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劇集 ivucung誰謎了路國際版 ivucung - Unraveling the Riddle of Our Roots

劇集

ivucung誰謎了路國際版

ivucung - Unraveling the Riddle of Our Roots

其他

2019

數百年來，台灣原住民族的物質文化與不同殖民文化強烈撞擊，生活樣貌有了劇烈轉變，開始學習新的技術與生活方式，丟棄了自己原有的文化智慧。然而從1980年代開始，部分族人為了尋找傳統生活記憶，企圖與vuvu(祖先)接軌，才發現vuvu(祖先)的智慧已成為謎團。

導演為時兩年的ivucung誰謎了路紀錄片拍攝過程中，第一挑戰就是害怕冒犯祖靈禁忌，常常聽到攝影師說檔案都不見了。但真的最害怕的，其實是離我好遠的文化內涵，因為自己並不是活在那些文化裡的人，所以害怕做不好，開始拍攝後認識族人，對他們有感覺也有了情感，慢慢地理解他們在做什麼，並且將自己與族人的互動感受轉化成影像，抓住每一位受訪者的信仰理念，想讓更多人知道他們如何用一輩子活出一個族群文化。游志聖擅長刻劃人物故事，製作內容節奏鮮明，透過影像連結人與土地的故事。

導演Yu Chih Sheng loves making films about the connections between people and the places where they live. His past works share stories of local life around Taiwan, exploring themes of belief, belonging, and care.

編劇N/A

製作人莎韻韋浪(陳曉芸)，台灣泰雅族人，現為台灣原住民族電視台節目製作人。大學主修大眾傳播，2007年進入原住民電視台，擔任外景節目執行企劃，開始拓展對於原鄉部落的視野，期間也曾擔任棚內訪談及帶狀現場節目企劃，2010年開始擔任外景兒童節目企劃及製作人，2015年製作全新型態人文行腳節目並擔任數次專案紀錄片執行企劃及製作人。

製作人Sayun Bilang is from the Tayal tribe, and is currently a producer and director at Taiwan Indigenous Television. With a degree in Mass Communication, she joined TITV in 2007 and began as a production assistant for on-location TV programs, which broadened her understanding of indigenous villages. This film began with a question I have been asking myself for many years: “Why do I have to wear traditional clothing?” Like many Indigenous people in Taiwan, the weavers in my family have already disappeared and many of our cultural technologies have been lost. My own traditional clothing was made in a workshop, outside of my family. So what does it mean to wear this clothing? Is it just a performance, a way to prove to others that I am Indigenous? As I entered the lives of the weavers in ivucung, I slowly began to find my own answers. Clothing may act as a proof of identity, but it is also a form of social organization, each fabric interwoven with knowledge, culture, and histories that have been passed down through generations. These are treasures we cannot give up, and are what I most wanted to share with audiences. But how could I get to the center of this story in a film? How could I analyze such complex ideas and bring out what lay deep in the weavers’ hearts and minds? And how could I communicate this vision to a production team comprised of Indigenous and non-Indigenous members? These profound challenges are ultimately what shaped this film. This is a story that began with my own questioning, passed through the visions of others, and then returned to my heart, becoming ever more the story I wanted to tell. In studio TV show, Taiwan Indigenous Television, 2008 《Call Me at 8》Taiwan Indigenous Television, 2010 《Dream of the Flying Tatala》Taiwan Indigenous Television, 2011 《Summer Adventure 》Taiwan Indigenous Television, 2011 《ariari Let’s Go Home》Taiwan Indigenous Television, 2014 Pulima Art Festival Opening Ceremony, Taiwan Indigenous Television, 2014 “The Sweat Between My Brows” Taiwan Indigenous Television, 2015 “Dapin: Footprints in Taiwan” Taiwan Indigenous Television, 2015~now “PULIMA” Taiwan Indigenous Television, 2016 “Dapin: Footprints around the World” Taiwan Indigenous Television, 2018, “ivucung - Unraveling the Riddle of Our Roots “Taiwan Indigenous Television, 2019-2020

版權擁有財團法人原住民族文化事業基金會

#原住民傳統文化

#indigenous culture

作品簡介

ivucung is a Paiwan word that conveys a sense of proactive involvement and building strong unbreakable ties. For hundreds of years, the material culture of Taiwanese indigenous peoples has clashed with various colonial cultures, radically transforming the appearance of life in indigenous villages. By learning new skills and adapting to new ways of life, indigenous peoples discarded their original cultural wisdom. However, beginning in the 1980s, some indigenous people began trying to reconnect with their vuvu (ancestors) in an attempt to reawaken the collective cultural memory of their people, only to find that their ancestral wisdom had become a riddle to them. For the last two decades, Yuma Taru has been engaged in reviving Atayal weaving, using scientific methods to study traditional weaving and encouraging other tribes to reproduce their ancestral skills; a group of female Saisiyat weavers has been replicating traditional fabrics for five years in eager anticipation of wearing the clothes of their ancestors at paSta'ay (Negrito Spirit Ceremony); a Paiwan weaving collective hopes that a trip to a Japanese museum will unearth traditional weaving wisdom thought lost forever. Will these contemporary weavers overcome the myriad challenges and succeed in reproducing the wisdom of the ancestors?

劇集資訊

體裁規格（單集長度） 60 分鐘以上
體裁規格（一季集數） 6-10 集
類型風格其他
作品狀態已發行
製作狀態原創劇本
目標觀眾
導演為時兩年的ivucung誰謎了路紀錄片拍攝過程中，第一挑戰就是害怕冒犯祖靈禁忌，常常聽到攝影師說檔案都不見了。但真的最害怕的，其實是離我好遠的文化內涵，因為自己並不是活在那些文化裡的人，所以害怕做不好，開始拍攝後認識族人，對他們有感覺也有了情感，慢慢地理解他們在做什麼，並且將自己與族人的互動感受轉化成影像，抓住每一位受訪者的信仰理念，想讓更多人知道他們如何用一輩子活出一個族群文化。游志聖擅長刻劃人物故事，製作內容節奏鮮明，透過影像連結人與土地的故事。 Yu Chih Sheng loves making films about the connections between people and the places where they live. His past works share stories of local life around Taiwan, exploring themes of belief, belonging, and care.
編劇 N/A N/A
製作人莎韻韋浪(陳曉芸)，台灣泰雅族人，現為台灣原住民族電視台節目製作人。大學主修大眾傳播，2007年進入原住民電視台，擔任外景節目執行企劃，開始拓展對於原鄉部落的視野，期間也曾擔任棚內訪談及帶狀現場節目企劃，2010年開始擔任外景兒童節目企劃及製作人，2015年製作全新型態人文行腳節目並擔任數次專案紀錄片執行企劃及製作人。 Sayun Bilang is from the Tayal tribe, and is currently a producer and director at Taiwan Indigenous Television. With a degree in Mass Communication, she joined TITV in 2007 and began as a production assistant for on-location TV programs, which broadened her understanding of indigenous villages. This film began with a question I have been asking myself for many years: “Why do I have to wear traditional clothing?” Like many Indigenous people in Taiwan, the weavers in my family have already disappeared and many of our cultural technologies have been lost. My own traditional clothing was made in a workshop, outside of my family. So what does it mean to wear this clothing? Is it just a performance, a way to prove to others that I am Indigenous? As I entered the lives of the weavers in ivucung, I slowly began to find my own answers. Clothing may act as a proof of identity, but it is also a form of social organization, each fabric interwoven with knowledge, culture, and histories that have been passed down through generations. These are treasures we cannot give up, and are what I most wanted to share with audiences. But how could I get to the center of this story in a film? How could I analyze such complex ideas and bring out what lay deep in the weavers’ hearts and minds? And how could I communicate this vision to a production team comprised of Indigenous and non-Indigenous members? These profound challenges are ultimately what shaped this film. This is a story that began with my own questioning, passed through the visions of others, and then returned to my heart, becoming ever more the story I wanted to tell. In studio TV show, Taiwan Indigenous Television, 2008 《Call Me at 8》Taiwan Indigenous Television, 2010 《Dream of the Flying Tatala》Taiwan Indigenous Television, 2011 《Summer Adventure 》Taiwan Indigenous Television, 2011 《ariari Let’s Go Home》Taiwan Indigenous Television, 2014 Pulima Art Festival Opening Ceremony, Taiwan Indigenous Television, 2014 “The Sweat Between My Brows” Taiwan Indigenous Television, 2015 “Dapin: Footprints in Taiwan” Taiwan Indigenous Television, 2015~now “PULIMA” Taiwan Indigenous Television, 2016 “Dapin: Footprints around the World” Taiwan Indigenous Television, 2018, “ivucung - Unraveling the Riddle of Our Roots “Taiwan Indigenous Television, 2019-2020
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