回到文化，山海生活的羈絆 – 藤木植人：陳豪毅

Returning to Culture, the Bonds of Mountain and Sea Life

okaf_crafts ：Chen Haoyi (Akac )Orat

成功鎮舊名「麻荖漏」，後名為「新港」，戰後更名為「成功」，是東部最大的漁港小鎮。人口分布有阿美族、西拉雅族及漢族等族群。過去，曾經是東海岸規模最大的阿美族部落所在地，早在清朝末年阿美族人便移居至此耕作形成聚落，而成功鎮舊名「麻荖漏」即出自阿美語Madawdaw，意指「光」，象徵著日出之地。

The town formerly known as " Madawdaw " was renamed "Xingang" and later "Chenggong" after World War II. It is the largest fishing port town on the east coast. Its population includes various ethnic groups such as the Amis, Siraya, and Han. In the past, it was the location of the largest Amis tribe on the east coast. As early as the late Qing Dynasty, the Amis people migrated here to cultivate the land, forming a settlement. The former name of Chenggong, "Maloluo," is derived from the Amis language, Madawdaw, meaning "light," symbolizing the place where the sun rises.

 

在成功鎮新港山腳下，有一幢背山面海的阿美族傳統家屋，巨大的茅草屋頂、竹籐交織而成的牆面、由木柱、藤床、石灶所圍構出的室內空間，燻煙冉冉縈繞整個空間，為上方的藤件燻製了一層釉亮、也為家屋驅除了濕氣與蛀蟲。

At the foot of the mountains in Xingang, Chenggong Town, stands a traditional Amis house facing the sea, with a thatched roof, walls woven from bamboo, and interiors constructed of wooden pillars, rattan beds, and stone stoves. Smoke gently wafts through the entire space, adding a glossy layer to the overhead rattan pieces and warding off dampness and pests from the house.

 

家屋的主人陳豪毅 Akac Orat，一位藤編工藝創作者。於2018年便開始構思與採集的「Malacecay阿美傳統家屋構築」計畫，「Malacecay」意為「一起共作而美好合一」。從材料的採集、處理；到房屋的落柱、楯卯建構、屋頂茅草的鋪設歷時了約三年多的時間與各地的夥伴共作完成。

The owner of the house is Chen Haoyi, also known as Akac Orat, a craftsman specializing in rattan weaving. He initiated the "Malacecay Amis Traditional House Construction" project in 2018, with "Malacecay" meaning "together in beauty and unity." It took over three years of collaboration with partners from various places to collect and process materials, set up the house's structure, and lay thatched roofs.

 

 

為什麼想要在爺爺的這片田裡蓋起這棟傳統的家屋？一切要回到豪毅畢業後回鄉當老師說起。畢業於國立台北藝術大學美術學院美術史研究所的豪毅，回到成功鎮擔任和平國小的老師，然而面對部落與當代生活的文化斷裂，現代的孩子們雖身處於部落但所學都是以都市脈絡為主的教育方法，於是豪毅在校園內發起了實驗教育課程，帶著孩子們一起撿蝸牛、編織、採竹子….。透過蝸牛學習數數、學習食譜、學習繪畫等等，將部落傳統文化與課本內容進行跨科目、跨領域的結合，讓課程走出教室也走入了生活。帶著孩子們學自己的母體文化，跟部落老人家學習，一起製作、一起經歷、身體便會記憶，豪毅謙虛地說自己也是學習者，跟著小朋友一起學習。

Why did you want to build this traditional house in your grandfather's field? It all goes back to Haoyi's decision to return to his hometown and become a teacher, after graduating. Haoyi, who graduated from the Department of Art History at the Taipei National University of the Arts, returned to Chenggong Town to teach at Heping Elementary School. However, faced with the cultural rupture between the tribe and contemporary life, modern children, though living in the tribe, are primarily educated in urban contexts. So Haoyi initiated experimental educational programs on campus, taking children to pick snails, weave, and harvest bamboo. Through learning about counting from snails, recipes, painting, etc., he integrated tribal traditional culture with textbook content across subjects and disciplines, bringing the curriculum out of the classroom and into life. Teaching children their own maternal culture, learning from tribal elders, making and experiencing together, their bodies would remember. Haoyi humbly said he was also a learner, learning alongside the children.

 

 

 

而家屋的建造亦是如此，透過從零開始的建構，在過程中經歷、學習，長出屬於自己的力量。首先面臨的困難，便是傳統知識的流失。阿美族的家屋型態，大致可分為立柱式與卡榫式，從耆老口中得知，部落尚有少數幾間僅存的百年家屋，採用榫接式工法，卻發現已經找不到熟悉此工法的老人家。豪毅透過研究既有家屋結構，逐漸摸索出建造方法。

The construction of the house is also like this, through starting from scratch, experiencing, learning, and growing one's own strength. The first difficulty faced was the loss of traditional knowledge. The house types of the Amis can generally be divided into post-and-beam and mortise-and-tenon structures. From the mouths of the elders, it was learned that there were still a few hundred-year-old houses in the tribe that used mortise-and-tenon construction, but it was found that the elderly familiar with this construction method could no longer be found. Haoyi gradually figured out the construction method through studying existing house structures.

 

也是這樣身體力行的生活態度，每當部落裡有年輕人想要向豪毅請教時，他總是這樣回答：「直接去做，不要一直拍照、翻文獻。你想做，你就會去問，然後你就去把它做出來，記錄保存在手機裡面，是學不會的。」更甚反思當前有些為了計畫補助，有經費才願意去執行的現象。「如果文化變成是依靠政府的補助或是經費才能去做的話，難道所有事情必須要這麼功利主義嗎？」當一切的學習因為功利主義導向，人們反而忘記了當下的生活。

It is also this attitude of living through embodied practice that whenever there are young people in the tribe who want to consult Haoyi, he always responds, "Just go ahead and do it, don't keep taking photos or reading literature. If you want to do it, you'll ask, and then you'll do it, record it on your phone, you won't learn by studying."

Furthermore, there is reflection on the current phenomenon where some projects are only carried out if there is funding available. "If culture relies on government subsidies or funding to be done, does everything have to be so utilitarian?" When all learning is driven by utilitarianism, people forget about the present life.

 

隨著家屋的換工計畫，也吸引了原本居住在香港的昊恩加入了工作夥伴的行列，一起共同維護家屋這片土地之外，更多的時間是進到山林裡。「我們很常說我們是去打獵、採集，但我覺得比較像是土地在狩獵，用豐碩設下陷阱讓我們跳進來，留在這裡為他做事。」為了採集、打獵上山割草、為了課程整理螺貝類、為了飼養養家畜整理田地，是在山海生活的羈絆，讓人活在田野之中，無法逃離。

With the housing exchange program underway, it also attracted Haon, who originally lived in Hong Kong, to join the ranks of working partners. Apart from collectively maintaining the land and houses, more time is spent in the mountains and forests. "We often say we go hunting, gathering, but I feel it's more like the land is hunting, setting traps of abundance for us to fall into, to stay here and work for it." Whether it's for gathering, hunting, cutting grass on the mountain, organizing mollusks for the curriculum, or tending to livestock and fields, it's the bonds of mountain and sea life that keep people living in the fields, unable to escape.

 

 

起初豪毅透過向老人家學習籐編找到和部落文化的連結，而豪毅的藤編學習歷程是特別的，進到山林裡採集、很多時候是自己一人，面對許多也想學習的後輩們，一開始總要求他們先能自己上山採藤開始，今年則開始了不一樣的嘗試­—開設藤編學院建立師徒制，讓想學習的工藝師一起集體合作，互相幫忙，建立同伴的夥伴關係。

Initially, Haoyi found his connection to tribal culture through learning rattan weaving from the elders. His journey in learning rattan weaving was unique. Often venturing into the mountains and forests alone for collection, he faced many younger individuals eager to learn. Initially, he always asked them to start by being able to collect rattan themselves. However, this year, he began a different approach - establishing the Rattan Weaving Academy and implementing a master-apprentice system. This allowed aspiring craftsmen to collaborate collectively, help each other, and build companionship.

 

 

看見許多人學習編織，學習技法、學習技術，但似乎流於表象不了解背後的脈絡，使用易取得的進口材，卻不了解祖先採集的智慧，忘記土地給我們的禮物是什麼。於是希望建立紮實的課程設計，有脈絡的傳承。

bserving many people learning weaving techniques and skills, it seemed they were superficially understanding without grasping the context behind it. They used easily accessible imported materials without understanding the wisdom of their ancestors, forgetting what gifts the land had given them. Thus, there was a desire to establish a solid curriculum with contextual transmission.

 

    

 

更重要的是建立山林管理的土地倫理，豪毅有感於縱使自己的爺爺已經過世已久，但目前大部分的採集都是在爺爺的土地上、都是爺爺所栽種的，這樣影響的是多麼的深遠。若土地可以有效的被管理與運用，它所產生的影響是可以傳承好幾個世代並可以持續循環。「我們要採集、要種植，在向山海拿取的時候，都要有危機意識。」或許這也正是家屋的核心精神，無論未來如何變遷，文化的精髓與智慧仍會在這片土地上延續，閃耀著光芒。

More importantly, there was an emphasis on establishing land ethics in forest management. Haoyi realized that even though his grandfather had long passed away, most of the collection was still on his grandfather's land, the land he cultivated. The impact was profound. If the land could be effectively managed and utilized, its effects could be inherited for generations and continue to circulate. "When we collect, when we plant, we must be aware of the crisis when taking from the mountains and seas." Perhaps this was also the core spirit of the house. Regardless of future changes, the essence and wisdom of culture will continue to shine on this land.