「踏溯吉安」：歷史踏察｜“A Stroll at Ji’an”: Visits to the History

1. 吉野石羊的由來

1. The Stone Sheep at Yoshino Village

　　近年單車的七星潭到鯉魚潭的雙潭之旅，已成為很多單車客來花蓮的經典行程，其中經過化仁海堤這段，可以在海堤旁的的草皮上，看到吉野移民村郵便局的石雕，以及令人印象深刻的八隻綿羊石雕-吉野石羊。作為歷史文化記憶的吉野村石雕還好理解，但海邊的這八隻綿羊不僅令人好奇是怎樣的發想呢？

　　In recent years, the cycling route from Qixingtan Beach to Li-yu Lake has become a must-go itinerary for cyclists. On this route, in the section of Hua-jen Embankment, we can find the stone carving of the post office of Yoshino Immigrant Village and the eight impressive stone carvings of sheep—Yoshino Stone Sheep. The stone carvings of Yoshino Village are understandably memorials of culture and history, but what about the eight stone sheep on the coast?

　　根據水利署第九河川局電子報以及中廣新聞採訪九河局局長的報導中，可以得知這是2016年九河局在進行化仁海堤的治水計畫時，為了讓冰冷的公共工程多一些溫度，特別找了藝術家設置這些公共藝術，讓海堤可以增添觀光與休閒的價值。當時九河局的局長甚至希望可以加上羊叫聲，讓遊客經過時更增添一些樂趣呢。

　　According to the digital newspaper of The 9th River Management Office, Water Resources Agency, and the interview of the director of The 9th River Management Office in the report of Broadcasting Corporation of China News, we can learn that these stone sheep are public art. During the progress of the Hua-jen Coast Improvement Project, the office invited artists to produce public art to add some vigor to the cold public construction and improve the value of sightseeing and leisure on the coast. At that time, the director even wished to make the sheep have some baaing sounds so that tourists might have fun when they were around the sheep.

　　近年來許多公共工程都有融入公共藝術的設計，這不僅是承辦單位的創意，其實也是「公共藝術設置辦法」法規明訂的要求唷。公有建築或重大公共工程建設時，都會提撥部分經費並成立公共藝術設置執行小組，規畫並設置公共藝術作品。花蓮十多年來的石雕藝術發展，已成為在地的文化及產業特色，在化仁海堤旁有這樣的公共藝術作品並不意外，能融入在地歷史文化特色及創意，更是值得肯定與鼓勵。

　　These years, many public constructions have the design of public art. The design not only reveals the creativity of the construction organizer, but also complies with the Regulations on the Installation of Public Art. To plan and carry out public art, the organizer has to appropriate a part of the fund and establish a public art installation team for public buildings or major public construction. The stone carving art in Hualien has become a local cultural and industrial feature for over ten years. It’s no surprise that there are public artworks along the Hua-jen Coast. It’s also worthy of recognition and encouragement to mix local historical and cultural features with the creativity of public art.

　　下次來到這裡時，不妨多留意一下，除了吉野郵便局與吉野石羊以外，是否還有其他有特色的石雕唷！

　　When you visit here, you may pay some attention to the other special stone carvings in addition to those for the post office and the stone sheep of Yoshino.

2. 吉安鄉慶豐村(宮前)的日本移民家屋分布

2. The Distribution of Japanese Immigrant Houses in Qingfeng Village (Miyamae), Ji’an

　　這張圖是戰後灣生日本人憑記憶描繪出來的「宮前地域屋敷配置圖」，對於了解日治後期移民村的聚落空間以及建物的配置非常重要，也廣泛的運用到相關的出版品、導覽摺頁中。可惜多數的文宣對於這張配置圖都沒有什麼描述，2002年出版吉安鄉志也僅是將此圖當作史料圖像使用，沒有任何解釋。

　　“The house layout of the Miyamae Area” is drawn from memory of the Wansei (Taiwanese-born Japanese during the Japanese imperial rule in Taiwan). This picture is very important for learning about the layout of spaces and buildings of immigrant villages in the late period of Japanese colonization. It is also widely used in related publications and tour brochures. It’s a pity that most of the documents have no captions. Even in the Ji’an Township Chronicle, published in 2002, the picture was used only as a historical image without any description.

　　那要怎樣來解讀這張圖呢？小編提供一些方法給各位參考：

　　Then, how to interpret this picture? Here are some tips for you:

　　(1) 首先來看看這是誰畫的，以及對該圖的相關註記，在圖面的左側有標示這張圖是中島恆夫、松本秋男、中島泰二這三位製作（他們的姓氏也都有出現在圖中的住家中，看來應該是這邊早期的居民）。而該圖是由堀工吉治Layout成圖的。下方也有註記說明，這圖是憑記憶所描繪的，記述上若有錯誤請見諒。

　　First, you may take a look at the authors and the annotations. On the left side of the map, you can find that the map was made by Tsueno Nakajima, Akio Matsumoto, and Taiji Nakajima (it seems that they were residents in this area since their last names also appear on the houses on the map), and the layout was designed by Kichiji Horiku. The annotation below also reveals that the map was made from memory and the authors asked for pardon for any mistakes.

　　(2) 接下來看一這張圖的索引資料，中間有張小的索引圖，標示北方、主要道路以及A、B、C、D四個聚落的相對位置。圖面正中央的A是最大的聚落，也是吉野神社的所在地，另外左側有B聚落、右方有C、D聚落，分別是宮前的分支聚落。可推測應該是移民村這種折衷型集村在聚落發展後期延伸出來的的分支聚落。

　　Next, check the index of the map. In the middle, there is a small index that marks the north, the main streets, and the relative position of settlements A, B, C, and D. Settlement A in the center of the map is the biggest one and is the location of the Yoshino Shrine. On the left side is Settlement B and on the right are Settlement C and Settlement D that are branches of Miyamae Settlement. It can be speculated that these settlements are branch settlements in the later stage of development of eclectic settlements like immigrant villages.

　　(3) 若進一步透過地圖（1945美軍空拍、戰後各版本地形圖），村里界來對照，雖然這些聚落在日治後期都是在吉野村境內，但戰後僅有A、B是在慶豐村，D則位於勝安村、C在吉安村。並非所有的聚落都是在慶豐村唷！

　　Then, if you compare the boundaries of the villages on it with those on other maps, such as aerial images taken by the US army in 1945 or different versions of the topographic photos after WWII, you will find that these settlements all belong to Yoshino Village in the late period of Japanese colonization. However, after WWII, only Settlement A and Settlement B have been at Qingfeng Village. Settlement D belongs to Sheng-an Village, and C to Ji’an Village. Not all of them are at Qingfeng Village.

　　(4) 接下來可以比對道路、街廓的配置，在A聚落有個十字型的主要道路，被稱為五間道路。五間相當於30尺，換算公制就是9.09公尺，是說明當時道路的路寬。這十字形主要道路，南北向的就是現在的吉安路二段，東西向的就是中山路三段。

　　Fourth, you can compare the configuration of roads and blocks. A main crossroad called “Five Ken Road” can be found in Settlement A. The name “five ken” is about the width of the road, and a “ken” is a unit of length. Five “ken” is about 9.09 meters, so the road is 9.09 meters wide. The north-south direction of the cross-shaped main road is the second section of Ji’an Road and the east-west direction of it is the third section of Zhongshan Road today.

　　(5) 最後，可以來看看配置圖中的一些公共設施，除了最明顯的神社之外，還可以看到地神、菸草乾燥室、共同浴場、購買部、青年會館、儲水槽等位置。若瞭解當時的村長姓氏（西村），也可以知道村長家的所在地。透過這些比對，都可以確認這些機關、建物的現況位置，例如青年會館就是現在的銀髮樂活館、地神所在位置已成為慶天宮等。

　　Finally, let’s check some public facilities on the map. In addition to the most obvious Shrine, the Land God, a tobacco drying room, a public bath, a grocery store, a youth hall, and a water storage tank can be found. If you know the last name of the chief of the village (Nishimura), you can find where the chief lived. By comparing the configuration now and then, we can learn what those facilities become now. For example, the youth hall is now the senior activity hall and the Land God is now Qing-tian Temple, etc.

　　大家也許會好奇，那麼以前的公共浴場現在是做什麼用途呢？這裡就賣個關子，哪天有機會現地導覽時，小編再告訴各位囉！

　　You may be curious about the use of the public bath now. I’ll leave it for the live tour guide in the future.

3. 慶豐村的人口、族群與地名概述

3. An Overview of the Population, Ethnic Groups, and Place Names of Qingfeng Village

　　慶豐村北以吉安溪鄰勝安、永安、太昌村，南以慶南五街接中園排水溝鄰吉安村，東南一小隅以中園排水溝鄰宜昌村。根據111年的戶口統計資料，慶豐村有3077戶，人口有7836人，其中男性3934人，女性3902人。慶豐村在清朝時期為七腳川社原住民居住之活動區城，日治移民村時期，稱為「宮前」，取其日本人的神社所在地而得名。民國37年（1948）改稱今名。

　　Qingfeng Village is adjacent to Sheng’an, Yong’an, and Taichang Villages with Ji’an River in the north, to Ji’an Village with Zhongyuan Drainage Ditch to Qingnan Fifth Street in the south, and to Yichang Village with Zhongyuan Drainage Ditch in a small corner in the southeast. According to the household registration statistics in 2022, there were 3,077 households at Qingfeng Village with a population of 7,836, including 3,934 males and 3,902 females. During the Qing Dynasty, Qingfeng Village was the area where the indigenous people of the Cikasuan tribe lived. During the Japanese colonial period, it was called “Miyamae,” which was named after the location of the Japanese shrine. It was renamed to its present name in 1948.

　　根據2002年吉安鄉志的記載，該村居民來自各地，所以姓氏混雜，以前閩、客、原住民各估三分之一，現今閩、客族群人口較多，原住民較少約佔本村人口的14%，客家人大多從新竹、苗栗而來，早期以農業為主，目前職業別較為多元。因距花蓮市近，人口外流情形少，從過去10年的人口數據來看，雖然近年人口略為下降，但10年來仍是吉安鄉人口成長最多的村，也是唯一人口成長超過500人的村里。本村的信仰以道教為主，大多祭拜王母娘娘，原住民族群每年都有豐年祭典。

　　According to the record in Ji’an Township Chronicle (2002), residents of the village came from all over the world, so the surnames were mixed. In the past, each of the three peoples, Hoklo people, Hakka people, and indigenous people, accounted for one-third. Today, the population of Hoklo and Hakka peoples is relatively large, and the indigenous people account for about 14% of the population of the village. Most of the Hakkas come from Hsinchu and Miaoli. In the early days, agriculture was the mainstay, but now the occupations are more diverse. Because Qingfeng is close to Hualien City, there is less population outflow. According to the population data of the past 10 years, although the population has declined slightly in recent years, Qingfeng is still the village with the largest population growth at Ji’an in the past 10 years, and it is also the only village with a population growth of more than 500 people. The belief in this village is mainly Taoism, and most of them worship the Queen Mother of the West. The indigenous ethnic group holds a harvest festival every year.

 
 

　　從慶豐村的人口金字塔，可以看出青壯人口跟學齡人口較少，但20幾歲的年齡層較為突出，且0-4歲的人數也比5-9歲及10-14歲為多，此人口結構呈現的意涵值得進一步探討......

　　From the population pyramid of Qingfeng Village, we can see that the young and middle-aged population and the school-age population are relatively small, but the age group in the 20s is more prominent, and the number of people aged 0-4 is more than that of people aged 5-9 and 10-14. The implication of this demographic structure requires further investigation….

文字與圖片轉載自郭俊麟，「踏溯吉安」Facebook社團｜Texts and pictures are by Chun-lin Kuo, from the Facebook group “A Stroll at Ji’an”
https://www.facebook.com/groups/1251508029092820

譯者｜Translator：英美語文學系 吳伃雯｜Stella Wu, Department of English

「踏溯吉安」：貼文精選（一）｜“A Stroll at Ji’an”: Featured Posts I

1. 吉安桐花小旅行

1. A Tung Blossom excursion at Ji’an

　　每年4-5月間，正逢農作休閒期間，也是年度桐花盛開季節，配合桐花盛開，以崇祖感恩之心，將客家人重視山林與土地的精神，藉由活動與祭祀的方式，辦理桐花祭活動。吉安鄉的桐花主要在花蓮林區南華工作站，園區內近百株桐花樹，每年四月份左右開始盛開，在春夏交替之際就可以看到數百株桐花綻放，形成美麗五月雪景象，賞桐之旅即成為每年3至5月最熱門的旅遊行程之一。而雪白景象令人陶醉在花雨之中，也是吉安鄉春季的一大盛事。

　　Between April and May, it is the fallow period and the annual Tung blossom season. Through various activities and ancestor worship at the time of the blooming of Tung flowers, people hold Tung Blossom Festival to commemorate and venerate the spirits of deceased ancestors and to demonstrate the Hakka spirit of valuing forests, mountains, and land. The Tung flowers at Ji’an are located mainly at Nanhua Workstation in Hualien Forest District. Nearly a hundred Tung Trees start to blossom in April. The blossom of hundreds of Tung flowers between spring and summer forms a beautiful scene of snow in May. Thus, an excursion to enjoy the sight of Tung flowers from March to May becomes one of the most popular travel itineraries. In addition, the snow-white scene is intoxicating; the fallen flowers, like rain contribute to a big event at Ji’an in spring.

　　2023年的「桐遊吉安風情-踏尋故事開始的秘境」即將於三月底正式開始。故事就從桐花紛飛開始，今年桐花小旅行從南華森林園區為起點，由專業導遊帶路，走入初音山下的過往風華，因為有著豐沛水力資源，吉安從日治時期即是稻米農作的重要產區，至今潺潺水圳可見當年繁榮景象。興盛的水稻文化，勾勒出富饒農村景象，也帶動水牛研究，因此至今仍保留相當難得的水牛完整基因密碼。初音山的故事還有一段歷經八十多年的種畜繁殖場，吉安有一座馬場，而且是極具歷史價值的種畜繁殖研究單位，不僅如此，種畜場宿舍群依然保存著日式生活樣貌，娓娓道來這一段故事，原來吉安深藏著諸多精彩，等著我們一一發掘。

　　“Traveling Together to the Tung Blossom at Ji’an and Looking for the Local Customs: Visiting the Secret Place for the Beginning of the Story” in 2023 will commence at the end of March. The story starts with Tung flowers flying in the air. The Tung blossom excursion this year begins from the Nanhua Forest District. Professional tour guides will lead you down to the glorious past of Chuying Mountain. Because of its abundant water resources, Ji’an has been an important area for rice production, and today you can imagine the prosperous past from the system of canals and irrigation ditches. The thriving culture of rice growing outlines the rich rural scene and brings about research on water buffalos. Thus, a complete, rare genetic code of water buffalos is still preserved at this place. The stories of Chuying Mountain also include that of an animal propagation station that has existed for more than eighty years. The stud farm at Ji’an is a research unit for animal propagation that has great historical value. In addition, the dorms at the animal propagation station still retain the appearances of the Japanese lifestyle and tell us a story. Apparently, a lot of amazement still lies deeply at Ji’an and waits for us to discover one by one.

2. 吉野村的森本咖啡園

2. Morimoto Coffee Farm at Yoshino Village

　　打開移民村時代吉野村的相片，看到的大多是水稻田、蔗田、菸草作物的景觀，然而台大數位典藏資料庫中，卻看到有標記著「花蓮港廳吉野村宮前山腳地四年生咖啡」及「森本元三郎氏農場咖啡」的照片。出處是總督府殖產局，1929年的影像。

　　Opening the photo album of Yoshino Village during the period of the Japanese immigration villages, you can see mostly the view of the farms of rice, sugarcane, and tobacco. However, in National Taiwan University digital archives, we can see the pictures marked with “The quadrennial coffee from Miyamae Mountain Foot, Yoshino Village, Karenkō Prefecture” and “The coffee from the farm of Mr. Motosaburo Morimoto.” They originated from the photos of the Bureau of Productive Industries, Office of the Governor-General of Taiwan, in 1929.

　　從上述的資訊已經可以得知，這個咖啡園應該就在宮前聚落，今日的慶豐村及太昌村附近，從灣生日本人戰後繪製的住宅地圖，可看到宮前聚落中確實有森本這姓氏的住家，位在今日吉安國中附近。而照片中的山腳旁的咖啡，透過歷史航拍及山勢地景的比對，推測有可能是在今日中山路四段的盡頭，太昌村日光步道入口附近。

　　From the information mentioned above, we can learn that this coffee farm might be based at the Miyamae Settlement, which is near the Qingfeng Village and Taichang Village nowadays. From the residential map drawn by the Wansei (Taiwanese-born Japanese during the Japanese imperial rule in Taiwan) after the WWII, we can see that people whose surname was Morimoto took up residence in the Miyamae Settlement, located near the Ji’an Junior High School nowadays. Moreover, by comparing the historical aerial photographs and the mountain ranges and the landscape, the coffee farm beside the mountain foot in the photo might be at the end of Sec. 4, Zhongshan Rd. nowadays, around the entrance of the Nikko trail at Taichang Village.

 
 

　　數十年過去，吉安鄉也快速的都市化發展，農作品除了稻米之外，也多了韭菜、龍鬚菜、芋頭的招牌農特產。不知道當年吉野村生產的咖啡味道如何？是否還有機會在吉安鄉見到在地種植的咖啡豆呢？

　　As the decades passed, Ji’an was also affected by the rapid development of urbanization. In addition to rice, Chinese leeks, the gracilaria, and taros were all became the signature produce. How was the smell of the coffee produced at Yoshino Village at that time? Do we still have the chance to see coffee beans being planted once again at Ji’an?

3. 吉野牧場_從騎牛改乘馬

3. Yoshino Farm: from bull riding to horse riding

　　根據2002年吉安鄉志的記載：吉安鄉的畜牧業始於大正九年(1920)，吉野村産業組合在此開設「吉野牧場」。牧場面積三五九甲，專責牛隻的培育繁殖，當時牧有牛隻407頭。爾後又創立「臺灣總督府花蓮港種馬所」，將當時臺灣東部的畜牧生產資源及人力全部投入，專為生產軍用馬匹。光復後，政府將「種馬所」改為「種畜場」，從事豬、牛、雞等民生物資生產。1976年花蓮區農業改良場畜牧課，撥屬台灣省畜產試驗所，正式改稱為「台灣省畜產試驗所花蓮種畜繁殖場」。時值今日，歷經多次改组的花蓮種畜繁殖場，仍以其專業知識，持續推廣家畜家禽的繁殖，及飼養與育種改良等工作，以利地方畜牧業的發展。

　　According to the annals of Ji’an in 2002, the animal husbandry at Ji’an started in the ninth year of the Taishō era (1920), and the industry group at Yoshino Village established the “Yoshino Farm” here. The farm, set in 345 hectares, was responsible for the breeding of cattle. There were 407 cows and bulls at that time. Later on, it established “Hualien Harbor Stallion Station, Office of the Governor-General of Taiwan.” All the production and human resources from animal husbandry in eastern Taiwan were put to breed military horses. After the Retrocession, the government turned the “horse breeding farm” into “livestock breeding farm” to produce staples like swine, cattle, and poultry. In 1976, The Agricultural Research and Extension Station in Hualien District became a part of Taiwan Livestock Research Institute, and officially renamed as Hualien Animal Propagation Station, Taiwan.” Up to now, after several times of reformation, Hualien Animal Propagation Station still manages to feed and breed livestock and poultry and to promote their propagation with its professional knowledge in order to benefit the development of local husbandry.

　　這段文字中，有個疑點，為何光復後是將「種馬所」改為「種畜場」，那原本那些牛隻呢？又，「臺灣總督府花蓮港種馬所」又是何時創立的呢？根據清水半平的《吉野村回顧錄》，有段「從騎牛改乘馬」的敘述，原本吉野牧場是以改良品種為目的，從印度引進「幸得」與「印度」兩種牛種，並將其作為耕種、食用兩用牛。昭和九年(1934)某日，總督府把清水半平找去，要求產業組合在此生產軍用馬並給予相關優惠條件。回憶錄中提到馬匹一年生產一頭，數年後全村到處都是馬，每傍晚回家時，來來往往都是馬，有如現代的汽車。後來這些馬在中國中南部戰場非常活躍，軍用馬、運貨用馬都是來是吉野。

　　It is confusing that the “horse breeding farm” was changed into “livestock breeding farm.” Then what about the cattle that were originally there? When was Hualien Harbor Stallion Station established? In Hampei Shimizu’s Memoir of Yoshino Village, we can find an account of “from bull riding to horse riding.” The Yoshino Farm was originally for genetic modification. It imported two species of cattle, “Xing De” and “Indian,” from India, so that they could be both edible and suitable for farming. One day in the ninth year of the Shōwa era (1934), the Government of Taiwan talked to Hampei Shimizu and asked the industry group to raise military horses here and provide special offers for him. In the memoir, Hampei Shimizu mentions that each horse bore one foal a year, and after years of breeding, the whole village was full of horses. When people went home in the evening, horses came and went, just like cars in the modern world. Later on, these horses from Yoshino were all very active for military usage and transportation in the war field in southeastern China.

　　那牛隻呢？清水半平的回憶錄中則提到昭和十五年、十六年(1940、1941)，牛隻就全部供給海軍食用，牧場專門養馬。這就是光復後牧場變成「種馬所」的主要原因吧！

　　What about cattle? Hampei Shimizu mentions in the memoir that in the fifteenth and sixteenth years of the Shōwa era (1940, 1941), cattle were all served to the navy as food, and the farm was particularly for horse raising. This is probably the main reason why the farm was transformed into a “horse breeding farm” after the Retrocession.

文字與圖片轉載自郭俊麟，「踏溯吉安」Facebook社團｜Texts and pictures are from Chun-lin Kuo’s Facebook club “A Stroll at Ji’an”
https://www.facebook.com/groups/1251508029092820

譯者｜Translator：英美語文學系 楊禹婕｜Kate Yang, Department of English

地方志與田野踏查實務課程 駐地學習心得（二）｜The Writing of Local History with the Practice of Field Survey: My Learning Experience II

　　向來，我自認是一個不太會臨機應變的人，甚至是很喜歡在正式活動前，跟組員密集開會，撰寫活動當日細流，A計畫、B計畫，反覆進行沙盤推演，身邊朋友給我的形容詞是：控制、精確、縝密、計畫狂。

　　I am usually bad at coping with any contingency and prefer to hold intensive meetings with my team members before an activity. During these meetings, we discuss every detail in the rundown and prepare Plans A and B, and conduct scenario planning several times. My friends often use words like control, precision, thoroughness, and “planmania” to describe me.

　　因此，這次的駐地學習，我覺得所面對的敵人，並不是蒐集資料、確立題目、尋找訪問對象等等，而是我自己的不安全感。

　　Therefore, for this interview, the real challenge isn’t is my feelings of insecurity instead of gathering information, choosing topics, or finding interviewees.

　　打從最初組長旻傑在群組內開會，問我們有沒有想做什麼題目，組員之間提出一些問題與想法，卻似乎沒有辦法聚焦。對於日本移民這個主題，我反過來認為是我對於這方面知識掌握不夠，想問那還可以準備甚麼，卻得到「不用準備，安心去爬山」的答覆，我雖說好，卻滿肚子懷疑。

　　At the beginning of our group meeting, the team leader Min-Jie asked us what we would like to investigate. Although some of us suggested some ideas, we could not reach an agreed topic. Among the proposals, the topic about Japanese immigrants seems to me an unfamiliar topic that I had insufficient knowledge of. I wondered what I could prepare for it, but all I got was the answer, “You don’t have to prepare anything; just enjoy the hiking.” Even though I said yes, I was full of doubts.

　　第一夜，當我們臨時接到通知，要與原民小組一起訪問東昌村村長，要問什麼，沒有訪綱，腦袋一片空白，只能逼自己全神貫注聽著對方內容，試著挖掘問題。以往，在我的想像，一場訪談裡，訪問人負責控制場面、引導談話並掌握訪談主題，訪問人的權利位階似乎比受訪者還要高一點，但是在現場，受訪者與訪問人權力地位是平行的，甚至反過來，受訪者主導性更高。

　　In the first evening, when we received a temporary notice that we would interview the village head of Dong Chang Village with the Indigenous Team, my mind went completely blank. Without an outline or any prepared questions, I could only pay all my attention to what they said and try my best to tap into it. According to my understanding, interviewers should dominate the interview and are responsible for controlling the situation, steering the conversation, and maintaining the major topic. However, in this interview, the interviewers and the interviewees seemed equally powerful, or the interviewees appears more dominant.

　　我所能做的，僅是在散漫的敘事中，試著抓出線頭，然而沿著線頭往後拉出問題，撿拾地面上的貝，過濾，篩選自己要的放進籃子裡。然而團訪之下，每個人關注的問題面向各有不同，拉出的線頭好幾條，正當不知道該往哪裡收束，隨即，村長又給了我們新資訊，要我們去部落的聚會所看看。

　　All I could do was try to figure out some clues and then bring up some questions, as I was picking up seashells from the immense seashore, examining them, choosing what I need, and putting them in a basket. However, in this group interview, each person had different concerns and questions, so various clues were produced. Just when we had no idea how to carry on the conversation, the village head gave us new information and invited us to have a look at the tribal meeting place.

　　又一個新的線索，八年一次成年禮，跟著孩子到海邊觀察互動，可是女賓不可靠近，原民小組成員全是女生，頭目看著我說話，研究所同學佩汶也投以求救目光，旻傑低聲說，我們不是那組的，不用管。這些張力互相拉扯著，我好為難，只能賠笑，告訴他們我們有分組，每組有每組的任務，不太能跨組支援。

　　Hence, another new clue came up. The coming-of-age ceremony was held once every eight years. We followed the boys to the beach and observed how they interacted with each other, but women were not allowed to approach. All the members of the Indigenous Team were teenage girls. The chief looked at me while he talked, and Pei-Wen, a female classmate of mine, also stared at me for help. Min-Jie muttered, “It’s not our team; stay out of it.” I am embarrassed at such a situation; I could only titter and tell them that each team has its own mission and that it is not suitable for me to help them.

　　臨走前，頭目旁邊的另一位大哥說了一句，可惜了，這機會很難得。

　　Before we left, a man next to the chief said, “It is a pity, for the opportunity is rare.”

　　那天夜裡回到民宿，感覺很複雜，有一種悔恨感是：如果事先知道這些風俗知識，如果不受限於時間組別，如果當下我不顧慮同組組員怎麼想，先跳出去說好我願意去，是不是就不會錯失機會？

　　At night when I returned to the guest house, I felt rather regretful. Would I have missed the opportunity if I had learned about these customs in advance, if I had not been limited by time or my group, or if I had not cared about what other group members thought but agreed to join them anyway?

　　那個慣於摸清底細再行動的我，面對田野這場不知謎底的解謎遊戲，不可預測的突發狀況不斷產生，我不知所措。

　　When I, who was used to figuring out the details before taking action, faced this field survey which was like a puzzle game, unpredictable contingencies continued to arise, and I was overwhelmed.

　　第二天一整天的行程過去，我與組員柏勳、許彤回到民宿，在客廳閒聊之際，我問他們，行前在群組裡那樣向他們提問，會不會對他們造成困擾？許彤告訴我，她之所以有時沉默，只是因為那些提問對她而言也是她的問題，她也在想，也不知道怎麼回答，於是就放著。於是，我開始訪問他們，問他們台灣系與社會系的養成，如何觀察華文系的我，以及如何看待此次的田調活動，我試著進入他們的世界，理解自己這兩天經歷的是什麼，業師們為什麼要這樣操作，或者以往他們都是如何面對這些狀況。

　　At the end of the second day, my team members, Bo-Xun, Xu-Tong, and I returned to the guest house. While we were chatting in the living room, I asked them whether it had caused any trouble to them that I had asked those questions on the Line before we came to this place. Xu-Tong told me that she sometimes remained silent because my questions also her questions that begged for answers; at that time she had simply said nothing. Hence, I started interviewing them. I asked them how they would observe me as a student at the Department of Sinophone Literatures, for Bo-Xun was at the Department of Taiwan and Regional Studies and Xu-Tong was at the Department of Sociology. In addition, I inquired about their thoughts on field surveys and tried to access their perspectives and to understand what I had experienced in the past two days. I wanted to understand how practitioners had tackled the issues and how they had dealt with similar situations in the past.

　　其中一位客家組的同學說起先前鳳林駐地的經驗，她說，在鳳林，比較像是在每天蒐集不一樣拼圖，被大量知識灌滿腦袋，最後要想辦法整理出一個頭緒，但這次在吉安，反而是遇到的每個人都在講類似的脈絡，每個老師都會提到七腳川事件、吉安四寶、日本移民、眷村開墾，反而是要想辦法在類似的敘事中，找到他們的描述角度，想辦法挖掘新的問題。

　　One of the students in the Hakka Team shared her previous experience at Fenglin. She said that it was like collecting different jigsaw puzzles every day, for a lot of knowledge was imparted to them, so at the end of the day they had to try very hard to organize and digest what they had learned. However, here everyone we had met talked about a similar context, and every teacher mentioned the Cikasuan Incident, the Four Treasures of Ji-an, Japanese immigrants, and the reclamation of military dependents’ villages; hence, we needed to identify their different perspectives and try to dig up new questions.

　　這個觀察，這令我想到我慣常的學習模式，就是鳳林駐地模式，那是被動接收式，內省式的整理，然而吉安駐地活動，變成是主動的，向外探索觀察。我的焦慮不安在餘，我用錯了接收資訊的方法，關閉了自己的感知，總是害怕自己準備不夠多，害怕問蠢問題，把好奇心阻隔於前。

　　This observation reminded me of my usual learning mode, which is similar to the Fenglin: passive reception and introspective sorting. However, here, our learning had to become active, outward exploration and observation. My anxiety mainly stemmed from gathering information in a wrong way, turning off my sensibility, and being afraid of not being well-prepared or asking silly questions. As a result, I blocked my curiosity out of my mind.

　　忘了後來是誰告訴我，你就想，你不是真的來調查什麼，你就是來玩的。

　　Later, someone asked me to imagine that I wasn’t here to investigate but to simply have fun.

　　你是來玩的，這句話像是一句定心咒，烙印在我心中，那使我開始放開來玩，在確定受訪者後，與組員們大致確立問題的方向，把受訪者當作一個朋友來認識，而是一個調查對象，就算問了蠢問題也好，也是虛心向對方請教，雖然過程中因為中文日文台語三語交雜，而有些聽不懂，但聽著那些日本時代的生活故事，似乎也在心中描摹出了一塊淡淡的圖景，也對這個移民村的生活產生更多想像與好奇。

　　The sentence “You are here for having fun” became a reassuring mantra imprinted deeply in my mind. It made me start to loosen up and enjoy myself. After determining the interviewee and roughly deciding the direction of the questions with the team members, we took the interviewee as a friend rather than just a subject of research. Even if I asked a silly question, it was still a way to learn something. Although the conversations were mingled with Chinese, Japanese, and Taiwanese, and I couldn’t fully understand everything, listening to daily life stories in the time of Japanese colonial rule I could create a vague picture in my mind. These stories also sparked more curiosity and imagination about lives in this immigrant village.

　　記得在第二天的夜晚，組員柏勳提到，他發現他選了一個自己最不擅長的主題，我心有戚戚焉的表示，我也是，當初就是認為這個主題很新鮮，不熟悉，看看能夠玩些什麼，沒想到現在如此後悔。

　　In the second evening when my team member, Bo-Xun, said he found out that he had chosen a theme that he was not good at, I understood what he meant and felt the same. I had thought that the theme was very interesting. Although I wasn’t familiar with the theme, I wanted to dig into it. Surprisingly, I regretted it then.

　　然而現在回頭一看，也是因為這種後悔感，使我意識到自己對於田野環境的不安全，讓我明白，怎麼樣重新打開感知，放棄那些先備知識，不帶任何特定視角，不帶批判的方式，重新進入田野，在不可預測的變動中，找出自己真正感興趣的事物，並加以探索。

　　However, looking back on what I was through, it was this sense of regret that made me realize my own insecurity in the field. It taught me how to reopen my mind, let go of my presumed knowledge, and restart the field survey without any limited perspective or criticism. I need to find out what I am really interested in and explore it deeply amidst unpredictable changes.

照片提供：楊凱丞｜
Photo provided by Kai-Cheng Yang

照片提供：楊凱丞｜
Photo provided by Kai-Cheng Yang

作者｜Author：華文文學系碩士班 楊凱丞｜Kai-Cheng Yang, Master’s Program, Department of Sinophone Literatures

譯者｜Translator：英美語文學系 解雯茜｜Lubby Hsieh, Department of English

地方志與田野踏查實務課程 駐地學習心得（一）｜The Writing of Local History with the Practice of Field Survey: My Learning Experience I

　　文化，一群人共同所遵循的生活，但這裡的一群人，隨著時間演變，不再限定於單一族群。在族群混居、文化相互交融的現代，單一族群所擁有的特定傳統與文化，逐漸融合與混雜。如同在都市聚落的影響下，聚落或者部落包含了定居的漢人、客家人與新移民。這些非阿美族人的居民，對於阿美族文化、祭儀卻也參與其中，甚至熟知其傳統故事、禁忌與族文。因此在這樣的情況下，選擇以故事地圖呈現，去談論出不同年齡階層、不同族群、身分、部落但同樣生長在吉安原住民族部落的人，對於阿美族文化傳承的詮釋。

　　Culture is the way of life of a group of people. However, people living and sharing the same lifestyle and culture here are no longer limited to one group of people as time goes by. In the modern society of mixed communities and intermingled cultures, the specific traditions and cultures of a single community are gradually integrating. As in the case of urban settlements, the non-Amis residents, including the Han people, Hakka, and new immigrants, settled here. These people are also involved in the Amis culture and rituals, and are even familiar with their traditional stories, taboos, and the Amis language. Therefore, under such circumstances, we’d like to use a story map to show you how people of different age classes, ethnic groups, identities, and tribes, who also grew up in the tribe of Ji’an interpret the Amis’s cultural heritage.

　　在田野調查的過程，透過與不同族群談論「原住民族」、「原民文化」，從不一樣的角度與視野，窺探與打破認知內的原民文化，以更貼近的方式，重新去建構、解構與詮釋。

　　During the process of the field survey, we discussed “indigenous peoples” and “indigenous cultures” with different ethnic groups. We peeked into indigenous cultures from different points of view, re-evaluated the knowledge we have about indigenous cultures, and interpreted them more rightly.

　　我們沒有辦法全然的了解他者文化，但能夠試圖貼近並且理解，理解過後，試圖詮釋。與娜荳蘭部落成年禮階級男孩訪談的那個晚上，興許是最接近所認為的「田野」的一段時間。尚且不討論對於「理想」的田野是如何定義，在當下的空間與報導者的交談，或許是另一層面，短暫的，「理想」田野。透過年齡階層對於自身文化的解釋，能夠重新認識「成年禮」、「豐年祭」與「族群文化」；透過他們對於文化傳承所試圖做的、推展的，能夠看到這樣的文化，於自身、於族群所象徵的意義。

　　It is unlikely that we can fully understand the culture of the other. However, we can try to give a closer look at the culture, understand it, and then interpret it. When one evening, we interviewed the tribal boys who had just reached adulthood, it was probably the time when we could get very close to what we think of as “field.” Regardless of the definition of an ideal field study, our talking with the boys at that time and that place was an appropriate field study. Their explanation of their own cultural identity at different ages allows us to know something new about the rite of passage, Harvest Festival, and ethnic culture. From what they try to do and promote in terms of cultural inheritance, we can see what such culture symbolizes for themselves and their communities.

　　在那個晚上的訪談，小組組員在一旁參與了娜荳蘭部落對於豐年祭所準備的舞蹈；透過正式訪談，談論對於文化傳承的見解、對於自身所屬文化的認同；透過非正式訪談，更深入到部落的生活型態與氛圍。而這樣的晚上，從走進田野、到對於文化衝突所帶來的不適以及其後所建立的親密關係，一連的發生並經歷了。

　　In the evening when we interviewed the tribal people, our group members took part in the dance prepared for the Harvest Festival. In the formal interviews, we talked about their understanding of cultural heritage and their identification with their own culture; in the informal interviews, we were able to take a closer look at the lifestyle and phenomenon of the tribe. By walking into the field, we experienced the discomfort brought by cultural conflict and the intimacy built up afterwards.

　　在整個田野實察的過程，透過訪談的形式，小組有幸與娜荳蘭部落的年齡階層訪談；聽阿美文物館的館員講述「阿美族」的照片故事；能夠從東昌村村長得知早期的「東昌部落」；同時，在最後一天與東昌村並非原住民的高中女孩，談論他們對於「東昌部落」的認知、認同、詮釋與傳承。

　　Our team had the opportunity to interview people of different ages in the Natawran tribe, listen to the staff of the Amis Museum about the stories of the Amis people in the photos, learn about the early DongChung tribe from the chief of the DongChang village, and on the last day, talk with non-indigenous high school girls of DongChang village about their recognition, identification, interpretation, and inheritance of the DongChang tribe.

阿美文物館劉政賢館員講述阿美族舊照片(照片提供：陳嬿欣)｜
Zheng-Xian Liu of the Amis Museum explained old photos of the Amis people. (Photograph by Yan-Xin Chen)

娜荳蘭部落阿美族青年(照片提供：陳嬿欣)｜
The youths of the Natawran tribe. (Photograph by Yan-Xin Chen)

　　透過這樣不同的視角，打破在田野實察前所翻閱的所有紀錄，利用這次的田野實察，反思透過期刊論文所建構的阿美族文化，也重新提醒自身，「單一故事」的危險性。一直以來，將單一故事性的盲點，源於對於異文化的無知，認為在進入田野前，將期刊論文閱讀過；將資料重新整理過能夠減少這樣的「單一故事」，然而現場卻實實在在的受到衝擊與重構。

　　After learning about the culture from different perspectives, we have found that everything we read before about the field survey is very different from what we witnessed on the spot. Reflecting on the Amis culture written in journal articles, we remind ourselves of the dangers of a “single story.” In fact, the blind spot of “single storytelling” results from the ignorance of a different culture and the absolute belief of journal articles. The actual experience gives us a great impact on our original understanding and provides us with a rare opportunity to reconstruct our knowledge.

　　事前的資料準備，將學者所累積的知識帶進來，卻也將其所認為的「文化」加諸於後來的讀者身上，這樣的事前準備，減少了對於「原民文化」的誤解，卻也加深了對於「原民文化」的界定與片面。

　　Although the prior preparation can reduce the misunderstanding of “indigenous cultures” due to the collected data gathered by scholars, the data can meanwhile mislead readers to partially define indigenous cultures.

　　因此，對於所有的事物，應是多方的；以一種多元文化主義的方式來解析與判斷。當我們能夠理解，一個地區與民族，並不會只有單一故事，我們就會知道，這個世界的廣闊遠大於自身的想像，這些不同的文化各自豐富且美妙。

　　Thus, we should examine the related issues from various perspectives. When we understand that there can never be only one single story of a region or a race, we will know that the world is much wider than we can imagine and that each of these different cultures is rich and wonderful.

作者｜Author：歷史學系 陳嬿欣｜Yan-Xin Chen, Department of History

譯者｜Translator：英美語文學系 陳年柔｜Annabeth Chen, Department of English

環島回憶錄 ​Huandao Taiwan 2020-2022

水島貴大 Takahiro Mizushima

I’m Takahiro Mizushima, a Japanese photographer. Much of my work consists of “streets and people who live there,” exploring the deepest energy and emotions of people. In street photography, what locations make us feel is profoundly connected with people living there. I took those feelings into the body of my work which synchronizes with my imagination. I combine those photos I’ve taken into an integrated living entity, and present it in the form of images. Looking at those street photos makes me feel like recollecting from the memories of my early days that “we are weeping and laughing at the same time.”

Having moved to Taiwan in January, 2020 in order to shoot more new works, now my works have been accumulated for two years. Based on my tour around Taiwan, an abundant collage of various images are converted into a collective work I present to you now.

Through the lenses, portraits of different people are sealed in photographs I have shot walking along the streets. Photographs such as people standing on pavements with relaxing faces, some random moments, and places are collected and offer a meditation on the viewers’ own memories.

The documentation of my tour around Taiwan is still in progress now.

The time I first heard of Hualien was when I just moved to Taiwan. As I recall, my decision to move to Taiwan is not about my photography work. I made my decision to move to Taiwan without truly knowing anything about it. Traveling along the east coast of Taiwan, I was heading towards a city with a Mandarin character “flower” (Hua) in it. With a few leads about this strange place, I went to Hualien in October, 2020.

我是水島貴大，是一名日本的攝影師，擅長使用「街道與在那生活的人們」為題材，挖掘出人們最深層的能量及情感。在街頭攝影中，那個場域所散發出來的空氣會與在那個場域生活中的人們連結，把那個感覺融入到我自身所感受到的想像進行共振，將我所拍攝的所有樣貌融為一個巨大的生命體，生動的將其用影像表現出來。看著這些街拍的照片，一直以來我都會有一種像是從我的記憶中抽取般的，感受到自己年少時期時所感受到的「大家在同一個時間裡一起哭泣一起大笑」的這種感覺。



為了拍攝新的作品，我從 2020 年 1 月開始搬到台灣住了下來，現在大概有兩年的攝影作品量。把在台灣環島一周的旅程作為故事背景，現在的作品集結了長時間環島中所累積的各式各樣的人的生活樣貌。



走在街上，像是跨越過許多人的人生，處在日常中那麼一小個瞬間的縫隙中拍下那些畫面。把那些站在街頭的人們，不經意的表情像是排列組合般的拍攝下來，那些片段、那一天、那個時間、那個地點，讓觀賞者用自己的記憶滲入。



巡禮全台灣的紀錄現在也仍在製作中。



第一次聽到花蓮這個名字是我剛來台灣生活的時候。現在回想起來，和決定來台灣拍攝作品無關，我連台灣是什麼樣的地方都不知道就決定搬過來生活了。沿著東部海岸，前往像是花的城市的名字的地方，只憑著這樣一點點印象就前往花蓮，出訪花蓮時是大約在 2020 年 10 月左右的時候。