「跨時空知識的交匯」國際論壇 International Symposium: Confluence of Knowledge Across Time

International Symposium: "Confluence of Knowledge Across Time: Museum Ethics and Cultural Interpretation in Changing Societies"

國際論壇：「跨時空知識的交匯：變遷社會中博物館的倫理重構與文化詮釋」

Organized by: National Taiwan Museum in collaboration with the National Development Council, Pingtung County Government, and Wutai Township Rukai Cultural Museum

主辦單位： 國立臺灣博物館與國家發展委員會、屏東縣政府、屏東縣霧臺鄉公所魯凱族文物館合作

Purpose: This bilingual international symposium responds to ICOM's triennial conference theme "The Future of the Museum in Rapidly Changing Communities" and aims to strengthen Asia-Pacific museum partnerships while deepening exchanges with international scholars.

目的： 此雙語國際論壇呼應國際博物館協會（ICOM）三年一次大會主題「變遷社會中博物館的未來」，旨在強化亞太地區博物館夥伴關係，深化與國際學者的交流。

Special Features:

• Bilingual (Mandarin-English) simultaneous interpretation
• YouTube live streaming [Register for the online streaming HERE: https://forms.gle/x6CZ5Ym5apBiSsqP6 ]
• Mix of on-site and online participation
• Invited Comments from the ICOM Working Group on Decolonisation
• Two sessions focus on Indigenous perspectives and decolonization practices. The symposium emphasizes Indigenous cultural sovereignty, museum ethics, and the need for museums to move from being mere interpreters to becoming facilitators of community narratives.
• A session dedicated to experience sharing in the conservation and utilization of puppetry collections.

活動特色：

• 雙語（華語、英語）同步口譯
• YouTube直播** [線上直播報名在此：https://forms.gle/x6CZ5Ym5apBiSsqP6 ]**
• 現場實體活動與線上直播並行
• 邀請國際博物館協會（ICOM）副主席擔任講者、以及去殖民化工作小組學者提供評論
• 兩個場次聚焦於原住民觀點和去殖民化實踐，強調原住民文化主體詮釋、博物館倫理，以及博物館如何轉變為社群敘事的協力者。
• 專設場次分享偶戲典藏保存與利用經驗。

總議程表 Agenda

三場次論壇內容說明

Three Sessions Overview:

本計畫規劃三場場國際論壇，期以提供不同場域的文化對話與專業交流平台。其中強調原民文化主體和博物館倫理實踐的主題場次將辦理兩場次，一場於臺博館場地，另一場則至於屏東縣立圖書館總館辦理，以利臺北市以外原鄉文化工作者與各地博物館專業人士參與。

This project plans to organize three international forums, aiming to provide platforms for cultural dialogue and professional exchange in different settings. Two sessions will emphasize indigenous cultural subjectivity and ethical museum practices - one will be held at the National Taiwan Museum venue, while the other will take place at the Pingtung County Library headquarters, facilitating participation from indigenous cultural workers and museum professionals from outside Taipei.
 

專題講者介紹

Keynote Speakers

Terry Simioti Nyambe

Vice President, International Council of Museums (ICOM)

Terry Nyambe has been an Executive Board member of ICOM since July 2016. He has been a member of several committees in ICOM before joining the Executive Board. He has been a member of the Ethics Committee (ETHICOM) from 2011 to 2016. He has been a member of the ICOM Strategic Planning committee from 2014 to 2019.  He was also a board member of the International Committee on Documentation (CIDOC) from 2013 to 2016. Currently, he serves as Vice President of ICOM.

In Zambia, he works for National Museums Board as a Museum Development Manager for all national museums in the country. He has studied ecology, museology and also business administration. He is an ardent proponent of decolonisation of museums in the world. He is ICOM Board's representative in the working group of decolonisation. 

>>>7/23 Session I, 7/25 Session III

Amy Tjiong 張宇英

Specialist of the Anthropology Department of the American Museum of Natural History

Amy Tjiong oversees ethnographic collections from Africa, the Pacific, and Asia while building meaningful partnerships with descendant communities.

With dual Master's degrees from NYU in Art History and Conservation, plus an M.A. in Anthropology from Columbia University, she brings both technical expertise and cultural sensitivity to her work. Her diverse background includes archaeological fieldwork across Greece, Turkey, and China, as well as conservation experience at major institutions including the Metropolitan Museum.

Currently pursuing her Ph.D. at the City University of New York, her research centers on culturally-sensitive conservation practices and community collaboration in museum settings. Her recent work includes "The Siberian Conservation Project" and innovative studies on indigenous material culture, reflecting her commitment to transforming traditional museum practices through community engagement.

演講摘要 Presentation Abstract （場次二/ Session II）

Amy Tjiong 將從其於美國自然史博物館的工作經驗出發，探討偶戲與民族學類藏品如何在文化脈絡與修護原則中轉換意義。她將分享實際案例，說明修護師如何在尊重原社群與維持文物穩定之間取得平衡，並帶出修護專業在博物館與社群溝通中所扮演的橋樑角色。

Amy Tjiong will reflect on her conservation and collections care work at the American Museum of Natural History, highlighting how puppetry and ethnographic objects change in meaning as they enter institutional collections. She will share the vital role conservators play as bridges between museum standards and community voices.

>>>7/24 Session II

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場次一、「原來是這樣：博物館如何再現動態的傳統生態知識」

Session I: "Representing the Dynamics of Traditional Ecological Knowledge in Museums"

本場次聚焦於傳統生態知識(TEK)。傳統生態知識並非靜態的；它會隨著社會與環境變遷而調適或斷裂。因此，要在博物館脈絡中「再現真實」，我們必須討論知識與社會文化變遷間的動態關係。

This session focuses on Traditional ecological knowledge (TEK). TEK is not static; it adapts or fractures with social and environmental changes. Therefore, to "represent reality" in a museum context, we must discuss the dynamic relationship between knowledge and socio-cultural changes.

• 時間: 7月23日星期三13:30-16:10
• 場地: 國立臺灣博物館南門館－小白宮
• 講者: 
  • Terry Simioti Nyambe／ICOM副主席
  • 林一宏博士／國立臺灣博物館展示企劃組副研究員
  • 比令亞布／臺中市博屋馬國小校長
  • 蔡政良博士／國立臺灣史前文化博物館館長
• 主持人：方慧詩／國立臺灣博物館教育推廣組助理研究員

• Date/Venue: Wednesday, July 23, National Taiwan Museum - Nanmen Branch, Taipei
• Time: 13:30-16:10 (UTC+8, Taipei Time)
• Speakers: 
  • Terry Simioti Nyambe, Vice President of ICOM
  • Dr. Lin Yi-Hung, Associate Researcher of the Exhibition Planning Department of National Taiwan Museum
  • Pilin Yabu, Principal of Taiwan's first Indigenous experimental elementary school
  • Dr. Futuru Tsai, Director of National Museum of Prehistory
• Moderator: Phaedra Fang, Assistant Researcher of Education Department of National Taiwan Museum

受邀與談人 Invited Panelist

比令亞布／臺中市博屋瑪原民實驗國民小學校長

Mr. Pilin Yabu, Principal of Taichung City P’uma Elementary School 

泰雅族人，成長於苗栗麻必浩部落，從耆老身上習得泰雅智慧，這奠定了他日後推動原住民教育改革的基礎。作為影像工作者，他以「原住民自身的影像觀點」記錄泰雅文化，作品《彩虹的故事》受邀國際展出。他任教的博屋瑪國小為臺灣第一所原住民族實驗國民小學，秉持「讓學生擁有泰雅族的靈魂」理念，每週提供十節泰雅文化課程，採用主題式跨領域教學。在他與團隊帶領下，學生文化認同強烈，學力也高於全國平均。比令亞布曾獲教育部師鐸獎、校長領導卓越獎，並獲選為政大傑出校友。他積極串聯全臺三十多所原住民族實驗學校，致力重建原住民知識系統，開創教育轉型。

Pilin Yabu, an Atayal from Miaoli's Mapihaw community, learned traditional wisdom from tribal elders, an experience that shaped his pioneering work in Indigenous education reform. As a filmmaker documenting Atayal culture from Indigenous perspectives, his film The Story of the Rainbow has gained international recognition.

He leads P'uma Elementary School, Taiwan's first Indigenous experimental elementary school, guided by the philosophy of "giving students an Atayal soul." The school provides ten weekly Atayal cultural curriculum sessions using cross-disciplinary approaches, resulting in students with strong cultural identity and above-average academic performance.

Recipients of the Ministry of Education's Teacher Award and Principal Leadership Excellence Award, and a distinguished National Chengchi University alumnus, Pilin Yabu connects over thirty Indigenous experimental schools across Taiwan. He works to rebuild Indigenous knowledge systems and transform Taiwan's Indigenous education landscape.

演講摘要 Presentation Abstract

培育泰雅靈魂：博屋瑪國小面對變遷世界的生態知識教育

Nurturing Atayal Souls: Teaching Ecological Knowledge at P'uma Elementary School Amid a Changing World

本演講將以博屋瑪國民小學為案例，闡述博屋瑪國小如何透過「讓學生擁有泰雅族的靈魂」的核心理念，設計跨領域課程體系，使傳統生態知識在現代教育脈絡中獲得重新詮釋與實踐，這當中包含教育團隊需先意識到傳統生態知識在原住民族教育中的動態實踐與挑戰，亦需考量目前教育體系的框架，再以泰雅文化精神設計課綱與教學方法。演講亦將討論博物館等文化機構與學校合作的倫理實踐模式，如何使傳統生態智慧不僅作為展示對象，更應成為知識傳承與創新的活力源泉，在強化文化認同的同時，如何提升學生面對當代社會挑戰的整體能力，相關方法將可為原住民族教育提供轉型的可能途徑。

P'uma Elementary School, the first in Taiwan to implement Indigenous experimental education, will be presented as a case study to illustrate how the school designs interdisciplinary curricula  with the core philosophy of "giving students an Atayal soul." This allows traditional ecological knowledge to be reinterpreted and integrated into modern educational contexts. The process begins with the educational team recognizing the dynamic nature and challenges of traditional ecological knowledge within Indigenous education, alongside the realities of the current educational system. Based on this understanding, they design curricula and teaching methods rooted in Atayal cultural values.

The presentation will also discuss ethical partnership models between cultural institutions such as museums and schools, exploring how traditional ecological wisdom can serve not merely as objects for display but as vital sources for knowledge transmission and innovation. The discussion will also focus on strengthening cultural identity and enhancing students' ability to navigate contemporary social challenges. It will explore how these approaches create transformative pathways for Indigenous education.

受邀與談人 Invited Panelist

蔡政良／國立臺灣史前文化博物館館長

Dr. Futuru C. L. Tsai, Director of the National Museum of Prehistory

蔡政良博士現任國立臺東大學人類學教授，自2024年8月1日起擔任國立臺灣史前文化博物館館長。他歷任公共電視基金會董事、客家電視台諮議委員、同時他目前亦擔任海洋保育署海洋保護區評鑑制度的籌備委員。蔡政良博士的研究興趣包括視覺人類學、歷史人類學、儀式與表演、阿美族、太平洋戰爭期間台灣原住民的戰爭經歷、原住民族社會運動，以及阿美族的海洋文化。他出版了數本著作，同時也拍攝了多部獲獎民族誌紀錄片。他目前也是「未來地球臺北海洋工作小組」的成員，致力於促進原住民族海洋傳統生態知識（TEK）與海洋科學之間的合作。

Dr. Futuru Tsai is currently a professor of Anthropology at National Taitung University and has served as the director of the National Museum of Prehistory since August 1, 2024. He has held various positions, including  board member of the Public Television Service Foundation and advisory member of Hakka TV. He is also currently a preparatory committee member for the Marine Protected Areas Evaluation System under the Ocean Conservation Administration. Dr. Tsai’s research interests include visual anthropology, historical anthropology, ritual and performance, the Amis people, Taiwan's Indigenous war experiences during the Pacific War, Indigenous social movements, and the maritime culture of the Amis people. He has published several works and  produced multiple award-winning ethnographic documentaries. Furthermore, he is a member of the Future Earth Taipei Ocean Working Group, which promotes collaboration between Indigenous marine traditional ecological knowledge (TEK) and marine science.

演講摘要 Presentation Abstract

島嶼、海洋與家園：國立臺灣史前文化博物館南島文化的傳統生態知識

Islands, Oceans, and Homeland: The National Museum of Prehistory Presents Traditional Ecological Knowledge in Austronesian Cultures

國立臺灣史前文化博物館（以下簡稱史前館）未來四年的願景是：「以重現、復振與再生為策略，成為臺灣史前文化、南島歷史、社會、環境與文化的核心樞紐；並通過創新與富有趣味的體驗方式，啟發人們探索並反思臺灣在全球的定位。」在此願景下，傳統生態知識將成為理解南島文化中的環境、歷史、社會變遷等重要面向的關鍵，並且對於台灣原住民族來說，亦是一種凝聚家園認同的知識體系。此次演講將說明，史前館在未來四年發展計劃中，為何將傳統生態知識視為南島文化研究與展示的重要方向之一，並探討相關理念與規劃。

Over the next four years, the National Museum of Prehistory envisions becoming a core hub for Taiwan's prehistoric culture and Austronesian history, society, environment, and culture. Through restoration, revitalization, and regeneration strategies, the museum aims to offer innovative and engaging experiences that inspire the public to reflect on Taiwan’s place in the world. Within this vision, traditional ecological knowledge is key to understanding important aspects of environment, history, and social change in Austronesian culture. For Taiwan's Indigenous peoples, it is  a knowledge system that anchors identity and connection to homeland. This presentation outlines why traditional ecological knowledge is a key focus in the museum’s four-year development plan for Austronesian cultural research and exhibition. It will also introduce related concepts and explore how this focus is being integrated into future planning.

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場次二、「文化十字路口：偶戲典藏品保存與利用的平衡」

Session II: "Cultural Crossroads: Balancing Conservation and Utilization in Puppetry Collections"

偶戲從舞台走進博物館，由承載技藝與情感交流的表演實踐，轉化為靜態展示與研究的館藏文物，面臨保存與延續的兩難。本場次聚焦偶戲文物從表演道具轉化為博物館館藏文物後，在修護、展示與再利用之間的倫理思辨與實務挑戰。     

As puppetry transitions from the stage to the museum, its role as a performative practice embodying skill and emotional exchange is transformed into a subject of static display and scholarly research, presenting a dilemma between preservation and cultural continuity. This session explores the ethical tensions and practical challenges of conserving puppetry artifacts after their transformation from performance tools to museum collections.

• 時間: 7月24日星期四09:30-12:00
• 場地: 國立臺灣博物館南門館－小白宮
• 講者: 
  • Amy Tjiong 張宇英／美國自然史博物館人類學部門專員暨資深修護師
  • 蔡易衛／台北偶戲館館長 
  • 簡弘鈞／薪傳文物工作室修護師 
• 主持人：陳婉平／國立臺灣博物館典藏管理組助理研究員

• Date/Venue: Thursday, July 24, National Taiwan Museum - Nanmen Branch, Taipei
• Time: 09:30-12:00 (UTC+8, Taipei Time)
• Speakers: 
  • Amy Tjiong, Specialist of the Anthropology Department of the American Museum of Natural History
  • Tsai Yi-Wei, Director of Puppetry Art Center of Taipei
  • Chien Hung-Chun, Conservator of Xin Chuan Art
• Moderator: Chen Wan-Ping, Assistant Researcher of the Collection Management Department of National Taiwan Museum

受邀與談人 Invited Panelist

蔡易衛／台北偶戲館館長     

Mr. Tsai Yi-Wei, Director of Puppetry Art Center of Taipei

蔡易衛長期致力於臺灣布袋戲的演出與研究，亦為新一代偶戲策展人代表。他積極參與偶戲的當代表現與推廣，近年推動偶戲進入多元場域，透過展演、教育與跨域合作，讓傳統偶戲以新的形式與當代觀眾連結。

Tsai Yi-Wei is a prominent contemporary puppetry curator and practitioner in Taiwan, known for revitalizing glove puppetry through creative exhibitions and educational outreach. As the director of the Puppetry Art Center of Taipei, he leads efforts to engage new audiences with traditional performing arts.

演講摘要 Presentation Abstract

偶戲源於動態的表演藝術，將台北偶戲館視為一個面向觀眾與創作者的開放交流平台。為突破觀眾對偶戲的既定印象，將偶戲視為跨文化溝通的橋樑，邀請視覺藝術、設計等不同領域的創作者參與展演，結合當代敘事手法，展現偶戲的多樣面貌。同時提供劇場舞台與創作空間，激發創作者的表演動能，使偶戲表演者與其他藝術實踐者能在此激盪交流，共同探索當代偶戲表演的新可能。

Puppetry originates from dynamic performing arts, and the Puppetry Art Center of Taipei is viewed as an open exchange platform for both audiences and creators. To break through the audience's preconceived notions of puppetry, it treats puppetry as a bridge for cross-cultural communication, inviting creators from different fields such as visual arts and design to participate in performances, combining contemporary narrative methods to showcase the diverse aspects of puppetry. At the same time, it provides theatrical stages and creative spaces to stimulate creators' performance energy, allowing puppetry performers and other artistic practitioners to engage in stimulating exchanges here, jointly exploring new possibilities for contemporary puppetry performances.

受邀與談人 Invited Panelist

簡弘鈞／薪傳文物修護工作室專案經理兼修護師      

Mr. Chien Hung-Chun, Project Manager and Conservator at Xin Chuan Art Conservation

簡弘鈞，現任薪傳文物修護工作室專案經理兼修護師，專長於油畫與木質文物修護。畢業於國立臺南藝術大學文物修護相關科系，曾任職於多家博物館與文化機構，執行百餘項修護與保存計畫。並積極參與展示保存、教育推廣與跨域合作，致力提升大眾對文物保存的認識與重視。

Chien Hung-Chun is Project Manager and Conservator at Inheritance Conservation Studio, specializing in the conservation of oil paintings and wooden artifacts. He holds degrees in Art Conservation from Tainan National University of the Arts and has worked with major museums and cultural institutions across Taiwan. With experience managing over a hundred conservation and preservation projects, he is also active in exhibition conservation, preventive care, and public education. His work emphasizes the importance of cultural heritage preservation and promotes awareness through interdisciplinary collaboration and community outreach.

演講摘要 Presentation Abstract

偶戲藏品的保存修護，不僅關乎物理結構的穩定與外觀的完整，更涉及文化意涵與歷史痕跡的尊重與延續。面對兼具藝術性、表演性與社群記憶的偶戲文物，修護決策往往需要在保留原貌、因應後續使用（如展示、研究、再上台演出）與回應社群期待之間，取得動態平衡。根據不同使用目的，如典藏保存、靜態展示或條件性再演出，修護師需量身擬定合適的策略，包括評估是否允許互動操作、複製使用，或設定使用條件與範圍。過程中亦可能面對來自原社群或相關利益方的質疑，如何在尊重多元觀點與專業判斷間做出回應與調整，是實務中不可忽視的挑戰。透過跨領域協作與多元視角的導入，偶戲文物方能在妥善保存中持續發聲，延續其文化生命。
The conservation of puppetry artifacts involves both technical and cultural considerations. Beyond stabilizing physical materials, conservators must also respect the objects’ historical traces and cultural significance. Puppets often carry artistic, performative, and community meanings, making conservation decisions especially complex.

Depending on future use—such as storage, exhibition, or potential re-performance—conservation strategies must be adapted. This includes considering interactive access, replicas, and defining clear use conditions. Conservators may also face concerns from source communities, requiring thoughtful negotiation between professional judgment and cultural perspectives. By embracing interdisciplinary collaboration and pluralistic thinking, museums can ensure puppetry collections are not only preserved, but continue to speak to present and future audiences.

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場次三、「原來是這樣：博物館詮釋中重構原民世界觀」

Session III: "Reconstructing Indigenous Worldviews in Museum Narratives"

本場次將強調在博物館環境中真實呈現傳統知識和存在日常生活中之無形文化遺產所面臨的挑戰。同時探討殖民歷史如何阻礙了我們對臺灣空間邊界不斷消長的想像，以及臺灣不同族群之間的互動關係在歷史長軸上如何演變。

This session will highlight the challenges of presenting traditional knowledge and intangible heritage authentically in a museum context. And how the history of colonization hindered our imagination of the special and temporal boundaries, and the interactions between different populations in Taiwan.

• 時間: 7月25日星期五 09:30-12:00
• 場地: 屏東縣立圖書館總館－五樓演講廳
• 講者: 
  • Terry Simioti Nyambe／ICOM副主席
  • 李子寧／國立臺灣博物館研究組副研究員
  • Langus Lavalian（邱夢蘋）／海端鄉布農族文化館策展教育人員
  • Peresang.Sukinarhimi（貝若桑・甦給那笛米）／魯凱樹企業社-1的n次方工作室負責人
• 主持人：方慧詩／國立臺灣博物館教育推廣組助理研究員

• Date/Venue: Friday, July 25, Pintung County Library 5F Auditorium
• Time: 09:30-12:00 (UTC+8, Taipei Time)
• Speakers: 
  • Terry Simioti Nyambe,Vice President of ICOM
  • Lee Tzu-Ning, Associate Researcher of the Research Department of National Taiwan Museum
  • Langus Lavalian, Curator of the Bunun Cultural Museum in Haiduan Township, Taitung County
  • Peresang Sukinarhimi, International Curator on Indigenous Cultures
• Moderator: Phaedra Fang, Assistant Researcher of the Education Department of National Taiwan Museum

受邀與談人 Invited Panelist

Langus Lavalian（邱夢蘋）／海端鄉布農族文化館策展教育人員

Ms. Langus Lavalian, Curator and Educator, Bunun Cultural Museum in Haiduan Township

臺灣臺東縣海端鄉霧鹿部落布農族人，自小浸濡於深厚的文化養成環境，現攻讀民族學博士學位中。自2015年起於海端鄉布農族文化館從事策展與典藏研究工作，曾參與布農族百年文物返鄉、歷史影像敘事等展覽策劃，期能透過博物館工作呈現原住民族的觀點與聲音。

Langus Lavalian is a member of the Bunun community from the Wulu Village in Haiduan Township, Taitung County, Taiwan and was immersed in a rich cultural environment from an early age. He is currently pursuing a Ph.D. in Ethnology. Since 2015, he has been involved in curatorial and collections research at the Bunun Cultural Museum in Haiduan. He has contributed to exhibitions regarding the return of Bunun cultural artifacts and others focused on historical image-based storytelling, with the aim of presenting Indigenous perspectives and voices through museum practices.

演講摘要 Presentation Abstract

從皮毛到知識系統：布農族鞣皮工藝知識的博物館實踐與去殖民再思

From Pelts to Knowledge Systems: Museum Practices and Decolonizing of Bunun Leather Tanning 

本文以布農族鞣皮工藝知識為核心，探討在博物館場域中如何進行原住民族知識再現與實踐，並以臺灣臺東的海端鄉布農族文化館之經驗為例。鞣皮工藝不只是傳統生活與穿戴藝術，更涉及在國家法律體系下，原住民族傳統生態知識的權力關係，從而由博物館的公共場域進行研究、重製與傳習時，更帶有文化去污名化的挑戰。本文試圖回應博物館作為文化中介，如何從原住民族觀點來轉譯與建構狩獵文化與鞣皮工藝知識，進而推動知識主權與去殖民化的實踐。

This paper focuses on the leather tanning craft of the Bunun people, exploring how Indigenous knowledge can be represented and practiced in museum settings, with a focus on the Bunun Cultural Museum in Haiduan Township, Taitung, Taiwan. Leather tanning is more than a traditional craft or wearable art; it embodies complex power dynamics surrounding Indigenous traditional ecological knowledge within the framework of national legal systems. When research, reproduction, and transmission of this knowledge occur in the public sphere of museums, they face the challenge of cultural de-stigmatization. This paper attempts to address how museums, as cultural mediators, can translate and reconstruct hunting culture and leather tanning craft knowledge from Indigenous perspectives. In doing so, museums promote knowledge sovereignty and advance decolonization practices.

受邀與談人 Invited Panelist

Peresang.Sukinarhimi（貝若桑・甦給那笛米）／知名原民文化策展人、魯凱樹企業社-1的n次方工作室負責人

Ms. Peresang.Sukinarhimi, International Curator on Indigenous Cultures

致力於研究魯凱族傳統文化中之永續議題，並透過企業模式作實踐與傳播。曾於霧臺魯凱族文物館擔任策展人及文物研究暨維護專員，目前任職於魯凱樹企業社及獨立策展工作，同時亦為中山大學教研所博士班生。在她參與策畫的「魯凱的珍寶Lawbubulu」特展中，她強調與國家級博物館合作應建立在相互尊重與專業互補上。

Peresang.Sukinarhimi is dedicated to researching sustainability issues within traditional Rukai culture and actively applies and promotes this knowledge through a social enterprise model. She has previously served as a curator and collections research and conservation specialist at the Rukai Culture Museum in Wutai. Currently, she works with the Rukai Tree Enterprise and also pursues independent curatorial projects. She is also a doctoral student in the Institute of Education at National Sun Yat-sen University. In the special exhibition Lawbubulu: Treasures of Rukai, which she co-curated, she emphasized that collaborations with national-level museums should be founded on mutual respect and professional complementarity.
 

演講摘要 Presentation Abstract

不再叫他/她Sungaw：魯凱視角下的臺灣近代歷史圖像

No Longer Calling Them "Sungaw": Modern Taiwanese History from a Rukai Perspective

沒有文字的Ngudradrekai (Drekai、Rukai、魯凱)，以生活的實踐和語彙，紀載著祖先世代傳承的知識與智慧，給予後代子孫生存和延續命脈的指引。本文試圖由此傳統方式切入，從「lraili」(箭)到「kwange」(槍) 、從「drangalreu」(守護)到「kadrenge」(看守) 、 從「Sungaw」到「布農」等語彙背後的時空背景和人群互動，更近一步探索2021年臺灣博館和魯凱族文物館共展之「Lawbubulu魯凱珍寶」特展中，以魯凱為視角的臺灣近代歷史圖像。

Without a written language, the Ngudradrekai (Drekai, Rukai) have recorded their ancestral knowledge and wisdom through lived experience and oral vocabulary, providing guidance for the survival and continuity of future generations. This paper adopts a traditional epistemological approach to explore the temporal-spatial background and group interactions reflected in vocabularies such as the shift from "lraili" (arrow) to "kwange" (gun), from "drangalreu" (protection) to "kadrenge" (guarding), and from "Sungaw" to "Bunun." It further examines how these linguistic and cultural transitions are reflected in visual and historical representations from a Rukai perspective, as presented in the 2021 special exhibition Lawbubulu: Treasures of Rukai, co-organized by the National Taiwan Museum and the Rukai Cultural Museum.

Back to the agenda 回到總議程 

Translator of the information: 黃美琳 Nicole Wong

本活動資訊之筆譯工作與國立臺灣大學翻譯碩士學位學程合作，感謝孔思文副教授督導。

The translation of the information of the Symposium relies on the collaboration with the Graduate Program in Translation and InterpretationNational Taiwan University, monitored by Prof. Kung Szu-Wen.