拉黑子‧達立夫 (阿美族)
破碎的陶、廢棄的木，拉黑子．達立夫在殘缺中看見微弱的力量。在勞動中與山海對話、在豔陽下與木頭獨舞，思索颱風帶來的禮物、雕吟出東海岸的豐賜。1990年代初期，拉黑子．達立夫從採集神話故事、口述歷史及尋訪舊部落遺跡來重新學習部落文化與智慧，以生長環境最熟悉、族人世代利用於日常生活的漂流木來設計椅子。漂流木的死亡與再生，本身就能夠喚起尊重環境與生命的感動。

Rahic Talif｜Amis
As in shattered pottery and discarded wood, Rahic Talif sees a certain feeble strength in breakage. A dialogue with mountains and seas through labor and solitary dances with wood under the blazing sun invite some contemplation over the gifts brought by typhoons, leading to sculpting-muttering of the abundant grace evident in the East Coast. In the early 1990s, Rahic Talif gathered legends, myths from oral history and visits to old tribal remains to re-learn and re-acquire tribal culture and wisdom. Driftwood – as the most familiar material in the environment and much used in daily life by the tribal men through generations – is used for designs of chairs. The death and renewal of driftwood is evident in evoking a certain respect for the environment and passion for life.

尤瑪‧達陸 (泰雅族)
放棄公職背對期望，尤瑪‧達陸咬牙走過二十年編織路，但她展望的是五十年的織品文化教育：「我一直都在部落，我相信可以一點一滴匯流成河。這是我的家，是我的夢想，也是我的生活。」勞頓奔波世界角落，只為拼湊完整文化；傳統美學素養，需盡已所能的加強整備，創新才能在此基礎上發揮。

Yuma Taru｜Atayal
Having given up a job in the public sector after it failed to meet her expectations, Yuma Taru has paid her dues over her 20 years' career as a weaver, and is now looking forward to the next 50 years of weaving culture education. "I have always been based in the tribe and I believe that many a little makes a nickel. This is my home, my dream and my life." To toil across the globe is merely to piece together an entirety of culture; traditional aesthetics need to be strengthened and re-booted, and only then will creativity be given a base on which to dance.

巫瑪斯‧金路兒 (雷賜) (排灣族)
在原住民文化尚未受到普遍重視的1970年代，面對瀕臨失傳的琉璃珠，從摸索到創新，一路走來至今，巫瑪斯‧金路兒堅信傳承的不離不棄。水裡來火裡去，執著於色土與神話交織的琉璃；基礎打樁是底，撐起家族後輩的創新能量。

Umass Zingrur｜Piwan
In the 1970s when indigenous culture was not given much attention by the public, Katakata was facing the threat of disappearance. From early-stage trial and error to present innovation, Umass-zingrur has come a long way, and all along the way, has stuck by the belief that culture is for preservation and inheritance. Passing the test of water and fire, Katakata is a piece of work interwoven from color clay and legends; rudimentary piling as the foundation is thus made possible to sustain the innovative energy of generations to come.

古勒勒‧羅拉登 (雷恩) (排灣族)
從國立藝專美術科畢業十年，雷恩游走都市重回部落，不斷思索自己認同回歸過程中，夾在都市經驗與部落傳統的內在矛盾，直至誠實面對自己的生命經驗。雷恩省思傳統與現代的矛盾與衝突，同時也將族群美感反芻透過現代手法展現。

kulele Ruladen｜Piwan
In the 10 years since his graduation from the fine arts department of National Taiwan College of Arts (now National Taiwan University of Arts), Kulele Ruladen streamed in and out of the city and eventually returned to the tribe, where he contemplated issues pertaining to self identity shaped during the process of returning (to the source) and the inner conflicts borne out of the constriction between urban experiences and tribal traditions, and such confrontation persisted until he truthfully faced up to his own experiential journey of life. Kulele Ruladen reflects on the contradictions and conflicts between the traditional and the modern, and at the same time, re-presents the tribal aesthetics which are in turn portrayed through a modernistic expression.

瑪斯斯格‧金路兒 (雷斌) (排灣族)
致力於排灣族黑陶壺研究、製作及文化紀錄，成立黑陶壺工作室，長期進行文化技藝的傳承與保存。除了製作及保存傳統陶壺、概念性創作，也試圖將傳統陶壺美感轉化為現代生活產品。

Massuke Szuke｜Piwan
Devoted to the research, creation and cultural documentation of Piwan's Black Pottery, Massuke Szuke set up the Black Potter Studio, engaged in long-term preservation and inheritance of culture and artisanship. In addition to the creation and preservation of traditional potteries, as well as conceptual creations, he also attempts to transform traditional pottery aesthetics into commodities for everyday living.

連美惠 (太魯閣族)
祖母總是一邊織布一邊講故事。原來，祖母的故事是可以織出來的。有感於原住民工藝在市場上的弱勢，再加上大陸及東南亞仿製原住民商品的壓力下，決定自創品牌。Yuli Taki，第一個原住民品牌，2003年創立。以傳統圖紋「祖靈之眼」為產品主要特色，提醒自己謹記祖靈的凝視與叮嚀。

Yuli Taki｜Taroko
Grandma is always telling stories while weaving cloths. Grandma's stories can actually be spun like a yarn. Seeing that indigenous crafts and arts have an inferior position on the market, compounded by the pressure of counterfeits and copies of indigenous goods made in China and southeast Asia, I decide to create my own brand in 2003, Yuli Taki, the very first indigenous brand, with the traditional totem, 'The Eye of Ancestral Spirits' being the primary product feature, as a reminder of my ancestors' gaze and their teachings.

龍惠媚 (阿美族)
棉麻屋創辦人。一切始於興趣，一連串的機緣再加上堅持，龍惠媚突顯了有別於較熟悉的原住民圖案與色彩的生活產品，以純粹麻線與傳統阿美族編織法表現另一種被遺忘的美學素養，跨越框架籓籬躍升國際，不輸紐約第五街時尚，在台東東河鄉臺11線路旁小屋中靜靜展現。

Nigan｜Amis
Founder of Cotton Hemp Workhouse. Everything stems from interest, a series of serendipity and a heavy dose of persistence. Long Hui Mei's work stands out from familiar everyday objects with indigenous totems and colors, and uses hemp threads and traditional Amis weaving techniques to express an alternative, yet forgotten, aesthetic bearing, which strides beyond frames and confinement towards a sense of internationalism. Its style, on a par with New York 5th Avenue fashion, is now quietly displayed inside a little hut by Route 11 in Taitung's DongHe Township.

不舞‧阿古亞那 (鄒族)
一則在鄒族來吉部落流傳的山豬王故事及自己的愛豬養豬經驗，不舞．阿古亞那以「紅色山豬」為概念，結合鄒族喜用的紅色，創作出各類山豬生活產品，成功創辦自有品牌「哈莫哇那」。

Pu-u Akuyan｜Tsou
Inspired by a Tsou LaiJi Tribe tale about a King Boar and his own pig farming experience, and based on the 'Red Pig' notion, Pu-u Akuyan dapples with Tsou's favorite color - Red - to create a wide range of boar-related life commodities, successfully creating his own brand, "HaMoWaNa".

巴拉卡夫 (林南吉) (布農族)
「布農族的編製品兼具生活功能與美感表達。」從劈竹到抽絲皆親力而為，質樸的林南吉致力傳承族人編織手藝，但其學子並不限於原住民，「原住民文化的東西如果只在原住民間，不會傳承下去。」除了竹編傳承，林南吉也致力推廣八部合音的古老繞樑曲調。

BuBuQuen. Yislidwan . Yismahason｜Bunun
"Bunun weaving creations are both functional for everyday use and aesthetical expressions." Involved in all aspects of bamboo weaving from bamboo splitting to shredding, BuBuQuen.Yislidwan.Yismahason, rustic as he is, is devoted to preserving and passing on Bunun weaving craftsmanship, without excluding non-indigenous students. "Indigenous culture will not be passed on, if only passed around amongst the indigenous people." Other than bamboo weaving and its preservation and inheritance, Lin is also working on promoting the ancient tunes and melodies created from Pasibutbut (Eight-part Polyphony).

陳淑燕與杜瓦克·都耀 (陳儀鍵) (噶瑪蘭族)
漁獵文化是噶瑪蘭族生活的一環，但自漁獵文化而生的魚簍工藝正逐漸沒落。面對此流逝中的工藝文化，熱愛噶瑪蘭族文化的創作者陳淑燕與陳儀鍵——設計師與工藝師的結合，轉化這項傳統文化中的男性工藝，將竹籐材質美感發揮的淋漓盡致，讓傳統竹藝在現代生活中得以持續。

Shuyan Chen and Towak.Toyaw｜Kavalan
Fishing and hunting culture is part of Kavalan tribe's life, but the rakar craft borne from the fishing and hunting culture is, however, on the decline. Faced with such a diminishing craft culture, the two Kavalan tribe's culture aficionados/creators –Su-Yan Chen and Towak.Toyaw, a union of a designer and a craftsman – are to transform this traditionally male-dominated craft and give it a new lease on life by placing elaborate creative energy on the beauty of bamboo and rattan materials, so as to allow the art of traditional bamboo craftsmanship to continue and live on in modern life.

高梅禎 (阿美族)
一粒ili工作室負責人，「一粒」是以高梅禎阿美族的名字命名，意喻「恩典加倍」。高梅禎從刺繡轉向編織，十餘年的光陰就在月桃方格間度過。月桃編織與原住民生活密不可分，地域性媒材既環保又經濟。運用巧手織就日常所需，簡約之美讓高梅禎著迷，一頭栽進月桃不能自已。

Ili｜Amis
In charge of iLi Studio, Kao Mei Zhen named the studio after her Amis name, iLi, meaning 'Grace Multiplied'. Kao turning from embroidery to weaving, over 10 years have elapsed through "Alpinia Zerumbet and squares" (the former being the material, the latter being the technique, both used for weaving). Alpinia Zerumbet weaving is an integral part of indigenous life, regional materials being an environmentally-friendly and economical choice for weaving. The simplicity and beauty in weaving based on daily needs, via the simple use of hands, is deeply fascinating to Kao and has engrossed her since she first started.

撒部．噶照 (阿美族)
跟家人在祖先留下來的地耕耘－港口部落的撒部，創作多半以漂流木為主要材料，輔之以石頭、籐等複合媒材，藉由面對傳統與外來文化、過往與現代發生關聯而後產生的當下生活和感受，及經由創作磨練出來的經驗及手藝，溫潤的石頭加上漂流木的結合研發，製作出可用可賞的生活餐具。

Sapud Kacaw｜Amis
Cultivated in a harbor tribe on a piece of land inherited from his ancestors, Sapud Kacaw mainly uses driftwood for his creations, complemented with compound materials such as stones and rattan. Through life and thoughts arising out of the connection between traditional and foreign cultures, between the past and the present, through experience and handicraft over time and periods of creations, through the combination of soft lukewarm stones and driftwood, everyday utensils are thus created, fit for the eyes to admire and for daily use.

都蘭山劇團
從前，相信樹靈存在的阿美族人用石頭和樹木交換樹的枝幹，取其樹皮以為身體的遮蔽及保暖。失傳多年的樹皮衣製作技術，在已故潘清文頭目的帶領與研究下成功復甦，並在劇團的演出中呈現於大眾的眼前，讓大家了解樹皮衣這項臺灣重要的文化資產。近年則致力於樹皮布的生活產品設計，讓樹皮進入普羅大眾的生活。

Dulan Mountain Theatre
A long time ago, the Amis tribe - firm believers in tree spirits - used to exchange stones and sticks for tree trunks, using the bark of the trees to keep their bodies covered and warm. The long lost bark clothing technique was revived under the leadership and research of the deceased chief, Pan QingWen, and presented to the public through stage performances. This was so that the public could understand the importance of this pivotal Taiwanese cultural asset. In recent years, much effort has been expended in the design of everyday objects and commodities made with bark, in order to bring bark into public life.

花蓮縣噶瑪蘭族發展協會
噶瑪蘭族新社部落早年種植許多香蕉，族人就地取材，織造各類生活用品。在自給自足時代，香蕉絲陪伴新社部落漫長歲月。如今這項傳統技藝瀕臨失傳，花蓮縣噶瑪蘭族發展協會登高一呼，在老一輩工藝師帶領下，重新拾起地織機編織獨特的香蕉布。

The Hualien County Kavalan Tribe Development Association
In the early days of Kavalan Tribe of Xinshe, bananas were the main produce, readily accessible to tribal members for weaving of all sorts of useful everyday objects. In that era of self-sustainability, shredded bananas were faithful companions to the slow-paced life of the Xinshe Tribe. Today, as this traditional craft faces imminent extinction, the Hualian County Development Association has stepped up to lead the revival campaign in which the older-generation artisans take the helm and re-generate the unique weaving of banana cloth.

三仙社區發展協會
環境衝擊讓部落變得貧困無法自足，造成人口外移部落凋零。「海邊很多漂流木，我們要用這些漂流木，把迷路的羔羊找回來」，三仙社區發展協會理事長陳春妹，試著向勞委會職訓局申請培力計劃的人才培訓課程，在拉黑子．達立夫的指導下，學習技藝同時也能自足，期望重現比西里岸部落舊時風光魅力。

The Sansiantai Community Development Association
Circumstantial impacts have reduced the tribes to poverty and curbed their ability to sustain themselves, causing population emigration and tribal downsizing. "Given plenty of driftwood by the seaside, we can use this driftwood to bring home disoriented sheep." The Secretary-general of the Sanxian Community Development Association, Chen Chun Mei, tried to apply for empowerment schemes from the Bureau of Employment and Vocational Training, Council of Labor Affairs to set up human resources training courses. Under the instruction of Rahic.Talif, to sustain oneself while learning a skill is now possible. It is also anticipated that the former charm of the Pisilian Coastal Tribe will be restored.