Taiwan Panorama 2021 Jan

全球．在地．人文
台灣光華雜誌
中華民國110年1月第46卷第1期
中英文北美版
Vol. 46 No. 1 January 2021
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
1
Taiwan Panorama
安疫
時代
安「疫」時代
Life in the
Post-Covid Era
中華民國一一〇年一月
大疫情時代下的挑戰、重生與展望
米食復興運動：從一粒米開始的講究
尋回世界角落的台灣檔案
《光華》45周年影像展暨海外採訪講座
第四六卷第一期
建議售價
NT$150
US$5
HK$40
¥600
絕美夢幻落羽松
A Bald Cypress Dreamland

圖／文•林格立　版面設計•馬英凱
幾年每當進入秋冬之際，最熱門的
這旅遊活動之一，是到台灣各地的秘 I n recent years a popular autumn travel activity
in Taiwan has been to go see bald cypress trees.
In November, the lacy needles of these shapely
境觀賞落羽松。落羽松屬杉科植物，樹
形優美。11月過後會逐漸由綠色轉為紅 deciduous conifers begin to turn from green to
褐色調，為周邊環境增色不少。 russet red. The setting amid mountains and water
在苗栗南庄的這處私人園區，得天獨 only adds to the appeal of this stand of bald cy-
厚，前水後山，把這片落羽松林妝點得 presses in Nanzhuang, Miaoli County.
更美，令人流連。 (photo and text by Jimmy Lin/tr. by Phil Newell)
編人的
編者絮話語
《光華》影像專書
文．陳亮君
中華民國110年1月1日出版（月刊）／
中華民國65年1月1日創刊
台藝大兼任副教授沈昭良於《光華》即將洗禮•梵音頌」、「自然覺醒•天地人」、
出版者光華畫報雜誌社出版之攝影專書《美•台灣：人文攝像集》「建築蘊美•光影顯」為主題，試圖呈現出
發行人／吳釗燮
Publisher: Jaushieh Joseph WU
社長／陳銘政推薦序中說道：「這本書透過農業、民俗、這塊土地上的人文價值。
Director: Henry M.J. CHEN
總編輯／陳亮君
Editor-in-Chief: Ivan CHEN 自然與建築相關影像，立體呈現台灣內部豐此外，《光華》從2019年於中研院舉辦的
主編／曾蘭淑
Editor: Esther TSENG
文稿副主編／鄧慧純
富多元的樣貌，展現攝影在人文紀錄、藝文攝影講座「神采台灣」開始，每年也將持續
Deputy Editor: Cathy TENG
文字編輯／陳群芳蘇俐穎謝宜婷推廣與政令宣傳上的強大力量。」推動系列活動，除了向全球一百餘個國家及
Writers: CHEN Chun-fang, Lynn SU, Tina XIE
美術編輯／蕭郢岑王敬勛馬英凱
Art Editors: HSIAO Ying-tsen, Henry WANG, 另一推薦人攝影家鍾宜杰則是提到：「從地區發行外，也期盼藉由校園巡迴，由第一
MA Ying-kai
攝影組召集人／莊坤儒
Photographic Coordinator: Kent CHUANG
深山到海角、從都市到鄉野，《光華》的線攝影實務者的分享，看見每張照片背後的
攝影組長／林格立
Photographic Director: Jimmy LIN 攝影師願意踏實地進行田野調查、閱讀文觀點與所付出的努力。讓聽眾得以一窺攝影
攝影編輯／林旻萱
Photojournalist: LIN Min-hsuan
英文編輯／陳瑩潔唐樂榕倪凱駿費儒伯獻，同時耐心地等候每一道光影、每一波浪的本質，也讓「台灣之美」抓住年輕人的眼
English Editors: Audrey CHEN, Robert TAYLOR,
Phil NEWELL, Robert FOX
日文編輯／山口雪菜施家騏花。」在一次次採訪的拍攝現場，攝影同仁球，並內化成文化自信的台灣基因。
Japanese Editors: Yukina YAMAGUCHI,
Shila SHIH
印尼文編輯／陳德銘
掌控的不止是曝光、光影、色彩、構圖…… 而除了精采的圖片呈現之外，本期《光
Indonesian Editor: Temmy WIRYAWAN
越南文編輯／武秋香等專業知識，在有限的矩形平面上，如何用華》探討台灣在後疫情時代下的轉變與新常
Vietnamese Editor: VU Thu Huong
泰文編輯／王玉雯
Thai Editor: WANG Yu-wen 故事性的畫面來呈現出攝影美學，是每趟任態，也有口鼻笛技藝傳承、米食復興運動等
資深行政編輯／段蜀華
Senior Administrative Editor: DUAN Shu-hwa
社群編輯／蕭淑憶
務所面臨的課題與挑戰。在地人文的報導，其中於北科大紅樓舉辦的
Social Media Editor: Dawa HSIAO
台灣之美，美在山陬海邊持續耕耘的勤《光華》45周年影像展暨海外採訪座談，
總監／鍾宜蓉
Marketing Director: Carianne CHUNG
業務協理／陳俊偉奮，美在各大民俗盛典中的虔敬，美在自然相當精彩，不容錯過。影像的魅力在於當我
Deputy Manager: CHEN Jyun-wei
綜合服務組長／陳淑英
Chief of General Affairs: CHEN Shu-ing 環境意識下的覺醒，美在人文建築上的實們看到時，內心深處所油然而生的那種認同
綜合服務組／李淑慧
General Affairs: S.H. LEE
踐，而這些只有長期關注台灣，並投入全部感，這種源於各自記憶與情感的連結，遠遠
攝影能量的人，才能完成這頗富挑戰的攝影超出畫面本身所記錄下的瞬間，而這也是影
任務。也因為如此，《光華》將這些年的攝像「迷人」之處，因為停格的瞬間，「故
影精華，以「農業立國•食為天」、「民俗事」仍在繼續。 l
Taiwan Panorama’s EDITOR’S NOTE
Book of Images
P rofessor Shen Chao-liang of National have collected Taiwan Panorama’s finest GPN: 2008000038 ISSN1991-525X
原刊名光華 Sinorama Magazine
Taiwan University of Arts writes in his photography of the last several years under 中華民國95年1月改為台灣光華雜誌
Taiwan Panorama
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如發現書頁有裝訂錯誤或污損事情，
exposure, light, colors, and composition, they culture, including reports on the Paiwan nose 請寄至本社調換。
All rights reserved. Photos and articles may not
are also faced with the challenge of how to flute and on a renaissance of rice culture, be reprinted without our permission.
If you wish to reprint any of our articles or
capture on a flat surface images that tell a as well as the photography exhibition and photographs, please contact our senior
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story and have aesthetic depth. forum held to mark the 45th anniversary of Damaged or misbound copies returned to us will
be gladly replaced.
Taiwan’s beaut y can be found in the Taiwan Panorama’s founding. The appeal of
diligence of its people, in the reverence of photographs lies in the feeling of identifi-
religious ceremonies, in the awakening of cation that wells up within us when we see
environmental consciousness, in cultural them. This sensation draws on our individual
and architectural practice. The challenge memories and feelings, transcending the mo-
of capturing such images can only be met ment recorded in the image itself. This is part
by people who have long closely observed of photography’s fascination, for the story
Taiwan and have devoted themselves whole- frozen in that moment still continues. l 本刊物印刷油墨使用環保認證大豆油墨
heartedly to photography. This is why we (Ivan Chen/tr. by Phil Newell)

目次
CONTENTS 中華民國110年1月第46卷第1期 Vol. 46 No. 1 January 2021
封面故事 Cover Story
6 安「疫」時代
Life in the Post-Covid Era
8 科技．連結．學習
後防疫時代的教育
Technology, Connections, Learning:
8
Education After the Pandemic
文•曾蘭淑　圖•莊坤儒
與疫同行──陳芳明
Life During the Pandemic—Chen Fang-ming
文•鄧慧純　圖•林格立
20 餐飲業大洗牌
迎上數位轉型浪潮
Restaurants Embrace the Digital Age
文•蘇俐穎　圖•林旻萱
與疫同行──工頭堅
Life During the Pandemic—Ken Worker
28 搶攻內銷
20 絕處逢生的花卉產業
Back from the Brink:
Taiwan’s Flower Industry Cultivates the
Domestic Market
與疫同行──番紅花
Life During the Pandemic—Wang Pitsu
36 大疫情時代下的挑戰、
重生與展望
東南亞藝文工作者調查
Challenges and Opportunities During the
28
Pandemic: Perspectives of Southeast-
Asian Creative Artists
文•蘇晨瑜　圖•台亞會提供
與疫同行──賴佩霞
Life During the Pandemic—Lai Peixia
編者的話來自地方的明信片
Editor’s Note Postcards from Home
2 《光華》影像專書 1 絕美夢幻落羽松 50 月月好讀

Taiwan Panorama’s Book of Images A Bald Cypress Dreamland Variety Pages
文•陳亮君圖／文•林格立文•賴甘霖神父
影像對話 Photo Essay
56 傳統手工割稻
再現相互扶持的換工稻作傳統
Harvesting Rice by Hand
—Farmers Uphold a Sharing Tradition
圖／文•張良一
全球視野 Global Outlook
封面說明：
面對疫情的考驗，國人沒有因此被打倒，反倒刺激了
66 尋回世界角落的
許多產業的興起與轉型。（陳美玲提供）台灣檔案
Cover: The coronavirus pandemic has not defeated the
Taiwanese people. In fact it has spurred many industries 國家寶藏計畫
to find new opportunities for growth and transformation. Scouring the Globe for Taiwanese
(courtesy of Chen Mei-ling) History:
The Taiwan National Treasure
Foundation
文•鄧慧純　圖•國家寶藏計畫提供
島嶼行旅 Around Taiwan
74 「驛」想不到的精彩
走訪台日同名車站
What’s In a Name?
—The Unexpected Charms
of Japanese-Era Train Stations
66
文•謝宜婷　圖•莊坤儒
藝文脈絡 Cultural Trends
86 《光華》名人座談：
國家寶藏計畫提供　
courtesy of the Taiwan National Treasure Foundation
海外採訪講座
走過45周年影像特展
Taiwan Panorama Forum
Reporters Abroad: 45 Years in Images
文•李珊瑋　圖•莊坤儒
94 石板屋外樂音揚
傳承口鼻笛技藝
86
A Nose for Music:
Pairang Pavavaljung
and the Paiwan Nose Flute
文•曾蘭淑　圖•林格立
產業新創 Entrepreneurship
102 米食復興運動
從一粒米開始的講究
A Rice Renaissance
—The Refinement of Rice Culture
多元族群 Communities
102
114 台印共創努瑪工作室
用藝術點亮社區
Art Rumah:
Lighting Up Communities with Art
文•陳群芳　圖•林格立
封面故事　COVER STORY
安疫時代
in the Post- Era
文•鄧慧純　版面設計•王敬勛
2020年，疾病與死亡離我們很近很近。
原本出國是說走就走，現在卻寸步難行。
失去就在一瞬之間，無常也在一念間。
所幸，台灣疫情的防線守住了，人民可以如常生活。
我們還能好好吃一頓飯，享受單純美好的小幸福。
我們還有餘裕能惦念著百工百業，和大家一起共存。
我們還能踏遍本島、離島，重新尋回台灣之美。
E pidemic and death have hovered so close throughout

2020. Going abroad used to be so easy, but now it’s
nearly impossible. The changes happened overnight, and
the uncertainty is still with us.
Fortunately, Taiwan’s disease control measures have
held fast, enabling people to live nearly normal lives. We
can still enjoy a good meal out and take pleasure in small
blessings. We still have space to think about others and
coexist with one another. And we can still explore Taiwan
and its outlying islands, seeking their wonders anew.
(Cathy Teng/tr. by Scott Williams)
6 台灣光華 Taiwan Panorama

7
（林旻萱攝　photo by Lin Min-hsuan）

科技．連結．學習
後防疫時代的教育
Technology, Connections, Learning:
Education After the Pandemic
文•曾蘭淑　圖•莊坤儒　版面設計•王敬勛
新冠肺炎疫情讓線上課程如火如荼地加深、
加廣，台灣由於疫情控制得宜，是全球少數仍維 A round the world, the Covid pandemic has caused
an upsurge in online learning. With the virus
well under control, Taiwan is one of the few nations
持正常實體上課的國家，大學甚至為留學受阻的
in the world to have been holding regular classes in
學生開課，師生得以享受真實互動。但不論是線
school classrooms without interruption. Univer-
上課程，或是實體面授教學，第一線的教育專家 sities have even opened new courses for students
們一致認為，品格與自學能力的培養優於知識的 who have—at least for now—been forced to scuttle
灌輸，數位的學習不能忽略人與人之間的互動與 plans to study overseas. These offer them real face-
差異，以人為本的教育本質並沒有改變。 to-face interactions with faculty and other students.
But whether st udents are taking classes online
秋陽依舊炙熱，清華大學操場上，前馬來西 or in tradi tional classroom settings, educational
professionals on the front lines firmly believe that
亞足球國手、體育老師陳國華正為十多位學生訓
cultivating character and self-study skills is better
練肌力等體適能，學生在三角錐的訓練中來回跑
than dryly conveying received knowledge. Digital
跳，滿身大汗。這十多位學生雖受到疫情波及無 education should overlook neither the importance
法出國留學，被迫留在台灣，卻可以彈性選修清 of person-to-person interactions nor the differences
華大學「為公書院」所提供各領域的專業課程， among students, for the people-focused character of
甚至還可以上體育課。 education has not changed.
　反觀全球有超過十億的學生，受到新冠肺炎
Under the hot autumn sun, Tan Kok Kwa, a physical
疫情的影響被迫停課。台灣是全球少數仍維持正
education instructor at National Tsing Hua University
常實體上課的國家，也讓《親子天下》雜誌連續
who hails from Malaysia and was once a player on their
十年舉辦的「教育創新國際年會」，在2020年成
national soccer team, is leading a dozen or so students in
為全世界最大的實體教育年會，吸引上千位教育 workouts. Dripping sweat, his charges are running and
9
美國可汗學院創辦人薩曼•可汗，首度在《親子天下》舉辦到全球的大數據顯示，學習的成果與質量，不在
的教育年會，對台灣民眾演講。
Salman Kahn, founder of the US-based Kahn Academy, made 於學習時間的多寡，而在於學生學習的態度與動
his first appearance at the International Conference on Education
Innovation this year, speaking remotely to the audience in Taiwan. 機，讓學生成為學習的主人。雖然數位落差帶來
學習資源分配的不公平，「但我看到，過去六個
月全球各地在教育創新的努力，等於過去六年的
成果。」史萊賀說，在後疫情時代，融合遠距與
現場教學已是常態。
工作者參加；同時拜遠距連線之賜，邀請到來自疫情時代更加擴大科技的影響力，科技無法
全球教育創新界的領袖與專家，聚焦討論後疫情取代老師，卻可以加大教育的創新，尤其虛擬實
時代教育的蛻變與挑戰。境、A I、區塊鏈等技術已用於教學、評量與個
人學習的應用中，未來許多課程設計需要作出改
疫情擴大科技的影響力
變。他建議，教育能夠成功的秘訣，不再只是傳
受到疫情的影響，線上學習成為不得不的解授大量知識，老師要能夠鼓勵學生在學習中，發
方。經濟合作暨發展組織（OECD）教育和技能掘自己的夢想與熱情，然後去支持他們，能和科
主席、同時也是國際學生能力評量計劃（PISA）學家、歷史學家一樣，擁有跨領域的能力，自己
負責人安德烈．史萊賀（Andreas Schleicher），設立學習的目標、設計實驗、辨識出問題與找出
透過線上直播指出：「疫情讓全球15億學生被迫解決方法，成為獨立的學習者，打造個人化學習
停課，也讓我們更了解到，學習不再侷限在一個將是未來教育的趨勢。
地方，而是一個行動；教育不只是送學生到學
疫情正改變學習與學校的定義
校，而是要想辦法增進學習的效果。」
根據PISA針對15歲學童在閱讀的評量，所蒐集負責開發建構「因材網」的教育部資訊及科

jumping around traffic cones. With the pandemic pre- Student Assessment (PISA). Speaking at the confer-
venting students from pursuing courses of study abroad, ence via the Internet, he noted that 1.5 billion students
they have been forced to study in Taiwan. NTHU’s Cen- around the world were “locked out of their schools” by
ter for Continuing Education has specially set up the the pandemic. He reminded attendees that “learning is
Weigong Academy to offer students flexible courses in not a place but an activity.”
a variety of academic and professional fields. Enrolled Although digital access gaps have exacerbated the un-
students can also take physical education classes. fair distribution of educational resources, “We have seen
There are at least a billion students in the world whose more social and technological change in education over
educations have been disrupted by the Covid pandemic. the last six months than in probably the [previous] six
Taiwan is one of the few nations where classes in regular years,” noted Schleicher. In the post-Covid world, it has
classrooms have not been interrupted. Consequently, this become normal to combine distance education with on-
year’s International Conference on Educational Innova- site education.
tion, held in Taiwan and sponsored by Taiwan’s Parenting “Technology can greatly amplify and scale innova-
World magazine, attracted more in-person attendees— tive teaching.” Technology does not replace teachers,
above 1000—than any other educational conference any- but it can boost innovation. With the increasing use of
where in the world in 2020. Invited experts in educational
innovation connected remotely to discuss educational
change and challenges in the Covid era.
Technology’s increasing impact
During the pandemic, online study has become es- 疫情擴大線上學習的趨勢，均一教育平台與教育部的因材
網，亦達到運用科技扶助學習的目的。
sential. Andreas Schleicher is director for education and The coronavirus pandemic has boosted the trend toward online
skills at the Organization for Economic Cooperation and education. The Junyi educational platform and the Ministry of
Education’s “Adaptive Learning” network are also achieving
Development and head of its Program for International their goal of employing technology to assist in learning.
11
技教育司司長郭伯臣提到，線上學習已是國際發相比均創下新高，突破 100 萬人次。
展的趨勢，疫情只是更加擴大線上學習的趨勢。均一教育平台董事長呂冠緯指出，因應疫情，
目前國內外的研究結果均顯示，運用線上學習資全球會有更多網路學校與跨國學習社群產生，疫
源，可以有效改善落後學生的學習成效。以教育情對台灣的影響雖然沒有其他國家嚴重，但台灣
部建置的因材網平台為例，運用A I技術，依學有始以來出現第一次的人口負成長，未來孩子必
生程度給題評量，讓老師針對課堂上聽懂或聽不須負擔更大的整體經濟壓力，也使得老師必須思
懂的學生，彈性調整教學方式，進行差異化的教考培養未來人才的方向。
學，運用科技扶助學習；學生也可以在課後，培針對5G時代來臨，呂冠緯提出：「2B3R4C」
養自主學習的能力。的觀念來因應，「2B是指基本的價值觀與品格，
利用線上課程，彌補學生在課堂上學習差距的我相信在面對越複雜的社會，越核心、越基礎的
均一教育平台，在「防疫不停學」的目標下，至信念就越重要，一個人跟機器最大的不同，就在
2020年9月初，累計註冊人數達 238 萬人；在疫於核心的價值。例如誠致教育基金會設立六所公
情期間註冊人數、習題使用人次，與2019年同期辦民營的學校，我個人最喜歡的地方，就是強調
51％的品格，學業佔49％」。第二個是加強3R基
礎讀寫算的能力，才能建構終身學習的能力。
目前P I S A的評量，也加入4C的創意，這其中
又有四個子項目，就是文字創造力、視覺的創造
學習不只為了考試或成績，而是積極尋找更多想像，
力、社會問題與科學問題解決的創造力，當全世
挖掘更多興趣。
Learning is not just about taking tests and getting marks, 界都在看這些能力，如何利用線上教育，補足基
but rather about stimulating one’s imagination and
discovering one’s interests. 礎知識；如何用PBL等開放方式的教學，去培養

technologies such as virtual reality, artificial intelligence, 正當全球學校處在重新開放與可能擴大疫情傳染的兩難時，
台灣學生們還能安心地在校園學習。
and blockchain in instruction, self-study, and educational While most of the world’s schools are facing the dilemma of
assessments, the design of many curricula and educa- either keeping students out of school or potentially increasing
Covid transmission, Taiwan’s students can attend classes with
tional programs will have to change. The secret to success peace of mind.
in education, in his view, will no longer lie in conveying
large amounts of knowledge, but rather in teachers’ abil-
ity to encourage students over the course of their studies
to develop and uncover their own dreams and passions
and to foster transdisciplinary skills like those of scien- tional resources can effectively improve academic perfor-
tists and historians, so that they can set their own educa- mance among lagging students.
tional goals, design experiments, identify problems and Making use of online curricula, the Junyi Academy,
find solutions, all while becoming independent learners. which aims to supplement in-classroom instruction to help
Personalization is a future trend of education. bridge learning gaps and is seeking to “fight the pandemic
Redefining learning and schools without suspending learning,” had amassed a total of 2.38
Kuo Bor-chen, director-general of the Department of million registered users by September of 2020. During
Information and Technology Education at the Ministry the pandemic, the number of new registrations and active
of Education, who is responsible for building its “Adap- users both broke annual records set in 2019, with users ac-
tive Learning” network, points out that growth in online cessing learning modules more than 1 million times.
learning is an established international trend that has In light of the coming 5G era, Junyi Academy CEO Ray
only gained steam with the pandemic. Recent domestic Lu cites the organization’s “2B3R4C” concept: “2B rep-
and foreign research shows that access to online educa- resents basic values and character. I believe that in facing
13
學生多元的能力。均一平台的目標，是希望基本清華大學為公書院由榮譽院長李家維教授「跨界與探索」課
程，教學生如何作夢與圓夢。（為公書院提供）
與多元的兩個能力都要加重、學好。 The “Cross-Disciplinary Exploration” course at National Tsing Hua
University’s Weigong Academy teaches students how to both find
and realize their dreams. (courtesy of Weigong Academy)
數位教育要能做到雙向互動
「均一教育平台」2012年推出時，即是得到
全球最大中小學生的學習平台──美國可汗學院
的授權。目前全球已有190個國家，超過1億名學動，讓學生有問題時可以發問，並以分組方式讓
生註冊的可汗學院，創辦人薩曼•可汗首度在教學生完成作業；遠距學習同時也賦予學生有更多
育年會中演講，他在美國舊金山家中遠距連線自主學習的責任。
指出，美國至少有5∼10％的學生，沒有很好的當有人問到線上學習如何兼顧到學生的情緒與
網路與電腦，可以進行遠距與線上學習，導致學實作課程？可汗指出，人與人之間的連結、友誼
生學習受到影響，他真的希望世界可以像台灣這與溝通，同儕間的團隊合作與互相幫助，這些都
樣，把疫情防治做得這麼好。是線上教育無法取代的。
可汗指出，不論線上或是面對面的施教，最強
人與人的連結，真實的互動
大的老師要能鼓勵學生、連結學生，而且根據學
生的程度來施教，當學生出現學習進度落後的情台灣的師生就是幸運的一群，幾乎沒有受到疫
況時，科技的學習是希望能夠彌補這些落差，協情的擾動而停課或關閉校園。但有一群申請到國
助個人量身打造符合自己的自主學習方式。外大學就讀的學生，繳了學費，卻因當地國家禁
可汗認為，學習總是從做中學，尤其是遠距課止入境，或是只開放線上課程，無法出國享受校
程，老師不只把課上完，也要能夠帶起更多的互園生活。

an increasingly complex society, it is ever more important Connections among people
to have a strong base of core beliefs. The biggest differ- Taiwan’s teachers and students are lucky, having
ence between people and machines is found in these core almost entirely escaped disrupted classes or school
values. For instance, what I like most about the six Kist closures due to the pandemic. Yet some Taiwanese
Schools established by the Chengzhi Education Founda- students had planned to study abroad—and even paid
tion is that they weight character development at 51% and tuition for those programs—only to be barred entry by
study at 49%.” Secondly, only by strengthening the foun- those foreign countries or to find that only online in-
dational “3R” skills—reading, writing and arithmetic—is struction was available.
it possible to lay the groundwork for lifelong learning. Professor Huang Yi-long, head of the Weigong Acad-
PISA now includes an optional assessment of creativ- emy at National Tsing Hua University, says, “Many
ity, which has four items: written creativity, visual cre-
ativity, and creativity at solving both social and scientific
problems. (These are the “4C” mentioned above.) When
the entire world is on the lookout for these skills, how
清華大學為公書院院長黃一農強調，為公書院接納了一批
should we make the best use of online education to 能夠就讀世界前一百大大學的學生，不只代表國家對這些
supplement basic knowledge? And how should we use 學子的照顧，並且「把他們當成是自己的孩子」一樣。
Professor Huang Yi-long, head of the Weigong Academy at
project-based learning and other educational methods to National Tsing Hua University, emphasizes that the academy
has brought together students who had been accepted for
cultivate diverse skills in students?
study at some of the world’s 100 most prestigious universities.
Two-way interaction Weigong bears witness to the nation’s concern for these
young people.
The Junyi educational platform was able to launch in
2012 because it had obtained rights to use the materials
of the US-based Kahn Academy, which is the world’s
largest learning platform for primary and secondary
students and has more than 100 million registered stu-
dent users in 190 nations. Its founder Salman Kahn gave
a speech to the International Conference on Educational
Innovation for the first time this year. Appearing re-
motely from his home in San Francisco, he pointed out
that at least 5–10% of American students lack good Inter-
net connections and computers, hindering their ability
to learn remotely. Consequently, he truly wishes that the
United States and other nations could have handled the
pandemic as well as Taiwan.
Kahn points out that whether instruction is online or
face to face, the strongest teachers can motivate and con-
nect with students. What is more, they teach to the in-
dividual learner’s level, and when students fall behind,
they leverage technology to help them bridge the learn-
ing gap and design appropriate self-study methods.
Kahn believes in learning by doing, particularly for
remote courses. Teachers cannot simply finish teaching
their classes; they must be able to foster greater inter-
activity, encouraging students to speak up when they
have questions and splitting classes into teams to do
assign ments. Remote classes give students more re-
sponsibility for their own learning.
15
清華大學、台灣大學、交通大學了解到這些學科學研究中心做果蠅的研究，已經能分辨果蠅公
生因疫情受阻的焦慮與無奈，分別針對無法出國母的李致翰，直呼求學完全沒有中斷。
就讀的學生，提供彈性選讀的學程。在美國哥倫比亞大學拿到物理、天文碩士，又
清華大學為公書院院長黃一農說：「很多學生跨領域拿到歷史博士的黃一農進一步說：「如果
認為自己很衰，遇到疫情無法出國念書，但轉念是我的話，除了選讀自己領域的課程，也可以利
一想，在為公書院的學習，成為人生中最特別的用清華的資源，選讀原本有興趣的課程，因為以
境遇，原本去七個國家、43個學校的學生，因為後不見得有機會。」
疫情的原因成為同學，聚在一起學習，他日，還申請上美國普渡大學的大一學生張有序，住
可以互相拜訪打氣。」在清大的宿舍裡，在台灣時間晚上十二點到早上
除了選修為公書院的課程，還可以親身向台積九點，上美國大學線上的化學課程，白天則選修
電慈善基金會執行長蔡能賢、力旺電子董事長徐清華的工程學，行程滿檔。本來預計到加拿大念
清祥等「夢幻級」的導師個別諮詢與解惑。申請書的王品涵，在新竹女中時，除了應付學校的功
上UCLA的李致翰，跟著中研院院士江安世的腦課，又要準備美國入學考試的科目，好不容易實
現留學的夢想，卻被疫情打亂而留在台灣，但王
品涵說，一開始有些不安，但現在發現，有犧牲
也有獲得，尤其在為公書院認識不同領域的學
為公書院為被疫情打亂而留在台灣的學生安排體育課，生，能與師生有真實的互動，反而是另一獲得。
讓學生有體力熬夜上國外的視訊課程。（林旻萱攝）黃一農說，或許像為公書院這樣的留學預備
The Weigong Academy has arranged physical education
classes for students whose plans to study abroad were 班，未來會成為新型態的留學方式。疫情帶來許
多變數，但也讓學習與教育出現新的可能性。 l
disrupted, helping them gain the stamina to attend foreign
classes online through the night. (photo by Lin Min-hsuan)

students feel that they’ve really missed out because the 疫情讓教育工作者思考，如何培養未來的人才，找到有
意義的工作，過著讓自己滿足的生活。（林旻萱攝）
pandemic has prevented them from studying abroad. The pandemic has caused educators to think about how they
But if you think about it, enrolling at the Weigong can cultivate talent for the nation’s future and help students
find meaning in their life and work. (photo by Lin Min-hsuan)
Academy has become a special life event: Students who
were headed to 43 educational institutions in seven na-
tions have been brought together to study in the same
place due to the pandemic. Later they will be able to
visit each other at their campuses overseas and give was forced to stay in Taiwan. She says that at first she
each other encouragement.” was quite upset about it, but now she has discovered
Josh Zhang, who had planned on enjoying his fresh- that while she has sacrificed in some ways she has
man year at Purdue University in the United States, is benefited in others, particularly by meeting students at
living in the dorms at NTHU. From midnight until 9 the Weigong Academy from so many different fields.
a.m. Taiwan time, he takes online American courses Having real interaction with students and faculty is
in chemistry, and during the day he takes engineering something else she has gained.
courses at NTHU. It makes for a full schedule. Maggie Huang Yi-long says that programs like the Weigong
Wang prepared to study in Canada when she was at Academy may well provide new lasting models for for-
National Hsinchu Girls Senior High School. In addition eign study. The pandemic has brought many unwanted
to handling her coursework for high school, she also changes, but it has also brought new possibilities for
prepped for the tests needed to enter American and learning and education. l
Canadian universities. It was a big deal to be accepted (Esther Tseng/photos by Kent Chuang/
to study abroad, but then the pandemic hit, and she tr. by Jonathan Barnard)
17
與疫同行　Life During the Pandemic
台灣公民社會成熟，
爆發疫情以來，政治大學台
灣文學研究所講座教授陳芳明在
FB上分享，去年抱在懷裡、愛笑
的孫女，如今已蹣跚學步，跨出
人生第一步，阿公卻因為國界關
成功守住疫情防線。
閉，只能透過視訊影像想念在加
州的孫女。研究歷史出身的陳芳明，侃侃去，這就是共存、共感的概念。
「疫情還在迷霧中，還不知說起台灣日治時期的公共衛生系台灣這十數年來推動的民法修
道終點在哪裡？」陳芳明說。但統。台灣原本是瘴癘之地，跟著正、男女平權、同性婚姻，都是
他也沒閒著，今年是他在政治大日本殖民主義帶入的衛生觀念為公民社會的體現。」日前，蔡英
學授課最後一年，教學生涯的最台灣公衛打下基礎；殖民者當然文總統獲選為美國《Time》雜誌
後一門課是「台灣文學史」。不是為島國的人民著想，而是為 2020百大影響力人物，陳芳明有
九月中旬，政治大學中正圖書館了當權者的利益，台灣卻因之蒙感而發，在《蘋果日報》投書：
內，由和碩董事長童子賢捐贈的利，「推動台灣新文化運動的賴「台灣被世界看見，是因為我們
「陳芳明書房」開幕，陳芳明把和、蔣渭水都是醫生，這是上天有健康的政治環境與社會環境。
畢生近三萬冊的藏書捐贈出來，給我們最好的近代知識份子，他這不是蔡英文一個人的領導，而
裡頭包括整套的黨外雜誌《美們老早就有防疫的觀念了。」是全民都互相領導。蔡英文總統
麗島》。「不要佔有，才能擁從歷史的角度來看這次的疫被看見，是因為全民的公民生活
有。」陳芳明說，捐贈圖書館的情，「2003年的SARS，台灣付被看見。」
書能得到妥善的照顧，圖書館員出慘痛的代價，但是，我們記取台灣的公民社會已經成熟了，
依照編目陳列，讓他查找資料方了那次的教訓。台灣是個公民社從政府的機制到全民自主防疫，
便，他就是窩在圖書館裡，才完會，公民社會最簡單的一個講法我們守住了疫情的防線，是台灣
成大部頭的《新台灣文學史》。是：我要活下去，別人也要活下人能自豪之處。
陳芳明 Chen Fang-ming
台灣文學研究學者、政治大學講座
教授，作品以論述、散文為主，兼有
詩作，創作逾30載，嘔心瀝血之作
《台灣新文學史》，為台灣文學史提
出新視野。
Scholar of Taiwanese literary history,

chaired professor at National Chengchi
University. Works published over the
last 30 years include scholarly articles,
essays, and poems. His A History of
Modern Taiwanese Literature offers a
new台灣光華
18 vision ofTaiwan
Taiwanese literary history.
Panorama
I n the months following the emer-
gence of Covid-19, Chen Fang-
m i ng , a c h a i r e d profe s s or w it h
of his career. “You have to let go to
hold on,” says Chen.
With his background in historical
on Taiwan. The colonizers weren’t
thinking about Taiwan’s people so
much as acting for their own benefit,
National Chengchi University’s Grad- research, Chen speaks confidently but Taiwanese profited greatly none-
uate Institute of Taiwanese Literature, about Taiwan’s public health systems theless from the reduction in the inci-
shared news online about his beloved during its time under Japanese rule. dence of tropical diseases.
granddaughter in California. He He tells us that the Japanese colonial Comparing the current pandemic
told his Facebook followers that she authorities established the founda- to SARS, Chen says: “Taiwan paid a
was learning to walk, but lamented tions of public health infrastructure cruel price in the 2003 SARS epidemic,
but we remembered the lessons we
learned. Taiwan is a civil society. At its
Taiwan’s mature civil society most basic, the underlying idea is that
I want to live my life and other people
has successfully maintained want to live their lives—coexistence
epidemic prevention measures and empathy. Taiwan’s amendments

to its Civil Code, and moves towards
gender equality and [acceptance of]
that the severe restrictions on inter- same-sex marriage over the last de-
national travel meant that he could cade and more are manifestations of
only experience this stage of her civil society.” Time magazine recently
childhood by video. named President Tsai Ing-wen one
“The course of the pandemic re- of the 100 most influential people of
mains unclear and we don’t know 2020. This inspired Chen to publish
when it will end,” says Chen. But he’s a piece in Apple Daily in which he
keeping busy nonetheless. Now in his wrote: “The world has noticed Taiwan
final year before retiring from the uni- because we have a healthy political
versity, he is teaching the last class of and social environment. Tsai isn’t
his academic career: “Taiwanese Liter- solely responsible for this; instead, our
ary History.” In mid-September, the citizenry has collectively spearheaded
NCCU Library opened the Fang Ming this development. President Tsai has
Chen Library, funded by a donation been noticed because the civil life of
from Pegatron chairman T.H. Tung. our citizens has been noticed.”
Chen himself gifted nearly 30,000 vol- (Cathy Teng/photos by Jimmy Lin/
umes he had collected over the course tr. by Scott Williams)
19
受疫情影響，主廚林明健思考未來
之經營與佈局。
The pandemic is prompting Chef Lam
Ming Kin to think about changes to how
he’ll run his restaurants in the future.

餐飲業大洗牌
迎上數位轉型浪潮
Restaurants Embrace the Digital Age
文•蘇俐穎　圖•林旻萱　版面設計•王敬勛
2020年是難忘的一年。席捲全球的新冠肺炎
改變了我們的日常，當近距離接觸成了大忌，不 T he Covid-19 pandemic sweeping the globe has
changed our lives and made 2020 into quite a
year. The disease has made close contact a thing to be
分地區、不分行業，都受到全面性的重擊，如此
avoided, and affected us all, wherever we may be and
規模，回顧近代歷史，似乎也只有1918年的西班
whatever work we may do. The only comparable event
牙流感可以與之相較。 in modern history has been the 1918 flu pandemic.
面對新冠病毒高度擴散的能力，公衛專家甚 The pandemic arose like a tsunami and first crashed

至提出「社交距離」的建議，視疫情猶如海嘯來 over the experience economy. Its impact has battered
襲，在「海景第一排」的實體經濟產業首當其 the tourism, lodging, transportation, and food-and-
衝，觀光、旅宿、交通、餐飲影響尤其巨大。 beverage sectors.
Less spending on experiences
實體經濟消費減縮 News of a disease outbreak began to appear in late
2019, but since Taiwan was not at the epicenter, we didn’t
從2019年末便已聽聞遠方有疫情的消息，不
feel threatened until after the Chinese New Year. The
在震央的台灣，直到春節後才感受到威力，尤其 worst months of 2020 came in March and April, as the
三、四月，國內感染個案接二連三地增加，是整 number of Covid-19 cases in Taiwan gradually increased.
年度最嚴峻的時刻。 When online news outlet The Diner News and restau-
根據網路媒體「就愛開餐廳」與餐飲軟體服務 rant software maker iCHEF conducted a survey of
公司i C H E F合作，從1,400多家餐廳所做抽樣調 restaurants, they found that the industry reached a
bottom in early April around Tomb Sweeping Day, with
查，四月上旬、清明節左右，是餐飲業景氣最低
revenues dropping 23% on the government’s social dis-
點，呼應了當時政府公布之社交距離政策，餐廳的
tancing policy. The situation didn’t improve until the
營業額登時大跌23％，直到六月疫情趨於平穩，
outbreak in Taiwan came under control and weekend
加上假期開始有聚餐需求，景氣才緩緩回溫。 demand for dining out with friends rose in June.
21
疫情讓消費者更習慣使用外
送服務，造成不可逆的影響
與改變。（陳美玲提供）
People have gotten used to
having their meals delivered
during the pandemic,
leading to what will likely
be permanent changes in
consumer behavior. (courtesy
of Chen Mei-ling)
不過整體來說，受限於國境封鎖，以及疫情尚過去由日式便當一枝獨秀的高檔便當市場，因此
未全面性地消失，消費者心態保守，因而相較去有了不一樣的風景。
年，消費力仍呈現微幅的衰退。林明健旗下的三家餐廳，也針對原先店內供應
來自香港的主廚林明健，在台北經營C h o u 的經典菜色，重新調整，高檔食材紛紛以平價材
Chou、Longtail、Wildwood等三家不同類型的高料取代，但做法不變，再設計了十幾款新的小菜
檔餐廳，三家店紛紛獲米其林推薦，也是許多國來搭配，「便當本來就是很大眾、貼地的東西，
際觀光客來到台北指定拜訪的店家，如今多少受但我們還是盡力保留下自己的DNA。」他說。
疫情波及，「今年最差和去年最好的時候，業績
虛實整合，轉型成功的才是贏家
就相差了一半。」林明健說。
當疫情籠罩，軟體產業成了少數逆風成長的產
多角化經營，搶攻便當市場
最難熬的，自然屬三、四月的時候，「那時
最大的問題是，不知道哪時才會結束。」林明健
回憶，然而，面對這場漫長的持久戰，他們並
沒有灰心喪志，「整個團隊的氣氛反而是比較積
極。」他說。
疫情也讓經營者重新檢視經營方針，過去總
習慣所有收益都寄託在餐廳營運上頭，但如今看
來，就像將全部的雞蛋放在同一個籃子裡，風險
太高。
朝向多角化經營，就從便當開始。餐廳，不
一定得去；但活著，終究得吃飯，因而不少高檔
以餐廳收帳管理系統起家的iCHEF，在百業衰退的疫情之下
餐廳藉機推出高價便當，最矜貴的當屬台菜餐廳
反倒逆風成長。
「山海樓」的「山海珍寶盒」，甚至與設計師詹 iCHEF, which provides point of sale (POS) systems to
restaurants, has been growing in spite of the Covid-induced
朴合作設計外袋，將多款的傳統大菜悉數納入， economic slowdown.

Chef Lam Ming Kin, a Hong Kong native, operates haps the fanciest of these boxed meals is the Jumbo Gift
three different Michelin-recognized restaurants in Tai- Box prepared by Mountain and Sea House Restaurant.
pei: Chou Chou, Longtail and Wildwood. Popular with The restaurant went so far as to have fashion designer
international travelers visiting the city, all three have Apu Jan design the traditional multi-course feast’s take-
felt some impact from the pandemic. “From the best of away bag, bringing a new look to a high-end boxed meal
last year to the worst of this year, sales were down by market previously dominated by Japanese-style offerings.
half,” says Lam. Virtual integration
Diversifying operations Software is one of the few industries to have grown
March and April were the restaurants’ most challeng- during the pandemic. In September, a startup called
ing months. “The biggest problem was that we didn’t iCHEF announced that it had raised NT$150 million in
know when it would end,” recalls Lam. But they didn’t capital, and was planning to expand its development
despair. “The whole team stayed pretty positive.” team and move forward with its goal of listing on the
The epidemic has caused restaurant owners to rethink stock market.
how they run their businesses. They used to rely on sit- Already seeking to expand, iCHEF has recently
down trade in their restaurants for all of their operating picked up the pace of its efforts. The floor of the com-
revenue, but lately they’ve been feeling that the risks of pany’s office on Taipei’s Ren’ai Road is littered with
putting all of their eggs in one basket are too high.
Many have begun their move towards diversifying
their operations with lunchboxes. While people certainly
iCHEF創辦人吳佳駿認為餐廳想推數位轉型，其實關鍵「只
have to eat to survive, they don’t have to eat in restau- 需要一個念頭」。
rants. News of high-end restaurants offering lunchboxes iCHEF founder Benjamin Wu believes that the key to restaurants
moving into the digital age is simple: “They just need to want to
to customers started circulating around mid-year. Per- make that change.”
23
業。九月，新創公司「資廚」（iCHEF）宣布募龍頭，「大品牌大集團有能力自己做開發，反之
得1.5億資金，將進一步擴大研發團隊。來說，中小型企業並沒有，這一塊缺口就由我們
原本就打算展店的iCHEF，如今腳步更加速。來補足。」共同創辦人吳佳駿這麼認為。
踏入他們位在仁愛路上的公司，地上一箱箱的紙與獨立型餐廳合作多年，吳佳駿進一步觀察，
箱，裝著即將宅配給新客戶的設備，目前在台疫情以前便已啟動轉型的店家，多少也會受到影
灣、香港、新加坡、馬來西亞等地都有客戶的響，但後來火速成長的網路訂單可彌補實體銷售
iCHEF，因疫情業務也急速成長，預計年底將突下降的缺口，至於因疫情，才在最後關頭預備轉
破9,000家關卡。型的店家，「支付給軟體及外送平台的手續費最
以POS App起家的iCHEF，致力於提供一套好貴、對使用流程最生疏、適應力最低，在外送平
用且不昂貴的數位服務工具，可用來作點餐結台上的評價也是最低。」
帳、銷售分析、控管成本；甚至可與外送平台合「過去百年都只有實體經濟存在，疫情讓所有
作，作線上接單；也整合了臉書，可用來作會員人無差別；但現在有新的數位服務型態，誰可以利
集點。不僅為業者節省人力、開拓不一樣的客用數位活下去，這些店家就會成長。」他認為。
源，甚至創造出回流客。雖然以POS系統來說，餐飲產業正歷經一場由內而外的蛻變與重新洗
iCHEF並非唯一一家，但他們瞄準中小型的餐廳牌，或許前途未明，但仍有人能像林明健，從中
作為主要服務對象，成為台灣市佔率最高的產業看見機會，他運用了疫情造成店租下滑的優勢，
加速了第四間店的開幕。這彷彿隱隱呼應著吳佳
駿的一番話：「數位轉型最重要的是念頭，而非
工具。」疫情是危機抑或轉機？或許也只是在觀
疫情激發餐飲團隊同舟共濟的向心力。
Restaurant crews have pulled together to weather the pandemic. 點、看法上的不同。 l

因應疫情，高檔餐廳也推出庶民便當，圖為Longtail餐廳針 have felt its impact, the rapid development of online
對便當重新設計的多款小菜。（Longtail提供）
Some high-end restaurants have responded to the Covid
ordering has helped them offset some of their lost
situation by introducing boxed meals. The photo shows a business. Restaurants which are only now, in the midst
selection of dishes that Longtail developed for their new boxed
offering. (courtesy of Longtail) of the pandemic, beginning to prepare for the digital
age have not fared as well. “They’re paying the highest
fees [to delivery services], are the most unfamiliar with
processes, are the least adaptable, and have the lowest
boxes filled with equipment ready to be delivered to ratings on delivery platforms.”
new clients. iCHEF’s sales have soared during the pan- Wu says, “For the last century, there was only the
demic—it currently has customers in Taiwan, Hong real economy, which meant that epidemics affected
Kong, Singapore and Malaysia, and expects to have everybody the same way. But now the advent of digital
more than 9000 clients in total by year’s end. services enables the business owners that use them to
iCHEF cofounder Benjamin Wu has worked with keep their businesses afloat and grow.” l
independent restaurants for years. He notes that even (Lynn Su/photos by Lin Min-hsuan/
though those using digital tools before the pandemic tr. by Scott Williams)
25
2020年原定是東京奧運睽違持小量體的規模。而從興趣發展當其衝，但工頭堅發現在他的臉

56年再舉辦的日子，旅遊達人工出來的「酒鬼巴士」，是結合個書動態牆上，許多同業的朋友開
頭堅花了一年的時間在日本布人興趣和主題專長的產品。始到各地踩線體驗，不時迸出一
局，在當地開設接待旅行社，摩工頭堅長年思索著消費者非個個新的行程，這在工頭堅看來
拳擦掌地準備迎接東京奧運的商參加團體旅遊不可的誘因，他擅很是興奮，「這是大家重新發現
機，卻因一場疫情把原初的規畫長的「達人帶路主題旅遊」是其台灣的一個機會。」
都打亂了，正所謂「人算不如天一。近年來，結合小酌的興趣，「長久以來，我們都不知道
算」。工頭堅走訪了國內外酒莊，各地如何去詮釋台灣的旅遊。」工頭
資深部落客出身，36歲由網路的風土釀造不同風味的酒，是取堅語重心長地說，舉例來說，跟
界改行旅遊業，工頭堅為大眾所之不絕的特色題材，酒莊多位在周邊東南亞國家比較，我們到底
熟識的是他的國際導遊、達人帶郊區，再加上「開車不喝酒，喝有甚麼特色是讓人家非來不可的
路、重度歷史迷等身分。2015年酒不開車」，要自駕就沒辦法喝呢？「台灣獨一無二的特色在於
創辦「Pantravel 旅飯」，2017年酒，這樣就產生了非參團不可的東岸的山跟海，那是一個歐亞板
成立 Rice Tour 米飯旅行社，工原因了，說到這兒，他樂得哈哈塊跟太平洋交界的地方，地理特
頭堅除了深耕國際市場外，仍不一笑。色獨一無二，在歐亞板塊跟太平
忘關注故鄉台灣的地方創生或在早在二月，工頭堅開了一團洋交界上面划獨木舟，去拜訪中
地小旅行的動向，並不時發文倡日本鹿兒島的地酒團，實地出了央山脈從海裡隆起的第一塊岩石
議。原本發展台灣旅行是安置在團，有了手感，市場反應熱烈， ──烏角岩，這是多麼難忘的人
人生最後一個階段，卻沒想到因讓他有了信心。唯疫情突起，他生體驗。」
為疫情的關係，被早早提前了。把酒鬼巴士的模式轉回國內，「所以在疫情時代，咱們出
從國外旅遊轉到在地國旅，對先從宜蘭開始，「你知道光是宜不去，那就重新來發現台灣，
工頭堅來說不是難事，和夥伴堅蘭就有十座酒廠嗎？」從疫情之重新詮釋台灣吧！」工頭堅堅
信車庫創業的信念，公司始終維初，各國國界封鎖，旅遊業者首定地說。
工頭堅 Ken Worker
本名吳建誼，網路趨勢觀察
家，部落客，國際領隊／導遊。
鍾情啤酒與威士忌，優遊於
生活、娛樂與歷史題材。
Online trend tracker, blogger,

international tour leader/guide.
Loves beer and whiskey. Revels in
topics related to life, entertainment,
and history. Taiwan Panorama
26 台灣光華
A n experienced blogger, Ken
Worker moved into the travel
i n du s t r y at t h e ag e o f 36. B e s t
Worker didn’t find the switch
from international to domestic travel
difficult. He and his partners are firm
production generally takes place in
the countryside and one shouldn’t
drink and drive, those planning a
known to the public as a leader of believers in “garage entrepreneur- visit can’t sample the products if they
international tours, master guide ship,” and their company has always drive themselves there. A laughing
a nd h istor y buff, Worker estab- been small scale. The “Drinkers’ Worker remarks that that creates an
lished the PanTravel website in 2015, Bus” project combines his personal irresistible incentive to join a tour.
and t he Rice Tour t ravel agenc y interests and expertise. Worker spent Worker began booking a tour of
in 2017. In addition to developing years dreaming up “can’t miss” prod- breweries, wineries and distilleries
inter national markets, Worker has ucts for consumers, which led to his in Kagoshima, Japan back in Feb-
also focused on local revitalization themed tours. More recently, he has ruary of this year, and was encour-
a nd local m i n i-tours i n Taiwa n, leveraged his fondness for alcoholic aged by the market’s enthusiastic
and advocated for domestic travel. beverages by arranging visits to response. But then the pandemic
He originally planned to work on breweries, wineries and distilleries in a r r ive d. For c e d t o r e t a r g e t h i s
developing tours in Taiwan when he Taiwan and abroad, and has become “Drinkers’ Bus” concept to Taiwan,
was older, but the pandemic pushed fascinated by the way terroir flavors he began with Yilan. “Did you know
his timetable forward. products. Since alcoholic beverage that there are ten producers of alco-
holic beverages in Yilan alone?” We
shake our heads. “These tours are an
重新發現台灣， opportunity to rediscover Taiwan.”

National borders have been closed
since the early days of the pandemic,
詮釋台灣。 and the travel industry has borne

the brunt of the impact. But Worker’s
Facebook feed shows that many of
Rediscovering and his industry colleagues are exploring
Taiwanese experiences, applying
reinterpreting Taiwan methods from foreign tour plan-
ning to creating domestic tours and
launching new itineraries. Worker
says it’s an exciting thought, “It gives
us all a chance to take a fresh look at
Taiwan.”
“Since we can’t go abroad during
the pandemic, let ’s discover and
inter pret Taiwan anew!”
(Cathy Teng/photos by Jimmy Lin/
tr. by Scott Williams)
27

搶攻內銷
絕處逢生的花卉產業
Back from the Brink:
Taiwan’s Flower Industry
Cultivates the Domestic Market
文•蘇俐穎　圖•林旻萱　版面設計•王敬勛
面對疫情海嘯，人人自危，盡可能降低外
出，僅維持最低的生活需求，消費型態瞬間驟 F aced with the threat of the coronavirus pandemic,
the people of Taiwan are doing our utmost to keep
our lifestyles simple and stay at home as much as pos-
變，並不屬生活必需品的花卉，一時供過於
sible. This has quickly and dramatically changed our
求，讓無數花農、花商一時受重創，損失難以
consumption patterns. One consequence of this state
計算……。 of affairs has been that the supply of flowers—not a
basic necessity—has rapidly outrun demand, inflict-
時間是秋末，一大早，我們踏入了位於內湖的 ing huge losses on flower growers and vendors.
台北花市，這個全台灣最大的花卉交易市場，迎
面而來的是花團錦簇的花朵，空氣裡瀰漫著芳馥 We visit the Taipei Flower Market in Taipei’s Neihu
的氣息，花市從四點開始營運，此時正好是最忙 District early one Monday morning in late autumn. It’s
the busiest day of the week for Taiwan’s largest flower
碌的周一，客人來來回回走動、採購，店家則忙
and plant market, and customers are busy exploring
著包裝、結帳，沒有一刻閒下來，難以想像，幾
the offerings and making purchases. Watching as ven-
個月前是截然不同的景象。 dors hurry to pack and ring up purchases, with no time
for a break, we find it hard to imagine just how differ-
活動取消，市場供過於求
ent the market looked only a few months ago.
台灣的疫情從過年後的三月開始逐步升溫，偶 Canceled events, excess supply
爾爆出的群聚感染更讓民眾人人自危，不僅盡可 When the epidemic began to heat up in Taiwan
能減少外出，大型活動嘎然喊停，時常在活動會 in March, the emergence of occasional clusters of in-
fection frightened the public. We responded by staying
場作為妝點的花卉，銷售大受影響。
home as much as possible and halting large gatherings.
和2002年的SARS截然不同，高傳染力的新冠
Sales of flowers, which are often used to decorate event
肺炎，讓全世界都無法置外。雖然台灣疫情爆發
spaces, plummeted as a result.
29
的時間較晚，但全球化市場總是牽一髮而動全疫情讓花卉業者也開始嘗試打開內需市場，圖中為今年才開
始在連鎖超市販售的國產花卉，上架後頗受消費者好評。
身，最早傳出消息的是昆明，花市裡一車車乏人 The pandemic has spurred Taiwan’s flower industry to develop
Taiwan’s domestic market. The photo shows one of 2020’s
問津的花卉等著丟棄、銷毀，緊接著是荷蘭。 innovations: locally grown flowers for sale in a supermarket chain.
二月開始，台灣市場也感受到冷清的氛圍，
賣不掉的殘貨不斷增加，「市場交易大概掉了兩
成。」台灣區花卉發展協會總經理鍾國成說。根
據花市提供的統計數據，花卉的均價在四月的時
候來到今年的低點，相較去年同月份跌了29％。續購買種球、種苗，種植在田間的花也不斷地盛
「五、六月時，生意只剩一半。」「蘭雅花開，可無法和「封城」一樣，讓一切按下暫時停
坊」負責人李瑞料跟我們分享。他在花市裡面擁止鍵。
有一家小小的店面，客人主要是飯店業者與花藝疫情來得令人措手不及，幸而社群媒體幫了大
師，彼時不少婚宴紛紛延期、取消，生意也受到忙。四月疫情正嚴峻之時，位於新竹的花店「拾
波及。米豐瓶」接到了一位長期合作的花農所發出的求
救訊息，希望能將原本預計用在婚禮上的庭園玫
花農自救，社群媒體幫大忙
瑰協助銷售出去。
然而，花卉的生長週期從數月動輒到以年計「台灣以前沒有國產的庭園玫瑰，這兩年才
算，早在疫情以前，花農便根據栽植的品種，陸出現。」老闆娘寶妮惜物地說。她將花朵紮成花

In the era of globalization, problems in one region grower with which it had long worked was in need of
soon spread to others. The first reports of trouble in the assistance. The grower was looking for help selling gar-
flower market came from Kunming—truckloads of flow- den roses that had been expected to be used at weddings.
ers no one wanted were awaiting disposal or destruc- Shop owner Bonnie tied the roses into bouquets, and
tion. The Netherlands were the next to see problems. spread the news about the grower’s troubles on Face-
Taiwan’s market cooled off in early February, and book, inviting online friends to buy the flowers as an act
the volume of unsold goods began to mount. “Market of charity.
transactions fell by around 20%,” says Kevin Chung, She started out thinking she’d be lucky to sell 50 of
general manager of the Taiwan Floriculture Develop- the bouquets, but enthusiastic netizens snapped up all
ment Associa tion (TFDA). According to the Taipei 600 that she had in stock in less than two hours. “We
Flower Market, at the market’s April low point, prices were gobsmacked!”
for flowers and plants were down 29% from the same Developing domestic demand
period in the previous year. The government has also joined hands with flower-
Rescuing themselves related organizations to help the flower industry through
The growth cycle of flowers is months or years long. this difficult time. Their efforts have included using the
Flower farmers bought the bulbs and seedlings of their market’s excess flowers and plants to create floral carpets
current crop long before the pandemic began. Farmers and other landscape installations, and to fill greenhouses
can’t just press “pause” on their growth, and those in public locations such as Da’an Park, Yuanshan Park,
plants are still coming into bloom. the Shilin Official Residence, and Xinwuri Railway
The pandemic may have caught growers by surprise, Station; arranging flowers into bouquets for frontline
but social media users soon stepped in to lend a hand. healthcare and disease control personnel; and working
With the outbreak in Taiwan becoming serious in April, with schools in Taipei and Changhua to promote inter-
a Hsinchu flower shop called SMFP heard that a flower est in flowers through DIY activities. All of the various
台灣區花卉發展協會總經
理鍾國成談到，疫情讓業
者嘗試開創新通路，加上
政府大力支持，不失為轉
型的好機會。
Kevin Chung, general
manager of the Taiwan
Floriculture Development
Association, says that
the Covid situation has
encouraged the industry to
develop new distribution
channels. With the
government also providing
support, these businesses
have a great opportunity to
transform themselves.
31
束，再將消息發佈在臉書，以公益的形式歡迎網超市，並且為許多爭妍競艷的花卉吸引而停下腳
友認購。原想只要能賣出50束就堪稱萬幸的她，步。在歐美，花卉甚至能占超市營收的三成，反
卻見識了網友的熱情相挺，600束玫瑰，不到兩觀台灣，只有在美國來的量販店好市多才會見到
小時全數銷售一空，「真的讓我們都嚇到了！」少量花束，就連街坊花店也不多見。
難道是台灣人比較不喜歡？寶妮不這樣認為：
多管齊下，開拓內需
「有買花習慣的人其實比想像中多上很多。」
許多人到國外旅遊，都會逛一逛當地的市場、為幫助花卉產業度過這一次難關，政府與民間
的花卉團體攜手，有許多積極作為，包括將市場
上多出來的花卉拿去佈置，在大安森林公園、圓
山公園、士林官邸、台鐵新烏日站等公共場所搭
建造型花毯、立體造景與玻璃花房；或者設計成
竹北的花店「拾米豐瓶」，在年輕客群中擁有高人氣。
Hsinchu’s SMFP flower shop caters to a young, sophisticated 花禮，餽贈給在第一線工作的防疫或醫護人員；
clientele.
也與台北、彰化等地區的學校合作，以DIY活動
的方式作推廣……種種措舉，先喚起國人對於國
產花卉的關注，下一步，則是建立更便民的銷售
管道。
四月下旬開始，以農委會與台灣區花卉發展協
會為首，開始與國內的幾家超市業者如全聯、家
樂福、楓康合作，導入鮮花銷售，希望讓消費者
以最方便的方式買到花卉。
鮮花是敏感度相當高的產品，從田間採收以
後，新鮮度分秒之間都在流失，採後處理、保
鮮、運送等需要照顧的細節也相當多，如今才從
零開始，一下子就要鋪貨到零售端並不容易。鍾
國成也坦言：「過去這塊其實做得很少。若不是
疫情，加上政府支持，不然也不會想到去做。」
不過，出乎預期地，市場反應相當熱烈，消息
發布後，也引發許多網友的爭相詢問，先從台北
50家門市開始做起的全聯超市，也宣布會在年底
拓展到100家。
到了五月疫情趨緩，景氣稍稍回溫，再加上
母親節檔期的催化，花價從谷底回升，到了七
月，對照起去年同月份的價格，居然還提高了
14.6％。
花卉固然是非生活必需的奢侈品，「一開始我
們也以為會很慘，但市場的反應真的很難說。」
鍾國成說。疫情讓人們盡可能減少外出，甚者如
國外宣布封城，民眾反倒將消費轉移到花卉上，
藉此美化居家，也帶來療癒的效果，而一旦疫情
趨穩，不僅花卉市場恢復得相當快，也無形中培
養了人們的用花習慣，有利未來的產業發展。 l

measures have worked by first drawing the public’s 疫情嚴峻時，「拾米豐瓶」曾藉社群媒體協助花農銷售玫
瑰，在極短時間內旋即銷售一空。（拾米豐瓶提供）
attention to the domestic flower industry, and then es- At the height of Covid’s impact on the flower trade, SMFP staff
tablishing easily accessible sales channels. used social media to help a flower grower that the shop worked
with to sell his roses. The shop was able to promptly sell them
At the end of April, the Council of Agriculture and all. (courtesy of SMFP)
the TFDA persuaded supermarket chains such as PX
Mart, Carrefour and Funcom to begin selling fresh
flowers to provide consumers with more convenient
access to the product. Flowers are not a necessity, but a luxury. But with
The market responded enthusiastically. Online in- the pandemic causing people to limit their activities
quiries poured in as soon as the news was released. PX outside the home and some countries undergoing lock-
Mart, which initially offered flowers in 50 Taipei stores, downs, the public has chosen to redirect a portion of its
even announced that it would expand the program to consumption to flowers as a means of beautifying their
100 stores by year’s end. homes and lifting their spirits. The flower market looks
The flower market began to recover in May after set to recover quickly once the pandemic recedes. More,
Taiwan’s Covid-19 outbreak was brought under control. a public that has become accustomed to buying flowers
Mother’s Day provided an additional boost to prices, during the pandemic is likely to spur the industry to
which rebounded from their lows. By July, prices were even greater heights once the crisis passes. l
actually 14.6% above those of the same period in the (Lynn Su/photos by Lin Min-hsuan/
previous year. tr. by Scott Williams)
33
在疫情中，與百工百業共存。
2003年SARS肆虐之際，番紅原民朋友半玩笑的邀約，也讓她備料、烹煮、洗碗善後，這一套
花還是個新手媽媽，身兼職業婦想到，是呀！在極端氣候，地球都做完才叫煮飯，至少要三個小
女，每天送孩子去幼稚園，心中不知會發生什麼情況下，具備認時；但是，在家吃飯的意願提高
的惦念與壓力著實逼人。今年的識野地植物的能力；在未來，這了，讓番紅花思考善用自己的專
COVID-19，她反是擔心家中的樣的能力應該是很重要也很基本長，試著利用在地小農生產的食
長者，因為聽聞長者較不易抵抗的，又能為生活帶來不同的趣材開發調理包，「這種方式能夠
這波病毒的侵虐。不過，「在台味。鼓勵大家在家吃飯，讓自煮也能
灣還算是正面積極樂觀，我們是因為疫情嚴峻，政府呼籲要輕鬆實現。」
很謹慎，可是沒有瀰漫那種悲觀減少大眾接觸，人們外出社交、「在疫情應對上，我很謹慎，
死城的氣息。」番紅花說。用餐的機率銳減，在家吃飯一時但保持樂觀。」番紅花說。「一
這次的疫情，台灣人的生活間形成風潮，許多人自己在家洗旦大家都害怕、不敢出門，抑制
大致如常，番紅花還是如常的閱手作羹湯，或是叫外送。市場消費行為，我們就會一起失業；
讀、寫作、上市集，也帶市集導裡熟識的攤販告訴她，自煮的人所以我會努力在日常生活裡建立
覽的行程。近日在市場遇到一位變多了，買菜結帳都要排隊呢！與經濟活動的連結，希望商家的
原住民友人，建議她一定要交對此番紅花很高興，「開始做菜損失降到最低，我們更能挺過
一個原住民朋友，就不用擔心在這件事情，對台灣本土的農漁畜去。」
疫情時代沒有東西吃，「原住民牧業就有幫助，是一件很棒的事與疫同行，番紅花想的是如何
在山上可以活半年都餓不死，可情。」和百工百業一起共存。「我們已
以靠野菜、打獵過活，而且光野但是，老實說，做飯絕不是經活下來了，接下來如何一起維
菜就有200種類。」番紅花轉述件輕鬆的事情。從買菜、整理、持生活日常，這很重要。」
番紅花 Wang Pitsu
親子教養作家，家庭料理研究者。
推動青少年《菜市場的文學課》、
《漁港的文學課》。
Pa r e nt i n g a u t h o r, h o m e c o o k i n g
expert. Promoter of “vegetable market
literature” and “fishing harbor literature”
courses
34 台灣光華 for young
Taiwanpeople.
Panorama
W ang Pitsu was a first-time
mo t h e r du r i ng t h e SA R S
outbreak of 2003. A working mother
proactive and optimistic. We are all
being very careful, but there isn’t
widespread pessimism.”
home is helping Taiwan’s farming,
fishing, and animal husbandry in-
dustries. It’s a great thing!
whose child attended kindergarten Life in Taiwan has remained pretty But cooking is time consuming. By
every day, she worried constantly normal in the current pandemic. the time you’ve bought, prepared, and
about the risks. During this year’s Wang still reads, writes, goes to the cooked the food, and then washed
Covid-19 epidemic, she’s been more market, and guides market tours. the dishes, you’ve likely spent at least
With the government urging us three hours on the task. With every-
to minimize our contacts with other one making meals at home, Wang
Coexisting people, people have been going out began thinking about how to apply
less frequently to socialize and have her particular skill set to the problem.
with everyone meals. Eating at home has become She realized that she knew many lo-
the fashion, with some folks cooking cal producers, and started using local
concerned about the older members their own food and others buying ingredients to make prepared meals.
of her family because she’s heard takeout. Vendors in traditional mar- “It’s a way of encouraging people to
that older people are more vulner- kets have told her that so many peo- eat at home, while also making the
able to the disease. On the other ple are now cooking for themselves cooking process easier for them.”
hand, she says, “Taiwan has ad- that there are lines to buy vegetables. “I’m being cautious in my ap-
dressed the issue head on, and been “Having people making meals at proach to the Covid situation, but
staying upbeat,” says Wang.
Wang is thinking about how to
coexist with other fields through this
tough period. “We’re already sur-
viving. The next step is how to work
together to keep living a normal life.
That’s very important.”
(Cathy Teng/photos by Jimmy Lin/
35

大疫情時代下的
挑戰、重生與展望
東南亞藝文工作者調查
Challenges and Opportunities
During the Pandemic:
Perspectives of Southeast-Asian Creative Artists
文•蘇晨瑜　圖•台亞會提供　版面設計•王敬勛
「福無重受日，禍有並來時。」2020年正好
是這句話的最佳寫照。因新冠肺炎疫情帶來嚴重
“W hen sorrows come, they come not single
spies, but in battalions.” T hese words
provide an apposite description of the year 2020.
的後果，使各國經濟萎縮。封城、社交距離、斷
T hroughout this year, Covid-19 has caused econ-
航等種種防疫措施造成產業重創，引發失業、裁 omies across the world to shrink. Lockdowns, social
員潮，藝文工作者更因交流計畫暫停、演出取消 distancing rules, canceled f lights, and other anti-
而收入銳減，淪為海嘯第一排。 coronavirus measures have dealt a crushing blow to
為了關心及了解台灣民間友人，特別是新南 many industries, giving rise to a wave of job losses.
向國家藝文工作者所受到的衝擊與挑戰，《台灣 Creative artists are bearing the brunt because of
the cancellation of income-generating events and
光華雜誌》與台灣亞洲交流基金會、湄公河文化
performances.
中心攜手合作，啟動台灣首次後疫情時代東南亞
Out of concern for how Taiwan’s international
藝文現況調查，深入訪談寮國、緬甸、泰國、印 friends are faring, Taiwan Panorama wished to under-
尼等八個國家藝文工作者／組織，除了表達對他 stand the impact of Covid-19 on creative practitioners
們的關懷，也希望透過此調查報導，一揭在疫情 in the partner countries of Taiwan’s New Southbound
下藝文工作者的現況。 Policy. To this end, we teamed up with the Taiwan–
Asia Exchange Foundation and Mekong Cultural
Hub to launch this country’s first investigation into
寮國景觀設計師Pat：國際交流終止 the state of the creative industries in Southeast Asia
during the pandemic. Focusing on creative practi-
從疫情爆發以來，寮國景觀設計師To n g c h a n
tioners and organizations in Laos, Myanmar, Thai-
Kamphart （Pat）所任職的「Pha Tad Ke」植物
land, Indonesia, and four other countries, we wished
園，直到2020年9月仍然沒有對外開放。 not only to express solidarity but also to produce a
「完全沒有遊客，觀光客都進不來。」Pat坐在 well-informed report on their current conditions.
37
Tongchan Kamphart (Pat)
寮國／景觀設計師
Landscape designer, Laos
植物園內，與我們透過視訊軟體進行線上訪談。
Pat服務的「Pha Tad Ke」植物園位於寮國龍坡
邦，一直是深受遊客喜愛的觀光景點。疫情蔓延
後寮國暫時停發旅遊簽證，依靠旅遊收入的植物
園也被迫關閉。在這之前，Pat除了景觀設計，也
擔任藝術統籌，與各國新銳藝術家一起工作。他
們嘗試將傳統佛教儀式與自然生態結合，進行現
代的藝術創作，但是Covid-19爆發以後，一切全
都改變了。
「沒有國際航班，我們沒有辦法面對面交談，
會議無法舉行，每個人都得在家工作。」Pat敘述
疫情後的工作情況，即使到了八、九月，團體群
聚被限制，佛教儀式無法舉行，工作人員得分批
進入植物園，回到家後再用電話溝通。
Pat坦言疫情衝擊真的很大。「現在所有的排程
都得跟著疫情走，可是沒有人能保證下個月會發
生什麼事。」按照原定計畫，Pat規劃籌建的藝文
中心2020年要在植物園內開幕，但是該項計畫已
經暫時叫停。
緬甸視覺藝術家Zun Ei：一切充滿了不確定
疫情擾亂計畫同樣發生在緬甸。Zun Ei Phyu
（Zun Ei）手上的一些跨國計畫，因為疫情被一
再延宕。
「2020年是我的藝術年。」視覺藝術家Zun Ei略
顯無奈地說：「這一年我有很多計畫，大部分是

Cancellations:
Lao landscape designer Tongchan Kamphart
Since the outbreak of the pandemic, Pha Tad Ke, the
botanic garden where Lao landscape designer Tongchan
Kamphart (Pat) works, has remained closed.
“We haven’t had any visitors. No tourists are able to
come.” Sitting in the botanic garden, Pat talks with us on-
line. Pha Tad Ke, situated in the city of Luang Prabang, is
a popular tourist attraction. After the outbreak of the pan-
demic, Laos stopped issuing visas to tourists, forcing this
botanic garden, which relies on visitors for its income, to
close temporarily. In addition to designing landscapes,
before the pandemic Pat was responsible for coordinating
arts events, collaborating with talented young artists from
various countries. They were trying to establish connec-
tions between traditional Buddhist rituals and the natural
environment in order to create artworks with a modern
edge. But Covid-19 has upset their plans.
“There are no international flights. We can’t discuss
things in person. Meetings have had to be canceled. Every-
one has to work from home.”
Pat says the impact of Covid has been immense. “Every-
thing we’re planning now is conditioned by the pandemic,
but no one knows for sure what will happen next month.”
Uncertainties:
Myanmar visual artist Zun Ei Phyu
Similar disruption is happening in Myanmar. The
international projects that visual artist Zun Ei Phyu had
planned have been postponed again and again.
“2020 was supposed to be my year of art,” says Zun
Ei with some frustration. “I had plenty of plans, most of
which were international collaborations, along with a few
local projects. I even planned to visit Taiwan in April, but
everything has been canceled because of Covid-19.”
（上圖）P a t傾注心力照顧的P h a Ta d K e植物園受疫情影

響，被迫關閉，疫情好轉後工作仍得轉換型態。（Tongchan
Kamphart提供，Cyril Eberle攝）
(top) Pha Tad Ke, the botanic garden where Pat works, has
been forced to close its doors because of Covid-19. Even after
the pandemic eases, their working patterns will have to change.
(photo by Cyril Eberle, courtesy of Tongchan Kamphart)
Pat與夥伴嘗試將傳統佛教儀式與自然生態結合，進行現代
的藝術創作。（Tongchan Kamphart提供，Paul Wager攝）
Pat and his colleagues have endeavored to combine traditional
Buddhist rituals with the natural environment to create artworks
with a modern edge. (photo by Paul Wager, courtesy of Tongchan
Kamphart)
39
國際合作案及零星的在地專案，我甚至原本打算疫情在緬甸帶來深重的打擊，當地藝文工作者
四月份去台灣的，因為Covid-19全都取消了。」收入普遍不高，疫情後生計更加困難。不過Zun
Zun Ei是名醫生，同時擅長剪紙與裝置藝術， E i很幸運，即使在這段期間，仍有國外買家持
藝術創作之餘，每週五她都會到社區營運的慈善續收購她的作品。但是展望未來，Zun Ei不太樂
診所義診。觀，「疫情連動經濟，如果各國經濟持續衰退，
七月時，Z u n E i平時義診的社區慈善診所本未來買家可能不會再繼續購買那麼多作品。」
來要重新開放，因為緬甸的確診個案只有300多
泰國製作人Tanawat：
例，似乎風險已經降低，但是在過去十天裡，緬
疫情帶來挑戰，民主化才能根本解決問題
甸的確診數又再度爆發，確診數超過1,000名，跳
了至少三倍，人們只好重新戴上口罩。身兼多職的泰國製作人Tanawat Asawaitthipond，
「政府規定一般診所不能收納發燒病患，」也是這波疫情下的受害者。Tanawat同時身兼表演
Zun Ei解釋社區門診關閉的原因。因應防疫，緬藝術家、藝術顧問與製作人等工作，與國際上深
甸政府指定專門的醫院開設發燒門診，病人如具影響力的藝術家、機構或基金會來往頻繁。
果確診，會被隔離並送到指定醫院治療。Zun Ei 面對沒完沒了的疫情，以及泰國稍嫌動盪的社
的天職驅使她想前往第一線照顧病人，但是無會氛圍，Tanawat卻顯得頗為樂觀。「我不是說自
法如願。「我還年輕，也不是那麼害怕，可以己沒有受到影響，而是我把這次的疫情視為一種
照顧自己，也很樂意去照顧病人，但是當局不轉機。」雖然整體環境不若從前，Tanawat嘗試放
允許開放，他們不想要冒險。」慢步調，具體精確地去盤點現有的資源，找出因

Specializing in papercutting and installation art, Zun Facing the unrelenting pandemic and Thailand’s civil
Ei also works as a medical doctor. Every Friday she offers unrest, Tanawat is surprisingly optimistic. “I’m not saying
free consultations at a community-run charity clinic. that I haven’t felt the impact. It’s just that I see this pandemic
Zun Ei’s free clinic was to have reopened in July, but as a new opportunity.” Even though much of the world
the ongoing pandemic put that on hold. In the ten days be- in which he works has changed for the worse, Tanawat
fore our interview, Covid had flared up again in Myanmar, endeavors to slow down and reevaluate his resources care-
with confirmed cases surging to more than 1000 per day. fully in order to find the best way forward. “As a producer, I
Once again, people had started to wear face coverings. always have to see things from different perspectives.”
As a doctor, Zun Ei wants to work on the frontline tak- There have long been systemic fault lines in Thailand’s
ing care of patients, but this isn’t possible under current arts policies. Most creative practitioners do not receive
regulations. Myanmar has been hit hard by the pandemic. support from the government and rely on second jobs to
Most local creative artists have never enjoyed comfortable make ends meet. Tanawat says: “Even if this pandemic
earnings, and Covid is making life even more difficult for hadn’t happened, we wouldn’t get much help from the
them. Fortunately for Zun Ei, overseas collectors are con- government.”
tinuing to buy her works during the pandemic.
Democratization:
Thai producer Tanawat Asawaitthipond
Thai theatrical and performance art producer Tanawat Zun Ei Phyu
Asawaitthipond has also been affected by Covid-19. 印尼／視覺藝術家
Tanawat has many roles to play. As a performance artist, Visual artist, Indonesia
art consultant, and producer, he has forged collabora-
tive relationships with internationally renowned artists,
institutions, and foundations.
歷經疫情，Zun Ei將更多重心投入藝術治療，希望用藝術帶
來療癒與定心的力量。（Zun Ei提供）
During the pandemic, Zun Ei has devoted more attention to art
therapy, seeking to tap into the healing and calming power of art.
(courtesy of Zun Ei)
41
應之道。「身為一名製作人，我總是得從不同的有關，軍政府的政治運作系統不讓藝文工作者發
面向去看待事情。」訪談前幾天，Tanawat在自己聲，所以我們期待真正的民主到來，那是唯一
的臉書宣告這次採訪，原本學經濟學出身的他，的解方。」Tanawat同時認為，目前的示威抗議
還特地做了一番功課。運動讓年輕世代看到一線希望，唯有徹底的民主
泰國的藝文政策長久以來存在體制性的問題，化，才可能讓創意產業蓬勃發展，形塑更好的文
藝文工作者普遍得不到政府的支持，需要第二份化政策。
工作來維持生計。Tanawat坦言，「就算沒有發生
竹圍工作室創辦人蕭麗虹
這次疫情，我們也不會從政府得到很多支援。」
疫情發生後，多數的泰國藝術家陷入困境與受疫情阻斷交流的情形也殃及台灣的藝術及文
財務危機。他們也嘗試向政府求援，「這種情化領域。台灣的竹圍工作室創辦人藝術家蕭麗虹
形不只發生在泰國，整個東南亞都是如此。」直言，冠狀病毒（疫情）對她而言是2020年最大
Tanawat說。的衝擊。「本來要交換的計畫全部停擺，我們是
與其說疫情帶來重創，不如說疫情讓藝術家們做藝術村的，房子都是空的。」
更加體認到自己的處境。對於泰國未來的藝文產原本堅信文化交流一定要面對面的蕭麗虹，每
業前景，Tanawat覺得渺茫。「2020年疫情導致政年安排邀請國際藝術家進駐台灣的藝術村，也把台
府預算都被削減，搶資源的情況會更加嚴重。」灣的藝術家送出去。但是訪談的當下，蕭麗虹生動
僧多粥少，意味著生存空間會受到更多壓迫。形容慘況：「2020年來台交流人數是掛鴨蛋了。」
另一個令人憂心的因素是創作空間受到箝制。另一位台灣藝文工作者，是湄公河文化中心
「身為發展中國家，泰國藝文補助跟G D P發展「SEAΔ」計畫成員高捷推動的東南亞深度工作
Tanawat Asawaitthipond
泰國／製作人與視覺藝術家
Producer and visual artist,
Thailand
泰國及東南亞各國藝術家缺少足夠的政府支持，艱困的生存
環境在疫情後更為雪上加霜，長期下來將影響泰國的藝文生
態。（Tanawat提供）
Artists in Thailand and other Southeast-Asian countries have
never enjoyed adequate support from their governments. The
pandemic has made life even more difficult for them, producing a
long-term impact on Thailand’s art industry. (courtesy of Tanawat
Asawaitthipond)

Margaret Shiu: 身為製作人，Ta n a w a t的計畫仍在持續，跨國合作的能量
不減反增，同時也憂心疫情會讓藝術資源更加不對等。
Founder of Bamboo Curtain Studio
（Tanawat提供）
Taiwan’s creative industries have also seen events As a producer, Tanawat continues to carry out his projects,
and his international collaborations have gained more impetus.
being canceled due to the coronavirus. Margaret Shiu, However, he worries that the pandemic may aggravate existing
founder of the Bamboo Curtain Studio in Taiwan, says inequalities in the distribution of resources for art. (courtesy of
Tanawat Asawaitthipond)
that Covid has cast a long shadow on her plans for 2020.
“All of our exchange projects have been put on hold.
We’re supposed to be running residency programs, but
our studio is completely empty now.” has decided to respond to the pandemic through arts
Shiu, who has long believed that cultural exchanges activities. In April and May, she devoted herself to her
have to involve contacts in person, arranges for inter- own mental peace, refraining from physical action and
national artists to visit Taiwan every year, as well as even temporarily ceasing to create art. As a Buddhist, she
sending Taiwanese artists abroad. Shiu tells us vividly: sought to focus on meditation, learning from the scrip-
“We’ve got a big zero this year: no one has come.” tures. Being a qualified art therapist, she even subjected
Learning life lessons herself to a course of therapy. “I know I have to look on
Not only has the pandemic caused widespread finan- the bright side. Life has to go on.”
cial problems, but the uncertainties surrounding life and “Death can happen to anyone anytime. It’s just that
work have also plunged artists into fear and anxiety. we all neglected this fact until Covid broke out.” The
For example, in early 2020 Zun Ei had invitations for pandemic served as a timely reminder. Inspired by it, she
various residencies, but could not take them up because decided to run three workshops on “fear,” where partici-
there were no international flights. Nevertheless, she pants will be invited to explore what that feeling means.
43
坊。在彼此國界封閉的情形下，也「暫時看不到未療。「我知道自己必須正向積極，生活還是得過
來。」不過高捷另在永續旅遊品牌「島內散步」擔下去。」
任品牌行銷總監，讓他的收入暫時不成問題。「每個人隨時都可能會死，只是在疫情前，
我們都忽略了這件事。」疫情成為一種提醒，啟
生命課題的提醒
發了Zun Ei的創作靈感。她打算用「恐懼」為主
疫情肆虐除了帶來經濟上的種種問題，工作缺題，帶領三個工作坊，邀請參與者一齊探索「恐
乏保障與種種的不確定感，讓藝術家普遍感到恐懼」的感受。
懼與焦慮。 Pat則用佛教哲理來安頓身心。「一般人在面對
Zun Ei回想起2020年初：「我收到國外邀請，疫情時，可能會努力去尋找新的工作或新的收入來
非常開心想去，因為沒有國際航班，我等了又等源，但是我們佛教徒認為可以隨遇而安。」Pat認
……，也許八月可以開放，還是沒有航班，然後為生活可以回歸簡樸，「務農一樣可以生活，此時
是九月、十月……；有時我想可能沒辦法申請任此刻也讓我們得以跟家人團聚，共享時光。」
何計畫，每一件事情都是起起伏伏。」Zun Ei的高捷則在疫情的低迷時期，先蹲低開拓新的商
狀況也正是多數藝文工作者的寫照。機，轉而開發台灣原民部落的深度探索行程，與
不過，Z u n E i選擇用藝術行動來回應。四到台東達魯瑪部落合作舉辦兩梯次的工作坊，讓大
五月期間，Zun Ei讓自己完全沈澱，不做任何事家學習部落的生活文化與實作。
情，也不進行任何創作。身為佛教徒，她嘗試在蕭麗虹則把藝術村的功能加以轉化，「我跟
這段混沌時期專注禪修及聆聽佛法開示。具有我的工作團隊現在正在規劃虛擬交換。」這份被
藝術治療執照的她，甚至對自己進行運動藝術治蕭麗虹形容成「媒婆」的工作，把藝術村轉型為
媒合平台，從中牽線台灣與國際的藝術家，在線
上以虛擬方式交換議題，交流經驗，深化彼此
的合作。
而工作室另一項「Art Connect」計畫，發送問
卷給東南亞約60幾名藝文工作者及藝文組織，了
蕭麗虹
解他們是否展開藝術行動來回應疫情，透過問卷
Margaret Shiu
了解藝術家們的遭遇，得知他們普遍沒有辦法出
台灣／知名藝術家及收藏家、國交流，部分組織並且解僱工作人員或改與其他
竹圍工作室創辦人
藝文組織合作。
Artist and collector, Taiwan
Founder of Bamboo Curtain Studio 藝術家們也做了許多關於線上的行動，例如
在線上舉辦講座及工作坊，或是進入社區進行服
務。這份問卷調查結果將以Podcast系列報導的形
式在十月份上線。
蕭麗虹認為疫情帶來「不正常」現象，可能會
是未來的新常態，藝文工作者一定要及早轉型，
找到自己的出路。
「藝術家並非無用，而是要轉型做社會型的服
務及教育的推廣。」蕭麗虹建議，在此充滿危機
的時刻，藝術家可以發揮藝術真正的創造力，想
辦法把藝術變為一種創意的服務，或將藝文空間
轉型成平台，在疫情大流行的不確定性下，才能
在危機中窺見轉機。 l

As for Pat, he’s rega i n i ng h i s s en s e of ba la nce 疫情導致國際間的藝術交流與駐村受到極大的阻礙，蕭麗虹
老師建議藝術家須儘速轉型，投入社會，以藝術力量回饋社
through Buddhist teachings. “During a pandemic like
會。（竹圍工作室提供）
this, you would expect people to go and find new jobs The pandemic has severely hindered international exchanges
and residential programs. Margaret Shiu recommends that artists
or other sources of income, but we Buddhists seek to should adapt sooner rather than later in order to give their artistic
reconcile ourselves to adverse circumstances.” Pat talents a social relevance. (courtesy of Bamboo Curtain Studio)
thinks that we may as well return to a simpler life.

“Farming is also a way of life, and in the current crisis
this has brought families together to enjoy each other’s
company.” Creative practitioners, she thinks, have to adapt to these
For her part, Shiu is making her studio function in a changes soon and find their own ways forward.
different way. “My colleagues and I are currently plan- “Artists are by no means useless, but they need to
ning virtual exchange programs.” This project, in which change with the times and bring service to society and edu-
Shiu describes her role as that of a matchmaker, aims to cational activities within their compass.” Shiu thinks that
turn the studio into an online platform that helps to con- in times of crisis, artists can unleash tremendous creative
nect Taiwanese and inter national artists, encouraging power, turning art into a kind of service, or transforming
them to exchange ideas and experiences, with a view to arts spaces into online platforms. In doing so, we’re likely to
facilitating further collaborations. spot a silver lining to this global pandemic. l
Shiu believes that the “abnormal” phenomena brought (Sharleen Su/photos courtesy of the Taiwan–Asia
about by the pandemic may become the new normal. Exchange Foundation/tr. by Brandon Yen)
45
走進位在台北市中山區明水路身邊親人離世，再加上疫情的無時間給我們機會往內看，好好打

綺麗廣場B1的「好好說話工作常，「我倒不是焦慮，反而會把理自己的人生，為自己負起全然
室」，寬廣的白色空間，是讓人我們敲醒，思考我們要留給這個的責任，重新去整理什麼才是最
能卸下防備的環境。賴佩霞一身世界什麼，該做的事情要趕緊去重要的事。」
簡單的白衣牛仔褲，她先把手機做。」研讀國際關係的賴佩霞，博
音樂連接上喇叭，讓空氣的分子疫情爆發之初，賴佩霞正好士論文以「台灣人的美國觀」
充滿音符，才好整以暇地坐下來埋首博士論文的整理撰寫，與為題，讓她不得不專注台美兩
聊天。文字相伴了很長一段時間。因地的新聞時事，但疫情以來，國
回顧2020年，COVID-19疫情為減少與朋友的社交，跟家人有際間漫天流竄的新聞、假新聞、
肆虐，許多人的日常接近停擺，更多獨處的時間，以往周末和朋謾罵、指責、攻擊，面對諸多惡
但身兼資深媒體人、音樂人、藝友聚會居多，如今多了與先生的意的訊息、對立的溝通，賴佩霞
術家、身心靈導師的賴佩霞，兩人時光；對她而言是享受的光還是不忘提醒，「好好說話，結
今年卻是馬不停蹄，拿到了博景，但對許多以工作逃避親密關善緣吧！如此會有更多的人來支
士學位，出版了《我想跟你好係的人來說，過密的相處可能持我們的夢想，當我們也去支持
好說話》一書，開設了自己的是一面照妖鏡，疫情引出了另別人的夢想，這種善的循環到最
YouTube頻道，「好好說話工作一面的真實。終，有一天我要離開的時候才不
室」也開張了，創立了好好說話「疫情剛好是個機會，這一段會覺得遺憾。」
學會，修習完成美國哈佛大學甘
迺迪學院菁英領導的課程，「原
本我每年只許願完成一件稀奇的
事情，但是我發現今年我做的還
真不少。」賴佩霞回想著。日前

T h e C o v i d -19 p a n d e m i c h a s
brought many people’s ordinary
lives to a halt for most of 2020, but
communication, and completed a
leader sh ip course w it h Har vard
University’s Kennedy School. “I usu-
It spurred me to hurry up and do the
things that are important to me.
“The pandemic is an opport u-
musician, artist, media figure, and ally only promise myself to do one n it y. It ’s a t ime in wh ich we can
spiritual mentor Lai Peixia has con- thing out of the ordinary per year, but look inward, sort out our lives, take
tinued working at a relentless pace. I really did get through a lot in 2020,” full responsibility for ourselves and
Just this year, she completed a PhD, says Lai. Even with the pandemic reprioritize the things that are most
published Nonviolent Communication and losing someone close to her, she important to us.”
for Beginners, and started her own didn’t spend time fretting. “It woke Lai, who did her graduate work in
YouTube channel. She also founded a me up and made me think on what international relations, wrote her PhD
workshop and a society for nonviolent legacy we leave behind in this world. thesis on Taiwanese perspectives on
America. The work compelled her to
focus on current events in both Tai-
wan and the US. But since the start of
好好把握當下，因為 the pandemic we have seen a flood

of fake news, abuse, finger pointing
and attacks in the international arena.
這樣的平常可能 Amid the reams of malicious propa-

ganda and confrontational communi-
明天就會變成異常。
cation, she reminds us, “Communicate
well and spread good karma. When
we do, other people will support our
dreams. When we also support other
Hold onto the present, people’s dreams, we create a virtuous
circle that makes us appreciate our
because today’s normal could life and feel no regrets at its end.”
well become abnormal tomorrow (Cathy Teng/photos by Jimmy Lin/

賴佩霞 Lai Peixia
歌手、主持人、畫家、身心靈成
長導師。多年來投入身心靈研究，出
版的自傳《回家》、《我想跟你好好
說話》，生命是一場跟自己和解的過
程，她樂於將多年來的生命經驗與人
分享。
Singer, TV and radio host, artist, and

spiritual mentor. Published The Courage
of Coming Home and Nonviolent
Communication for Beginners. Views life
as a process of reconciling with oneself.
Enjoys sharing her experiences with
others.
47
排
燈節是印度新年，不只在印度，全球各地的印度人點。台灣特別感受到印度的深情相挺，不只印度民間與
都會召聚親友團聚，共同慶祝。在台灣，卻有一場媒體力挺台灣參與世界衛生大會，更多印度人在推特等
慶祝排燈節的特別活動。社群媒體慶祝雙十國慶、支持#TweetForTaiwan活動。
在外交部的襄助下，原本舉辦隆重國慶晚宴地點的外交部政務次長、前駐印度代表處代表田中光認
台北賓館，掛滿了整片排燈，在寶萊塢歌舞、印度美食為，台印有許多相同之處，自由、民主、重視家庭的
的助興中，印度旅台僑領、企業家、來台留學的印度學價值，這幾年在經貿、教育的合作與交流，更增加彼
生，以及台灣政商各界200多人，盛裝出席，互祝排燈此的了解與關係。
節快樂。「2020年是台灣人看見印度，印度人看見台灣的一
現場最特別的來賓是外交部部長吳釗燮，他期許台灣年。」晚會主持人、在台灣住了超過30年的李眉君說，
與印度兩國間的各項合作及友好關係更加緊密，更多印「在全球很多地方，可能因為疫情無法慶祝排燈節，感謝
度朋友選擇台灣作為他們的家園，現場還準備了蔡總統台灣與我們一起慶祝新年，感謝台灣給我們一個家。」
英文最喜歡的鷹嘴豆咖哩，引起陣陣歡呼。是的，這是台印雙方在點點亮光、燦爛喧嘩的排燈節
2020年，台印雙方經貿、文化交流達到歷年的高中特別的感受，謝謝台灣，台灣是我們的家！
廣告
同賀印度新年
台印好朋友
An Indian New Year Celebration:
Marking the Friendship Between Taiwan and India
「Shubh Dipawali！」排燈節快樂！台灣與印度朋友2020年11月13日在台北賓館共同歡度印度新
年排燈節。在新冠肺炎疫情蔓延全球之際，點亮整片排燈，用彩粉繪製繽紛的藍果麗圖騰迎接財
神，象徵光明驅走黑暗，善良戰勝邪惡，也迎接平安與福氣。
“Shubh Dipawali!” Happy Festival of Lights! Taiwanese and Indians together celebrated Diwali
(or Dipawali), the Indian New Year Festival of Lights, on November 13, 2020 at the Taipei Guest
House. Amid the Covid-19 pandemic, rows of lamps were lit and colorful rangoli floor art was used
to welcome the god of wealth and symbolize the victory of light over darkness and good over evil.
D iwali marks the Indian New Year, and In-

dians around the world gather with friends
and family to celebrate it. However, in Taiwan there
in the World Health Assembly, many
Indians went on social media to mark
Taiwan’s National Day and support the
was a special activity to celebrate this festival of lights. #TweetForTaiwan activity.
With help from the Ministry of Foreign Affairs, the Tien Chung-kwang, Deputy Minister of
Taipei Guest House was filled with rows of lamps, and Foreign Affairs and formerly Taiwan’s
with zest added by Bollywood song and dance and Representative in India, says that
Indian cuisine, more than 200 members of the Indian Taiwan and India share much in
community in Taiwan as well as Taiwanese political common, including freedom,
and business figures attended to wish each other a demo cracy, and strong
“Happy Diwali!” family values. In recent
As a special guest at the event, Minister of Foreign years economic, trade,
Affairs Jaushieh Joseph Wu expressed his hope and educational inter-
that there will be closer cooperation and friendship actions have strength-
between our two countries, and that even more ened mutual understanding.
Indian friends will choose to live in Taiwan. Priya Lalwani, who presided over
Also, President Tsai Ing-wen’s favorite Indian the event and has lived in Taiwan for
dish, chana masala, was prepared for the event. over 30 years, said, “In many places across the world,
In 2020, bilateral economic and trade relations between it is not possible to celebrate Diwali because of the Covid-19
India and Taiwan reached a new high, as did cultural ex- pandemic, so we thank Taiwan for celebrating the new year
changes. Taiwanese have felt especially grateful for India’s with us and thank Taiwan for giving us a home.”
friendship and support. Not only have Indian civil soci- This is a special feeling as Taiwanese and Indians spend
ety and media strongly supported Taiwan’s participation Diwali together: Thank you Taiwan, Taiwan is our home!
愛如甘霖：賴甘霖神父自傳
好讀
月
◼ 我的中文姓名是賴甘霖，本名是安德肋•迪亞茲•德•拉
巴葛•佩雷茲。在西班牙的家鄉，因為我們家幫助過許多
當地的農民，因此在鎮上有很好的聲望。所以當家裡有狀
況的時候，街坊鄰居都很願意來幫忙。
一脈相承的助人之愛祖父母離世後，留了許多田地給
我父親的名字也是安德肋．迪我父親，他當時繼承的財產應該能
亞茲。他出生在西班牙的中產階級讓他過上一生的好日子，但他卻毅
家庭，在家族中十一位小孩裡排行然賣掉田地，開沙丁魚罐頭工廠。
老么。他的爸爸，也就是我的祖父當時漁業不發達，冰箱等冷凍設
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，
瓦昆．安東尼歐，是知名的經濟學備還未開發，加利西亞的沙丁魚漁

家、社會學家，也是社會主義者，獲量有時幾千籃上岸，如果未經加
出身名門世家，自小就到聖地牙工成罐頭，一兩天後就會腐壞無法
哥．德．孔波斯特拉求學，後來在食用，人民仍會受飢餓之苦；但如
當地大學教授社會學與希伯來文，果做成罐頭，就可以讓更多人有食
寫了許多關於幫助農人脫貧和農物吃。
村發展的書籍。其中的代表作《農起初，許多人對他的決定不是很
村信貸》，提出農業信貸現代化的諒解，尤其是身旁的親戚們，覺得
縝密分析，討論西班牙農業融資的他已經有錢有地可以享福，為何要
實際替代方案，以及其它歐洲國家賣掉祖產。即便如此，他仍堅決執
在農業銀行和各類型合作社的基行，因為這樣才能真正幫助窮苦的
礎概念，對後世有深遠的影響，尤人們。漸漸地有所成後，越來越多
其在八○、九 ○ 年代，工人階級組人開始願意協助我父親，沙丁魚罐
織開始抬頭的氛圍之下。正因為我頭工廠也慢慢有能力提供工作機
祖父把自身的研究投入於加利西會給當地民眾。那期間，漁獲多的
亞的發展，所以我父親自小耳濡目時候工廠有一兩百人。在那個勞動
染，也投入關懷困苦農民的志業。力需求大的年代，工廠提供當地規
作者／賴甘霖神父
模不小的工作機會，支持許多農民因為佩雷茲家族在聖地牙哥做
家庭度過艱難的時刻。我聽說在著簡單但能象徵基督傳統精神的
西班牙已經有人把這個工廠的事蠟燭生意，又常到處參加不同人家
蹟寫成了一本書。的喪禮，所以在地方擁有一定的聲
我的母親娜希紗，來自佩雷茲望和人民的信任。那個年代，許多
家族，從我外曾祖父曼努埃爾那輩從外地到聖地牙哥工作的人，因為
就移居聖地牙哥，主要是做製造擔心把賺得的現金直接帶回老家
與販賣蠟燭的生意。佩雷茲富裕會沒有保障，因此選擇將賺到的
的程度未及迪亞茲．德．拉巴葛一錢寄放在佩雷茲家中。漸漸地，越
族，但西班牙是天主教國家，而聖來越多人這樣做，佩雷茲家族受民
地牙哥是朝聖的中心，蠟燭在天主眾委託的存款金額也越來越高，
教的傳統裡，是能展現信徒奉獻到我外曾祖父那代，他們已經開始書名：愛如甘霖：
精神的重要物品，因此在當地的需提供類似「農村銀行」的服務，有賴甘霖神父自傳
作者：賴甘霖神父　
求量非常高。再加上那個年代，天銀行的雛形和商標，提供人民存
頁數：223頁　
主教的喪禮是在晚上舉辦，人們會款利息，幫助老百姓可以透過存錢定價：420元
購買許多蠟燭點亮儀式。母親的家來賺錢。出版時間：2020年10月

出版：大塊文化
庭所經營的蠟燭生意在地方上也我的父母親結婚後，搬到也位
有不錯的收入。於拉科魯尼亞省的普埃布拉。他
有意思的是，聖地牙哥最後一次們皆繼承上一代助人的理想，延
在晚上舉辦的喪禮，就是我外曾祖續農村信貸，讓農民可以在收成、苦。我記得，母親常常不得空閒。
父的喪禮。播種、施肥期間貸款週轉，降低風她總是忙這忙那的，很願意幫助
由於這個因素，那場喪禮盛況險；在收成後也可以有安全的地方地方上的窮人和父親漁產工廠的
空前。後來我的外祖父奧林皮奧走存款。除此之外，當時我的母親也員工。她也非常愛我們，她的愛是
在街上碰到有人在辦喪，他都會參因為許多人買不起田地跟房子，不無私的。
加。如果有人問他知道在棺材裡躺忍看他們流離失所過著辛苦的日父母親樂善好施和服務鄉里的
的是誰，他常會說：「我不知道，但子，就和她的姐妹朋友們在聖地牙精神，從小就深深烙印在我的心
不是他就是他家，至少應該有一個哥自組慈善事業，提供類似今日的裡。有時候我去父親的沙丁魚罐頭
人參加過我父親的喪禮，所以我也「社會住宅」，將房子便宜出租，工廠看父親與其他工人的工作狀
應該來參加。」因為我外曾祖父那有需要的人只要定期付一點點租況，經常看到身體障礙的弱勢者也
場喪禮實在太多人了。金便可以住下來，免於無家可歸之一起工作。我父親提供他們就業機
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會，並提供他們伙食與能安心睡覺從小，我就記得父母親每日皆會人的陪伴。一方面是我與哥哥一起
的居所。從小我就覺得幫助別人虔誠地向上主祈禱，他們會帶著上學，不覺得孤單；另一方面在假
是一件很自然的事情。我和哥哥和弟妹們一起唸一串玫日返家時，也更加珍惜和爸媽相處
童年與天主開啟對話瑰經，有時是午飯後，有時候是晚的時光。

我是個戰時出生的孩子，剛好上，我會重複媽媽的禱詞，媽媽唸一九二四年到一九二七年，我在
是第一次世界大戰。一句，我照著念一句。加利西亞地區南側的維果就讀耶
我在家中排行老七，上有四位哥回想起幼時的這些片段，即使什穌會的小學。
哥和兩位姊姊。動盪的年代，孩子麼都記不太清楚，但我對天主、耶維果是一個鄰近葡萄牙的邊境
存活不易，我出生之前，一對雙胞穌和聖母瑪利亞的記憶卻很清晰。城市，文化多元開放，語言也有著
胎姊姊和三哥已經夭折，所以我出大家都知道我後來成為神父後，豐富的色彩，可能是我在這樣的環
生的時候雖是老七，前面卻只有大習慣在每個人頭上畫十字作為祝境成長，使得日後面對不同文化時
哥瓦昆、二哥安東尼歐和四哥迪亞福，那其實是我學爸媽的，他們從更有包容力吧！維果在發展上，也
哥三位哥哥，在我之後還有兩位妹小就都會在我的額頭上畫十字為比起我的故鄉普埃布拉更加先進。
妹雅珣、卡梅拉和弟弟荷西．瑪利我祈禱。維果小學有兩個校區，校園裡有花
亞。家中牆上有個十字架，那釘在十園和體育場，鎮上也有一些建設，
兩次世界大戰期間，我的父母字架上的耶穌是我與天主的第一像是電纜車、大郵輪、足球場……
親要扶養七個孩子已經相當辛苦，次接觸，即使我當時才不過兩、三哇！這些在幼小的我眼裡，都覺得
二哥又因智能發展遲緩，父母更需歲年紀。有一天的傍晚，我看著母好大好新鮮啊！
要多費心力照顧。除此之外，從小親唸著玫瑰經，父親也在她旁邊，學校有很多豐富的圖書資源，還
聰明的大妹雅珣，本來在學業上前他們呼喚著主的名號，為孩子們祈有老師們分享海外神職人員的福
景一片看好，已經順利完成高中學禱，為社會大眾祈禱，那個父母親傳經驗，讓我有機會以各種角度認
業，然而有一段時間，她忽然開始跪在十字架前虔誠祈禱的畫面，我識、思索這個世界。
咳血，健康瞬間亮起紅燈。醫院診都還清晰地記得，至今忘不了。大約七歲的時候，我在學校讀
斷後確診得了肺病。在那個年代，我與天主第二次接觸的記憶，到書上的一個故事：
女性能夠完成高中學業是很少數是在我五、六歲初領聖體的時候，故事發生在法國，有個年輕人被
的。我上大學醫學院的時候，班上那是我第一次感覺到自己和天主判了死刑，等待執行死刑的期間，
一百位學生，只有三位女生。所以正在對話。我們家離耶穌會的教堂年輕人不願意開口講話，也不願意
當時許多人，包括我大妹高中的校很近，當時母親開始帶我去耶穌會見監獄依例安排的輔導。有位神
長，都很感嘆優秀的大妹因身體的教堂辦告解，那段時間是我記憶父自告奮勇去見這個年輕人，告訴
緣故，必須在家休養，繼續上大學以來，最早開始特別感覺得到主的他：「我不跟你說話。」他們便默
的夢想和任何想學習的渴望也都存在與陪伴。默相對。
必須暫停。我與兄弟姊妹自小學就都被爸沉默了許久，年輕人終於開口說
即便家庭裡的孩子面臨如此多媽送到外地的耶穌會或女修會的話：「我沒有錯，我不是壞人。」
的挑戰和疾病纏身，我的父母仍寄宿學校，自幼外宿，需要練習獨神父說：「我知道，你是好人。」
讓孩子在一個充滿愛與天主的環立自主，加上教會學校生活起居年輕人又說：「我不是壞人。」
境下長大和學習，更行有餘力幫助嚴謹，也有要遵循的規範。即便如神父說：「你是好人。」
貧困的百姓過更好的生活。此，我並不覺得那段時光缺少了家年輕人於是激動地哭喊：「來

殺我吧！來殺我沒關係！我是個好來關懷社會的家族精神，像是我
人！我是好人！」他告訴神父，自己的大哥後來以醫生作為人生志業，
從小生長在孤兒院，沒有人認養，弟弟則成為耶穌會會士服務人群。
就這樣孤伶地於黑暗中長大。這輩我看著家人都喜歡幫助人，我也想
子沒有一個人跟他說過他是好人。幫助人，但不知道該如何去做。想
如果以前就有人告訴他「你是好用不同於父母親的方式，看到大哥
人」，那一切一定會不一樣。學醫，覺得醫生可以給人健康與平
我讀了這個故事之後，驚覺「愛」安，因此決定走上學醫的路。
對一個人的成長是不可缺少的。我的小妹卡梅拉則是在長大成
自一九二七到一九三三年間，我家後，除了和母親一樣生了十個小
到聖地牙哥耶穌會所創辦的中學孩，給予細心有愛的照顧之外，每
就讀（西班牙的中學包含初中三一年她也都會在聖地牙哥市的街
年及高中三年），當時是跳級提早上，為城裡的癌症病患募款。
完成小學學業。有人說我天資聰家庭確實潛移默化地影響我在
穎，其實我只是在升學的路上比人生道路上的選擇，讓我往後有
較幸運而已。但從小與我感情最機會成為散播愛與祝福的人。 2019年台灣總統大選，投票當天與副總
統夫婦合照。(大塊文化提供)
好的四哥迪亞哥，升學路就不是親歷福爾摩沙
那麼順遂了。在耶穌會的安排下，一九六九年
我與四哥，形同雙胞胎，求學的我從東帝汶離開，被派遣到臺灣
過程中兩人都一起。初中到高中繼續我的福傳工作。當時我還在東激動，從飛機窗口望向窗外，心裡
有個升學考試，大考之前，四哥因帝汶修道院擔任院長，同期間臺灣吶喊著，是「F o r m o s a，這個美麗
為太投入幫助朋友溫習課業，反大學醫學院有一位公共衛生背景島」！
倒弄得自己考試不及格被留級，因的美國籍江建神父開了一門新的天主給我的五十二歲禮物
此還被分到跟我同一班，變成我醫學倫理課。然而這位神父在上課小時候在西班牙唸書時，我清
的同學。一段時間後，發覺身體有異狀，多晰地記得，在地理課本上讀到「福
我很佩服四哥，他不管別的同學次寫信給會長，希望會長能夠派有爾摩沙」這個島嶼的存在，對當時
怎麼看他，不覺得和我分到同一醫學背景的會士到臺灣接替他教不到十歲的孩子來說，這個地方令
班很丟臉，一樣笑臉迎人，善待他授醫學倫理的課程，因為他知道我我非常興奮，因為在我們的語言
人，我知道他是因為考試時想幫助是一名醫學博士也學過中文，這樣中，每個人都曉得福爾摩沙的意
別人，結果沒有顧好自己的成績。他能回到美國接受醫療的照護。思，就是「美麗的島嶼」。
而我則是先顧好自己份內的工作，我一開始並不知道此事。但因我一直記得這個美麗的小島，也
所以我通過考試。我倆成為同學為東帝汶修道院確實有人接替。記得這是帝國殖民時期，葡萄牙在
後，變得更加形影不離。我在一九六九年按照長上的安排，遠東地區航運頻繁，船員在經過
除此之外，我爸爸、媽媽、哥哥轉了好幾班的飛機，也不太記得是臺灣海面上，驚呼島嶼上高山峻嶺
都喜歡幫助人，對我們這一輩的孩飛到哪，只記得有經過澳洲的達爾青綠蒼翠，替臺灣取的美名。
子來說，有深遠的影響。我們在不文，後來抵達臺灣。我有時會想，多麼奇妙！在今天
知不覺中也承襲爸媽一脈相承下飛機緩緩降落，我的心情萬分臺灣許多人的爺爺奶奶出生之前，
53
開了。當時離開中國是因為打仗，
到臺灣則是因為耶穌會認知到離
「反攻大陸」的可能越來越遠，也
將大部分資源逐漸移到臺灣。所以
我對臺灣的第一印象，多了一份安
定感，尤其在生命經歷過幾場內戰
之後。
初抵臺灣，剛好是強颱來襲的
幾天之後。
當時我在飛機上，看到臺灣多
處田地都被雨水覆蓋，災情慘重，
一眼望去好多湖，好多河，好多水
2017年10月在梵蒂岡覲見教宗。（大塊文化提供）
啊！那震撼的畫面讓我印象深刻。
我記得那個颱風是以一位女性的
我已經在學校的課本上讀過福爾工作，後來遠東省於一九七○年改名字命名的，很有名，啊！想起來
摩沙；在各位讀者的爸爸媽媽誕名為中華省。了，是維奧娜。
生在福爾摩沙之前，我已經雙腳踩我似乎就活在這樣的時代動盪我開始在臺灣生活。
在這塊土地上了呢！我可能是當今裡。時隔離開中國已經有二十年，當年的台北大多仍是田地，水稻
臺灣最早知道福爾摩沙的外國人再度踏上同樣擁有豐富中華文化田，還沒有很多樓房。火車在地面
啊！的臺灣，心中那份五味雜陳，很難上跑，鐵路還沒有地下化。過平交
但我從來沒想過，這個曾經在用言語表達。感覺回到了曾經拜道的時候，會有柵欄放下，行人要
書上讀過的「福爾摩沙」，竟在天訪過的地方，但又帶著全然不同先等火車經過，有時得等上很久。
主的安排下，成為我的另一個家。的味道。那個年代，還在討論鐵路要不要地
在這裡生活超過半世紀，五十幾年這像是天主給我的一份禮物。下化，所以「等火車經過」是當時
間，能親眼見到她真正的美麗與天主讓我用不同的形式，延續生活在台北的日常。
變化，感受這片土地上淳樸溫暖的在華人社會傳道的目標。也因為我我也親歷臺灣經濟快速發展的
人情。在北平生活過，相較在菲律賓和東階段。都市化與現代化的速度，都
來到臺灣時，我已經五十二歲帝汶的日子，初抵達臺灣，觸目所讓我感到非常吃驚。這幾年我到
了。及，在在都讓我想起昔日在北平的台北各處探訪病人、教友，都搭捷
相對於一九五○年代，一九六九日子，那是一份熟悉與想念。運和公車，但你知道嗎？當時耕莘
年的臺灣，反攻大陸的氛圍已消退然而，不一樣的地方是，在臺灣文教院前面的捷運站，都還是小
許多，兩岸情勢稍緩，因越戰和冷我覺得比較安全和舒服！喔！總算河啊！田地啊！這讓我想到我在上
戰關係，國際情勢也有所改變。臺讓我找到一個比較貼切的詞形容海時，有一百多萬人住在水上的船
灣在國民黨政府的威權體制下，經那種不一樣的感受。屋。你看現在，發展得真的很快。
濟正在緩緩起飛。耶穌會遠東省也相較一九四九年的北平，邊修道許多外國神父初到臺灣，因臺
漸漸認知「回大陸」的機會越趨渺邊擔心著中國共產黨打過來，在灣濕熱難耐的天氣感到不適。這
茫，會士紛紛來到臺灣持續福傳的臺灣，我慶幸那份不安的感覺離點對我完全不是問題。我已經習慣

了。在菲律賓、在帝汶島，快二十意玲還是很不解，幫我多塞了幾父長期在異地福傳，當有機會回到
年都在很熱的環境，所以對我來套衣服。接著她又問我，「那要準自己家鄉，很多已經和他們後生晚
說不是難事。在北平，冬天是零下備幾片你個人的紀錄片光碟，給你輩沒有太多情感聯繫，但神父年紀
二十度，臺灣完全不同。我比較怕的親戚呀？」這麼大，卻還很能跟他的親戚們保
冷，臺灣和西班牙的氣候比較相「不用每個人都給，不然可能會持有愛的關係，真的很難得。」
似，也比較適合我。有兩百多人吧！」關於回家鄉，自從耶穌會對於
中國國民黨被共產黨節節逼退「什麼？兩百多人？」意玲以為神職人員返家探親的限制慢慢放
遷往臺灣，在臺灣延續中華民國我在開玩笑。寬後，我在一九六六年就第一次返
的政府體制。而被驅趕的耶穌會，結果當天家族聚會，真的不誇回西班牙。之後也陸續多次回去，
也將主要的傳教工作移往臺灣、張，即使和我同輩的兄弟姊妹只剩與家人團聚，或是這幾年接受頒獎
東南亞等與華人有連結的地方。因下我一人，可能因為我一直和下一等儀式。一九八九年，我回到聖地
此不只是我，許多原本在中國傳教代的親戚們保持良好的關係，大合牙哥參加第四屆天主教世界青年
的外國傳教士，也陸續來到臺灣。照裡，整整有兩百多人，哈！這裡大會，接受教宗若望保祿二世給予
當時全世界約有三萬多位耶穌會面都是我的家族親戚喔，而不是堂的祝福。二○ ○二年，也在西班牙
成員，其中七百多人在中華省。區教友喔！我其實很多都不認識慶祝晉鐸金慶。活過百歲，我仍和
這些離開中國大陸的耶穌會成啦！照片上滿滿的人，我沒有幾個家人保持很密切的關係。
員，各個都是強將專才，積極在各叫得出名字。我平常會和在西班牙的家人通
地持續推動各領域的傳教工作。那一年從西班牙回來後，行李滿信，比較常聯繫的是大哥和小妹的
有些在菲律賓馬尼拉和宿霧，分滿的，還多了一個小行李箱。孩子，我的姪子姪女，他們有時會
別成立中學，成為當時重要的學意玲看了很吃驚，打開行李一寄信給我，關心我的近況，也和我
術機構；有些在越南和泰國幫助看，好多新衣服，一整套一整套。分享在西班牙生發生的事情，我會
當地主教建立修道院，培養會士我就跟她說，早說了不用帶太多認真的用「單指神功」緩慢的敲打
人才，到現在都還持續在各地發揮衣物吧！我的姪女已為我預備好在電腦鍵盤回信給他們。
影響力。西班牙需要的一切！從手寫信到電腦時代，雖然年紀
百歲重回故鄉讓她更驚訝的是，我家人送給大反應不快，我仍然很願意學習新

「意玲，妳可以幫我帶一兩套我的每一件衣服上面，都縫上我事物，一鍵一鍵慢慢敲，所以意玲
衣服就好了嗎？」的西文名字R á b a g o縮寫，因為他說這點很難得。
二○ 一七年，意玲在幫我整理們知道我住的團體會士多，有時我的家人也多次到臺灣拜訪。
回西班牙領獎的行李。這是加利候，洗衣服的員工要分辨比較辛多年前她們組團來臺時，第一屆
西亞當地政府決定頒給我的獎苦，所以每件衣服都親自縫上。北商光啟社的老學生們，希望盡地
項。這次回西班牙，剛好是我滿除了衣服之外，我的家人還準主之誼招待我們去日月潭渡假遊
一百歲，也受邀當地教區傳教節備了一些小禮物，送給臺灣的教友玩。但是我的家人都很客氣，婉拒
活動及參加法蒂瑪聖母一百週年朋友。邀請。因為她們主要是希望在臺
的紀念慶典，會待上兩個月。意玲接受訪問的時候提到這件灣的期間，讓我們有多一些時間陪
「你去兩個月，一兩套衣服怎麼小事很有意思。伴彼此。
夠？」意玲感到非常困惑。她說：「我沒想到賴神父的家人當時我九十九歲，我體力還不
「夠啦！夠啦！」連這些小細節都注意到。很多老神錯喔！
55
影像對話　PHOTO ESSAY
傳統手工割稻
再現相互扶持的換工稻作傳統
圖／文・張良一
版面設計•馬英凱
換工農友們彼此分工合作：有人彎腰割稻、有人傳遞一把又
一把結滿稻穗的稻桿、有人負責脫榖，大家相挺相扶持。
Farmers sharing their labor for the harvest divide up the work
into various tasks: some bend their backs to cut the rice, some
pass along the cut sheaves, and others are busy hulling the rice.
Everyone works together.

Harvesting Rice by Hand
—Farmers Uphold a Sharing Tradition
57
換工的農友們將整束稻稈放進水稻脫榖機脫榖。由於水稻都是水，脫榖機
上的紗網噴滿了水珠。
Farmers helping out with the harvest lay the heads of whole sheaves of rice into
the hulling machine. Because the rice is grown in wet paddies, the screen on the
hulling machine is covered in water droplets.
距離貢寮市區還有十多分車程的石壁坑最重要的日子。清晨才剛破曉，田裡的稻
山上，至今仍有不少農家從事稻作。通往穗佈滿著露珠，簡秋陽已經迫不及待的下
山區的山路過窄，不利割稻機上山，石壁田割稻！不過，他並不是一個人在偌大的
坑的農友們沿用傳統的人工種稻。由於需田裡孤獨地割稻！他的兩位弟弟和一位妹
要大量人力，仍保留「換工」傳統，十多妹，還有其他10位農友們都會上山「換
位農友組成一個換工團，今天我們幫你割工」幫忙他。清晨不到六點，太陽還沒爬
稻，明日你幫其他農家，大家相挺相扶上簡秋陽屋後的山頂，農友們陸陸續續來
持，在趕時趕陣的割稻期間，及時收割已到，有人彎腰割稻，有人傳遞一把又一把
經飽滿成熟的稻榖。台灣從1970年代進結滿稻穗的稻穫，有人負責脫榖，而在屋
入機械化耕作後，很難再見到「換工」割子前的阿嬤們也沒閒著，除了曬稻，還要
稻，沒想到在偏遠的貢寮山區，因交通不張羅十多人吃的「割稻仔飯」。水田裡、
便，意外的保留下來，也見證往昔台灣的曬穀場上，還有簡秋陽的屋裡屋外，人聲
農村文化。鼎沸，讓平日安靜的山村熱鬧滾滾。
72歲的簡秋陽在貢寮石壁坑山上種植由於換工割稻需要大量人力，也非常消
兩分多地的水稻，割稻日是他這一年當中耗體力，吃「割稻仔飯」是割稻當天非常

簡秋陽肩挑剛從田裡收割下來
的稻穀，準備擔到屋子前的馬
路上曬稻穀。
Jian Qiuyang carries freshly
harvested rice from his fields to
the road in front of his house,
where it will be dried in the sun.
On Mt. Shibikeng, ten minutes’ drive from downtown begin arriving before six in the morning, before the sun
Gongliao in New Taipei City, even today there are a num has even crested the mountain peak behind Jian’s home.
ber of farmers growing rice. The road into the mountains Some bend their backs to reap the rice, some pass along
is very narrow, making access difficult for mechanized the sheaves of cut rice with ears full of grain, while oth
harvesters, so the farmers of Shibikeng still harvest their ers take on the task of hulling the rice. Moreover, in front
rice the traditional way, by hand. Because this requires a of Jian’s house a group of elderly women are busy too:
great deal of manpower, they have kept up the tradition besides sundrying the rice, they also have to prepare
of sharing their labor, with ten or more farmers organ “rice harvesting meals” for more than ten people. A hub
izing a harvesting team. They all pitch in to bring in each bub of voices percolates the paddy field, the place where
member’s crop by turns, assisting each other so that the the rice is spread out to dry, and inside and outside Jian’s
mature rice can be cut in a timely manner during the house, enlivening the normally quiet mountain village.
brief harvest season. After the introduction of mechan Reaping rice by hand requires a lot of manpower and
ized farming in Taiwan back in the 1970s, it became rare is exhausting work, so eating the “rice harvesting meals”
to see rice being reaped by shared labor. Little do most is an important part of a day of harvesting. Besides the
people know that in the mountains of Gongliao District, three main meals of the day, there are two snacks, one in
this tradition has been preserved by happenstance, due the morning and one in the afternoon. Only by consum
to the lack of access for machinery. It is a reminder of Tai ing a lot of food can the harvesters replenish the vast
wan’s rural culture in days gone by. amount of energy expended, which is why there is the
Jian Qiuyang, age 72, farms something over two- tradition of eating five meals a day when harvesting rice.
tenths of a hectare of wet paddy on Mt. Shibikeng, and Jian Qiuyang’s younger sister, a very experienced old
the day of harvesting his rice is the most important day lady, has already picked a big pile of water spinach (Ipo-
of the year for him. Dawn is just breaking and the ears moea aquatica) and sweet potato leaves before heading up
of rice are still covered in dew when Jian, unable to the mountain. She and her neighbor, another old lady,
wait, steps into his fields to begin cutting the rice. And use the time before things get busy to sort through the
he is by no means alone! His two younger brothers, his vegetables and clean them ready for cooking. Then Jian’s
younger sister and ten other farmers have all gone up sister sets to work in the kitchen preparing the snack
the mountain to share their labor and help him out. They to be eaten at 10 a.m.: she cooks up stir-fried noodles,
59
61
農友們從清晨五點多割到上午十點多，由於換工割稻非常消耗體
力，因此，吃「割稻仔飯」是割稻當天非常慎重的大事。
The farmers harvest rice from before 6 a.m. until just past ten, when
they pause to eat. Because reaping rice by hand is grueling work,
eating the “rice harvesting meals” is an important part of harvest day.

正中午割完稻，農友們直接取山泉水沖涼。
When they finish work at high noon, the farmers
cool off with water from a mountain spring.
63
慎重的大事！三餐之外，上下午另有兩頓點心， pork knuckles with braised egg, boiled chicken, and
唯有大量的食物才能補充耗去的體力，也因此有 fish soup made with freshly caught fish. After the meal
there is even chilled grass jelly and homegrown water
「割稻仔飯食五頓」的傳統。簡秋陽的妹妹，也
melon. Jian brings out the finest foods in his house to
是一位經驗老到的阿嬤，她在上山前已經摘了簡
express his gratitude to the farmers who have come up
直像一座山的空心菜和地瓜葉，她和鄰居的阿質
to help him by offering them excellent rice harvesting
阿嬤，趁著還不忙時挑撿要吃的菜葉。隨後，簡 meals. The old rural tradition of eating five meals a day
秋陽的妹妹就開始在廚房忙著早上十點要吃的點 when harvesting rice has been preserved thanks to the
心了：她準備了炒大麵、豬腳滷蛋、白斬雞還有 continuing practice of labor sharing in Gongliao.
現撈現煮的鮮魚湯，餐後還有冰鎮的仙草冰和自 The team that is helping Jian Qiuyang includes ten
家種的西瓜。簡秋陽把家裡最好吃的食物通通拿 elderly men, three elderly women, and one farmer in his
30s; added together, their ages surpass 1000 years! They
出來，藉著澎湃的割稻仔飯表達對前來換工的農
begin harvesting before six in the morning, and work
友的感謝之意！昔日「割稻仔飯食五頓」的農村
straight through to the intense heat of noon before they
文化，也因為在貢寮山區的「換工」割稻而保留 finish reaping Jian’s twotenths of a hectare. Down in
下來。 the plains, a harvester could complete a similar area of
簡秋陽的割稻換工團總共有十位阿公、三位阿 rice fields in less than an hour, meaning that Jian and his
嬤和一位30多歲的農友，年齡加起來超過千歲！ helpers work seven times as long to do theirs. Even when
他們從清晨五點開始割稻，一直到烈日灼人的正 they begin work early in the morning, they are immedi
ately soaked in dew and sweat over their whole bodies,
中午才割完兩分多地。同樣面積的稻田在平地，
and under the intense sun they have to endure the pain
割稻機不用一個鐘頭就可以完成，簡秋陽他們卻
of continually bending their backs, so the process is ex
花了整整七倍的時間！清晨才剛下田，他們全身
tremely arduous. Why go through such hardship? Jian
上下立刻濕透，烈日下還要忍受不斷彎腰帶來的 replies without hesitation: “When you buy rice from me,
全身酸痛，過程極為艱辛勞累。為何要那麼辛苦 that gives me the motivation to keep on going!” l
呢？簡秋陽毫不遲疑地說：「你跟我買米，我就 (photos and text by Chang Liang-i/
有動力做下去！」 l tr. by Phil Newell)
65
全球視野　GLOBAL OUTLOOK
尋回世界角落的台灣檔案
國家寶藏計畫
Scouring the Globe for
Taiwanese History:
The Taiwan National Treasure Foundation
文•鄧慧純　圖•國家寶藏計畫提供　版面設計•馬英凱
有一群人，義無反顧地踏上尋寶的路，只是翻拍，上傳雲端資料庫，
他們尋找的不是深藏在洞穴裡、金光閃閃的珠寶供全民檢索瀏覽。這是
財貨，而是藏在美國國家檔案局裡一張張一片片「國家寶藏」計畫，現已
關於台灣的史料。這些寶藏無法使人致富，卻能累積翻拍超過22萬張的文
讓台灣人更認識自己，知道自己從何而來，因為件，是台灣的情蒐紀錄，也是生活片段，提醒著
定錨過去，未來的路才能走得更堅定。我們在這塊土地上曾經發生的故事。
從2017年開始，幾
歷史在手上，親觸時空現場
乎每個月一次，一「國家寶藏」計畫是由蕭新晟、林育正和莊
群在美國紐約的台灣世杰共同發起的。聽聞在美國國家檔案局裡有很
人，在天濛濛亮的凌晨多關於台灣的文獻資料，一群人想著這些資料如
五點集合，開4.5個小時何讓更多台灣人看到。他們成立「國家寶藏基金
的車，幾乎等於台北到會」，集眾人之力募資，利用g0v開放政府的精
屏東的車程，到達位在神，號召志工到檔案局用手機翻拍檔案，並同步
馬里蘭州的美國國家檔案把資料上傳資料庫，公開給全民參閱。
局，然後調出一箱箱關於國家檔案局裡面典藏的檔案包羅萬象，收藏
台灣的文件，一張張用手機了美國建國以來的官方文件，美國駐海外的領事

國家寶藏團隊在美國國家檔案局裡翻拍一張張屬於台灣的故事。
The Taiwan National Treasure Foundation photographs documents in the US
National Archives page by page to uncover Taiwan’s story.
T aiwan has its own group of dedicated treasure

hunters! But instead of searching for riches
hidden in caves, they are trawling the US National
Since 2017, a group of Taiwanese based in New York
have gathered roughly once every month at 5 a.m. to
begin the four-and-a-half-hour drive to the US National
Archives for historical information related to Tai- Archives facility in College Park, Maryland. There, they
wan. This isn’t the sort of treasure that will make request boxes of documents related to Taiwan, then
anyone wealthy, but it can help Taiwanese better go through them page by page, uploading copies to a
understand ourselves and how we got to our pres- cloud-based repository. The group, the Taiwan National
ent place in the world. More, gaining a clearer view Treasure Foundation (TNTF), has already duplicated
of where we’ve been will enable us to hold more more than 220,000 documents chronicling the history
firmly to our course into the future. of our island.
67
結合公民參與以及科技創
新，國家寶藏團隊號召
志工到檔案局，數位化
與台灣相關的歷史資料。
團隊成員左起蔡思亭、蕭
新晟、侯光遠、楊承融。
（林格立攝）
The TNTF team asks
volunteers to visit the
National Archives to help Minerva Schools學生在蟾蜍山社區老師葉媽的教導下，
digitize Taiwan-related 製作客家菜草仔粿。（台灣大學國際事務處提供）
historical information. From
Toad Mountain community resident Mrs. Ye taught Minerva
left, the team includes Cai
students to make caozaiguo, a Hakka dainty made of glutinous
Sih-ting, Hsin Hsiao, Hou
rice and herbs such as Chinese mugwort, with sweet or savory
Kuang-yuan and Darren
fillings. (courtesy of the Office of International Affairs, NTU)
Yang. (photo by Jimmy Lin)
館資料也收羅其中，與台灣相關的文件據統計有灣來找買家。也有美方官員思鄉，寫信給美國亞
超過六千萬筆，國家寶藏團隊率先整理出1979年特蘭大可口可樂總公司訂購可樂的往返信件。還
中美斷交及臺灣關係法的文件，蕭新晟當初負責有日治時期地區戶口普查、礦產、農業等調查資
翻拍那一箱文件，「這資料很精采，從文件中可料等，美援時期在台灣推動的公共衛生宣傳小
以看到那時候雙方的來回角力，我方官員怎麼樣冊，親手碰觸到這些檔案，彷彿能浮現當時台灣
去遊說，然後斷交之後美方在怎麼樣的基礎上推的生活樣貌。
出台灣關係法。」「裡面台灣關係法的草稿，我
從不同角度重新認識台灣
們就拍了四、五份，因為他每出一份旁邊都會寫
修改註記，結果我們就拍了好幾份的草稿。」從國家寶藏的志工從19歲到70歲都有，當天受
這些歷史的線索，可以知道當時決策過程怎麼發訪的蕭新晟、楊承融、蔡思亭、侯光遠四人都是
展，爬梳台美關係如何走到今天的位置。七年級生。赴美之前對台灣的認識不多，到了異
營運長楊承融解釋，「根據美國的法律，這些地，要跟別人談論自己的故鄉，才發現自己對於
資料30年之後就開放給任何人調閱，而且都是台灣的了解竟是如此皮毛。
『正本』。」因此每位志工手中的紙片，在歷史從小被父母送出國，當起小留學生的蕭新晟
上都曾經扮演某個角色，就像穿越時空一般，可說：「因為中華民國不被美國承認，所以我們在
以一窺歷史的縫隙，如1925年，台灣尚屬日本殖這邊（美國）會特別想知道說，他們不承認我來
民地，美國領事館收到中華民國駐臺北總領事館的國家叫做中華民國，那我到底來自哪裡，就開
的請柬，邀請參加中華民國第14回國慶紀念會，始思考這個問題。」
還有美方回覆外國會館的信件，都被完整保留下在匹茲堡大學專研公衛領域，負責號召匹
來，可為台灣複雜身世之佐證。茲堡地區志工的蔡思亭曾被問過「你的認同
檔案局收藏的東西鉅細靡遺，楊承融描述「你（identify）是什麼？」讓她反思：「我們整天
可以想像是大使桌上的一疊文件，他們拿個箱子就是喊我們是台灣人，但再追問台灣人的認同什
就把它裝進去。然後就寄回美國進了檔案庫。」麼？我講不出來。」「我們只是強調自己（與
其中，有美國企業寄來各式的目錄，如派克鋼筆中國大陸）不一樣，但是說不出來是哪裡不一
公司、童裝公司等，希望透過領事館介紹，到台樣。」

History in hand openingcracksthatofferglimpsesofactualevents.For
TNTF was founded by Hsin Hsiao, Lin Yu-cheng and example, in 1925, when Taiwan was still a Japanese col-
Chuang Shih-chieh. The three had learned that there ony, the US consulate in Taipei received a card from the
were many Taiwan-related documents and records in ROC consulate-general inviting its staff to attend the
the National Archives, and wanted to make them avail- celebrations of the 14th anniversary of the ROC’s found-
able to larger numbers of Taiwanese. Their solution ing. Preserved intact, the invitation card is a physical
was to create the TNTF, raise some money, and recruit embodiment of the complexity of Taiwan’s past.
volunteerstogothroughfilesatthearchives. The Nat ional Arc h-
The US National Archives collect records of all kinds, ives’ collection is incred-
including official documents dating back to the found- ibly granular, including
ing of the United States. These records also include 60 items as diverse as the
million items related to Taiwan. The TNTF team began produc t c at a logs t hat
its work by collating documents relating to 1979’s end American firms such as
of formal diplomatic relations between the US and the the Parker Pen Company
Republic of China, and to the Taiwan Relations Act. and children’s clothing
Hsiaowentthroughthosefilespersonally.“Theinforma- companies sent to Taiwan
tion was amazing. You could see the two sides wrestling when seeking customers;
backandforth,howourofficialslobbied,andthebasis correspondence between
on which the US rolled out the Taiwan Relations Act homesickUSofficialsand
following the break in formal ties.” He says they photo- the Coca-Cola Company’s
graphed four or five draft versions of the act because headquarters in which the
there were notes about amendments on each draft that former sought to order
illustrated the policymaking process and suggested how Coca-Cola for delivery to
US–Taiwan relations came to be what they are today. Taiwan; and even pamphlets promoting public health
Foundation CEO Darren Yang explains, “US law from the US Aid period. Personally handling these
makes this kind of information public after 30 years. All documents transports the volunteers back in time, paint-
of the documents we copy are originals.” That means ing a picture of life in those days.
that volunteers are handling papers that played a dir- A different perspective
ect role in history. They’re like portals through time, Hsiao, Yang, Cai Sih-ting, and Hou Kuang-yuan, all
of whom are in their thirties, tell us that they didn’t
know Taiwan that well when they came to the US, and
that it was the act of trying to tell others about their
homeland that exposed just how little they knew.
Hsiao, whose parents sent him to study in the US
while still a young child, says: “The US doesn’t recog-
nize the ROC, so those of us over here really wanted
to know, if they don’t acknowledge that the country I
come from is called the Republic of China, then where
the heck do I come from? So I started thinking about
this question.”
美國領事館收到早年中華民國駐台北總領事館的國慶請柬
（右上）與回函（左下），文件佐證台灣的複雜身世。
An invitation (above) that the US consulate in Japanese-era
Taipei received from the ROC consulate-general, and its reply
(left). The documents highlight Taiwan’s complicated history.
69
美國國家檔案局收藏的東西鉅細靡遺，從物產、原住民、公生意，「我非常驚訝地發現，原來台灣曾經像香
共衛生宣傳小冊等，可幫助我們從不同角度認識台灣。
The US National Archives contain all kinds of documents, 港、倫敦這些大城市，曾經有這麼多企業這麼積
from descriptions of natural products to images of Taiwanese
Aborigines and public health pamphlets, which can help us 極想要接觸我們；這與以往我們被教育台灣是個
better understand Taiwan.
無人聞問的小國的認知大不相同，也讓我們重新
去思考，原來台灣是有這樣的潛力的。」
「我覺得找到跟自己越相關的東西就會越受
因此，除了自己努力補足對台灣的認識之外，感動。」畢業於成功大學的侯光遠，他在檔案中
藉由參與國家寶藏計畫，也看到不同國家認識的找到很多美援時期與成大相關的史料，還甚至在
台灣。文件中看見上一代系上教授的名字，就像是找到
「從美國人的角度看台灣，會發現其實我們自己祖師爺的概念。「翻拍的過程還可以了解很
有很多的優勢是很細微的，是我們自己不曾察覺多behind the scenes的故事。」蔡思亭說。專研公
的。」侯光遠曾翻拍過美國某大學來台灣參訪學共行政的她，透過翻拍檔案，才了解父母親年輕
習台灣農漁業的文件，他們來見習台灣的強項。時，下班後時興去看電影，這也是美方的建議，
文件裡頭夾了某漁會理事長的名片，引起侯光遠要台灣政府關心勞工的娛樂健康，甚或保險的觀
的聯想，知道前人的篳路藍縷，一張名片，牽連念，都是從美國引進來的。
起兩個時代。而台美關係著實匪淺，蕭新晟指出，諸多文件
蔡思亭分享翻拍時，看到美國各大城市寄了各顯示台灣的民主化過程，其實有美國在背後施加
式的商品目錄，了解到大家都想要來福爾摩沙做壓力，要當時的國民政府放棄威權走向民主。讀

Cai, a PhD candidate in public health at the Univer- personal connection to,”
sity of Pittsburgh, recruits volunteers in the Pittsburgh says Hou, a graduate of
area. She says she used to have trouble answering Nat ional Cheng Kung
quest ion s about her ident it y. “We call ourselves Un ive r s it y. W h e n h e
‘Taiwanese,’ but I found I couldn’t answer questions found information in the
aboutTaiwaneseidentity.”Shesaysfurther,“Weoften archives relating to the
just emphasize that we’re different [from mainland un iversit y during t he
China],butthencan’texplainhowwe’redifferent.” Amer ica n a id per iod,
That conundrum prompted Cai to volunteer with a nd t hen came across
the foundation, and has led her to an understanding of the name of a former pro-
how Taiwan is seen by other countries. fessor from his department,
Seeing the catalogs of products sent to Taiwan it was like stumbling upon the name of
from all over the US made her realize that everybody some great master of former times.
wantedtodobusinesswithFormosa.“Iwassurprised Taiwanhasbenefitedinmanywaysfromitsrelation-
to discover that Taiwan was once like Hong Kong, ship with the US. Hsiao says that numerous documents
London and other big cities, that so many companies reveal that the US pushed Taiwan’s democratization
were actively pursuing contacts with us. That’s very from behind the scenes, pressing Taiwan’s Nationalist
differentfromwhatweweretaught—thatTaiwanwas government to move from authoritarianism to demo-
atinycountrythatnoonehadheardof—anditmade cracy. Hou, who studied engineering, mentions that US
us rethink things and see the potential Taiwan had engineeringfirmsalsoassistedwiththeplanningand
back then.” design of Taiwan’s ten biggest infrastructure projects
“I’mespeciallymovedbyfindingthingsthatIhavea from the 1970s.
不只紙本資料，還
有膠卷，都收藏著
屬於台灣的記憶。
The archive’s
collection extends
beyond printed
documents to items
such as reels of film,
all of which contain
bits of Taiwan’s
memories.
71
國家寶藏計畫不只在美國各城市舉辦分享會，更藉由網站、拍作業的當務之急。
募資號召更多人來參與歷史、認識台灣。
Using fundraising and the Internet, the TNTF is reaching beyond 「現在的資料都已經上雲端了，等之後有了經
US cities to urge still more people to participate in history and
learn more about Taiwan. 費，可以做更多的優化，比如說搜尋介面、關係
網絡的建立，讓更多人容易使用網站，是我們一
直在思考的問題。」蕭新晟說。未來希望有專職
工程的侯光遠提到，台灣1970年代的十大建設，尋寶團隊翻拍，建置A I辨識系統，加速文字數
許多是美國工程公司來台協助設計跟規劃的。位化，有專業的小編，分享檔案的故事。現在國
「美國對台灣的投資著墨真的非常的深。」侯光家寶藏臉書小編，背後的主筆是遠在美國的腦神
遠解釋，「他有一個延續性，也不是今天突然對經科教授莊士杰，他並非史學專業，但寫出一篇
你好奇才開始調查，他基本上已經做了一百多年篇吸引人的小文，這樣的工作，需要有人專職經
的觀察紀錄。」這份交情，端看觀者從什麼角度營。團隊成員說著一堆腦子裡已經醞釀許久想做
來解讀，但是蔡思亭很鼓勵大家有機會到美國，的事情。
參與一次翻拍的活動，「透過翻拍重新認識這片其實這些寶藏資料都還在等待多元領域的人，
土地，感受真的會不一樣。」能將其轉化運用。他們曾經協助《西螺大橋─我
的父親李應鏜》的作者李雅容找到「西螺大橋」
國家寶藏向前走
的美援文件，她的父親、西螺鎮長李應鏜是當年
現今美國國家檔案局內已有日本、越南和菲促成連結濁水溪兩岸的西螺大橋的關鍵人物。小
律賓的團隊長駐，直接由國家挹注經費，專職編還曾經貼出檔案裡翻拍的鄒族少女照片，居然
人員進行翻拍。而台灣的國家寶藏計畫一直以有人留言「是我姑姑」，「是某同學的媽媽」，
來都是依賴志工及募款維持運作。2020年，國循線來認親，像這樣的故事應該在台灣還有更多
家寶藏登上嘖嘖募資平台，希望藉由全民之力更多能被串起的可能。
協助這份很龐大、很艱難的計畫。也曾有人提國家寶藏計畫也希望能走得更遠，歷史上曾經
出這該是國史館要做的事情，「我們當然希望與台灣有密切關係的國家，如英國、荷蘭、日本、
政府也下來一起做，但是在那之前我覺得我們葡萄牙、西班牙都可能保有關於台灣的資料，把遺
能做多少是多少。」楊承融說。「而且資料會失在世界角落的台灣拼圖一塊塊找回來，每個人都
老化，很多史料墨水都已經褪色了，隨著時間可參與、親近、解讀，「歷史是屬於每一個人」，
越久，文字會越來越難辨識。」侯光遠補充翻是國家寶藏計畫最重要的精神。 □

“US investment in Taiwan goes really deep,” says time that passes, the less legible they become,” says
Hou. The friendship can be read in different ways de- Hou, explaining the urgency of their mission.
pending on one’s point of view, but Cai nonetheless The foundation would like to have a full-time team
encourages everyone who has the opportunity to visit dedicated to searching for and copying documents, and
the US to participate in the document copying project to accelerate its digitization project by setting up an AI-
atleastonce.“Comingtoknowthislandanewthrough based text recognition system. They’d also like to have
the copying process really gives you a different per- a professional social media editor to share the stories
spective.” behind the documents.
The way forward More, the TNTF would like to extend its efforts to
There are similar teams from Japan, Vietnam and the other countries connected to Taiwan’s history and
Philippines at work in the US National Archives as well, likely to have preserved information about that contact,
with the costs of their copying efforts paid directly by including the United Kingdom, the Netherlands, Japan,
their governments. But the TNTF has always relied on Portugal and Spain. The group’s aim is to recover bits
volunteersanddonations.“Thematerialsareagingand of Taiwan’s history that are currently scattered around
the ink on some documents is already fading. The more the world, and bring them home where people can see
and interpret them for themselves. After all, our his-
tory belongs to us all. l
「歷史是屬於每一個人」，每個人都可參與、親近、解讀， (Cathy Teng/photos courtesy of TNTF/
是國家寶藏計畫重要的精神。 tr. by Scott Williams)
The TNTF feels that everyone can participate in, become
familiar with and interpret history. “History belongs to us all.”
73
島嶼行旅　AROUND TAIWAN
「驛」想不到的精彩
走訪台日同名車站
文•謝宜婷　圖•莊坤儒　版面設計•馬英凱
What’s In a Name?
—The Unexpected Charms
of Japanese-Era Train Stations

1960年代戰後經濟復甦的日本，年輕人
開始海外旅遊，當他們到鄰近的台灣時， W hen Japan’s postwar economy took off
in the 1960s, young people began trav-
eling overseas. When they arrived in nearby
發現當時許多台灣青年與老人家能說流利
Taiwan, they discovered that many Taiwan-
的日文，更讓人驚喜的是，這裡看得到與
ese, young and old, could speak fluent Japan
日本同款的蒸氣火車與相同名字的車站。 ese. Even more surprising was that in Taiwan
每到一個日治時期的車站，欣賞百年前 they could see the same models of steam trains
的遺跡與故事，就彷彿坐上通往那個時代 as in Japan and many railway stations with
的列車，歷史瞬間變得立體。對日本鐵道 seemingly identical names to ones at home,
迷來說，來台灣走訪火車站，已經成為世 for they are written with the same Chinese
代傳承的習慣，而台灣的鐵道迷則不斷致 characters, though their Japanese and Chinese

pronunciations are often very different.
力於保存老車站的建築與背後的故事。
負責改建「德興米廠」的三位青年，都是來自屏東六堆的客家人，希望透過老屋改
建的咖啡廳，帶動竹田地區發展。
The three young people who renovated the Dexing Rice Mill are all Hakka from Liudui
in Pingtung. They hope that the old building’s rebirth as a coffee shop can promote local
development in Zhutian.
75
全台的火車站，除了北迴與南迴，幾乎都在竹田地區是客家聚落，但日治時期為了避免民變，將今日
萬丹鄉部分村莊劃入，此地因此成為閩客合居。
日治時期完成，其中有32個與日本當地同名的車 The Zhutian area was originally settled by Hakka. But under
Japanese rule, the colonial government, aiming to avoid
站。《光華》團隊此次到竹田、關山與瑞穗車 popular rebellion, redrew the district lines to incorporate some
villages from a neighboring area (today’s Wandan Township),
站，這三個車站附近仍可見日治時期遺跡，以及 making Zhutian into an area with both Hakka and Southern
Fujianese residents.
懷有當時回憶的老人家，我們將跟著在地文史工
作者，了解車站的興衰與當地歷史。
傳承的鐵道文化片倉佳史從國小四年級就開始火車旅行，在
日本念書時，從未讀過日本殖民台灣的歷史，因
走訪台日同名車站之前，《光華》團隊先採
此當他來到台灣，看見日治時期的遺跡，感到非
訪兩位鐵道專家，詢問他們台日鐵道文化間的淵
常震撼。為了瞭解這段陌生的歷史，他決定留在
源。一位是《鐵道情報》總編輯古庭維，另一位
台灣，探索更多遺跡與故事，並分享給家鄉的
是日籍旅台鐵道專家片倉佳史。
讀者。
「在台灣，聽到火車要開之
許多日治時期的車站建築師留學西方，因此建築表現手法呈現前的鈴聲，感到非常懷念。」
「和洋折衷」的特色，不該用「日式建築」來概括所有日治時期片倉佳史表示，日本現在已經
的建物。
沒有鈴聲提醒旅客上車，而是
Many architects who designed railway stations in Japanese-ruled
Taiwan had studied in the West, and as a result their buildings 改用柔和的音樂提醒，因此，
were a hybrid between Western and Japanese styles. One
should not use the term “Japanese architecture” to describe all 當他在台灣聽起鈴響，總會想
Japanese-era buildings.
起早期在日本搭火車的時光。
由於鐵道工作是師徒制，
古庭維 / Ku Ting-wei 因此，台鐵有些傳統從日治時期沿
用至今。古庭維表示：「有些老師傅會用日文，

Virtually all the railway stations in Taiwan, except for
those on the North Link Line and the South Link Line,
were first built in the era of Japanese rule (1895–1945),
and the names of 32 of them are written with the same
Chinese characters as the names of stations in Japan. For
this report, we visit the train stations in Zhutian, Guan-
shan, and Ruisui, where one can see Japanese-era his-
toric sites nearby and find old people who still remember
those days. We follow local historians to learn about local
history and the rise and decline of these stations.
Zhutian (竹田) Station, Pingtung
Timeline: Built in 1919 as Dunwu Station; renamed
Takeda (Zhutian) Station in 1920. There are Takeda Sta- 日治時期被派至竹田的軍醫池上一郎，晚年將5,000冊藏書
贈與當地，於是鄉民改建車站倉庫，成立「池上一郎博士文
tions in both Kyoto and Hyogo Prefectures in Japan. 庫」。
Architecture: Japanese-style structure. Hipped roof, During the Japanese era a military doctor named Ichiro Ikegami
was posted to Zhutian. In his later years he donated his collection
wood-frame sliding doors, wattle-and-daub walls built of 5000 books to the locality. When the local people renovated
the railway station warehouse, they established the Dr. Ichiro
with woven bamboo lattices and covered with clapboard Ikegami Memorial Library.
siding. Outside the station are an oil depot, well, and
bathhouse for the use of station personnel who back in
the day loaded the coal used as locomotive fuel. The following year, the colonial government decided to
Zhutian is located in Pingtung County, with the Ai- cultivate bamboo here, and there happened to be places
liao River to the north and the Donggang River to the in Japan named Takeda, meaning “bamboo fields,” so
south. Every summer when the waters of the Donggang the place and the station were renamed Takeda—today’s
River ran high, the little boats that used to transport rice Zhutian, according to the Mandarin pronunciation of the
had to deposit their cargo here, waiting for the water to same Chinese characters.
recede before they could travel further, and for this rea- Tseng Kuo-feng, the head of Zhutian Township’s Cul-
son Zhutian was formerly named Dunwu (literally “de- ture and Tourism Office, says that the construction of
posit goods”). In 1919 the Japanese built Dunwu Station. Zhutian Station changed the way goods were shipped.
日治時期的火車為蒸
氣火車，透過燃燒煤
炭運轉，因此車站旁
設置澡堂，供搬運煤
炭的站務人員清洗。
The trains in the
Japanese era were
pulled by coal-fired
steam locomotives.
Bathhouses were
built next to railway
stations so that station
staff responsible for
loading and unloading
the coal could clean
themselves up.
77
舊關山車站是關山、池上、鹿野一帶的貨物中轉站，鼎盛
時期，聘用16位員工，24小時輪班，才能完成運貨。
The old Guanshan Station was the main transshipment point
for goods for the Guanshan, Chishang, and Luye area. In its
heyday it had 16 employees working in shifts to keep the goods
moving day and night.
古庭維表示，鐵道迷通常專注自己國內的火
車與文化，但是台灣與日本因為歷史因素，兩地
的鐵道文化有許多相似處，促使雙方鐵道迷會到
彼此國家的車站走訪，成為另一種主題旅遊。
屏東竹田車站
作無線電通報，例如『字卡』、『阿卡』，分別
表示火車通過與紅燈停下。」，除了用語，現在車站簡介：1919年建立，取名頓物驛，1920年
台鐵的『指差確認』，用手勢表達完成檢查的習改名為「竹田驛」。
慣，也源自日治時期。建築風格：和風建築。四落水型屋頂、木格門
但是台日氣候環境不同，因此在月台設計方扇、雨淋板與編竹夾泥牆。站外有油庫房、古井與
面，有明顯的差異。片倉佳史表示日本車站有澡堂，供當時搬運煤炭作燃料的站務人員使用。
門、窗戶較小，而且廁所設於站內，但在氣候濕火車緩緩駛進屏東竹田站，下車後從高架的月
熱的台灣，為了保持通風，多數車站沒有門，而台向下望，日治時期的老車站前，旅客們正興奮
且窗戶較大，此外，為了預防熱帶疾病，日本人地合影。這裡沒有一般車站的喧嘩聲，只有旅客
將廁所設於站外，避免細菌在車站內孳生。笑聲襯托出的寧靜。

陳家千種植有機稻米，自產自
銷，當客戶下單後，才會開機
器碾穀，確保客人能吃到最新
鮮的米。
Chen Jiachien grows organic
rice, selling his crop directly to
customers. He only mills the rice
after receiving an order, to ensure
that customers get the freshest
possible product.
Originally rice would first be transported to Dada Wharf Guanshan (關山) Station, Taitung
in Zhutian, and then transshipped to Donggang. But after Timeline: Built in 1922 as Riran (Lilong) Station; re-
the rail line opened, the wharf gradually fell into disuse, named Kanzan (Guanshan) Station in 1937. Its Japanese
and today it has become a tourist attraction. As more and namesake is Sekiyama Station in Niigata Prefecture.
more goods were stockpiled in the town, a warehouse Architecture: Mixed Japanese and Western, in the
area developed in front of the train station, driving the Western- influenced style of farmhouses in northern
development of the rice milling and animal feed indus- Japan. The main structure is in Western-style brick, with
tries. “These two industries were headed by the Zhang a mansard roof (with two angles of slope on each side),
family and the Lin family, who became two of the wealthi- and wooden structures to either side. Mansard roofs also
est families in the area.” Zeng points to the Yamato Coffee appear on other Japanese-era buildings, such as the Tai-
Roasters coffee shop in front of the station and says: “In hoku Prefecture Office building (now the Control Yuan
the past that was the Dexing Rice Mill, and the people liv- building) in Taipei, the Taichu Prefecture Office building
ing across the street are descendants of the Zhang family.” (which later became Taichung City Hall), and the Tainan
The Dexing Rice Mill, built in 1941, was later pur- Prefecture Office building (now the National Museum of
chased by Paul Lai, manager of the Yamato Hotel, who Taiwan Literature).
invited architect Huang Cho-jen and designer Pa Li to Compared with the neighboring town of Chishang,
renovate the building. They retained the steel beam and Guanshan seems quiet. It is only when you enter old
brick wall structure of the rice mill, and created two houses near the train station and hear local people talk
glass-walled rooms and a garden, allowing sunlight to about the town’s history that you learn that this was a very
reach into every inch of space in the coffee shop. Patrons prosperous place in the old days.
sitting inside feel as if they are in a sunlit wood. In order to bring back the stories of the old houses, a
Although the old wooden station building is no lon- group of young people, both locals and outsiders, conducted
ger in operation, it remains an important local hub, and field research and pored over historical documents with the
a small weekend farmers’ market is held here. Tourists aim of depicting what Guanshan looked like in days gone
who come to Zhutian can not only have a coffee at Ya by. One of these young people, Chen Jiachien, who returned
mato Coffee Roasters and buy locally grown lemons, to his hometown about ten years ago, not only has founded
they can also try Hakka cuisine in the town and immerse his own brand of rice, Yomanden, he and his wife Huang
themselves in the multicultural environment. Huiwen have set up a place called “Living in the Valley”
79
竹田的位置，上有隘寮溪，下有東港溪。每當
夏天東港溪水暴漲時，載送稻米的小船必須將貨
物寄放在此，待水退後再繼續航行，因此竹田的
古地名為「頓物」。1919年，日本人建立「頓物
驛」。隔年，政府有意在此種竹子，而日本國內
剛好有「竹田」此地名，於是車站與地名都改為
竹田。
竹田鄉公所所長曾國峰表示，竹田驛的興建，
改變了貨物運送的模式，原本稻米會先運到竹田
的達達港，再轉運至東港，但鐵路通車後，港口
逐漸沒落，如今成為觀光景點。隨著囤積的貨物
越來越多，車站前也形成倉庫區，帶動碾米業
與飼料業的發展。「這兩個產業的代表是張家與
林家，也是當地的富豪。」曾國峰指著車站前
的「大和頓物所」咖啡廳說：「以前那是德興米
廠，對面的住戶就是張家後代。」
1941年成立的「德興米廠」，後來由大和旅
店經理人賴元豐主理，邀建築師黃卓仁與設計師
利培安一起改造。他們保留米廠的鋼梁紅磚牆結
構，規劃兩間玻璃屋與植物庭院，讓光線充滿咖
啡廳的每寸空間，客人坐在裡頭，彷彿置身陽光
普照的樹林。
木造的竹田車站即使沒有營運功能，但仍是
當地重要的集散場所，假日的小農市集就在此舉
辦。旅客到了竹田，除了可以到「大和頓物所」
喝咖啡，買當地盛產的檸檬，還可以到街上品嚐
客家美食，感受多元文化的洗禮。上一個時代的繁榮。原來，老房子鎖住的不只是
空間，還有多數人不知道的往事。
台東關山車站
為了打開老房子的故事，一群青年，不分在地
車站簡介：1922年建立，取名里壠驛，1937年或外地，透過田野調查、翻閱史籍，企圖描繪關
改名為關山驛。山昔日的容貌。而其中一位青年陳家千，返鄉大
建築風格：和洋折衷，受西化影響的日本北方約十年，不僅創立「南島秧滿田」的稻米品牌，
農家風格。主體是西洋磚造結構，屋頂採兩段式也與妻子黃惠玟開設「山下生活」，作為地方創
傾斜的「曼薩爾式」設計，兩側是木造建築。此生基地，同時販售自家稻米與其他小農產品。
屋頂設計也出現在其他日治時期建築，如：當時關山古名「里壠」，是阿美族語「紅蟲」的意
的台北州廳（監察院）、台中州廳（舊台中市政思。日本人進入關山後，1916年為管理原住民設
府）、台南州廳（台灣文學館）。置「里壠之廳」（今關山分局），下令沒收原住
離開竹田前，喝了一杯頓物所特調的麵茶咖民槍械，並設置電流鐵條網，警備線沿途架設警
啡，接著沿著南迴鐵路，前往關山車站。與鄰近察專用電話線。陳家千說：「日治時期，關山警
的小鎮池上相比，關山顯得安靜，直到走進車站察很多，最多的時候有400多個！鎮長（昔日廳
附近的老屋，聆聽在地人講述歷史，才驚覺此地長）還是由警官擔任」。

to serve as a base for placemaking, while also selling their demand for war materials. Lilong (Japanese Riran) was
own rice and products from other small farmers there. renamed and upgraded to Kanzan Prefecture, and it was
Lilong, the old name of Guanshan, comes from the lan- only then that governing authority was transferred from
guage of the Amis indigenous people. It may be derived the police to the civil administration and more attention
from terateran, meaning a place where many nettles grow, or was paid to social issues. At this time, construction be-
from lilan, meaning chiggers. After the Japanese entered Li- gan on government buildings and staff quarters, and the
long, in 1916 they set up a police station there (today’s Guan- main place names in the area were changed to names
shan Police Precinct) to bring the indigenous peoples under with a more Japanese style. These gave farmers who
the control of the colonial government. The police were came from Japan to cultivate newly cleared land there a
ordered to confiscate firearms from indigenous people, and sense of familiarity with the place.
they constructed a rampart along which they erected an Today’s Zhongshan Road, located between the Guan-
electrified metal fence and a telephone line exclusively for shan Police Precinct and the old railway station, was quite
police use. Chen Jiachien says: “Under Japanese rule, there a prosperous street back in the day, because a lot of peo-
were a lot of police in Guanshan, more than 400 at the peak! ple moved into Guanshan in the later years of Japanese
A police officer also served as mayor of the town.” rule, giving rise to various shops, pharmacies, and hotels.
With the outbreak of war with China in 1937, the Japan- Merely walking down Zhongshan Road is like seeing a
ese began to proactively develop Eastern Taiwan to meet period drama on TV. If we hadn’t gone with Chen Jiachien
81
直到1937年二戰爆發，日本人為因應戰爭物
資需求，開始積極開發東部，將里壠支廳改名並
升級為關山郡，治理單位才由警察機關轉為行政
機關，注重的社會層面也更多元。此時，不僅公
務機關與宿舍開始興建，關山內的主要地名也改
為具有日式風格的名字，像是日出、宮里、泉等
等，讓母國來開墾的農民對關山產生熟悉感。
今日關山分局與舊火車站之間的中山路，因為
日治後期大量人口移入，各式百貨、藥局與旅社
隨之興起，是當時相當繁華的街道。
中山路上的大華行，雖然已經拉下鐵門，但山
牆上的施字商標，仍透露出這戶人家在日治時期
的輝煌。曾到日本受過電器訓練的施振生，分發
到里壠後，架設全庄的電力設施，後來他因不願在瑞穗虎頭山步道，黃家榮拿出日治時期的照片，比照過去
的神社建築與現在留下的遺跡。
配合總督府架設電流網防範原住民，改開冰店和 On Ruisui’s Hutoushan Trail, Huang Chia-jung shows us a
維修製冰機，逐漸累積財富後，他的養女買下在 Japanese-era photo and compares the Shinto shrine of the past
with the remnants that exist today.
中山路的店面，開設百貨行。
同一條街上，有一間福生堂藥房，前身為易瑞穗楊家菸樓屋頂是太子樓造型，表面鋪設瓦片，看起來相
當氣派。
生堂，是外銷到日本的國產特效藥「五分珠」
The impressive Yang family tobacco barn in Ruisui has taizilou
之發源地。再往前走，到了金玉旅社。陳家千 superstructures on the roof, formerly open on all four sides for
ventilation.
說：「這是以前的官營旅社。」日本人蓋了這
間「里壠館」，戰後由台灣人接手經營，將木造
建築翻修為水泥結構，並改名金玉旅社，迄今仍在營業。
僅只走過中山路，卻像是
看過一齣時代劇，若沒跟著
陳家千走進車站附近的老
屋，那對關山歷史的認識，
應該會永遠缺了一頁。他對
老屋的執著，也許就像他對
高雄139號的堅持，這種品種
的米雖然耐放、香Q，但是產
量只有一般米的七成，即使
如此，他仍依循上一代的傳
承，甚至改以有機種植，自
創品牌。誰說舊的東西，一
定會被時代淘汰？陳家千與
黃惠紋用創意包裝，讓大家
看見「老」的價值。

into the old houses near the
train station, we would have
forever missed out on a page
in Guanshan’s history. His
enthusiasm for the old houses
is perhaps like his persever-
ance in growing Kao hsiung
139 rice. Although this rice
variety has a long storage life
and is aromatic and pleasantly
firm to the bite, its yield per
hectare is only about 70% that
of ordinary rice. Despite this,
Chen has carried on the tradi-
tion of his forefathers, and has
even switched over to organic
cultivation and created his
own brand. Who says that old things will inevitably be 楊守全的老家保留日治時期的建築架構，
並陳列後代子孫的藝術作品。
discarded with the passage of time? Chen Jiachien and The former residence of Yang Shouu-chyuan preserves its
Huang Huiwen use creative packaging to enable every- Japanese-era wood-frame structure, and is now used to
display works of art made by his descendants.
one to see the value of “something old.”
Ruisui (瑞穗) Station, Hualien
Timeline: Built in 1914 as Mizuo (Shuiwei) Station; re- police officers. Only later was it opened to the general pub-
named Mizuho (Ruisui) Station in 1917. Replaced in 1968 lic, and became today’s Hongye hot springs.
with a concrete structure. Japan’s Mizuho Station is in Shi- Huang Chia-jung also takes us to the Hutoushan Trail;
betsu, Hokkaido. this path, now covered in weeds, was formerly the road
Architecture: Modern structure with contours that sug- taken to visit the local Shinto shrine. Walking up several
gest the old name, Shuiwei (“water tail”). steps with heads lowered, we see a piece of flat ground in
During the Japanese colonial era, there were 50 to 80 front of us and to the right. At this moment Huang shows
tobacco curing barns here, with the highest production us a yellowed old black-and-white photograph. It was
volume of any place in Taiwan. After the Japanese left and taken on the occasion of a sumo wrestling competition
Taiwan came under the rule of the Republic of China fol- held here to celebrate the year 2600 since the founding of
lowing the end of World War II, local industry changed and the Japanese nation. In the photo, the steps around the
the structures of the old days were abandoned and became sumo stage are crowded with people, marking a sharp
overgrown with weeds. If not for local historian Huang contrast with today’s desolate scene.
Chia-jung, an expert in local culture and history, whose On the way down the mountain, Huang talks about
curiosity about Shinto shrines led him to research Hualien’s the origins of the place name Ruisui. Back in the day, the
history under Japanese rule, the events of that time might Japanese often changed place names in Taiwan to Japan-
not be known to the public at large. ese names with a similar pronunciation. The charac ters
The Ruisui hot springs, like the Arima hot springs in of the Chinese name Shuiwei (水尾, pronounced Shuimui
Japan, are categorized as “gold water,” rich in iron oxide. in the local Hakka dialect), are pronounced “Mizuo”
Meanwhile the water of the Hongye hot springs in neighbor- in Japanese. This was changed to “Mizuho” (瑞穗), in
ing Wanrong Township is clear and colorless. Early on a part because of an ancient Shinto myth mentioning “the
Japanese doctor came to survey the area and discovered land of Mizuho” (i.e., Japan). In Mandarin Chinese, the
monkeys soaking in the water. The place was developed as a characters of the new name are pronounced “Ruisui.”
rest and recuperation site for military personnel and injured There are still many tobacco barns in Ruixiang Village,
83
台灣的瑞穗車站很大，但是日本北海道的瑞穗車站小小的，
鐵軌在鄉村的田野裡，很有味道！非常推薦大家去看看。
Taiwan’s Ruisui Station is very large, but Mizuho Station in
Hokkaido, Japan (written with the same characters as Ruisui)
is quite small. Mizuho Station is located in a rural area and 台階上站滿了人，熱鬧
really has character! I strongly recommend that people visit it.
的景象與此刻的荒涼，
產生極大對比。
「這個比賽台灣人也可
片倉佳史 / Yoshifumi Katakura
以參加，有80幾歲的爺爺還記得，當初他與弟弟兩
人報名比賽，打贏了日本人，得到第二名，獎品是
兩顆麻糬。」黃家榮興奮地說，近年有學者來做田
花蓮瑞穗車站
野調查，還從地底下挖出慶典後留下的酒瓶。
車站簡介：1914年建立，取名水尾乘降場；下山途中，黃家榮說起瑞穗地名的由來，當
1917年改名為瑞穗驛；1968年改建成水泥建築。時，日本人常將台灣地名改為發音相似的日文地
建築風格：現代建築，利用線條結構，創造名，例如：瑞穗、舞鶴、鶴岡，加上母國神社有
符合古名「水尾」的意象。句「豐葦原之瑞穗國」，於是將水尾改為瑞穗。
一提到瑞穗，除了溫泉與牧場，還有什麼？虎頭山步道前方的瑞祥村，保留許多菸樓，
多數人不知道，在日治時期，這裡有50∼80間其中一間具有太子樓煙囪和瓦片屋頂，緊挨著隔
菸樓。不過，隨著日本人離開，政權轉移，產壁民宅。雖然外觀略顯破舊，仍不減其氣派的氛
業改變，昔日的建設都沒入荒煙蔓草。若不是圍。日治時期，能夠買菸樓的通常是大戶人家，
地方文史工作者黃家榮，因著對神社的好奇，而眼前這棟菸樓的主人，正是東部教育家楊守全
進而了解日治時期的花蓮，這段歷史可能很難的父親楊朝枝。
為大眾所知。大約2017年時，瑞穗的菸業全面停產，菸樓不
「台灣有這麼多神社，但是當年教科書都沒再運作，徒留門前幾株菸草。不過，慶幸的是，
有記載，也沒有人重視，所以我就想去把它追出楊守全的後代保留了住宅，現在身為藝術家的他
來。」黃家榮這一追，從業餘愛好變成專業博士，們，將老屋當作展覽空間，用來介紹楊守全的生
幾乎花蓮每一條街道，他都能細說背後故事。平並陳列自己的陶藝品。有時候，他們會烘焙自
日治時期，花蓮有三大官營移民村：吉野、豐己種的咖啡豆，屋裡不時會飄出淡淡咖啡香，瀰
田、林田，大約都在1917年前完工，而瑞穗移民漫在空氣中。
村則於1933年完工，融合先前官營移民村的菁英楊家菸樓旁的街道正好有幾株咖啡豆，黃家榮
與後來自行來台的移民。黃家榮笑著說：「當時摘下一顆，直接放入嘴裡咀嚼，並解釋「日本人
住在瑞穗的，都是菁英中的菁英。」晚期追隨西方文化，所以開始喝咖啡。總督府為
瑞穗溫泉，與日本的有馬溫泉同類，屬富含氧了讓台灣的日本軍人嚐鮮，於是在瑞穗與舞鶴種
化鐵的「黃金湯」。而鄰近萬榮鄉的紅葉溫泉，植咖啡，最大的田有500甲。」但日本人離開後，
水質則是透明無色的。早年，有位日本醫生來勘沒有喝咖啡習慣的台灣人就改種鳳梨與樹薯。
察，發現有猴子在泡湯，於是將該地規劃為溫泉走在瑞祥村棋盤式的街道上，幾乎聽不見任何
區，供軍人與受傷的警員休息使用，後來才開放聲響，連狗兒也特別安靜，只見矮牆上露出一大把
為公共浴場。的野花，襯托這些老建築。問起黃家榮，「平常遊
黃家榮帶著採訪團隊到虎頭山步道，雜草蔓生客知道這裡嗎？」他笑了笑，說不會。這樣的秘
的路線，竟是過去參拜神社的道路。低頭走了幾境，只有願意認識歷史的人，才有機會一窺。
階，看見右前方一塊平坦的土地。此時，黃家榮拿下次搭乘火車，別急著離開車站，在那附近
出一張泛黃黑白照，時間停在日本建國2,600年，的街道上，也許會有意想不到的故事，等著你
日本人正在此地舉辦相撲比賽慶祝，相撲台四周的去翻開。 l

at the foot of the Hutoushan Trail. One of them has a taizi happen to be a few coffee plants, and Huang Chia-jung
lou (a superstructure open on all sides for ventilation or to plucks a coffee bean and puts it directly in his mouth to
serve as a chimney) and a tiled roof, with family dwellings chew on as he explains: “Japanese in the later period copied
built close by. Although the barn looks a little dilapidated, Western culture and began to drink coffee. The Office of the
this does not detract from its impressive appearance. In Governor-General, aiming to give Japanese military person-
the era of Japanese rule, usually only the wealthy could nel a chance to join in the trend, began cultivating coffee
afford to buy tobacco barns, and the owner of the barn we plants in Ruisui and Wuhe, growing coffee on 500 hectares
are looking at was Yang Chaozhi, father of the Eastern Tai- of land at the peak.” However, Taiwanese were not in the
wan educator Yang Shouu-chyuan (1931–2013). habit of drinking coffee, and after the Japanese left farmers
By about 2000 Ruisui’s tobacco industry had com- switched over to using the land for pineapple and cassava.
pletely disappeared, and the Yang family tobacco barn Walking through the checkerboard streets of Ruixiang
was abandoned, leaving only a few tobacco plants in front Village, there is virtually not a sound to be heard; even the
of the door. Fortunately, however, Yang Shouu-chyuan’s dogs are quiet. What catches our eye is the wild flowers
descendants have preserved the old residence, and today showing out from behind low walls, setting off the old
these descendants, who are artists, use the old house as an houses. We ask Huang, “Do travelers normally know this
exhibition space to introduce Yang’s life and display their place?” He laughs and says no. Only people who are will-
own ceramic art. Sometimes they roast their own home- ing to learn about history have a chance to glimpse this
grown coffee beans and the old house is filled with a light little-known location. l
coffee fragrance. (Tina Xie/photos by Kent Chuang/
On the street next to the Yang family tobacco barn there tr. by Phil Newell)
瑞祥村的棋盤式街道上，有許多日治時期菸樓遺跡，
是一處人跡罕至、生意盎然的秘境。
There are many Japanese-era tobacco barns on the
checkerboard streets of Ruixiang Village. They are in a little-
known verdant area off the beaten track.
85
藝文脈絡　CULTURAL TRENDS

Taiwan Panorama Forum
Reporters Abroad: 45 Years in Images
文•李珊瑋　圖•莊坤儒　版面設計•蕭郢岑
影像，一種直擊人心的傳播媒介。它的
美，美在真實，美在刻劃歷史印記。
《光華》走過45個春秋，歷經不同時代的
變遷。回顧前塵，有政治的更迭，有地景的
演進，但不變的是，永遠寓含著寶島台灣，
溫潤飽滿的暖暖人情。從台灣看世界，讓世
界愛上台灣。
《光華》45周年影像展，2020年10月6日
於國立台北科技大學百年歷史建築——紅樓
展出，為期兩個月，用影像和文字，記錄下
半世紀以來的台灣演進軌跡。緊接著的海外
採訪講座，邀請了外交部前駐外大使李宗
儒、國際知名攝影家沈昭良、《看見印尼》
作家李東明，於該校大禮堂與1,500餘名學
子，分享人生歷練中的不同視野，並在學生
代表的提問中，激盪出跨文化之反思，與面
向未來挑戰之自信。
O ver the 45 years since its founding, Tai-

wan Panorama has experienced many
changes. Looking back, we see transformations
in the landscape both physical and political,
but what never changes is how Taiwan brims
with warmth and humanity. From here we look
out at the world, while also helping the world
fall in love with our beautiful island.
A photo exhibition marking the 45th anni-
versary of Taiwan Panorama was held at the
historic Red House at National Taipei Univer-
sity of Technology from October 6 to November
20, 2020. For six weeks, it presented a record in
87
紹《光華》是宣揚台灣軟實力的重要媒介之一，
真實影像，歷史註腳
也是拓展國際視野及外語學習的良好素材。《光
用影像書寫歷史，《光華》做到了。台北科技華》總編輯陳亮君則以「採訪視角」的轉換為
大學副校長楊重光與外交部國際傳播司司長陳銘題，分別帶入前駐外大使李宗儒、《看見印尼》
政，於致詞時分別就影像展於紅樓展出之歷史性作者李東明及攝影家沈昭良的親身經歷，充分展
意義，以及《光華》與台灣外交事務的淵源，作現海外工作者的實務經驗和多元文化的採訪體
了精采的分享。現場來賓包括有外交部總領事馬驗，讓1,500名與會者看見台灣在國際社會多元參
鍾麟、北科大學務長張仁家、圖資長吳建文等，與的成果。以下節錄與談人的精采內容分享：
讓此次開幕式圓滿順利。
沈昭良：內化視野，表現張力
接著在《光華》總編輯陳亮君的導覽下，呈現
出《光華》由誕生至今的階段性演進。從1977年《STAGE》豔麗斑爛的色彩，一瞬間，擄獲觀
8月刊封面，刊載了當時總統嚴家淦受沙烏地阿眾的注意力。沈昭良用鏡頭，精準明確地表述不同
拉伯國王哈立德的邀請，飛抵沙國吉達港時的歷的主題概念。對應黑白的《台灣綜藝團》影像，活
史珍貴畫面，到六大採訪面向的時代連結。走向脫脫就是台灣時代變遷的寫照。鄉土的妝扮，紛擾
二樓的樓梯間一路延伸，分別看見金馬五十、解的場景，彷彿置身在熱鬧的酬神廟會中，鮮活地呈
嚴開放、環保議題，甚至是1970年代台灣獲得青現出台灣民俗活動的生命力。暱稱「變形金剛」的
棒、青少棒、少棒三冠王的精采報導回顧，以及《STAGE》，用強大的機動性，承載中西合璧的
近年來包括日本、新加坡、柬埔寨、越南等地的多樣功能。結合聲光科技效果，在田野水澗間，甚
海外採訪事蹟，突顯《光華》立足台灣，放眼世至是「墓阿埔」前，都能盡情嘶喊搖滾。
界的在地性與宏觀性。在《築地魚市場》的寫實影像中，對應到台灣
而在海外採訪講座前，總領事馬鍾麟致詞時介的《南方澳》，不同的場域，卻透析出相同的大

images and words of how Taiwan has evolved over Department of International Information Services at
the past half-century. On the exhibition’s opening the Ministry of Foreign Affairs (MOFA), recounted Tai-
day, NTUT also hosted a Taiwan Panorama Forum on wan Panorama’s origins in Taiwanese diplomatic efforts.
overseas reporting, to which we invited retired dip- The opening ceremony was also attended by Consul-
lomat Francias Lee, world-renowned photographer General Joseph C.L. Ma of MOFA, Richard Chang, dean
Shen Chao-liang, and author Tommy Lee to share of student affairs at NTUT, and Wu Chien-wen, dean of
their experiences and perspectives with the 1500-plus NTUT’s Library and Information Services Office.
students in attendance at the NTUT auditorium. We Next, Taiwan Panorama editor-in-chief Ivan Chen led
also invited the students to ask questions, sparking attendees through the exhibition, explaining the evolu-
cross-cultural reflections and inspiring confidence in tion of the magazine from birth to present. He started
how we can face the challenges of the future. with the cover of the August 1977 issue, which shows
President Yen Chia-kan visiting the port of Jeddah in
Images of history Saudi Arabia at the invitation of King Khalid. Moving
The images captured by Taiwan Panorama form part on upstairs to the second floor, we see images covering
of the photographic record of history. Speaking at the the 50th Golden Horse Awards, the lifting of martial
exhibition opening ceremony, Thomas Yang, vice pres- law, and environmental issues. There is also a reflection
ident of NTUT, noted the historical significance of the on Taiwan’s 1970s triple crown in Little League, Senior
exhibition, while Henry Chen, director-general of the League, and Big League baseball, along with more
89
魚入港氛圍。海天交際的魚肚白裡，晨曦氤氳，蓋的嬌嫩白玉，悄然傳遞著屬於台灣鄉土味的社
手持長刃的人影，在一字排開的鮪魚陣仗中梭會現象。
巡，彰顯出肅穆的殺氣。糶手（魚貨拍賣官）賣
李東明：他鄉探索，遇見原鄉
力嘶吼的喊價，對比眾多買家專注的犀利鷹眼，
延續世紀的草根霸氣，天天在魚獲拍賣市場中上「其實我們不應該有刻板印象。」公職生涯
演，透著魚腥氣的場景，張力十足的令人動容。中的最後一站，李東明把全部心力都給了印尼，
《玉蘭花》，一條分工細膩的台灣特有產業在這個微笑的友善國度，如魚得水。擁有四分之
鏈。半夜時分，花海裡點點移動的眾多星光，是一台灣原住民血統的李東明，在印尼利用公餘假
採花人夜夜點燃的頭燈，忙碌地為生計奔波。遊期，展開有系統的原住民跳島探索。「這張照
走在街頭的賣花人，無論是穿梭在車陣中，還是片，是不是和台灣原住民一模一樣？」一張印尼
在廟口、捷運站等人潮洶湧的地點，常年累月在原住民的寫真照，即刻呈現出彼此的關連性。曾
風吹日曬中，一個托盤，幾片荷葉，用濕毛巾覆經擔任台灣駐印尼台北經濟貿易代表處新聞組組

recent reports from Japan, Singapore, Cambodia, and wan’s diverse participation in the international community.
Vietnam, highlighting Taiwan Panorama’s big-picture per- Here we present some highlights of their contributions:
spective on the world. Shen Chao-liang:
Speaking at the start of the forum, Joseph Ma men- Internalized vision, external tension
tioned that Taiwan Panorama has been an important me- The brilliant colors of the photo series Stage capture the
dium for Taiwanese soft power as well as a great resource viewer’s attention in an instant. Shen Chao-liang uses the
for developing an international perspective and studying lens to clearly and precisely express different themes and
English. Ivan Chen then turned the focus to the forum concepts. When contrasted with the black-and-white im-
guests—retired diplomat Francias Lee, Tommy Lee, au- ages from Taiwanese Vaudeville Troupes, it presents a vivid
thor of the book Seeing Indonesia, and photographer Shen portrayal of how Taiwan has changed over time.
Chao-liang. They shared their experiences of working The realistic images of Tsukiji Fish Market, taken in
abroad and reporting across cultures, giving the 1500 peo- Tokyo’s former wholesale seafood market, create a dialog
ple in attendance the opportunity to see the fruits of Tai- with his Reflections of Nan-fang-ao from Taiwan; though
set in two different places, they both express the excite-
ment of bringing in the catch. The evocative images are
full of tension and one can almost smell the pungent air
of the fish markets.
Yulan Magnolia Flowers, mea nwh i le, present s a
distinct ively Taiwanese industry chain with a fine divi-
sion of labor. Flower sellers wander the streets, facing
wind and sun for years with a tray and a few lotus
leaves, a wet towel covering the delicate magnolias.
The images quietly convey a social phenomenon with a
downhome Taiwanese flavor.
Tommy Lee:
Seeing oneself in others
“We shouldn’t really approach things with stereo-
types.” In the last posting of his diplomatic career,
Tommy Lee dedicated his efforts to Indonesia. A quar-
ter indigenous Taiwanese, Lee used his vacation time
in Indonesia to indulge in a systematic island-hopping
exploration of the country’s indigenous peoples. With
a journalist’s eye and a respectful attitude, Lee, former
head of the in formation division at the Taipei Economic
and Trade Office in Indonesia, opened a new door of
friendship with the country in which he was stationed.
“Seeing Indonesia is a record of my memories that I
put together after my retirement,” says Lee. It is also
an ex ploration of the customs and cultures of various
Austronesian- speaking peoples. With an open mind,
he accepted this unfamiliar country and examined the
similarities and differences between it and Taiwan. “I
want Taiwanese people to understand Indonesia better.”
Through in-depth journalistic investigation abroad, he
has helped bring the beauty of a foreign country to his
compatriots.
91
長的李東明，用新聞眼和尊重的心，打開和駐在菲律賓總統來訪的影像。」李宗儒展示一張張珍貴
國間的友誼之門。「溝通是必要的，才能相互信的歷史鏡頭，現身說法，侃侃而談。
任。」嚴謹地恪守崗位，讓沒有正式邦交的兩國「如何在沒有邦交的情況下，建立雙方的友
間，不會因為錯誤的訊息，彼此產生誤解。誼，是對外交人員極大的考驗。」李宗儒展示在希
「《看見印尼》這本書，是我退休後留下的臘商會場合中，與希臘總統不期而遇的歷史鏡頭。
回憶紀錄。」以尊重在地文化的心情，記錄曾經「這種機會，是要有極大的互信與協助，才能實現
走訪的泗水、萬隆、棉蘭等大都市，遊歷過的巴的。」1991年李宗儒第一次外放擔任館長，駐澳大
東、日惹、梭羅、萬丹等小型市鎮，以及以華人利亞期間，以駐外代表身分，數度安排雙方部長級
或華人文化為主體的山口洋、文登小鎮。李東明官員互訪，大力提升雙方經貿關係。
不但攀登爪哇島第一高峰舍梅魯火山，更搭乘印「澳大利亞國會台澳雙邊小組，在我任內拓
尼傳統布吉斯縱式風帆船比尼西，展開跳島巡展到90名議員。」當時美澳是102位，英澳是84
遊，深入了解南島各族部落的風土民情。除了拍位。這項傲人成績，是在短短二年間，由零開
攝原住民的日常服飾樹皮衣，也完整記錄傳統蠟始，可以想見其間的艱辛與勠力。「在困境中不
染布的繁複工序。「就是用尊重的心去對待。」喪志。」李宗儒期待用全民的力量，在世界舞台
以開放的襟懷，接納陌生的國度，探索南島與寶贏得敬重。
島間文化的異同，把異國的美好帶給國人。
珍惜迴響，展望世紀
李宗儒：真誠的心，建立友誼
由《光華》45周年影像展暨海外採訪講座，
「真誠的心，是建立友誼的最佳途徑。」曾經開拓了年輕學子的國際視野，並珍惜講座中的迴
派駐在五大洲的外交官李宗儒，數度歷經政治的轉響。台灣的美，美在純真自然，美在中西合璧，
折，那種現實環境中的冷暖，真的是只有過來人才美在古今傳承。今後的《光華》，將持續扎根台
能體會。「1971年是中華民國外交關係的分水嶺。灣，放眼世界，讓每一位已瞭解台灣的人更愛台
這一年，我們退出聯合國，邦交國的數量，瞬間山灣，讓不知道台灣的人，也能透過《光華》來認
河變色。這是1971年之前，韓國總統、日本首相、識台灣、看見台灣。 l

Francias Lee: same time, the Australia–US and Australia–UK groups
Building friendship with a sincere heart had 102 and 84 members respectively. This prideworthy
“A sincere heart is the best means of building friend- accomplishment happened in just two years, having
ships.” Francias Lee is a retired diplomat who has been started from scratch. “You can’t lose heart in tough situ-
stationed all around the world and experienced many ations.” Lee looks forward to Taiwan using the power of
changes in the political landscape. The harsh realities of her people to keep winning respect on the global stage.
international diplomacy are something only those who Cherished memories, future visions
have been through them can understand. “1971 was a The photographic exhibition and overseas reporting
watershed for ROC diplomatic relations.” That year, Tai- forum for Taiwan Panorama’s 45th anniversary aimed
wan left the United Nations, and the number of coun- to broaden the horizons of the students in attendance,
tries with which it had formal relations plummeted. while also being a valuable reflection on the experi-
“Building friendships with other nations when you ences of the participants. The beauty of Taiwan lies in
don’t have formal diplomatic relations is a real test of a its simple and natural character and its combination
diplomat’s skills.” In 1991, Lee had his first experience of East and West, old and new. Into the future, Taiwan
as Taiwan’s chief representative in a country; while Panorama will continue to look out at the world while
stationed in Australia, he arranged several exchanges keeping its feet planted in Taiwan, helping those who
between ministers from both sides, greatly boosting bi- know Taiwan to love it more and those who don’t to
lateral trade relations. learn about Taiwan through its pages. l
“During my term, the Australia–Taiwan Parliamen- (Lee Shan Wei/photos by Kent Chuang/
tary Friendship Group grew to some 90 members.” At the tr. by Geof Aberhart)
93
藝文脈絡　CULTURAL TRENDS
石板屋外樂音揚
傳承口鼻笛技藝
A Nose for Music:
Pairang Pavavaljung and the Paiwan Nose Flute
文•曾蘭淑　圖•林格立　版面設計．蕭郢岑

排灣族特有的雙管口鼻笛，一支有孔的主音笛，緊緊
綁著無孔合聲的副笛，可以吹出大自然蜂鳥的和鳴，也
可以奏出內心深處的愛慕與思念。
代表北排灣部落的口鼻笛國寶藝師許坤仲，用口鼻笛
樂音吟唱出原住民的傳說與故事。這個全世界獨特的雙
管複音樂器，曾面臨失傳的危機，如今培育了五位傳承
藝師，讓幽谷迴音可以綿延不絕。
N ose-flute master Pairang Pavavaljung, a “living na-

tional treasure” who represents the Ravar group of the
Northern Paiwan people, uses the music of the nose flute to
tell the legends and stories of Taiwanese indigenous people.
The art of playing the unique twin-pipe polyphonic nose flute
was on the verge of being lost, but today it is being taught to
five students, allowing this music to continue to survive.
95
初秋的風涼爽宜人，宜蘭國立傳統藝術中心蔣「口鼻笛就像代我說話一樣，透過笛音，將內
渭水演藝廳傳來清亮的笛音，單純而動聽。心的感受，與人互動，與部落互動。」許坤仲以
壓軸節目，是85歲的國寶級藝師許坤仲吹奏排灣族語解釋著。
的〈叫心裡醒來的笛音〉，剛動完心導管手術不當時20歲的他向太太求婚時，站在石板屋外吹
到二週的許坤仲，小心翼翼地站上舞台，指尖熟著口鼻笛，丈人從笛音聽出他的愛慕與真心，才
悉地穿梭在口鼻笛的孔隙之間，曲式巧妙變化，開門應允。48歲的許坤仲被選為大社村村長，總
透過抖音與滑音的鋪陳，展現雙管口鼻笛的複音在夜深人靜、滿天星斗下，讓低吟悠遠的笛音，
特色，時而低吟，時而昂揚，吹出人與自然的關伴著部落的族人入眠，連不同角落的狗兒都低鳴
係，對天對地，啟迪人心。應和回應。
許坤仲偕同向他習藝的五位藝生，在這場「傳統最令許坤仲自豪的是，早在1988年，前立委華
藝術接班人駐園演出」中，向觀眾介紹北排灣族獨加志帶著阿美族的郭英男、排灣族的許坤仲等六
特的口鼻笛音樂，這個原本即將失傳的原住民樂器，位原住民藝術家，到歐洲四個國家巡訪，進行文
因著文化部推動「重要傳統表演藝術傳習計畫」，化交流。「把我們當成牛，餵我們吃草。」是習
原民悠遠的傳說與故事，有了眾口傳唱的可能。慣吃熟食的許坤仲，初嚐生菜沙拉的印象。1998
年他為「超級公民」的電影配樂，笛音傳達的反
用笛音來述說文化日常
思與哀愁，獲得了亞太影展的「最佳配樂獎」。
許坤仲出身屏東排灣族最深山的達瓦蘭部落，有一年許坤仲在挪威巡演時，由於現場無法
以打鐵為生的他，從小看著爸爸吹口鼻笛，15歲懸掛台灣的國旗，許坤仲就吹奏國歌來代表台
做出自己人生的第一把竹笛，笛音弦律從此伴隨灣。他所展現的功力，在於他將只有五個孔、沒
著他人生的悲歡聚散，悠揚不絕。有「Si」這個音階的口鼻笛，靠著調控氣息的強
裁切竹管後，進行陰乾作業。（伊誕提供）
After the bamboo is cut into lengths it is left to
dry. (courtesy of Etan Pavavaljung)

利用小刀慢慢削平粗的竹節處，再以尖刀在竹節凹陷處挖出
小孔，最後使用鐵棒穿透竹節口，即可以形成吹氣口。
A small knife is used to carefully pare down rough bamboo
nodes, then a pointed blade is used to cut small holes into the
concave nodal diaphragm, and finally a steel rod is used to
penetrate through the bamboo node to create the blow hole.
用藤繩將主音的有孔笛與伴奏的無孔笛綁在一起，即成雙
管笛。
The flute pipe with finger holes (used for the main melody) and
the drone pipe (without holes) are bound together with rattan to
form the twin-pipe flute.
ing this indigenous instrument was on the verge of being

lost, but thanks to a Ministry of Culture program to pro-
mote the transmission of traditional performing arts, long-
told indigenous legends and stories now have the chance
to be carried forward by a new generation.
Using the flute to tell about culture
Pairang Pavavaljung was born in the remote Paiwan
indigenous community of Tjavadran, deep in the moun-
tains of Pingtung. A blacksmith by trade, he watched his
father play the nose flute from early childhood. At age 15
he made his first bamboo flute, and since then the sound of
the flute has been a constant part of his life, through all its
ups and downs.
Amidst a cool and pleasant early autumn breeze, the “It’s as if the nose flute is speaking for me, and through
clear, bright sound of the flute emerges from the Chiang its sounds I can share my inner feelings with people, with
Wei-shui Theater at the National Center for Traditional my community,” Pavavaljung explains, speaking in Paiwan.
Arts in Yilan. The music is simple but melodious. When Pavavaljung proposed to his wife at age 20, he
Played as the finale of the program, the piece is stood outside her family’s slate house playing his nose
“Awakening the Heart with the Notes of the Flute” per- flute, and it was the sincere love expressed in the music
formed by 85-year-old national treasure Pairang Pavaval- that persuaded her father to open the door and give his as-
jung (also known by his Chinese name, Hsu Kun-chung). sent. At age 48, when he was elected head of Dashe Village,
Pavavaljung, who underwent cardiac catheterization where Tjavadran is located, in the quiet of night under star-
less than two weeks previously, stands cautiously on the filled skies community members could always hear the
stage as his practiced fingertips move across the holes of soft sounds of his flute in the distance as they fell asleep.
his nose flute. The ingenious changes in melody, accom- Even scattered dogs would respond to his playing with soft
panied by expressive vibrato and glissando, display the grumbles, yaps, and whimpers.
unique polyphony of the twin-pipe flute. Sometimes low A unique polyphonic instrument
and quiet, sometimes high-spirited, Pavavaljung’s play- The twin-pipe nose flute is a polyphonic instrument. One
ing tells of the relationship between man and nature, and of the pipes has holes and plays the main melody, while the
inspires minds to connect with the universe. other has no holes and serves as a drone accompaniment.
Pavavaljung, accompanied by five students who are Pavavaljung’s own composition “Brothers Who Sing
studying under him, introduced the audience to the of Love and Longing” uses the polyphonic nature of the
unique nose-flute music of the Northern Paiwan peo- twin pipes to tell the myth of two brothers who left their
ple as part of a program of performances showcasing village and became two mountains. The elder brother is
younger practitioners of traditional arts. The art of play- represented by the main flute, with its rich variety of tones,
97
許坤仲經常受邀在海外的音樂節或是台灣同鄉會表
演，介紹台灣原住民音樂，不只外國人，連海外華僑
都十分好奇探詢。
Pairang Pavavaljung is often invited to perform overseas
at music festivals or at Taiwanese clubs, introducing
the music of Taiwan’s indigenous peoples to these
audiences. It is not only foreigners who are curious and
inquiring, but expatriate Taiwanese as well.
（右下圖）許坤仲常告訴藝生，笛管表面的雕飾圖
紋，就像給笛子盛裝一樣。
(facing page) Pairang Pavavaljung tells students that
the incised designs on the surface of a flute are there for
decoration.
弱，掌握音域的高低，吹出有七個音階的
國歌，將愛國之心迴響於海外。
獨特的複音樂器
曾有一位專門研究歐洲傳統木笛的匈
牙利教授，2012年透過外交部的協助，
不遠千里而來，與許坤仲暢談了四個
小時，直言雙管口鼻笛，世界少有。
因為雙管口鼻笛作為複音樂器，一支
是有孔的主音笛，另一支是無孔的
合聲笛，直接帶出伴奏的效果。
許坤仲所創作的〈傳唱愛戀的兄
弟〉，就是運用雙管複音的特色，
以兩個兄弟離開部落，變成兩座山
的神話來說故事。哥哥是飽滿豐沛的
主笛，弟弟是低迴合聲的副笛，永恆
地蹲坐在高美橋兩旁，相互對唱。
隨著現代化的腳步，部落愈來愈多的年
輕人到外地就學、就業，八八風災的摧殘，更
讓三地門、霧台鄉許多部落面臨遷村命運，
遷居山下後，對部落的耆老們是很大的創
傷，隨著耆老的凋零，會吹口鼻笛的人愈
來愈少。
當年行政院文化建設委員會（後改制
為文化部）看到這個危機，2011年指定
北排灣族的許坤仲、中排灣族的謝水
能為「口鼻笛重要傳統藝術保存者」
（即俗稱的人間國寶）；同年獲選的
還有相聲類的吳兆南、布袋戲的黃俊
雄等人。

while the younger brother is represented by the soft low
叫心裡醒來的笛音
note of the drone. They crouch forever at the two ends of
許坤仲有感於口鼻笛可能失傳，早在2000 Gaomei Bridge, singing to each other.
年開始在山地門鄉地磨兒小學，教小朋友吹口 As young people move away from indigenous com-
鼻笛。文化部後來推動「民間藝術保存傳習計 mun ities for work or study and older generations of

indigenous elders pass away, the number of people able
畫」，透過甄選與考核，以師徒制的方式，可
to play the nose flute has declined. Some years ago the
以有系統地培養製作工藝與吹奏口鼻笛的藝師。
Council for Cultural Affairs (now the Ministry of Culture)
第一屆研習有成的藝師，就是許坤仲的次子伊 took note of this crisis, and in 2011 registered Pairang
誕．巴瓦瓦隆。 Pavavaljung from the Northern Paiwan people and
1986年伊誕在神學院的民俗音樂課，帶著它向 Gilegilau Pavalius of the Central Paiwan people as “pre-
師生們展示排灣族特有的樂器，但排灣族口鼻笛 servers of the important traditional performing art of the
對他而言，不只是傳承部落的文化與價值。自 nose flute”—living national treasures.
Sounds to awaken the heart and mind
2004年開始貼近紀錄自己的父親許坤仲，拍攝排
Back in 2000 Pavavaljung himself, fearing that the art
灣族口鼻笛記錄影像時，伊誕深刻體會到口鼻笛
of playing the nose flute might be lost, began teaching
伴著父親一生；但直到他學會製作自己的笛子，
children at Timur Elementary School in Sandimen Town-
吹奏出〈叫心裡醒來的笛音〉等曲調時，他才真 ship. Later the Ministry of Culture included the nose flute
正聽出了父親內心情感的世界，那一份煩惱、那 in its Program for Preserving Folk Arts, using a selection
一份雀躍，以及在母親去逝後，父親的寂寞煩 process, assessments and a master–apprentice system to
憂，在口鼻笛的樂音互動中，也因此拉近了父子 systematically train students to both make and perform
的距離。 with the instrument. One of that first class of students is

Pavavaljung’s second son, Etan.
「部落在面臨現代化的過程，鼻笛聲音的純
“As indigenous communities face the process of
粹，更能觸動接觸現代文明的我們，思索保留整
modernization, the purity of the sound of the nose flute
個族群的文化與價值。」精通族語的伊誕，2020 can inspire those of us who have been in contact with mod-
年4月帶領近70位族人展開尋根之旅，造訪北排 ern civilization to ponder and preserve the culture and
灣族的發源地──大姆姆山下的舊大社部落達瓦 values of the tribe,” says Etan, who is fluent in the Paiwan
蘭遺址，沿著河谷翻山越嶺都是竹林，讓族人了 language. The earliest nose flutes had only one hole, and
when played they sounded like the call
of an owl. As more holes were added,
the flutes could reproduce the flowing
sounds of mountain springs and water-
falls, or the rustling of bamboo groves.
Amid the cacophony of modern life, the
nose flute, which can imitate nature, pro-
duces the music that is closest to nature.
Etan is also an accomplished visual
artist. The vecik engraving style that he
invented uses traditional carving tech-
niques with added colors to create pic-
tures. These works, including If the Wind
Stops Blowing One Day, which was ac-
quired by the National Taiwan Museum
of Fine Arts, are all based on elements of
Paiwan culture.
99
藝生余衛民在屏東大同教
會免費的課輔班中，教小
朋友吹奏口鼻笛。（余衛
民提供）
Yu Weimin teaches children
to play the nose flute in a free
class at Datong Presbyterian
Church in Pingtung. (courtesy
of Yu Weimin)
（右圖）曾面臨失傳的危
機，如今培育了口鼻笛的
傳承藝師，讓原民悠遠的
傳說與故事，有了眾口傳
唱的可能。
The art of playing the nose
flute was nearly lost, but today
a number of nose-flute masters
have been trained, enabling
the old indigenous legends
and stories to continue to be
performed.
解，原來排灣族口鼻笛就是如此地依傍在自然環遺失珍貴寶物般的喜悅。」許坤仲以排灣族語說
境中順勢而生。著，由伊誕口譯。
伊誕說，鼻笛最早只有一個孔音，吹起來好另一位邁入第二年研習的藝生余衛民，有一半
似貓頭鷹的叫聲。隨著孔洞的增加，可以吹奏出的排灣族血統的他，抱著想記錄、保存排灣族古
山泉瀑布的流洩聲，或是竹林碰撞的聲音。在眾謠的想法，參加傳習計畫。
聲喧嘩中，仿聲自然的鼻笛，最是貼近大自然有著政戰學校音樂系畢業、主修長笛背景的余
的樂音。衛民發現，對照西方音階、音高的語法，口鼻笛
伊誕在禮納里部落推動「斜坡上美術館」，串的發聲原理與製作孔位的原理（例如從尾部開始
連20個藝術工作室，不定期舉辦展演、講座，相量測，來測量孔距），與西方樂理不謀而合。但
互分享交流。他自創的紋砌刻畫，以古老雕刻技過去靠著世世代代口傳心授，如今要寫下樂譜，
法再畫上顏色；相關畫作系列作品，以及國立台最困難的是隨心所欲的變調，以及對排灣族古語
灣美術館典藏的「當有一天風不再吹了」畫作，的領悟、詮釋。
都是基於排灣族文化脈絡的創作。從小跟著爺爺奶奶學族語的藝生卓惠萍進一
學習口鼻笛技藝也是如此，「不久之後，當我步解釋說，許坤仲老師不只糾正她牙牙學語時學
成為耆老時，我也可以據此傳授給下一代。」伊的族語，也讓她領略古語之美，她舉古調的歌詞
誕詮釋著自己的角色。說：「我內心多麼期待成為你生命中的梳子」，
傳達了思念的愛意；「你所預備放在我掌中的食
傳承文化與族語的精髓
物，我吃起來多麼的愉悅。」將親密寄予詞中。
但最令許坤仲高興的，是外孫撒古流．瑪拿妮同樣的曲調，搭配先祖流傳下來優美的詞句，吟
凱從15歲開始，每週從台東坐車到屏東，向外公出雋永的古謠。
學習口鼻笛技藝，四年不輟。在吟唱排灣族古調中，樂音演繹了輕風吹動的
現已是高雄師範大學學生的撒古流，曾在學竹林，沙沙作響，詮釋了變幻的季節交替，以及
校校慶開場演奏，就像許坤仲總是在族人結婚典追憶的鄉愁。正如〈遙想記憶的民謠〉所歌吟：
禮、牧師按牧典禮等重要的場合演奏一樣，「兒「傳承的樂與音，沈靜地貼近樸實的土地，」婉
子學口鼻笛是傳承，外孫學此技藝，則像是重獲轉悠揚，裊裊不絕。 l

Learning the skills of making and playing the nose of the school’s anniversary celebrations, just as Pairang
flute is the same. “In the not-too-distant future, when I Pavavaljung always performs at important events like the
become an elder, I can also pass along my knowledge to weddings of his tribespeople and ordination ceremon-
the next generation,” says Etan, explaining his own role. ies for indigenous pastors. “When my son learned the
The essence of culture and language nose flute this was the continuation of a tradition, but for
However, the thing that makes Pairang Pavavaljung my daughter’s child to be learning this art gives me that
happiest is that for the four years since his grandson feeling of joy you get from recovering a precious treasure
Sakuliu Mananigai turned 15, he has been taking a bus that was lost,” says Pavavaljung in Paiwan.
each week from Taitung to Pingtung to learn the nose Yu Weimin is another student who is now entering
flute from his grandfather. his second year of study. Half Paiwan by ancestry, he
Mananigai, who is now a student at National Kao- entered the Ministry of Culture’s Program for Preserv-
hsiung Normal University, performed at the opening ing Folk Arts with the idea of recording and preserving
traditional Paiwan folk songs.
A graduate of the Department
of Music at Fu Hsing Kang College
who majored in the flute, Yu dis-
covered that in comparison with the
Western vocabulary of scales and
pitches, the principles behind the
nose flute’s sound production and
the positioning of its holes (for ex-
ample, the distance between holes is
measured from the end of the flute)
are similar to Western music theory.
However, because in the past knowl-
edge of the nose flute was passed
down through the generations only
by word of mouth, there are chal-
lenges in writing it down as sheet
music today; especially difficult are
capturing improvised tonal changes
and interpreting traditional Paiwan
terminology.
In old Paiwan melodies, one can
sense the sound of breezes blow-
ing through bamboo groves, and
the gentle tones express the ever-
changing seasons and nostalgic
memories of home. To quote the
lyrics of the song “Ainaluan” (“Bal-
lad of Distant Memories”): “Our
living heritage of music and sound
keeps us close to our simple and
unpretentious land.” l
(Esther Tseng/photos by Jimmy
Lin/tr. by Phil Newell)
101
產業新創　ENTREPRENEURSHIP
It has been nearly a year since Zhang and Chen

started Chomeet, and Zhang says that while business is
steady at the moment, he wouldn’t say they’ve devel-
oped a fully mature business model just yet. They con-
tinue to adjust their revenue model, and they’re always
watching which flavors are popular with the public. The
pair also travel to different weekend markets around
Taiwan to set up stalls and introduce their products and
their brand spirit, hoping to get people to see Taiwanese
agricultural products in a new light.
As for the future, Zhang seems optimistic, although
he says he “still worries about each new product and
each new set of sales figures.” He emphasizes that when
starting their own businesses, young entrepreneurs need
A Rice Renaissance
to rely on their own efforts at all stages, from product
planning and production to sales and marketing. There’s
—these
always more to learn, and T htwoewill continue
R e f work-
inement of
R i cchocolate,
ing hard to create uniquely Taiwanese e Cand ulture
one day even to attract the attention of chocolate lovers
102around
台灣光華 theTaiwan
world.Panorama l
(Lee Hsiang-ting/photos by Chuang Kung-ju/
tr. by Geof Aberhart)
（富興米店提供）
(courtesy of Fusing Rice)
文•蘇俐穎　圖•林旻萱　版面設計•蕭郢岑
台灣人吃米的量屢創新低，從六、七○年
代，每人每年動輒80∼90公斤的量，到如今降至 T he amount of r ice eate n b y Taiwanese has
again hit a new low. It has fallen by nearly
half from the level of 80–90 kilograms per person
將近一半，甚至米麥的食用量即將呈現「死亡交
per year back in the 1960s and 1970s, and will soon
叉」。這不僅是從以勞力為重的農業社會，進展
be outstripped by the rising consumption of wheat.
到工商社會的必然流變；也是由於美援時代，麵 Looking at the big picture, rice consumption is
粉大量輸台，影響國人飲食口味，繼而造就今日 declining. But when you look at the details, many
米麵雙主食的結果。 rice farmers, rice experts, and restaurateurs are
大趨勢看來，米消費量正在減少，但細觀， forming alliances from field to dining table in hopes
民間不少米農、米職人與餐飲業者，從產地到餐 of finding a better future for Taiwan rice. They are
桌，異業合縱連橫，他們想為台灣米另闢出路， making a brilliant contribution to the transition

from “eating your fill” to “eating smart.”
也為這一段「從吃飽到吃巧」的過程，寫下了精
彩的一頁。
Back in 2002, Taiwan formally joined the World
Trade Organization and announced it was opening its
聽過許多人抱怨，台灣的米飯不如日本的好 market to imports of rice, a move which was met by
吃，常見餐廳、小吃，菜餚烹製得可口，但一碗 intense protests by farmers. Domestically produced rice
白飯卻差強人意，反倒是在赴日旅遊時，驚豔於 has since faced both domestic challenges and external
日本米的飽滿、Q彈與晶瑩透亮，讓人無視當紅 threats. Domestically, demand for rice has been contin-
ually falling as citizens’ dietary habits have changed.
的「減醣」風潮，甘願扒光一整碗，甚至甘願扛
Externally, foreign rice has been knocking hard on the
著沉重的日本米搭機回台。
door to get in. But crisis is also opportunity, and many
難道是台灣米天生「劣人一等」？《食貨誌》
courageous farmers have begun to dedicate themselves
的作者鄧士瑋就曾爬梳了台灣米的歷史身世，分 to upgrading the quality of Taiwan’s domestic rice.
析台日煮飯方法的異同，繼而告訴讀者：「問題 Following decades of transition, and with the ad-
不在品種，而是在煮飯的步驟與方式。」 vent of the Internet and social media, barriers to brand
103
但嚴格來說，日人吃米，秉持一貫的極致精
風土物種，遍地開花
神，追求的是風味上的純粹，生米要淨白晶亮，
咱們確實擁有值得引以自豪的風土物產。時間無白堊質，炊煮成飯後乾淨無雜味，如此才能
回溯到2002年，那一年，在許多農友激烈的陳抗與纖細典雅的和食相佐。台灣人則習慣「吃飯配
聲下，台灣正式加入WTO，也宣告了開放稻米進菜」，尤其台菜多熱炒、爆炒，唯有米香濃郁，
口。國產米一時面臨內憂外患夾擊，於內，因國才能飯、菜勢均力敵，相互匹配。
人飲食習慣改變，需求已不斷衰退；於外，則有在此脈絡之下，台灣米以香氣豐富為尚，目前
外國米的強力叩關，但危機同時也是轉機，不少市售的稻米粗分成兩大類均屬之，包括了具七葉
有骨氣的農友開始投入提升農作物的品質。蘭（即香蘭葉）、茉莉花香的一般品種，與以芋
歷經數十年的轉型，加上網路時代社群媒體崛頭香氣聞名的「香米」品系，在市場上各有其擁
起，品牌行銷門檻變低，購買管道愈來愈多元，護者。
除了足以供貨連鎖通路的大型米廠，主打「直接另外，日本市場主要以精白米為大宗，台灣則
跟農夫買」，或走網購管道的小品牌更是百花齊因養生風氣，除了糙米相當流行，就連黑米、紫
放，不論消費者在意的是價格，或者想支持友善米、紅米等有色米亦很常見，展現出農產品多樣
環境、有機的耕作方式，選擇應有盡有，台灣米化的特性。
進入了百花齊放的戰國時代。
米的媒人
台、日喜好同中有異
釐清咱們的喜好、標準，隨之而來的問題便是
在吃飯這件事上，台灣人對於日本米簡直一「吃什麼？」、「怎麼吃？」台灣稻米選育技術卓
往情深，但細究下來口味同中有異。由農產的越，不論民間或農改場，均積極投入培育新種，
歷史看來，台灣原產的是細長鬆散的秈稻（在粗估至少200種品種在民間流通，除了過去因著便
來米），直到日治時代日本人引進稉稻（蓬萊利商店選用御飯糰食材，而廣為人知的「台稉9
米），正式改變了台灣人的飲食習慣，故對於米號」，以及連年在全國稻米比賽奪冠，因而聲名
飯飽滿、Q彈、香甜的口味偏好，台日相當一致。大噪的「桃園3號」，面對琳琅滿目的的選擇，消

marketing have been lowered, and channels for pur- Taiwan, fundamentally changing the eating habits of
chasing rice have grown increasingly diverse. Alongside the Taiwanese. As a result, Taiwanese and Japanese are
large rice firms that produce enough to supply chain unanimous in their preference for rice that is plump,
stores, many small brands have appeared that promote slightly firm to the bite, aromatic, and sweet.
buying direct from the farmer or rely on online sales. No But strictly speaking, when Japanese eat rice, they
matter whether consumers are focused on price or are follow their perfectionist instincts and seek out a pure
aiming to support environmentally friendly or organic flavor. Uncooked rice must be pure white and crystal-
farming methods, all the options are there to choose line, without chalkiness, and once cooked it must be
from. Taiwan rice has really entered a period of intense clean with no extraneous tastes. Only then is it fit to
competition in which “a hundred flowers bloom.” accompany Japan’s delicate, elegant cuisine. Taiwanese,
Taiwanese or Japanese? on the other hand, are accustomed to eating rice with
Taiwanese have long had a strong affection for Jap- heavier foods. In particular, given that Taiwanese food
anese rice, but there are differences despite this shared is mainly stir-fried, only rice with a rich aroma can bal-
preference. Looking back into agricultural history, the ance the strong flavor of the dishes.
rice produced in Taiwan before the era of Japanese Within this context, Taiwanese rice is valued for its
colonial rule was fluffy long-grained Indica rice. The rich fragrance. The rices currently sold in the market
Japanese introduced short-grained Japonica rice into can be roughly divided into two main types: the com-
mon varieties with the aromas of pandan leaves or jas-
mine, and the “fragrant rice” varieties that are famous
for having the scent of taro. Both have their adherents.
Furthermore, while the Japanese market is domin-
ated by polished white rice, in Taiwan, as a result of
health trends, not only is brown rice quite popular, but
one can often see colored rices such as black, purple,
and red rice, exemplifying the great diversity of Tai-
wan’s agricultural produce.
Rice matchmakers
Having clarified our preferences and standards,
the next question is, “What shall we eat?” Taiwan has
outstanding selective breeding technology, and both
private-sector firms and the government’s agricultural
research and extension stations have actively devoted
themselves to breeding new varieties of rice. It is estim-
ated that there are at least 200 varieties circulating in
Taiwan. How can consumers choose the right rice for
themselves?
Although the government has not set up a certifica-
tion system for rice experts similar to that for tea tast-
ers, there are still many people for whom promoting
台灣米品牌相當多，不同品種、產地，散裝或者真空包，
都能滿足消費者的要求。
There are many brands of rice in Taiwan, supplying different
varieties grown in various places, and the rice is sold both loose
and vacuum-packed. There are enough options to satisfy the
demands of any consumer.
105
費者如何根據自身喜好，擇其所愛，愛其所擇？ Taiwan rice has become a vocation, and who have spe-
雖然政府至今並未為稻米立下如茶葉「評茶 cialist knowledge and extensive experience. They taste-
test a wide range of rice varieties, and go to production
員」的專業認證制度，但民間仍有許多以推廣
areas on behalf of consumers where they interact with
台灣米為志業，並且具有專業、默默耕耘的工
farmers and gain an in-depth understanding of the cli-
作者。他們廣泛地品嚐各式品種，也代消費者
mate, terroir, and cultivation techniques used. Finally,
走入產地，與農夫「交陪」，深入了解氣候、 with expert judgment, they choose suitable varieties for
風土與種植的技術，最後，以職人的精準眼光， consumers. They are like “rice matchmakers” linking
為消費者選出合適的品種。就像連結農友與消費 up farmers with consumers.
者之間──米的媒人。 Outlining a picture of Taiwan rice
Several years ago there was a public outcry when
勾勒台灣米圖像 it was revealed that a big rice company was selling
Taiwanese rice with cheap Vietnamese rice mixed
猶記得幾年前，某大型米廠將廉價的越南米混
in. Whether they do it to reduce production costs or
充台灣米出售，在揭露後引起社會輿論嘩然，不
to compensate for a shortage in production volume,
論是為了降低生產成本，或者填補產量缺口，當 “mixed rice” has already become an open secret in
「混米」已是業界心照不宣的秘密，卻有人寧願 the industry. But some prefer to steer in the opposite
反向操作，詳實標明產地、合作的農家，甚至標 direction, clearly indicating the production area and
榜出「單一品種」。 cooperating farmers on their product labels, and even
我們來到了苗栗西湖，此時正是秋高氣爽的季 advertising their product as a “single variety.”
We arrive in Xihu Township in Miaoli County in
節，田中在上個月新播的水稻抽芽生長。「我想
glorious autumn weather, and the rice planted out in
做的事情很簡單，就是想讓大家知道吃的米是什
the preceding month is growing tall and green. “What
麼品種。」站在阡陌如織的綠意之中，「茂生米
I want to do is very simple: I want to let everybody
糧」的創辦人林茂生堅定地說。 know what variety of rice they are eating,” says “Mao
外表殷實的林茂生，一腳跨足稻米領域，另 Rice” founder Lin Mao-sheng resolutely, standing in
一腳則跨足水果行銷，經年都在產地走跳的 the midst of a verdant checkerboard of paddy fields.
喜歡親自掌控所有環節
的農友吳亮寬，是低調
但相當專業的生產者。
Farmer Wu Liangkuan,
who likes to have
personal control over
each step in the rice
production process,
keeps a low profile but is
highly professional.

林茂生（右）與吳亮寬（左）攜手，
為講究米飯的消費者推出優質產品。
Lin Mao-sheng (right) and Wu Liangkuan
(left) have joined hands to produce
premium products for consumers who are
particular about their rice.
107
他，談論起農業、飲食，思緒清晰，低調卻有含量高，口感粒粒分明，鬆散有嚼勁，適合做
自信。成炒飯、菜飯，稱為「炒飯米」。
會選擇以「米」創業，源於幾年前恰逢職涯林茂生認為，與其標榜支持小農，或者夸談
轉換的階段，因親友的熱情引薦，他認識了農改善農民生活，農作物也是一項商品，倒不如
夫世家吳亮寬一家人。從縣府離職，回家務農回歸到市場機制還更實際。因此，他積極地開
的吳亮寬，性格龜毛，做事細膩，從育苗、插拓客源，甚至將產品出口到新加坡，除了吸引
秧、收割、烘乾、碾米、包裝都不假他人，甚到許多在乎食安的終端消費者，也有不少重視
至為了才八甲大的農地投入重金，蓋了一座加米飯品質的餐廳買單，其中甚至不乏私廚與高
工廠。雖然傾全力種出好產品，但性格低調的檔餐廳。
他，僅將稻米上架到當地郵局，或者販售給熟就飲食文化發展的進程來看，林茂生所做
識的親友。當林茂生遇上這款「不世出」的好的，不僅只是單純的商業買賣，無形也肩負
米，讓他賭上個人的榮譽，以此創立品牌，想起食農教育的任務，畢竟在飲食精緻化的路
將好的物產推廣出去。上，建立對「單一品種」的認識，可說是第
茂生米糧的產品單純，三支產品，代表了三一步，懂得「辨味」，才能「知味」，而後建
支單一品種的米。考量到消費者對品種認識不立「品味」。
深，他特地將品種連結到用途。「台農77號」他這樣說：「當消費者知道不同品種的優
Q 彈飽滿、油亮生光，可與高檔的日本米並駕缺點，慢慢建立起一套自主的觀念，知道愛吃
齊驅，取作「越光米」；「台農71號」含水量什麼、跟誰買，懂得去選擇，這就是個正向的
高，糊化效果好，適合「吃軟不吃硬」，則叫循環。人只要擁有食物的掌控權，產業也會活
「熬粥米」；至於「台農秈22號」，直鏈澱粉絡，這才是一切的根本。」

林茂生特地將不同的品種依特色、用途勾勒出來，方便消費者選購。
Lin Mao-sheng markets different rice varieties by emphasizing
their particular characteristics and uses, making it easier for consumers to choose what to buy.
The reason why Lin chose rice as the basis for a new which is plump, glossy and firm to the bite, is on a par
business venture can be traced back several years, to with high-end Japanese rice, and can be used instead
a point in his life when he was ready to make a career of Japanese Koshihikari rice. The “Tainung 71” variety
change and friends and family introduced him to the has a high water content and gelatinizes well, making
household of farmer Wu Liangkuan. Wu, who had left it suitable for dishes where a softer texture is required;
his job in the county government to return home to take Lin markets this as “congee rice.” As for “Tainung Sen
up farming, is a perfectionist who insists on handling 22,” this variety has a high amylose content, its grains
everything himself, from culturing seedlings and trans- do not stick together when cooked, and it has a firm
planting them to harvesting, drying, milling, and pack- bite. It is well suited for preparing fried rice or mixed
aging his rice. Despite having only about eight hectares vegetables and rice, and Lin dubs it “frying rice.”
of farmland, he even invested a great deal of money to In terms of the development of dietary culture, what
build a processing plant. Although he devotes himself Lin Mao-sheng is doing is not simply commercial trade,
completely to growing a good product, he used to keep but also education about food and farming. In an age
a very low profile, only selling his rice through the local of processed foods, he is taking a first step to building
post office and to family and friends. Having discov- a wider public understanding of “single variety” rice.
ered this high-quality rice that was “unavailable to the Only if one is able to distinguish among different tastes
world,” Lin Mao-sheng decided to put his personal rep- can one recognize and appreciate them.
utation on the line, and founded a brand with the aim of Lin puts it this way: “When consumers learn the
letting more people know about fine products like this. positives and negatives of different crop varieties and
Mao Rice’s offering is simple: there are three product develop an autonomous viewpoint, they will know
lines, each based on a single variety of rice. Taking into what they prefer and who to buy it from, and how to
account the fact that most consumers don’t have a deep select produce; this is a virtuous circle. Once people
understanding of rice varieties, Lin stresses the different have control over their food, industry will become
varieties’ suitability for different uses. “Tainung 77” rice, more dynamic—this is at the root of everything.”
109
易因為別人說好，就覺得好；別人說不好，就覺
選米專家的自信
得好像沒那麼好。但是每個人的經驗、標準其
同樣身為「米的代言人」，還有在板橋僑中市實並不一樣，對於好壞、喜好的判斷其實很主
場裡經營「富興米店」的石傑方。觀。」他這樣說。所以，他從來不向客人強迫推
還記得小時開設在巷子中，低調不顯眼的米銷，反倒是善用過去練就的產品開發功力，發掘
店，一大袋、一大袋的米穀雜糧堆疊在店門前，各地的優質稻米，販售時先悉心了解客人的喜好
偶爾兼賣著油鹽醬醋等調料，這樣傳統的賣店，與需求，再作出精準的推薦。
隨著時間往前，本該逐漸消失在時代洪流之中，好比市場裡的主要客群，即是每日為家人張
富興米店原本也是如此。但就在前年，不顧家人羅三餐的婆婆媽媽，對價格尤其斤斤計較，實惠
反對的石傑方，從原本的工作離職，接下父親的的散裝米自然是首選；至於愛嚐鮮的年輕族群，
小生意，他不僅將米店重新整修，更進一步把米開伙頻率並不高，買多惟恐吃不完，價格略高無
的知識與對生活態度的講究灌注其中，老店也重妨，小包裝、真空包的品牌米才能投其所好；另
新煥發出新生。外，由於市場周圍多工廠，也有不少移工客群，
和茂生米糧完全是不同的路數。富興米店裡，他們對品質要求不高，唯獨希望能貼近家鄉口
除了秤斤論兩販售的散裝米，還有真空包裝、高味，以解思鄉之情，為此石傑方也特地在店中進
單價的小品牌米，仔細一數，光就米的品項，居了一支泰國香米。
然就高達二十種。富興米店也與數十家餐廳合作，因料理需求不
過去曾在知名選品店工作長達16年的石傑方，同，石傑方不僅為其供貨，更以專家角色推薦合
對「選物的標準」自有一番見地，「多數人很容適的品種。例如港式餐廳所販售粥品、煲仔飯，
經石傑方的媒合，甜點師傅將台稉9號與香草、
牛奶等食材結合，製成粽子造型的甜點，
在甜點圈掀起話題。（富興米店提供）
Stone Shih helped pastry chefs combine Taiken 9 rice with
vanilla and milk to make pastries shaped like zongzi
(glutinous rice dumplings). They created quite a stir in the
pastrymaking community. (courtesy of Fusing Rice)
經過適當的烹煮手續，
台灣米的風味絕對不遜於日本米。
Cooked the right way, Taiwanese rice tastes every bit
as good as Japanese.

Confident rice experts 石傑方與異業合作舉辦米主題講座，推廣食農教育。
Rice shop owner Stone Shih works with businesses in other in-
Another “spokesperson” for rice is Stone Shih, who dustries to offer rice-themed lectures, educating the public about
runs the Fusing Rice shop in the Qiaozhong Market in food and farming.
Banqiao, New Taipei City.

Shih has taken an entirely different approach from
that of Mao Rice. Inside Fusing Rice, besides the rice
which is sold loose by weight, there are also high-priced Fusing Rice also works with dozens of restaurants.
niche brands of vacuum-packed rice. When you count Because each has its own cuisine, Shih not only supplies
them up, you find there are 20 different rice product lines. them with rice, he uses his expertise to recommend
Shih, who worked in a well-known concept store for the most suitable varieties. For example, Hong Kong-
16 years, has his own ideas about criteria for selecting style restaurants have traditionally used “see mew”
products. “Many people tend to think that something is rice grown in China for their congee and clay-pot rice
good just because other people say that it’s good, or feel dishes; Shih recommends that they instead use Thai
that it’s not so good because others say it’s bad. But in fragrant rice, which has a similar mouthfeel. For braised
fact everyone’s experiences and standards are different, pork on rice, a classic dish served in Taiwanese-style
and judgments about what is good or bad are very sub- eateries, it is crucial that after the topping is added, the
jective,” he says. That’s why he never uses a hard sell on rice should not turn mushy. However, many businesses
customers, but instead puts the product development have costs to consider, so Shih experimented with mix-
skills that he gained in the past to good use by seeking ing soft, sticky Taiwanese rice from Xihu with drier
out premium-quality rice from various places, and when Thai fragrant rice in order to get the best of both worlds.
selling to customers he first gets a thorough understand- Refining rice cuisine
ing of their preferences and needs, and then makes pre- As a result of larger trends, consumption of rice by
cise recommendations. Taiwanese has been steadily declining. Even though
111
按傳統需使用中國產的「絲苗米」，他建
議可用口感相近，但更易取得的泰國香米
來取代；或者台式小吃中經典的滷肉飯，
講究之處在於米飯淋上澆頭後，口感也不
能糊爛，但許多業者又有成本上的考量，
他便嘗試將軟黏的台灣米與乾爽的泰國香
米混合，以達到兩全其美。
食「米」的精緻化
受大環境的影響，台灣人食米量逐年遞
減，即便農政單位不斷呼籲「多吃一口台
灣米」，仍難以力挽狂瀾，但深入觀察，
米食文化的扎根與精緻從未停止，甚至在
近年發展出蓬勃多元的風貌。
除了米品牌的推陳出新，以米為原料的
鹽麴、甘酒、米果，亦曾在不同時間點掀
起小小熱潮，繼而普及在一般家庭中。坊
間也可見若干家以「米」為主題的餐廳，
或者不同規模、等級的「米」餐會，主打
的都是以米來作變化，並運用完整的餐飲
搭配，為消費者勾勒出鮮明的米形象。
也幸而有職人的四處宣講，不厭其煩
向大眾說明「煮一碗好吃的飯」的步驟
與方法，即使是在家中吃，願意講究吃一
碗飯的人越來越多，也有更多餐廳出於
「吃在地」的思維，更願意使用國產米，
甚至經過料理人的創意，發掘台灣米的無
窮潛力。
最經典的例子便是西餐與融合菜
（Fusion）的餐廳常見的燉飯，正統的燉
飯（Risotto）得用上進口的義大利米，但
成本高昂，近年常見不少店家紛紛以澱粉
質較高的台稉9號取而代之。甚至在過去
的端午節，更見到有法式甜點師傅結合了
米布丁與台式油飯的概念，將台灣米做成
造型肖似粽子的華麗甜點。
一粥一飯，得之不易，背後仰賴著無
數農民的辛勤勞動，與在每個崗位的專
業工作者嚴格把關，一旦了解，何妨一
同響應，認真看待餐桌上的每一口米、
每一碗飯。 l

agricultural agencies are continually calling on people
to “eat more Taiwanese rice,” it has proven hard to turn
the tide. But when you take a different perspective, you
can see that rice culinary culture has been putting down
提升品味、累積文化，
deeper roots and growing more refined, and in recent
就從餐桌上的米飯開始。（富興米店提供）
Upgrading people’s tastes and building on our years has shown a flourishing diversity.
culture starts from the rice on our dining tables.
(courtesy of Fusing Rice)
Besides the changing landscape of rice brands, at
various points in time different rice-based edibles, such
as shio koji, amazake (sweet sake), and rice crackers have
become fashionable for a while, after which they have
spread to ordinary households. There are also a number
of rice-themed restaurants, and
people stage banquets or dinner
parties of various sizes with rice
as the central axis. These are
all characterized by using rice
in novel ways, and offer fully
coordinated menus, giving con-
sumers a fresh image of rice.
Fortunately there are also
rice experts promoting greater
understanding of rice, tirelessly
explaining to the public how to
cook rice at its best. Even when
eating at home, more and more
people are increasingly particu-
lar about the rice they consume,
and more restaurants, acting on
the idea of “eating local,” are
willing to use domestically pro-
duced rice. There are even cre-
ative chefs and culinary experts
who are exploring the limitless
potential of Taiwanese rice.
When we u ndersta nd t he
sk ill a nd effort beh i nd eac h
bowl of r ice or congee, why
don’t we join together to support
domestic rice? Increasing our
discernment and building on
our culture starts from devoting
serious attention to each bowl
and each mouthful of rice at our
dining tables. l
(Lynn Su/photos by Lin
Min-hsuan/tr. by Phil Newell)
113
多元族群　COMMUNITIES
努瑪工作室進駐屏東潮州的三共社區，為地方帶來許多歡笑。
Art Rumah, located in the Sangong Community in Chaozhou,
Pingtung County, brings joy to all those around them.

台
台印印共
共創
創
努
努瑪工
瑪工作作室
室
用藝術點亮社區
Art Rumah
Art Rumah
Lighting Up Communities with Art
文•陳群芳　圖•林格立　版面設計•馬英凱
提到藝術，你腦中會浮現什麼？美術館、國家音樂廳？藝術
這兩字，對許多人而言常是充滿距離感。然而有位台北女孩樂
雅琪，因工作而接觸藝術，從此愛上；另一位則是來自印尼、
已在台灣駐村超過十年的藝術家I Wayan Sadera，他走入社區，
參與藝術裝置、嘉年華戲偶的製作。理念相近的兩人，共同成
立努瑪工作室，進駐屏東，他們相信藝術可以融入生活，為社
區注入活力。
A rt Rumah in Pingtung was founded by two individuals who

wanted to inject new life into communities. One of the found-
ers is Le Le, a Taipei girl who discovered her love for art through
her work. The other is I Wayan Sadera, an artist from Indonesia
who has lived in Taiwan for more than a decade, and gets involved
in the community by helping to make carnival puppets.
115
場景來到印尼峇里島，一位七歲小男孩來到叔邀請Wayan來台，並安排他前往基隆壯觀社區指
叔跟前，叔叔把雕刻工具交到他手上，沒有任何導遊行道具的製作。雖然語言不通，但藝術創
指導就讓男孩試著刻出一顆雞蛋。「我就是盡力作與肢體表達模糊了語言的界線，居民親切地
把雞蛋刻圓。」這是藝術家Wayan對自己第一件與Wayan互動。看著居民從不會到會，大家認真
作品的回憶。豐厚的文化底蘊，造就了峇里島的學習的神情，彼此齊力完成道具製作。那份滿
藝術氣息，而從小浸潤在藝術氛圍裡的Wayan，足的成就感，深刻地留在Wayan心裡，讓他覺得
村子裡的人九成都從事雕刻工作，好似內建的基好像能留在台灣做些什麼。
因，工具一到手，很自然就刻了起來。
長大後的Wayan也以雕刻為生，製作觀光紀念
來自峇里島的Wayan宛如天生的藝術家，雕刻、竹編、鐵雕、
品，然而雕刻對Wayan來說，是工作，是生活，繪畫、馬賽克拼貼等通通難不倒他，一雙巧手在台灣各地留下
許多藝術創作。
但談不上是夢想。直到夢想社區文教發展基金會 Born in Bali, Indonesia, Wayan is a natural artist, being versed in
sculpting, wickerwork, metal art, painting, mosaics, and more. His
邀請Wayan來台駐村，藝術才真正與他的生命有 capable hands have created a variety of art works all over Taiwan.
了連結。
在夢想社區孵出夢想
位於新北市汐止區的夢想
社區文教發展基金會，創辦人
是熱愛嘉年華遊行的蔡聰明。
體內流著狂放血液的他，參加
過世界大大小小的嘉年華，他
穿著丁字褲、踩高蹺、全身塗
滿顏料，甚至為此學習噴火特
技。蔡聰明看到國外居民親手
製作道具，踩街時人人臉上充
滿自信，那股強大的向心力與
活力，讓他十分感動。於是他
在2000年成立基金會，2002年
舉辦第一屆夢想嘉年華，將歡
樂的活動風氣帶回台灣。
就是一股相信藝術自由的
精神，基金會邀請了來自各
國的藝術家來台駐村，製作遊
行花車、大型戲偶等，也以藝
術家的創作妝點社區環境。而
出生峇里島藝術重鎮烏布的
Wayan，在2009年受邀來台，
Wa y a n回憶第一次來台駐村，
待了一個月，主要是在基金會
裡製作遊行道具。他說，這次
的經驗就是工作，並沒有太特
別的感受；隔年，基金會再次

Wayan’s story begins in Bali, Indonesia. When he Wayan以回收鐵件創作大型裝置，為空間妝點奇幻氣氛。
To add a sense of magic to the room, Wayan created this
was a young boy, his uncle handed him some carving leviathan sculpture from recycled metal.
tools and told him to carve an egg, with no further in
structions. “I did my best to make the egg round.” This
is how Wayan remembers his very first work of art. that he established the Dream Community Foundation
When he got older, Wayan made a living carving in 2000. In 2002 he held the first Dream Parade, to bring
tourist souvenirs, but at the time, carving was only a the joyful spirit of the carnival to Taiwan.
job and a means to live. It wasn’t his dream. Not until The foundation has invited artists from all corners
he came to Taiwan did his life begin to have a more of the world to spend time in Taiwan. Wayan was first
special connection with art. given this offer in 2009. He recalls that when he first
Building dreams at Dream Community came to Taiwan as an artistinresidence, it wasn’t a
The Dream Community Cultural and Educational particularly special experience as he was mostly there
Development Foundation, based in the Dream Com to make parade props for the foundation. The following
mu n it y i n New Ta ipei Cit y’s Xi zh i Dist r ic t, was year, the foundation again invited Wayan to Taiwan,
founded by carnival parade enthusiast Gordon Tsai. this time to go to the Dream Community to oversee the
With wild blood coursing through his veins and sport production of parade props. Despite his not speaking
ing tanga briefs and body paint, Tsai has participated the local language, art and gestures helped break down
in carnivals large and small around the world. He some of the language barrier. He noticed everyone do
even learned the art of fire breathing for these parades. ing their best to learn and work together to complete
When the people at those carnivals marched through the props. That sense of accomplishment left a deep im
the streets, he was deeply impacted by their vitality pression on Wayan, and made him feel had something
and strong sense of togetherness. It was in this spirit to contribute by staying in Taiwan.
117
樂雅琪受Wayan作品
的真摯而感動，邀請
他一起成立努瑪工作
室，用藝術為全台社
區注入活力。
The sincerity in Wayan’s
art moved Le Le, who
later asked Wayan to
join her in establishing
Art Rumah to help inject
new life into Taiwanese
communities through
art.
受到他的生命所在，會打動人。」樂雅琪表示。
走吧！一起南漂
兩人想深入台灣鄉村，用藝術為社區帶來活力
就這樣一年又一年，基金會持續邀請Wa y a n 的理念契合，於是樂雅琪邀請Wayan一起成立努瑪
來台，駐村的時間也一次比一次長，不知不覺工作室。正在煩惱落腳處的他們，在朋友的牽線
Wayan已在台灣駐村超過十年了。下，認識了屏東潮州一間老宅的屋主，彼此一拍即
除了製作花車道具，Wayan也創作藝術裝置，合，屋主大方出借房子給他們進駐，一同為活絡潮
走在夢想社區裡隨時都能與Wayan的作品相遇。州三共社區而努力。
大廳裡以回收廢鐵創作的章魚燈飾，沒點燈時是
點亮鄉村，讓社區發光
工業風、帶點粗獷感的大型裝置；點上燈，光線
從鏤空的鐵件透出來，映在天花板和牆壁上，像位於三共社區的吳家老宅，主建物保存完整，
是剪紙的光影，為空間增添魔幻氛圍。電梯口以但五、六十年沒人居住，內部還是荒涼的讓人不敢
竹編和鐵件組成一座有著魚外型的置物架，張著靠近。努瑪工作室進駐後，將屋內重新粉刷，利用
嘴表情生動。大樓裡還有整間以馬賽克拼貼裝飾居民提供的竹材、老宅的木門，在Wayan巧手下，
的衛浴間，同樣是出自Wayan之手。原本看似平變成獨一無二的吧台，天花板則用彩染的布匹裝
凡的社區大廈，卻因為有了Wayan和其他藝術家飾，營造溫馨舒適的感覺。
的作品而充滿活力。樂雅琪笑說：「努瑪剛進駐時，居民不太認識
Wayan在夢想社區找到自己想用藝術帶給人們我們，又很好奇，常常在外面探頭探腦。」樂雅琪
歡笑的夢想，也結識了在基金會工作的台北女孩見狀，都會主動招呼居民進來坐坐聊天。在一次次
樂雅琪。大學念國貿系的樂雅琪，進了基金會的互動中，居民慢慢了解他們，樂雅琪也聽聞許多
後，成天與藝術家相處、薰陶，加上基金會早期三共的故事。於是她邀請當地社區共同製作了《戲
以培植各地社區參加嘉年華遊行為使命，樂雅琪說三共》的戲劇節目，劇本、台詞、道具、演員，
常跟著全台跑透透。和Wayan一樣，樂雅琪也愛通通從無到有。Wayan為戲劇製作許多神情生動的
上這種人與人之間互動的情感，再加上她欣賞面具和戲偶，樂雅琪則帶著居民們排練。樂雅琪笑
Wayan作品裡頭的真誠，「看了他的作品就會感說，起初選角時，大家都有點害羞，不斷推辭；結

Wa y a n到各地社區指導
藝術裝置的製作，也與居
民同樂；雖然中文不太流
利，但親切的笑容，拉近
了彼此的距離。
Wayan has enjoyed his time
going to various communities
to instruct residents in
creating art installations.
Despite not being fluent
in Chinese, his friendly
smile bridges the distance
between them.
To the South! Bringing light to the countryside

The foundation continued to invite Wayan back to Located in Chaozhou’s Sangong Community, the
Taiwan, and before he knew it, he had spent more than a old Wu family home had stood unoccupied for half a
decade here. century. After Art Rumah moved into the residence,
As well as creating float props, Wayan also designs art Wayan used bamboo provided by local residents and
installations. An octopus lantern installation made from a wooden door from an old house to skillfully create a
scrap metal adorns the inside of the Dream Community oneofakind bar. The ceiling was draped with swaths
lobby. When unlit, the structure is a crude behemoth. of colorful dyed cloths, giving the inside a warm and
But when the lamps are turned on, rays of light shine out cozy feeling.
through the gaps between the metal pieces, adding a sense The residents slowly learned more about the two
of magic to the room. The building also has a bathroom artists through their continued interactions, and Le Le
decorated with mosaic tiles which Wayan had worked on. heard many of the stories of the Sangong Community.
A seemingly ordinary community building is filled with Then she invited local residents to put on a play called
life thanks to the works by Wayan and the other artists. Sangong Drama. Wayan created masks and puppets
At the Dream Community, Wayan found his dream
of giving people joy through art. It was also there that he
met a Taipei girl also working at the foundation, named
Le Le. Since Le Le spent all day learning from artists,
combined with the fact that the foundation had always
stressed its mission of inviting other communities to
join its carnival parades, her work often took her all over
Taiwan. And just like Wayan, Le Le loves these types of
interpersonal connections.
The two wanted to go into the Taiwanese countryside
to enliven communities through artistic ideals, so they
established Art Rumah. With the help of some friends,
they moved into an old building in Chaozhou, Pingtung
County.
119
繽紛的魚類道具、鮮豔的遊行服飾，全是努瑪工作室與基隆樂雅琪進一步指出，社區規劃最重要的是要
壯觀社區的居民一點一滴手工打造的。（努瑪工作室提供）
These colorful fish props and spectacular parade costumes 怎麼向人家介紹自己的社區。「都市裡因為人
are all the handiwork of Art Rumah and Zhuangguang Taipei
Community residents. (courtesy of Art Rumah) 與人的關係疏遠，所以別人不會在意你住的社
區有什麼；但在南部，重視的是你這個社區有
什麼，而我們可以透過藝術裝置，讓大家發現
果第一次排練後，長輩們各個興致高昂，紛紛詢問社區的特色。」
還有沒有角色可以演。就像努瑪工作室為屏東鹽埔的新二社區製作的
樂雅琪表示，這座老宅曾是附近孩童的遊樂森巴阿嬤，居民認為社區是因為森巴鼓隊而有了
場，而老宅羊舍過去生產的羊乳，滋養了當地居名氣，再加上鹽埔鄉盛產花卉，所以Wayan設計
民。雖然傍晚時分大家聚在一起聊天、小孩一旁玩了一尊穿著森巴服的可愛阿嬤，並以當地花卉作
耍的場景已不復見，但這些點滴都能透過戲劇呈為造型靈感。當遊客來到鹽埔，被笑咪咪的森巴
現，讓年輕人了解在地的故事，串起世代的記憶。阿嬤裝置吸引，居民就可以自信地向人介紹自己
戲劇開演當天，居民齊聚努瑪工作室，每個人都笑的社區。
容滿面，社區因為這件盛事，活絡了起來。
有努瑪的地方就有笑聲
先了解當地的故事，了解居民眼中的社區，
再進行靈感的發想，是Wayan習慣的創作方式。努瑪工作室雖然進駐在屏東，但服務的範圍
Wayan說：「透過作品能幫助村莊變美，充滿藝是全台跑透透。今年冬天他們回到Wayan第一次
術氣息，更重要的是，讓年輕人知道創作的概下鄉的基隆壯觀社區，指導居民製作遊行道具。
念，作品和自己社區的淵源是什麼。」從2010年第一次到訪，如今已與社區結識十年，

with vivid expressions, while Le Le led the rehearsals famous. Wayan drew inspiration from Yanpu’s flower
for the mostly elderly residents. Le Le says that in the industry to design the Samba Grandma’s costume
beginning when they were assigning roles, everyone based on the flowers grown locally. When visitors
was a little demure and unwilling to choose a role. But come to Yanpu, they are entranced by the beaming
by the end of the first rehearsal, the residents became grandma statue, and residents can take pride in intro
quite spirited, and rushed to inquire about any avail ducing their community.
able roles. Art Rumah brings laughter
Le Le also says that the old house used to be a place Art Rumah may be located in Pingtung, but their
of recreation for neighborhood kids, and local resi art services extend to all of Taiwan. Last winter they
dents had been raised on the goat milk from the goat returned to where Wayan did his first community
farm there. Although the scene of people gathering project, Zhuangguan Taipei Community in Keelung,
and chatting in the evenings while the children played to direct residents in prop production. Having first
can no longer be seen, glimpses into the past can be visited in 2010, Wayan has been involved in the com
conveyed through plays. In this way the youth can get munity for a decade now. He knows all the partici
to know local stories and memories that connect across pants by name, and they offer him and Le Le warm
generations. greetings and hugs. Cai Qiulin, president of Zhuang
Learning about local stories and how the residents guan Taipei’s community development association,
view the community is the first step in Wayan’s cre points to the pictures on the wall of past events, show
ative process. Wayan says, “These works not only give ing the countless works made with Wayan’s guidance:
beauty and art to the village, but most importantly, the seahorse float, shark demon, hawk, and so on.
they get young people to understand the value of cre “Wayan’s works are very intricate, with vivid and real
ativity and the strong ties art has with the community.” istic expressions.” Cai notes the detail in Wayan’s work
The “Samba Grandma” statue created by Art Ru as he led them last year in the production of a large
mah for the Xin’er Community in Pingtung’s Yanpu eagle as each feather was applied one by one. When
Township is an example. Residents felt that the com the beauti ful wings were completed, everyone rushed
munit y’s samba drum team made the communit y to try them on and play with them.
一年一度的夢想嘉
年華活動匯聚了全
台社區的活力，每
個地方的居民都精
心準備，自信地展
現家鄉特色。
The annual Dream
Parade brings vitality
to communities
all over Taiwan.
Residents from each
community work
carefully on the
projects to display
what makes their
hometowns special.
121
Wayan叫的出工作坊裡每位大哥大姐的名字；大 Wayan以全竹編製作的佛手花車表情生動，造型吸睛。
Wayan crafted an eye-catching float entirely out of wicker
家看到他們也都熱情的招呼、擁抱。壯觀社區發 of a Buddha with expressive features and hands extended.
展協會理事長蔡秋霖指著牆上的歷年活動照片，
細數Wayan指導過的作品，海馬花車、鯊妖、老
鷹等等，盛讚Wayan的用心，總是一個步驟一個
Due to the impact of the coronavirus outbreak
步驟教得仔細。先竹編骨架，再一層層糊上牛皮 early this year, Art Rumah did not get any cases
紙、漆上防水漆，晾乾後再上色，「Wayan的作 f rom cl ients. Sa ngong Com mu n it y residents
品很細緻，表情活靈活現。」蔡秋霖表示，去年 worried the artists would go hungry, so they would
Wayan帶大家做了一隻大老鷹，一片片的黏上羽 f requent ly br i ng r ice, d i shes, a nd ot her food to
毛，作工精細。翅膀完成時，因為太漂亮了，讓 their door. These days they are working in northern

Taiwan, and their Sangong neighbors are constantly
大家都童心大起，忍不住邊穿邊玩呢！
asking when they will return to Pingtung. It’s clear
就是這種像家人一樣的情感，讓Wayan和樂雅
that the residents have long since come to think of
琪為社區的活力深深著迷。今年初，新冠肺炎疫 them as one of their own.
情嚴峻，努瑪工作室沒有案子可接，居民擔心他 Wayan says that the experience in Taiwan that left
們餓肚子，三不五時就帶著米啊菜啊來串門子。 the deepest impression on him was his first winter
這陣子他們離開潮州北上工作，三共的居民還會 here. Having never experienced a winter, he said, “I
一直問他們什麼時候回去，早已把他們當成社區 couldn’t believe how cold it got.” During that time,
a f r iend took h i m out to have some g i nger duc k
的一份子。Wayan說他來台灣印象最深的，是第
soup. He remembers to this day the warmth he felt
一次在台灣過冬，不曾經歷冬天的他直說「冷到
in his heart at that moment. It is these moments of
不敢相信，怎麼會那麼冷！」而當時，朋友帶他 social connection that drive Wayan and Le Le to do
去吃了薑母鴨，心裡頭的那份溫暖，他到現在都 everything in their power to bring local stories to
還記得。就是這些人與人之間相處的點滴滋潤了 life through art. l
Wayan和樂雅琪，讓他們想用自己的力量，透過 (Chen Chun-fang/
藝術讓地方的故事繼續傳唱。 l photos by Jimmy Lin/tr. by JR Lee)

台灣光華·世界光華北美地區訂閱單
Taiwan Panorama— The Order Form for
N.A. Area Only
Bringing Taiwan to the World
(一)我訂閱台灣光華雜誌：
I want to subscribe to Taiwan Panorama:
□我是新訂戶　New subscriber　　
□我是續訂戶╱電腦編號　Renewal/subscriber No.□□□□□□□□
□一年1 year╱US$32
□二年2 years╱US$55
我從_______年_______月起訂閱台灣光華
Subscription to begin with__________(month)__________(year)
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□我為親友訂　As a gift for a friend
□附寄禮物卡　Gift card to read
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□我使用信用卡Charge my credit card

（不接受美國運通卡之所有卡種）
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□我購買光華叢書，已勾選如背面
I wish to purchase the book publications as checked overleaf.
（二）光華叢書售價（含郵資）Book Series (including postage)
訂購數量
書名版本售價
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Ordered
畫說成語
平裝 Paperback US$11 本
Chinese Sayings Told in Pictures
當西方遇見東方──國際漢學與漢學家
When West Meets East: International Sinology and Sinologists
中國草藥故事
Stories of Chinese Herbal Medicine
擁抱台灣──百張圖片看現代台灣
Embrace Taiwan 100 Images of Contemporary Taiwan
顯影台灣──百張圖片看現代台灣2
Taiwan Revealed 100 Images of Contemporary Taiwan (2)
弦歌不輟──台灣戲曲故事
Hold that Note!—Stories from Taiwan's Stage
築夢荒野──台灣自然映像
Call of the Wild—Taiwan's Natural World
台灣民俗筆記
Shindigs and Solemnity in Taiwan
台灣青春紀事
Days of Being Wild: Youth Culture in Taiwan
台灣好滋味
A Taste of Taiwan
心南向．一家人
Bonds of Friendship, Bonds of Love 平裝 Paperback US$15 本
—Taiwan and Southeast Asia
台灣意象
Taiwan in the Mind's Eye: 平裝 Paperback US$20 本
Stories and Images of Taiwan
合計
本
Total
以上定價皆含郵寄處理費。
Prices include postage and handling
□附寄款項（支票抬頭請開 Kwang Hwa Publishing (USA), Inc.)
Payment enclosed (make checks payable to “Kwang Hwa Publishing (USA), Inc.”)
★請將訂款連同訂單裝入信封內直接匯寄“美國光華出版公司”
Please enclose this form with your remittance in an envelope and mail to “Kwang Hwa
Publishing (USA), Inc.”
3731 Wilshire Blvd 104, Los Angeles, CA 90010 USA. TEL: 1-888-829-3866 FAX: 1-213-389-0021
★第一期訂閱雜誌將於二週內寄達
Please allow 2 weeks for your book or first issue to arrive.
★訂閱單可拍照或掃描後，電郵至KwanghwaUSA@mofa.gov.tw
You may also submit the order form attached as a scan or clear snapshot via Email to:
KwanghwaUSA@mofa.gov.tw.

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全 球 ． 在 地 ． 人 文

中華民國110年1月 第46卷 第1期

A Bald Cypress Dreamland

heartedly to photography. This is why we (Ivan Chen/tr. by Phil Newell)

封面故事 Cover Story

2 《光華》影像專書 1 絕美夢幻落羽松 50 月月好讀

全球視野 Global Outlook

島嶼行旅 Around Taiwan

藝文脈絡 Cultural Trends

E pidemic and death have hovered so close throughout

6 台灣光華 Taiwan Panorama

（林旻萱攝 photo by Lin Min-hsuan）

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

16 台灣光華 Taiwan Panorama

陳芳明 Chen Fang-ming

Scholar of Taiwanese literary history,

epidemic prevention measures and empathy. Taiwan’s amendments

20 台灣光華 Taiwan Panorama

面對新冠病毒高度擴散的能力，公衛專家甚 The pandemic arose like a tsunami and first crashed

22 台灣光華 Taiwan Panorama

24 台灣光華 Taiwan Panorama

2020年原定是東京奧運睽違 持小量體的規模。而從興趣發展 當其衝，但工頭堅發現在他的臉

工頭堅 Ken Worker

Online trend tracker, blogger,

重新發現台灣， opportunity to rediscover Taiwan.”

詮釋台灣。 and the travel industry has borne

28 台灣光華 Taiwan Panorama

30 台灣光華 Taiwan Panorama

32 台灣光華 Taiwan Panorama

番紅花 Wang Pitsu

36 台灣光華 Taiwan Panorama

38 台灣光華 Taiwan Panorama

（上圖）P a t傾注心力照顧的P h a Ta d K e植物園受疫情影

40 台灣光華 Taiwan Panorama

42 台灣光華 Taiwan Panorama

44 台灣光華 Taiwan Panorama

thinks that we may as well return to a simpler life.

走進位在台北市中山區明水路 身邊親人離世，再加上疫情的無 時間給我們機會往內看，好好打

46 台灣光華 Taiwan Panorama

好好把握當下，因為 the pandemic we have seen a flood

這樣的平常可能 Amid the reams of malicious propa-

well become abnormal tomorrow (Cathy Teng/photos by Jimmy Lin/

賴佩霞 Lai Peixia

Singer, TV and radio host, artist, and

D iwali marks the Indian New Year, and In-

瓦昆．安 東 尼歐，是知名的經 濟 學 備還未開發，加利西亞的沙丁魚漁

購買許多蠟燭點亮儀式。母親的家 來賺錢。 出版時間：2020年10月

父的喪禮。 播種、施肥期間貸款 週轉，降低風 她 總 是 忙 這 忙 那 的，很 願 意 幫 助

空前。後來我的外祖父奧林皮奧走 存 款。除 此 之外，當時 我的母 親也 員 工。她也 非常 愛 我們，她 的愛 是

在街上碰到有人在辦喪，他都會參 因為許多人買不起田地跟房子，不 無私的。

加。如果有人問他知道在棺材裡躺 忍看 他 們 流 離 失 所 過 著 辛 苦 的日 父母親樂 善 好施和服務鄉里的

的是誰，他常會說：「我不知道，但 子，就和她的姐妹朋友們在聖地牙 精 神，從 小 就 深 深 烙 印 在 我 的 心

不是他就是他家，至少應該有一個 哥自組慈善事業，提供類似今日的 裡。有時候我去父親的沙丁魚罐頭

人參加過我父親的喪禮，所以我也 「社 會住宅」，將房 子 便 宜出 租， 工 廠 看 父 親 與 其他 工 人 的工作 狀

應該來 參加。」因 為我外曾祖 父 那 有 需 要 的人 只 要 定 期 付一 點 點 租 況，經常看到身體障礙的弱勢者也

場喪禮實在太多人了。 金便可以住下來，免於無家可歸之 一起工作。我父親提供他們就業機

童年與天主開啟對話 瑰 經，有時是午飯後，有時候 是晚 的時光。

52 台灣光華 Taiwan Panorama

有個升 學 考試，大 考之前，四哥因 帝汶修道院擔任院長，同期間臺灣 吶喊著，是「F o r m o s a，這個美麗

為 太 投 入 幫 助 朋 友 溫 習 課 業，反 大學 醫 學 院 有 一 位 公 共 衛 生背景 島」！

54 台灣光華 Taiwan Panorama

全球．在地．人文

中華民國110年1月第46卷第1期

（林旻萱攝　photo by Lin Min-hsuan）

2020年原定是東京奧運睽違持小量體的規模。而從興趣發展當其衝，但工頭堅發現在他的臉

走進位在台北市中山區明水路身邊親人離世，再加上疫情的無時間給我們機會往內看，好好打

瓦昆．安東尼歐，是知名的經濟學備還未開發，加利西亞的沙丁魚漁

購買許多蠟燭點亮儀式。母親的家來賺錢。出版時間：2020年10月

父的喪禮。播種、施肥期間貸款週轉，降低風她總是忙這忙那的，很願意幫助

空前。後來我的外祖父奧林皮奧走存款。除此之外，當時我的母親也員工。她也非常愛我們，她的愛是

在街上碰到有人在辦喪，他都會參因為許多人買不起田地跟房子，不無私的。

加。如果有人問他知道在棺材裡躺忍看他們流離失所過著辛苦的日父母親樂善好施和服務鄉里的

的是誰，他常會說：「我不知道，但子，就和她的姐妹朋友們在聖地牙精神，從小就深深烙印在我的心

不是他就是他家，至少應該有一個哥自組慈善事業，提供類似今日的裡。有時候我去父親的沙丁魚罐頭

人參加過我父親的喪禮，所以我也「社會住宅」，將房子便宜出租，工廠看父親與其他工人的工作狀

應該來參加。」因為我外曾祖父那有需要的人只要定期付一點點租況，經常看到身體障礙的弱勢者也

場喪禮實在太多人了。金便可以住下來，免於無家可歸之一起工作。我父親提供他們就業機

童年與天主開啟對話瑰經，有時是午飯後，有時候是晚的時光。

有個升學考試，大考之前，四哥因帝汶修道院擔任院長，同期間臺灣吶喊著，是「F o r m o s a，這個美麗

為太投入幫助朋友溫習課業，反大學醫學院有一位公共衛生背景島」！

百歲重回故鄉讓她更驚訝的是，我家人送給大反應不快，我仍然很願意學習新