拉黑子‧達立夫 (阿美族)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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.



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.



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.



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.