖中建築細節聲色齊備全有好戲

改，四十年來連續變化連當地人都窮，老貓搖曳長尾巴帶我們隨處在上演。

認不出原有的角落。是作家對這蹓躂，看盡園中風景繁花似錦，卻身為建築素人的金宇澄繪圖取

城市無序變遷之無奈，黯然神傷也目睹枝葉花果的敗落。第拾柒角異常精準，有股非專業筆法的真

之控訴。章回小毛不能自控失去童身後，這樸味，插圖相信是他記憶中已有，

人物雜多、對白紛呈一點不淹沒頭老貓曾出現於事發現場：建築素或腦子裡已預見的，從筆端流露

書中的重要情節。毛頭小子小毛的人《繁花》作家金宇澄以立體透視到紙上對他而言只不過順勢摘下

「失身」於獨守深閨的少婦銀鳳圖描繪小毛家，是所有插畫中難度那麼輕鬆自然。開場第壹章第壹

是一節，做愛一段僅見小毛魂飛最高的一幀。繪圖剝敞開一棟三節，十歲的阿寶和六歲的蓓蒂爬

到鋼鐵工廠的敲打聲，既真實又層樓的上海老弄堂房子，老貓徘上屋頂相依偎看風景，插圖中連

超現實。小毛對感情的執著和認徊門外街燈下。在這裡我們終於綿起伏的屋瓦穿插於大樹端，葉

真，因對方的「失信」而翻臉，是明白了夾在中層的銀鳳，如何在喧海間但見一幢蘇俄式大教堂。「瓦

他後來每下愈況的開端。小毛入鬧無比的理髮店之上，二樓爺叔家片溫熱，黃浦江船鳴」，兩小無猜

門看見銀鳳和好友阿寶、滬生在閒之旁，仍可以蜘蛛一般輕巧，引誘歲月靜好。我們的人生旅程，不都

聊，翻臉而去是另一精彩的情節。住在三樓的小毛，不偏不倚不早不也從那刻出發？