全 球 ． 在 地 ． 人 文

中華民國107年2月 第43卷 第2期

台灣光華雜誌

中英文北美版
Vol. 43 No. 2 February 2018
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X

2
Taiwan Panorama
創意學習 ‧

創意學習
想像無限

想像無限
Creative Learning:
Setting Kids’
Imagination Free
中華民國一〇 七年二月

不一樣的教室風景
溫柔生產在台灣
王南雄的色彩山水
來自彩虹大地的筆
第四三卷第二期

建議售價
NT$150
US$5
HK$40
¥600
 火之淬：砲彈鋼刀

Forged in Fire: Artillery Shell Knives

圖／文‧莊坤儒　版面設計‧王敬勛

爾金門島歷經「823砲
蕞戰 」 近 百 萬 發 砲 彈 的
攻擊，島上遺留了無數的彈
K inmen was bombarded with nearly a million artil-
lery shells during the Second Taiwan Strait Crisis
of 1958, leaving countless shell casings strewn across
殼。金合利的吳增棟師傅利 the island. For decades, blacksmith Wu Tseng-dong of
用當年戰爭的砲彈碎片，數 the Chin Ho Li Steel Knife Factory has been using shell
十年如一日地打造一把把鋒 casing fragments to forge the keen-edged “Maestro Wu”
利的鋼刀，成為今日豐富佳 knives that today grace many an expert chef’s kitchen.
餚的廚刀。 The ringing hammer blows and blazing sparks are
鋼槌千鈞、火光交錯之際， reminiscent of the intense artillery battles of years ago.
恍若當年砲戰的激烈景況。 (photo and text by Chuang Kung-ju/tr. by Phil Newell)
 編人 的
編者 絮話語
自我探索之路
文．陳亮君

中華民國107年2月1日出版（月刊）／ 「自我探索」是教育的核心價值，也是許 此外，突破傳統水墨畫框架的王南雄，把

中華民國65年1月1日創刊

出版者 光華畫報雜誌社 多人一輩子所追尋的目標。從認識自我開 西方寫生、素描、透視等繪畫原理，轉化至

發 行 人／ 李大維
Publisher: David Tawei LEE
社 長 ／ 張國葆 始，了解內在的天賦與熱情，進而觀察周遭 傳統水墨畫裡，更用顏料為傳統山水添色。
Director: Paul Kuoboug CHANG
總 編 輯／ 段蜀華（代理）
Editor-in-Chief (acting): DUAN Shu-hwa
萬物，藉由感受來培養同理心，並發揮想像 這種對美的追求，亦是對自身探索的領悟，
副 總 編 輯／ 陳亮君
Deputy Editor-in-Chief: Ivan CHEN 力，最後透過行動與回饋來予以修正。 進而讓作品與觀賞者交流，共同體會這無窮
文 字 編 輯／ 鄧慧純 陳群芳 蘇俐穎
Writers: Cathy TENG, CHEN Chun-fang,
Lynn SU 本期《光華》深入美學、哲學、理財、體 無盡的美感。
版 面 主 編／ 胡如瑜
Director of Layout: HU Ju-yu
美 術 編 輯／ 蕭郢岑 王敬勛
育等不同面向的教學場域，帶您體驗頗富巧 * * *
Art Editors: HSIAO Ying-tsen, Henry WANG
攝影組召集人／ 莊坤儒
Photographic Coordinator: CHUANG Kung-ju
思、極具啟發的教學現場，透過跨領域、跨 一粒種子，只要放對了地方，自然會順著
攝 影 組 長／ 林格立
Photographic Director: Jimmy LIN 學科的創新教育，讓人進入一場又一場自我 骨架扶搖直上，而透過書寫與閱讀，就是形
攝 影 編 輯／ 林旻萱
Photojournalist: LIN Min-hsuan
英 文 編 輯／ 陳瑩潔 唐樂榕 倪凱駿 探索與實踐之旅。 塑自我的最佳途徑。「望見書間」與「印尼
English Editors: Audrey CHEN, Robert TAYLOR,
Phil NEWELL
日 文 編 輯／ 山口雪菜 施家騏
* * * 筆會台灣分會」就是這樣一個能輕鬆轉換心
Japanese Editors: YAMAGUCHI Yukina,
Shila SHIH 溫柔生產的議題在國際間蔚為風潮，在 情的地方，不只能讓在台灣的東南亞移工、
資深行政編輯／ 段蜀華
Senior Administrative Editor: DUAN Shu-hwa
台灣也有一群來自學界、醫界，以及其他 新住民、留學生有為自己說故事的表達空
總 監 ／ 鍾宜蓉
Marketing Director: Carianne CHUNG
業 務 協 理／ 陳俊偉
領域的媽媽們正持續努力推動著。這種將 間，更能透過閱讀，找尋那最真實、不需隱
Deputy Manager: CHEN Jyun-wei
綜合服務組長／ 陳淑英
Chief of General Affairs: CHEN Shu-ing
生產視為自然而然的生理過程，結合現代 藏的自己。
綜 合 服 務 組／ 李淑慧
General Affairs: S.H. LEE 醫學與順勢療法，形成多樣且人性化的生 「CANDY婚紗工作室」則是另一個能讓越
發 行 組／ 何世隆 紀珊
Circulation: HO Shih-lung, Sunny CHI
產風貌。 南新住民敞開心胸的地方，負責人黎雲英長

同樣突破制式框架的，還有台北捷運的 期參與越南新住民在台灣之公共事務，可說
社址／中華民國台灣台北市10051中正區天津街2號
Address: No. 2, Tianjin Street, Taipei 10051, 音景巧思。這融入各站的環境音樂，輕盈 是熱心幫助越南鄉親的代表人物。每一個離
Taiwan, ROC
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音景饗宴。 的人生故事。 l

本刊物印刷油墨使用環保認證大豆油墨
The Path to Self-Knowledge EDITOR’S NOTE

D eep exploration of oneself is a key as- ing represent yet another innovation. Wang SUBSCRIPTION RATES:
Republic of China: NT$150 per copy,

pect of education, and for many people has transformed ink-wash painting through NT$1500/year, NT$2600/2 years
Asia & Pacific Regions: US$40/year,

a lifelong pursuit. Knowing oneself, under- his use of elements from Western art such as US$72/2 years by airmail
North America: US$32/year,

standing one’s own gifts and passions, and painting from life, sketching, and perspec-
US$55/2 years by regular mail
Elsewhere: US$45/year,

then observing the world, develops empathy tive, and has even added colors to traditional
US$80/2 years by airmail

and imagination, and when combined with ink-wash landscapes. He treats his aesthetic
原刊名光華 Sinorama Magazine
中華民國95年1月改為台灣光華雜誌 Taiwan

action and giving back to society, encourages pursuit as an exploration of himself, one that
Panorama
GPN: 2008000038 ISSN1991-525X

personal rectification. unites observer and artwork in a collabora- 中華民國行政院新聞局出版事業登記證局版台誌

第四七○○號
This issue of Taiwan Panorama takes you on tive experience of beauty. 中華郵政台北雜字第186號執照登記為雜誌交寄
承印者／中華彩色印刷股份有限公司
a multidisciplinary journey of self-exploration It is a truism that a seed planted in the 地址／新北市新店區寶橋路229號
電話／+886-2-2915-0123
by delving into facets of education ranging right place will shoot up tall and strong. The
讀者服務專線／+886-2-2397-0633
from aesthetics and philosophy to money SEAMi bookstore and the Taiwan chapter of 郵政劃撥帳號／0128106-5外交部光華畫報雜誌
國內零售每本150元，訂閱價格：一年1500元，
management and physical education. Indonesia’s Forum Lingkar Pena are creating 二年2600元

“Gentle birthing” has become something fertile soil for migrant seeds by providing Taiwan Panorama (USPS 000624) is published
monthly, US$32.00 per year, by Kwang Hwa

of an international trend, one that mothers Southeast-Asian immigrants, migrant work- Publishing (USA), Inc., 3731 Wilshire Blvd 104,
Los Angeles, CA 90010, USA. All rights reserved.

working in academia, medicine, and other ers and students in Taiwan with a relaxed Reproduction in whole or in part without written
permission is prohibited. Periodicals postage paid

fields are now actively promoting in Taiwan. environment in which to share their thoughts at Los Angeles, California.
POSTMASTER: Send address changes to Kwang

By treating birth as a natural physiological and feelings, tell their stories, and find their
Hwa Publishing (USA), Inc., 3731 Wilshire Blvd
104, Los Angeles, CA 90010, USA.

process and embracing alternative medicine, true selves through reading and study. 美加地區讀者請逕向美國光華出版公司訂閱

gentle birthing has given rise to a more flexi- The Candy Wedding Salon similarly offers
Readers in the US & Canada should subscribe
through Kwang Hwa Publishing (USA), Inc.

ble and humanistic approach to childbirth. Vietnamese migrants a space in which they
● 美國光華出版公司 Kwang Hwa Publishing

(USA), Inc.
3731 Wilshire Blvd 104, Los Angeles, CA 90010,
The Taipei Metro’s soundscape program is can relax and grow. Owner Le Van Anh has USA
Tel: 1-888-829-3866 Fax: 1-213-389-0021
similarly groundbreaking, with relaxing, up- been involved with public affairs affecting
董事長：楊國添　
beat ambient music being played in stations, Vietnamese migrants for many years, and is 總經理：胡玉純　助理：吳佳穎 葛崇高
President: K.T. YANG
and musical signatures being introduced for a passionate advocate for fellow Vietnamese General Manager: Linda HU
Assistants: WU Chia-ying, Thomas KOH
everything from turnstile warnings to notifica- in Taiwan.
著作權所有，本雜誌圖文非經同意不得轉載。
tions for arriving trains and transfers. The next Every sojourner carries their own frustra- 如欲轉載，請與本社資深行政聯絡。
如發現書頁有裝訂錯誤或污損事情，
time you ride the Metro, take a moment to en- tions and regrets with them abroad. Taiwan is 請寄至本社調換。
All rights reserved. Photos and articles may not be

joy this carefully prepared auditory banquet. leveraging its inclusiveness by accepting and reprinted without our permission.

integrating these migrants and their stories. l

If you wish to reprint any of our articles or

Artist Wang Lan Hsiung’s explorations photographs, please contact our senior
administrative editor.

outside the lines of traditional ink-wash paint- (Ivan Chen/tr. by Scott Williams) Damaged or misbound copies returned to us will
be gladly replaced.
目次
CONTENTS 中華民國107年2月 第43卷 第2期 Vol. 43 No. 2 February 2018

8
封面故事 Cover Story

6 創意學習‧想像無限
Creative Learning:
Setting Kids’ Imagination Free
圖‧莊坤儒

8 美感藏在生活裡
不一樣的教室風景
Making Beauty Part of Life:
An Alternative Classroom Landscape
文‧陳群芳　圖‧美感細胞提供

20
20 教室外的公民課
青年培力，翻轉社會
Beyond the Classroom:
Harnessing the Power of Youth to
Transform Society
文‧蘇俐穎　圖‧林旻萱

30 文林銀行超有感
虛擬人生大富翁
Mentoring Money Management:
Wenlin Elementary’s Virtual Bank
文‧陳群芳　圖‧莊坤儒

40
40 航向未來
黃建榮校長的樹人大業
Setting Sail for the Future:
Principal Aaron Huang
文‧陳亮君　圖‧黃建榮提供

編者的話 來自地方的明信片
Editor’s Note Postcards from Home

2 自我探索之路 1 火之淬：砲彈鋼刀 54 月月好讀

The Path to Self-Knowledge Forged in Fire: Artillery Shell Knives Variety Pages
文‧陳亮君 圖／文‧莊坤儒 顧玉玲、張郅忻
 全 球 ． 在 地 ． 人 文
中華民國107年2月 第43卷 第2期

台灣光華雜誌
中英文北美版
Vol. 43 No. 2 February 2018
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X

Taiwan Panorama
創意學習 ‧
創意學習

想像無限
想像無限
Creative Learning:
Setting Kids’
Imagination Free

中華民國一〇 七年二月 第四三卷第二期

不一樣的教室風景
溫柔生產在台灣
王南雄的色彩山水
來自彩虹大地的筆

建議售價
NT$150
US$5
HK$40
¥600

000-201801-cover 北美.indd 1 2017/12/25 16:20

影像對話 Photo Essay

封面說明：
在教育的熱忱裡融入創意，讓學習跳出框架， 60 映象綠島
使孩子的未來充滿無限可能。（莊坤儒攝） Green Island Reflections
Cover: Creative approaches to education are breaking the 圖／文‧林格立
mold of teaching and learning and opening up boundless
possibilities for children’s futures. (photo by Chuang Kung-ju)
全球視野 Global Outlook

70 溫柔生產在台灣
孕育產家的豐美地
The Beauty of Creation
—Gentle Birthing in Taiwan
文‧蘇俐穎　圖‧林旻萱

島嶼行旅 Around Taiwan

80 打開耳朵，重新聽見

70
捷運音景再設計
Open Your Ears and Listen Anew
—Redesigning the Metro Soundscape
文‧鄧慧純　圖‧莊坤儒

藝文脈絡 Cultural Trends

90 現代感的水墨畫
王南雄的色彩山水
Ink-Wash with a Modern Feel:
The Colored Landscape Paintings of Wang
Lan Hsiung
文‧鄧慧純　圖‧林格立

90
多元族群 Communities

100 用愛播種，望見喜悅
融入在地文化的跳板──望見書間
SEAMi: Bookstore as Cultural Springboard
文‧李珊瑋　圖‧莊坤儒

108 為新住民發聲──黎雲英
熱血助鄉親，牽成台越情誼
Le Van Anh:
Speaking Up for New Immigrants
文‧楊齡媛　圖‧林旻萱

116 來自彩虹大地的筆

116
印尼筆會台灣分會
Rainbow Land Writers:
Indonesia’s Forum Lingkar Pena
Shines in Taiwan
文‧黃淑姿　圖‧林格立
 創意學習

2 台灣光華 Taiwan Panorama 2018/01

想像無限
Creative Learning:
Setting Kids’ Imagination Free

莊坤儒攝 photo by Chuang Kung-ju

3
封面故事　
COVER STORY

8 台灣光華 Taiwan Panorama 2018/02

 美感藏在生活裡
不一樣的教室風景
Making Beauty Part of Life:
An Alternative Classroom Landscape
文•陳群芳　圖•美感細胞提供　版面設計•蕭郢岑

9

如果教室裡有張沙發，可以拿本書自在地窩
在上頭閱讀。或者教室的外觀變成洞穴、竹屋甚
至碉堡，那會是什麼樣的光景？這是新北市崇德
國小老師黃國平為孩子營造的教室風景。
當課本不再只有單調的文字與不太吸引人的
圖片，而能玩起填字遊戲、刮畫，或是運用注
音符號貼紙設計專屬封面，讓課本變得活潑而繽
紛。由三位年輕人組成的美感細胞團隊，正致力
改變教科書的樣貌。
一場場美學教育的改變正在發生，將美感藏
在孩子生活裡，在幼小心靈裡播下美麗的種子。
歷經半年籌備，2017年9月全台第一間由宜家
家居（IKEA）打造的夢幻教室，在新北市汐止崇
德國小正式亮相。
鵝黃色的天花板，靛藍色牆面，窗戶上一整
片有著各色各樣綠葉的窗簾。亮黃色和白色的
餐椅與可收併的木桌，取代傳統沉甸甸的課桌
椅。「哇！好漂亮」、「你看，有自己的書包櫃
耶！」新學期的一開始，學生走進自己上課的教
室，忍不住驚呼。
與眾不同夢幻教室
新北市教育局與宜家家居合作校園改造計畫，
經過評選，最後選出三個企劃，崇德國小導師黃
10 台灣光華 Taiwan Panorama 2018/02
黃國平用心布置教室，營
造溫馨的氛圍，撒播美感
的種子。（林旻萱攝）
Huang Kuoping puts
careful thought into how he
decorates his classroom,
looking to creating a warm
ambience and cultivate
children’s sense of beauty.
(photo by Lin Min-hsuan)
國平的教室便是第一間美麗變身的成功案例。黃
國平表示：「原本以為只是提供幾個書櫃讓我美
化教室，第一次討論會議時，竟來了整組設計團
隊說要將教室大改造。」黃國平這才驚覺是來真
的。
設計師訪談黃國平對教室的想像：桌椅可以
摺疊收納、空間能有更多的變化和組合、顏色豐
富、有家的感覺，「教室不只是學生上課的地
方，也是生活的地方。孩子一天當中最清醒的時
間就是在教室度過，所以希望將教室營造出家的
感覺，是可以放鬆的。」這是黃國平對教室的期
待。
設計團隊以「學生安全」為優先考量，加入具
有設計感的家具與家飾。可折疊的桌子，展開能
坐6人，學生彼此相對，方便小組討論。將兩側
桌面向下收闔就僅剩一個瘦長的長方體，再往兩
側牆壁一放，就能空出教室中央的空間練習舞蹈
表演，或是關上燈，大家坐在地上欣賞影片，隨
即成了星空電影院，讓空間的運用充滿彈性。
強調整體感，黃國平和設計團隊在教室後方大
膽使用整面書櫃來取代傳統的布告欄。白色的書
櫃，搭配草綠色或白色櫃門，又或是竹籃、深綠
色布籃，彼此錯落。利用色彩的搭配，再加上盆
栽、玩偶的裝飾，書櫃瞬間就活了起來。
書櫃前方的布沙發也令人為之一亮，上方擺著
I f a classroom contained a sofa or its exterior be- 黃國平與宜家家居共同改造的教室色彩繽紛，讓人一入內就
充滿活力。（林旻萱攝）
came a cave, what kind of scene would that be? The classroom remodeled by Huang Kuoping and IKEA is colorful
These are examples of the classroom landscapes cre- and fun, with a vitality that people sense the moment they enter.
(photo by Lin Min-hsuan)
ated for children by teacher Huang Kuoping of New
Taipei City’s Chong De Elementary School.
When textbooks have boxes to fill in with words
美感就在生活的細節裡，利用盆栽、布偶來點綴，櫃子瞬間
and pictures, they become lively and fun. Aesthet- 活了起來。（林旻萱攝）
icell, formed by three young people, is striving to Beauty often lies in small details. Pot plants and figurines bring
the classroom bookcases to life. (photo by Lin Min-hsuan)
change the face of Taiwan’s textbooks.
Changes are afoot in aesthetic education, making
a sense of beauty part of children’s lives, and plant-
ing beautiful seeds in their hearts.

In September, 2017, Taiwan’s first Dream Classroom,

built by IKEA, made its appearance at Chong De Ele-
mentary School in Xizhi, New Taipei City.
Its ceiling is pale yellow, its walls indigo. The win-
dows are graced with curtains patterned with all vari-
eties of green leaves. Bright yellow and white dining
chairs and wooden tables that can be grouped together
have replaced the traditional desks and chairs.
A dream classroom different from the rest
Chong De Elementary School teacher Huang

11
抱枕，讓教室充滿居家的溫馨。下課時間，挑本
喜歡的書，不論是書櫃前的沙發，或是老師辦公
桌前方的地毯，找個喜歡的角落就能自在閱讀。
教室的每一處都有它的美，午休時間，孩子甚至
能自在地選擇要趴在桌上或是席地而睡，每個孩
子都能找到自己喜歡的空間。
黑板前方傳統式的講桌，在黃國平的教室裡，
一張筆電大小的站立式工作桌就能取代。吧台椅
是讓黃國平倍感貼心的設計，讓老師能放鬆坐在
講台上與學生互動，能隨時下台走動，又能緩解
整堂課站著的不適。黃國平開玩笑地說，這椅子
太舒服，每個老師都該有一張，就能讓教學氛圍
大大不同。
改造後的教室，風格清新而明亮，以綠色為主
色，視覺上很舒服。光是走進教室就讓人充滿活
力，不只符合黃國平期待，甚至超出預期，讓他
直呼就像是美夢成真。
12 台灣光華 Taiwan Panorama 2018/02
深信美感從環境培養，黃國平在臉書粉絲頁
「王子的教室布置」與大家分享美化教室的
點滴。（黃國平提供）
Believing that a sense of beauty must be cultivated
by the environment, Huang Kuoping shares titbits
about his beautified classroom on Facebook.
(courtesy of Huang Kuoping)
教室就是溫馨的家
要從眾多企畫中獲得青睞，這一切並非偶然，
而是黃國平十多年來努力營造教室氛圍的累積。
「台灣教室的風景幾十年來幾乎沒有甚麼改
變，教改一直在改課綱，但在乎的都是課程內容
的改變，沒有考量到環境的營造。」黃國平表
示。每次出國都被國外風景吸引，當一個國家的
人都沉浸在那樣的環境裡成長時，美感就不需要
刻意教育，而是一種自然存在。對黃國平而言，
營造美麗舒適的環境，至關重要。
Kuoping’s classroom is the first beautiful incarnation
of the New Tai pei City Education Department’s and
IKEA’s campus improvement project.
The room’s designers interviewed Huang about his
conception of a classroom: desks and chairs that can be
folded for storage, space that can be varied and com-
bined in different ways, rich colors, a homely feel. “A
classroom is not just a place where students attend class,
it’s also where they live their lives. The parts of the day
when children are most awake are spent in the class-
room, so we hoped to give it a homely feel, a sense that
one can relax.” This is Huang’s vision of a classroom.
The folding desks can seat six persons, the students
sitting opposite each other, which is convenient for dis-
cussions in groups. Fold down the two sides of a desk-
top and all that remains is a slim cuboid. Move them
aside and you can empty out the classroom’s central
space to practice a dance performance, or turn out the
lights and everyone can enjoy a movie while seated on
the floor, giving the feeling of an outdoor movie theater.
It’s a highly flexible space.
To provide a unifying theme, Huang and the design
team boldly replaced the traditional bulletin board at
the back of the room with a row of bookcases—white
with grass-green and white doors, and randomly po-
sitioned bamboo baskets and dark green cloth baskets.
The color combination and some decorative pot plants
and figurines bring the bookcases to life.
The cloth sofa in front of the bookcases lends the
classroom all the warmth of home. Choose a book and,
be it on the sofa or on the rug in front of the teacher’s
work desk, pick the spot you prefer and you can read to
your heart’s content. Each part of the classroom has its
own beauty. At noon break students can even choose for
themselves whether to take their siesta with their heads
resting on the desks or to sleep on the floor. Each child
can find a space to their own liking.
One need only to enter the remodeled classroom to
feel invigorated by its fresh, clean, bright style and ob-
serve that a beautiful dream has been realized.
The classroom as home
That his project was chosen from among so many
reflects Huang’s cumulative efforts over more than ten
years to remold the classroom ambience.
“Taiwan’s classroom landscape has barely changed
at all in decades. With educational reform we are con-
stantly changing the curriculum, but we have only
concerned ourselves with course content. We haven’t
considered how to shape the environment,” he laments.
Since he first became a homeroom teacher, Huang
has taken the initiative to decorate his classrooms,
pasting on the bulletin board cartoon figures cut out of
在用心布置的教室
裡，孩子可以找到自
己喜歡的角落，自在
閱讀。（林旻萱攝）
In the thoughtfully laid
out classroom, children
can find a corner to their
own liking and read at
leisure. (photo by Lin
Min-hsuan)
13
 從黃國平開始當導師，他就自己動手布置教
室，百貨公司型錄、設計感強的宣傳品，都能成
為他的靈感。黃國平會以紙雕拼貼卡通人物來布
置布告欄，自費買來窗簾、桌布，甚至購來二手
皮沙發，只為了讓教室美觀而溫馨。
前些年黃國平在桃園機場附近的大園國小任
教，因為機場的關係，教室不能開窗，加上開學
時看到學生領書後丟棄包裝在外層的牛皮紙實在
可惜。於是他靈機一動，把布置的舞台擴展到教
室外牆，將牛皮紙揉皺，包裹在外牆，製造出洞
穴的感覺。
黃國平也曾用牛皮紙捲成細長筒仿造成竹子，
前後用了兩百多張牛皮紙，將教室外觀布置成
竹屋。上頭還用水彩顏料畫上紋路，幾可亂真
的程度，讓前來學校運動的民眾都忍不住用手戳
看看。黃國平利用寒暑假的時間布置教室，自掏
腰包又花時間，有時還會做到手起水泡。但黃國
平說：「布置的過程中我充滿期待又享受。」能
將想法付諸實現，開學時看到學生充滿驚喜的表
情，就是他最大的滿足。
美感教育從環境開始，讓孩子生活在用心布置
的空間，孩子便能受到薰陶。黃國平曾經教過的
學生後來也成為老師，效法黃國平教
室布置的精神，把自己的教室打點的
美輪美奐，將黃國平在他心裡播下的
美感種子，繼續傳遞下去。

把美術館搬上桌

認同美感教育從環境開始的，不只
是老師，推動教科書改造的「美感細
胞」就是三位致力提升台灣美學素養
的年輕人所組成。林宗諺、陳慕天、
張柏韋三位國立交通大學的同學，結
識於校內社團活動，在分享各自出國
的經驗後，彼此都驚嘆國外市容的美
麗。大至街景建築，小到海報傳單，
彷彿信手拈來的設計感，引發他們思
考改善台灣美感教育的可能。
美感需要長時間培養與接觸，經過
反覆的討論激盪，相較於改建大樓、
重造招牌，改造教科書的成本相對較
低，但影響的層面更為廣泛。不論都
市或鄉鎮，每個孩子每天都必須使用
教科書，這或許也能消彌美感教育的
城鄉差距。

教室不只是上課，更是孩子生活的地方，當環境
變美，美感就能一點一滴累積。（林旻萱攝）
A classroom is not just for attending class: children
spend much of their time there. If the environment
is beautiful, a sense of beauty is cultivated almost
by osmosis. (photo by Lin Min-hsuan)

14 台灣光華 Taiwan Panorama 2018/02


paper, buying curtains, tablecloths and even a second-
hand leather sofa, just to give the classroom a warm
and attractive appearance.
A few years ago, Huang taught at Da Yuan Elemen-
tary School near Taoyuan International Airport. Because
of the airport, the windows in the classroom couldn’t
be opened, and it seemed a shame at the beginning of
the semester to see the students, after receiving their
new books, throw away the brown paper wrapping. So
he had a bright idea: to expand the arena for classroom
decoration to the classroom’s outside walls, by crum-
pling up the brown paper and covering the wall of the
corridor around the classroom door with it, creating the
impression of a cave entrance.
He used winter and summer vacations to do this and
other projects in his own time and at his own expense.
Sometimes he labored so hard he got blisters on his
hands. But he says that during the course of the work he
was full of expectation and enjoyment. His greatest sat-
isfaction came at the beginning of the semester, when he
saw the students’ expressions of total surprise and joy.
When children are able to live in a thoughtfully de-
signed and decorated space, something of it will rub
左起：張柏韋、林宗諺、陳慕天三人組成美感細胞，致力
提升台灣的美學素養。（林旻萱攝）
Aestheticell was set up in an effort to advance Taiwan’s
aesthetic credentials. From left, its founders Wayne Chang,
Lin Tsung-yen and Swi Chen. (photo by Lin Min-hsuan)
off on them, helping them to develop an aesthetic sense
of their own. Some of Huang’s former students who
have become teachers themselves have emulated his
approach, decorating their classrooms beautifully and
continuing to spread the aesthetic seeds that Huang
sowed in their hearts.
Desktop art galleries
Endorsement of aesthetic education begins with
the environment, not just with teachers. Aestheticell, a
group that is promoting textbook reform, was formed
by three young people who are striving to advance
Taiwan’s aesthetic accomplishments. Three classmates
from National Chiao Tung University—Lin Tsung-yen,
Swi Chen and Wayne Chang—met for the first time at
a student society event on campus. After sharing each
other’s experiences of going overseas, they reveled in
their shared admiration of the beauty of foreign cities.
An apparently effortless sense of design expressed in
everything from streetscapes and architecture down to
posters and flyers set them thinking about how to im-
prove aesthetic education in Taiwan.
Developing an aesthetic sense demands long-term
cultivation and contact, and repeated discussion.
15
 「給我們一本課本，我們給孩子一座美術
館。」是美感細胞的初衷，讓孩子只要翻開課
本，就能接觸充滿美學的作品。2013年，當時還
沒畢業的三個人，便毅然決定發起「美感教科書
計畫」。
非設計領域也不是教育科系的他們，憑著改變
台灣美感教育的熱忱，一股傻勁地栽了進去。他
們研究兒童心理學、色彩學等，也透過各種管道
尋找設計師，初期資源有限，他們帶著簡報向願
意面談的設計師，說明自己的理念，雖無法提供
相應酬勞，但希望能找到認同理念的設計者一起
參與。張柏韋表示，回想起來早期的陌生開發，
真的很像詐騙集團，說著抽象的概念，唯一的酬
勞只有「真心誠意」。
歷經數月奔走，終於找來十多位設計師，共
同打造一本顛覆眾人想像的國語課本。換上不同
字體，配上活潑有趣的插圖，給內頁多一點的留
白。版面具有現代感的視覺傳達設計，讓國語課
本不再只是學中文，更能學美感。
「這是一本我想好好保存的課本」、「這個插
16 台灣光華 Taiwan Panorama 2018/02
圖好漂亮」⋯⋯環島發書的過程中，孩子收到課本
時的驚喜表情，更讓團隊確定自己前進的方向。
耕耘孩子美麗的未來
就像在發書時被孩子問到，如何實現夢想，張
柏韋告訴孩子，很多事情沒有想像中困難，只要
去做。也許第一次只有50分，但繼續做下去第二
次、第三次，就會越來越好，離夢想就會越來越
近。每一代的美感教科書都蘊含了團隊的不同目
標，第一代成功驗證了計畫的價值，第二代則嘗
試不同年級的可能。
有了前兩代教科書的經驗，2017年美感細胞推
出的美感教科書第三代，團隊將課本的觸角從國
語延伸至英語、數學、自然、社會，分別由不同
讓課本版面更多留白、搭配精緻的插畫或照
片，上課不僅學知識，無形中也培養美感。
With a textbook layout containing plenty of white
space as well as fine pictures and photos, classes
are not just about acquiring knowledge but also
about imperceptibly cultivating a sense of beauty.
Compared to remodeling buildings or revamping sign-
boards, the redesign of textbooks is relatively inexpen-
sive, but its influence is more far-reaching.
“Give us a textbook and we’ll give the children an
art gallery.” This was the founding purpose behind
Aestheticell: to enable children to access richly aesthetic
works simply by opening a textbook. In 2013 the three,
who had not yet graduated, made a firm decision to
launch their Aesthetic Textbook Project.
After a frenetic few months, they finally found ten
or so designers and together they overturned every-
one’s conception of a textbook for Chinese class. They
enhanced the content by mixing and matching different
typefaces and developing lively and entertaining illus-
trations. The layout presented a design based on modern
principles of visual communication, making a Chinese
textbook no longer just for the study of Chinese but also
for the study of aesthetics.
Just do it
When Wayne Chang is out distributing books, chil-
dren often ask him how they can realize their dreams. He
tells them things are not as difficult as they imagine; they
just have to go ahead and do it. Maybe the first time you
achieve only 50 percent, but you carry on and the second
and third time it’s better and better, closer and closer to
your dream. Each generation of the aesthetic textbooks
embodies different objectives of the team. The first gen-
eration confirmed the value of the project. The second
explored different possibilities for different age groups.
With the experience of two generations of textbooks
美感細胞推動美感教科書計畫，希望透過課本
的重新設計，讓美感在孩子心中渾然天成。
Aestheticell is pursuing the Aesthetic Textbook
Project, redesigning textbooks in the hope of
instilling a sense of beauty in children’s minds.
behind them, in their third generation of textbooks the
Aestheticell team has extended the scope of the books
from Chinese to English, math, natural science and so-
ciety, with a different designer handling each subject
area. Swi Chen believes that each designer is a curator,
so each is given the freedom to design the textbook in
accordance with their conception of the subject.
Chen says the task of each book is different. Across
the range of subjects, from society and Chinese to natural
science, English and math, some conform closely to cur-
rent legislation and usage, while at the other end of the
spectrum there are no restrictions at all, allowing the de-
signers to exercise their creative values just as they wish.
The foldout page format of the math textbook by de-
signer Joe Fang seems like something out of Transformers.
By the endeavors of designer Alice Wang, the equipment
and procedures of the experiments in the natural science
textbook are presented in high-quality photographs.
The pages’ background colors accord with the different
natures of the experiments. For experiments involving
gases it’s a cold-hued blue. For those involving combus-
tion, warmer tones are adopted.
The society textbook was produced by information
design firm Simpleinfo, whose illustrations enable the
17
設計師企劃。陳慕天認為，每位設計師都是一個 分送全台各縣市一百七十多所小學，當孩子在12
策展人，讓設計師依其對該科目的想像自由去設 年國教，無數個上課的時光，若能浸潤在這些美
計課本。 麗的課本裡，勢必能帶給孩子在色彩敏銳度、激
陳慕天表示，每本課本的任務不同，從社 發創意等方面不同的想像空間。
會、國語、自然、英語、數學，越前面越符合 在四年多的努力下，美感教科書計畫，撼動了
現行法規與使用情況，而光譜的另一端則是在 大眾對課本的想像，也許現行的法規並無法讓教
沒有任何限制下，讓設計師盡情發揮創意的理 科書迅速進行大幅度的改變。宛如盤根錯節，老
想值。希望透過這樣的規劃，讓政府看見教科 師、家長、學生、出版社、政府、審定專家等都
書的更多可能。 牽動了教科書的樣貌。但任何一點的改變，如從
由設計師方序中所設計的數學課本，左右對開 制度鬆綁對課本字型、圖片、版面甚至定價的規
的開本方式，可以任意摺疊，讓課本宛如變形金 定，讓台灣優秀的設計能力進入教科書，給予課
剛。自然課本在設計師王艾莉的嘗試下，將實驗 本更多發揮的空間。美感細胞讓各界看見了教科
器材與步驟以棚拍方式呈現，提升圖片質感。內 書的新視野。
頁的底色也根據不同實驗的特性，氣體實驗用冷 從教室環境到教科書的設計，透過改變這些陪
色調的藍色，燃燒實驗則是暖色調呈現。 伴孩子生命中重要時刻的媒材，讓美感教育不再
社會課本由擅長資訊設計的「圖文不符」操 只是上美術課、逛美術館，而是將美感藏在生活
刀，透過圖像讓資訊的傳達更加一目了然。用逛 裡，重新賦予美感教育新的定義。 l
夜市的插圖介紹食物，性別平權、
原民議題也都以圖像表現，激發想
像，給予孩子與老師討論的空間。
設計師馮宇則在國語課本裡加
入符合課文意涵的圖片，例如在
談時間規劃的那課，設計時間帳
本，讓孩子規劃自己的時間，引
導學生思考。設計師陳永基的創
意，讓英語課本充滿當代藝術的
視覺衝擊，封面以彩色方格填空
遊戲呈現，讓孩子能自由發揮。
這些充滿設計概念的課本，已

設計師將課本結合擴增實
境、刮畫等創意巧思，讓
學習更好玩，激發孩子想
像力。
Designers integrate such
creative wonders as
augmented reality and scratch
painting into their textbooks,
making learning more fun
and stimulating children’s
imagination.

18 台灣光華 Taiwan Panorama 2018/02

當設計走進孩子生活，美感教育有了更多的可能。
When design enters children’s lives, aesthetic education has all the more possibilities.
information to be conveyed at a glance. It introduces
foods with illustrations of visits to night markets. Gender
equality and the issues of indigenous peoples are also
presented through images, stimulating the imagination
and giving children and teachers scope for discussion.
In the Chinese textbook, designer Feng Yu uses
graphics appropriate to the content of the text. When
discussing time management, for example, he includes a
time recording chart to enable children to plan their own
time and to get them to think about the topic. Designer
Leslie Chan’s creativity delivers an English textbook
rich in the visual impact of contemporary art. Its cover
features blank spaces for children to fill with words or
pictures just as they please.
These textbooks rich in design concepts have been
distributed to 170 schools throughout Taiwan. If during
their 12 years of compulsory education and countless in-
class hours, children can immerse themselves in these
beautiful books, they are bound to experience a different
world of the imagination in terms of the keenness of
their color perception and their inspiration to creativity.
The Aesthetic Textbook Project has shaken up every-
one’s idea of the textbook, but current legislation may
prevent significant changes from being made any time
soon. Yet any change, however small, such as relaxing
the regulations about textbooks’ typefaces, illustrations,
layouts and even price, can give rein to the skills of
outstanding Taiwanese designers, and so enhance text-
books’ impact.
From the classroom environment to the design of
textbooks, by changing these media that accompany
children during an important time in their lives, we
can make “aesthetic education” no longer just about
art classes or visits to art galleries, but about making a
sense of beauty an integral part of life, bringing a whole
new meaning to the term. l
(Chen Chun-fang/photos courtesy of Aestheticell/
tr. by Mark Rawson)
19
封面故事　
COVER STORY

20 台灣光華 Taiwan Panorama 2018/02

 教室外的公民課
青年培力，翻轉社會
Beyond the Classroom: Harnessing the Power
of Youth to Transform Society
文•蘇俐穎　圖•林旻萱　版面設計•胡如瑜

21
 你關心教育嗎？你對於台灣教育現況的觀察 大學環境教育研究所碩士生曾毓仁與台灣大學建
及對未來的想像又是什麼？從2011年4月，由教 築與城鄉研究所學生劉奕妤的微型創業實踐。他
育部主持，以躋身世界一流大學為目標的「邁向 們以天母為基地，活化當地的文史、環境資源，
頂尖大學計畫」，到2018年1月正式推動的「高 輸出為一系列的在地導覽、社團課程及環境教育
等教育深耕計畫」，由強調國際學術排名轉為重 課程，從國小學童開始，擴散至成人，受到天母
視公共參與、創新與實踐等軟性能力，這股由政 居民的熱烈迴響。
府帶頭，學界、民間組織相互響應的革新浪潮， 他們不約而同，都選擇離開刻板印象中的教
在教育方針、理念上都展現出有別以往的新風， 學現場，將俯拾即是的生活線索轉化成學習內
而引領新觀念、新思維的青年族群，更異軍突 容，並運用創意的教學形式，補足傳統教育忽
起、位居要角。 略的，關於自我覺察、人格育成與社會參與等
面向的缺口。
2015年8月成立的「社團法人國際城市浪人育成
靈活創新，開展教育新境
協會」（簡稱「城市浪人」），以推動「城市浪
人流浪挑戰賽」起家，服務對象以16∼26歲的青年 以升學為主的填鴨式教育已不敷時代所需，不
族群為主，概念源於執行長張希慈在台灣大學就讀 只是政府政策上的轉變，在第一線的教育現場，
時，「領導學程」的團體作業，畢業後，張希慈再 也有不少老師進行小規模的變革，重新擦亮作為
將一次性的學生活動，擴大並組織化為每年固定舉 教育工作者的使命與價值，曾毓仁也表示：「體
辦的大型賽事，經過連年不斷地修正，已臻完備， 制外不是萬靈丹、唯一解。不論在哪裡，都可以
並陸續受到海內外教育界的高度評價。 發揮自己場域可以做的事情。」
至於才在2017年6月創辦的「善步地方教育工 只是，相較於體制內的老師，必須受限於學校
作室」（簡稱「善步工作室」），則是台灣師範 制度、課綱內容，體制外沒有制度化的包袱、可

青年踏出舒適圈，挑戰「零元旅行」，
與不同社會族群發生連結。（城市浪人提供）
When young people step out of their comfort zone and take up the challenge of
zero-budget travel, they are forced to establish connections with different social
circles. (courtesy of City Wanderer)

22 台灣光華 Taiwan Panorama 2018/02

A re you concerned about education? What are
your thoughts on the current state of education
in Taiwan, and what are your hopes for its future?
From the Ministry of Education’s “Aim for the Top”
university project, unveiled in April of 2011, which
seeks to bring Taiwan’s universities into the leading
ranks of universities internationally, to the “Higher
Education Thorough Penetration Plan,” which was
formally launched in January of 2018, there has been
a notable shift from an emphasis on international
rankings towards a focus on public participation,
innovation, practical execution and other “soft
skills.” The government has taken the lead in these
changes, with academia and NGOs also providing
input. Young people too are playing a leading role, in
a movement that is having an unprecedented impact
on educational policy and thinking.

The International City Wanderer Education Associa-

tion, founded in August of 2015, has been promoting its
“City Wanderer Challenge,” which is targeted at youths
ages 16–26. The concept has its origins in a group
project for a leadership development class that Anny
Chang, City Wanderer’s executive director, participated
in while enrolled at National Taiwan University (NTU).
After graduating, Chang took this one-off student activ-
ity and turned it into an organized, large-scale annual
competition. Refined through several years of revisions,
it has earned high praise from education professionals
both in Taiwan and abroad.
The “Good Step for Place” educational workshop
was founded in June of 2017 by Tzeng Yu-ren, who is 張希慈（右）鼓勵團隊勇於認識不同領域的人，
有助了解國際趨勢，也能串聯不同資源。（莊坤儒攝）
enrolled in a master’s program in environmental edu- Anny Chang (right) encourages teams to have the confidence to
cation at National Taiwan Normal University, and Liu get to know people from different walks of life. Apart from gaining
a better understanding of international trends, these experiences
I-yu, a student at NTU’s Graduate Institute of Building can also help them establish connections with a broader range of
resources. (photo by Chuang Kung-ju)
and Planning. They are based in Taipei’s Tianmu neigh-
borhood, where they aim to draw attention to local
history and environmental resources through a series of for traditional education’s shortcomings in cultivating
local tours, community-based curricula, and environ- self-awareness, personality development and social
mental education courses. They started with elementary participation.
school students and have expanded into adult educa- Innovative educational realms
tion, all the while earning praise from Tianmu residents. Rote learning aimed at high scores on entrance exams
Both organizations eschew stereotypical educational no longer meets the needs of the current era. More than
settings and instead look to the stuff and settings of merely a shift in government policy, this pedagogical sea
every day life for educational content. Furthermore, change is also reflected in the approaches of many teach-
they employ creative pedagogical models to make up ers on the front lines, who are pursing small revolutions

23
60位青年挑戰72小時的不插電生活，在物資缺乏的 並被延伸應用在工作坊招生、海外志工招募、企
情況下，重新發現自己的勇氣。（城市浪人提供）
Sixty youths took up the challenge to avoid using any 業徵才等項目上。
electricity for 72 hours. Through this material deprivation they
rediscovered their own courage. (courtesy of City Wanderer) 以2017年6月與國泰人壽合作推出的「百工
日記：帶你體驗101種職人生活！」為例，簡言
之，就像一場體驗式的性向測驗，250名左右的
隨機應變的高度靈活性，是大部分的創新教育工 參與者，藉挑戰任務的形式進入包含壽險業、
作者共同肯定的優點。曾毓仁便表示：「學校的 媒體業、公部門、大公司、中小型企業、新創
老師有課程壓力，帶出校外又必須同時照顧很多 公司、非營利組織⋯⋯等共計45間不同類型產
人；而我們可以很頻繁地使用戶外資源作為教學 業的工作現場，每人在3週內可以體驗3∼8家不
場域，學生可以直接以五官體驗去感受環境、街 等的機構，所有體驗心得在結束後共享給所有
道、他人的互動，並且，我們的活動採小班制， 參與者，達到業主求才得才、青年適才適所的
還可以運作志工來幫忙。」 目的。
城市浪人更是恣意揮灑於體制以外，他們提出 不僅如此，城市浪人將體制外的自由與靈活等
一套多數教育工作者難以想像的創新教育方案： 優勢發揮到極致，由於工作團隊總是樂於、甚至
「城市浪人流浪挑戰賽」，以遊戲競賽的形式， 主動爭取，與不同教育機構、海外組織交流，藉
3人組成1支隊伍，在短時間內（通常是1個月左 此接收新知，從中激發靈感，包含任務的設計與
右）完成或易或難的多項任務，再依任務指示繳 周邊產品的視覺美感，連年演化、優化、進化，
交文字、照片、影音等具體成果。任務性質分成 不斷自我突破地長出新貌。張希慈說：「挑戰賽
「自我覺察」、「連結再造」、「冒險挑戰」、 做了這麼多年，也會開始組織化，但主動接觸新
「社會參與」四大類，用以引導青年作自我探 的刺激，讓每年都有不一樣的元素加進去，甚至
索，並鏈結起不同屬性的社群。從2013年舉辦至 model被改變，我們也願意嘗試。」創新常意味
今，已累積服務超過6,000人，這一套體驗式參與 著風險，正是這樣初生之犢不畏虎的姿態，才開
的方案，受到不同產業，甚至海外組織的青睞， 展出教育的新境。

24 台灣光華 Taiwan Panorama 2018/02

of their own, reimagining their missions and values as
educators. Those working in the field of educational
innovation point out that in comparison to teachers in
traditional schools, who are constricted by school pol-
icies and curricular content, outside educators are free
from the system’s shackles and thus more able to nimbly
adapt to new opportunities. Tzeng Yu-ren of the Good
Step for Place Studio explains: “Teachers in schools
have curricular pressures, and taking students out on
field trips would require them to keep an eye on a lot of
students. We, on the other hand, frequently use outside
resources for educational sites. Students can directly use
their five senses to interact with the environment, city
streets, and other people. Furthermore, we have small
class sizes and draw on support from volunteers.”
City Wanderer, meanwhile, is even more intent on
hoeing a row outside of the system. It has launched a set
of innovative programs that traditional educators would
be hard pressed to imagine: For the “City Wanderer Wan-
dering Competitions,” teams of three work to complete
challenges—both easy and difficult—in a short period of
time (usually about a month), turning over concrete re-
cords of their achievements in the form of written docu-
ments, photographs or videos. There are four main cate-
gories of missions: “self-awareness,” “leveraging existing
connections for collaborations,” “risk-taking challenges,”
and “social participation.” The idea is to spur youths to
engage in self-exploration and collaborate with different
social groups. Notably, from 2013 to the present, they
城市浪人針對參賽者與志工的回應，以及當前的趨勢，
每年的比賽內容、產品都會重新設計。（莊坤儒攝）
Based on current trends and feedback from previous
participants and volunteers, City Wanderer redesigns
the content and products associated with each year’s
competition. (photo by Chuang Kung-ju)
與不同國家的青年討論彼此國家的重要議題，
實踐世界公民的精神。（城市浪人提供）
By discussing important issues of mutual concern
with youths of other countries, participants come
to truly grasp the spirit of global citizenship.
(courtesy of City Wanderer)
have already served more than 6000 people. Their experi-
ential and participatory programs have earned the favor
of various enterprises and even foreign organizations,
and their approaches have been extended for use in re-
cruiting students for workshops, recruiting volunteers
for overseas service, and general corporate recruiting.
Risk is part and parcel of innovation, so the risk-
taking that is characteristic of youth is necessary for ad-
vancement toward new educational realms.
Strengthening community awareness
Living at a time when all aspects of life are increas-
ingly embedded within networks, education ought to
prompt more sensitive awareness and curiosity about
the things around us.
Although City Wanderer’s name itself pays homage
to Cloud Gate Dance Theatre’s Wanderers Program, the
organization has narrowed the transnational scope of
Cloud Gate’s program to the city where one currently
resides. That emphasis on finding experiential “travel”
nearby is summed up neatly in the sentence: “The whole
city is my classroom.” For the City Wanderer Compe-
tition, a city is divided into districts. Firstly, this saves
time and money spent on transportation, facilitating
broader participation. Secondly, the missions can thus be
tailored to the resources of specific districts, highlighting
25
 面臨拆除的天母白屋與羅友倫將軍故居為例，帶
走讀社區，扎根在地
領孩童從經濟、文史等不同面向作正反方思辨；
生活在網狀結構、方方面面互相關連的日常網 又或「森林保衛戰」，以生態綠地的角度重新認
絡裡，教育理應開啟我們對周遭事物的敏銳覺知 識故居價值，並且傳達綠地對不同物種、社區、
與好奇。 生態上的影響；最後一堂「擺攤小達人」，讓孩
既然組織被命名為「城市浪人」，隱然蘊含 童親自到周末的天母市集擺攤，以互動遊戲的方
著向雲門舞集的「流浪者計畫」取經、致敬的意 式主動向遊客講述在地故事。
味，只是將範圍與規模從跨國界的移動，限縮到 在天母居住了6年的曾毓仁直言：天母居民社
目前生活的城市，這種低門檻的遊學體驗，概念 經、教育水平雖高，但因為建物多屬門禁式社
一言以蔽之便是：「整個城市都是我的教室」。 區、城堡式住宅，閉鎖性強，造成人與土地的疏
挑戰賽以城市作為區域界分，一來可撙節交通與 離，不了解在地事物，社會參與機會較少。他引
時間成本，確保不因外在條件干擾參賽者的參與 述教育學家杜威的名言：「教育是改善社會的良
意願；二來可依不同地區的資源條件設計任務內 方。」他試圖由孩童的教育著手，垂直擾動上層
容，並扣合在地特質。授權管理總監簡以潔強 的學生家長，再影響到外緣的社區居民，藉此喚
調，每個地區的挑戰賽除了四大類任務以外，另
有一類「特色任務」，好比高雄區參賽者必須去
曾毓仁說：「不做不錯。」實際執行就會延伸出
挖掘高雄港的歷史故事，或者去探訪當地具文史
各種挑戰，不只學生在學習，他也在做中學。
價值的古蹟等，不少學生只是因求學居住在這個 Tzeng Yu-ren says: “If you never try, you never
make mistakes.” All manner of challenges arise
城市，藉任務內容而與在地發生更深刻的連結。 when you actually start doing. It’s not merely the
students who are learning. He too is “at school.”
至於深耕天母的善步工作室，更將在地資源
作最大化的應用。一般人眼中的天母，不外乎是
充滿異國風情的高級住宅區，歷經初期在文獻
資料上的蒐集與整理，也親身訪調居民、商店，
或者與在地組織如「草山文史工作室」、「天
母綠玉聯盟」尋求協助，逐一盤點社區的文史、
生態資源，除了日治時期留下的草山水道系統、
三角埔發電所，猶有美援時期遺風的天母白屋、
羅友倫將軍故居等文化資產，也因為天母在地理
位置上接壤陽明山與台北市心中，社區內10處以
上的公園以及6處綠地，是許多野生動物往來山
野與都市間不可或缺的生態跳島。這些唾手可得
的資源，經過曾毓仁的創意，依據不同年齡層，
轉化成一堂堂趣味橫生的在地導覽、環境教育課
程，包含「天母地方小學堂」、「地方美感放大
鏡」、「天母故事觀景窗」等。
善步工作室最早開發的一套方案是：「天母地
方小學堂」，在地的文化歷史、生態環境、建築
空間、地方議題，都被融貫到整套藏寶遊戲裡，
學生在學習中刷新早已疲乏的日常感知，也在生
活裡培養學習的心眼，最後將學習成果付諸行
動。好比其中一堂「保存拆除大擂台」，以一度

26 台灣光華 Taiwan Panorama 2018/02

local character. City Wanderer’s licensing director Ei-
leen Chien emphasizes that in addition to missions
in each of the four main categories, a further “special
mission” is often given a particularly local spin. For in-
stance, participants in Kaohsiung have been required to
uncover historical anecdotes about Kaohsiung Harbor.
Otherwise, competitors might be asked to visit local
sites of special cultural or historic significance. Such
missions have given many students who moved to cit-
ies to pursue their studies a much deeper sense of con-
nection to their adopted locales.
The Good Step for Place Studio in Tianmu is com-
mitted to expanding the use of local resources. To many,
Tianmu, with its Western-style luxury residences, has
an exotic flavor. By compiling historical documents
and interviewing residents and shop proprietors, often
with the assistance of local organizations, Good Step
has gradually taken an inventory of the community’s
historical and environmental resources. Apart from the
Cao shan aqueducts and the San jiaopu power plant,
Tianmu’s cultural resources, such as the Tianmu White
House and the former residence of general Luo Youlun,
帶領學童到天母公園作踏查，把社區的自然之
美轉換成藝術創作的能量。（善步工作室提供）
Taking students to explore Tianmu Park turns the
natural beauty found within the community into
artistic and creative power. (courtesy of Good
Step for Place)
were also situated here because of Tianmu’s location be-
tween the mountains of Yangmingshan and downtown
Taipei. The community features ten parks and six other
natural areas. These provide needed islands for wild-
life between the wild mountains and the city center.
Via Tzeng Yu-ren’s innovations, these easily accessible
resources have provided fodder for fun local tours and
environmental education courses aimed at varying age
groups, with topics such as “Tianmu schools,” “a mag-
nifying glass on local aesthetics” and “a window onto
Tianmu stories.”
In working on children’s education, Tzeng is trying
to incite change in the parents, who can then influence
the outside community, awakening concern about local
cultural resources and ecologies and cultivating citi-
zens’ engagement.
27
醒大眾對於地方文化資產、環境生態的關懷心， 近年，因社群媒體的普及，加上太陽花學運的
並培養公民意識。 效益，不論政府或民間，均已開始意識到青年族
群的重要。畢竟，唯有年輕人最能同理年輕人，
青年力典範
正如張希慈說：「我們團隊的年紀與青年的年齡
城市浪人與善步工作室充分展現青年族群不可 範圍差不多，因此特別擅長與這群人溝通，我們
限量的潛質，他們將青年人才獨具的，對於外在 很了解他們的困境在哪裡，也知道該用哪種方式
世界的善感、躍躍欲試的熱情、不被框架拘束的 對待他們。」加上青年族群特別擅於跨領域思
創意，以及敢於嘗試的勇氣，轉化成實際行動上 考，往往可從不一樣的視角提供意見，協助突破
的優勢，為我們打開教育的想像，也填補了既有 盲點，因此，聘用青年顧問的案例也開始出現。
教育的闕如。 除了與國泰人壽合作的百工日記是一例，公部門
部分，教育部青年發展署也於2017年開始，聘用
6位青年諮詢小組委員。
雖然，從年輕人長出的新文化，時常挑戰傳
統固守的價值觀，李家同在金門大學致詞的事件
即是一例，針對這件事，張希慈提出不一樣的看
法：「我演講時，並不在意聽講的人吃東西、滑
手機、睡覺。」她補充道：「睡覺，可能是因為
他真的太累了，或者是我講的內容真的太無聊，
而我又憑什麼要求別人，一定要把注意力放在我
身上？」這種包容異己、尊重多元的精神，正是
傳統教育較缺乏，也是年輕世代的珍貴之處。
孩子運用課程所學，經過團體討論後， 不過，張希慈也強調：「在演講前，我會告訴
製作成到市集擺攤的工具。圖為天母白屋的模型。
Using what they’ve learned in class, children engage in group 你，我要講什麼，你可以自己評估，要為自己負
discussions before making handicrafts that are displayed on
market stalls. The photo shows a model of Tianmu’s White House. 責。」然而，在既有的教育體制裡，當多數事情
都是被決定好、選擇好的，學生又該如何「為自
採集天母綠地的落葉創作，
透過手作過程認識環境中的植物。（善步工作室提供） 己負責」？
With the help of fallen leaves from Tianmu’s green spaces,
students learn about the plants in their environment as they 因此，無關規模大小，城市浪人與善步工作
engage in handicrafts. (courtesy of Good Step for Place)
室以自身作為範例，從不一樣的教育角度出發，
回應這些傳統教育難以顧及，卻又至關緊要的問
題，也順勢化解新舊世代的衝突。
簡以潔是挑戰賽第1屆的參賽者，從主動加入
志工，到成為核心工作成員，歷經價值觀的思考
與幾番工作跑道轉換，如今她說：「我相信，做
一份有意義、可以幫助別人的工作，比賺錢更重
要。」曾毓仁則向我們分享一位學生志工姚岳宏
的心得，他說：「如果不是來這裡，還真不知道
自己在做什麼？也不知道要把所學的拿去哪裡
用？平常也只是做一些自己的嗜好活動打發時間
而已。」這些，還只是初步收穫的果實而已。在
百年樹人的教育現場，他們的影響，不僅是第一
圈觸及的學生、志工，連帶整個社會都能受惠。l

28 台灣光華 Taiwan Panorama 2018/02

 Youth power models
City Wanderer and the Good Step for Place Studio
amply demonstrate the boundless potential of youth.
They take what is uniquely characteristic of the young—
a sense of righteousness, eager enthusiasm, out-of-the-
box creativity, and the courage to try anything—and di-
rect these traits toward well-intentioned action, thereby
expanding our educational imaginations and making
up for the education system’s shortcomings.
Of course, cultural change generated by the young
often challenges traditional values and conceptions.
The incident of students walking out of a speech by
Li Jiatong at National Quemoy University is but one
example of this friction. Anny Chang has her own take
on the issue: “When I speak, I don’t mind if audience
members eat, look at their cellphones, or sleep.” She
adds: “If they sleep, it may well be because they are
truly very tired, or because the content of my speech is
truly boring. What right do I have to demand that oth-
ers direct their attention to me?” This tolerance for oth-
ers and spirit of respect for diversity is lacking in tradi-
tional education, and it is something that the younger
generation treasures.
在天母白屋，以繪畫帶領孩童認識建築細節，
以及美援時期的歷史情境。（善步工作室提供）
In the Tianmu White House, painting allows the
students to become better acquainted with the
building’s architectural details, as well as the
historical context of American aid. (courtesy of
Good Step for Place)
Nevertheless, Chang emphasizes: “Before the speech,
I will tell you what I intend to speak about. You can
then make your own assessment and be responsible for
yourself.” Yet when the educational system decides so
much for students, how are they supposed to be “re-
sponsible for themselves”?
Regardless of their size, City Wanderer and the Good
Step for Place Studio both serve as models. Taking dif-
ferent approaches, they respond to crucial issues that
traditional education ignores, thus helping to resolve
generational conflicts. Working in the field of education,
which of necessity has a long-term orientation, these
groups are having an impact far beyond the students
and volunteers with whom they come in direct contact.
All of society is reaping the benefits. l
(Lynn Su/photos by Lin Min-hsuan/
tr. by Jonathan Barnard)
29
封面故事　
COVER STORY

30 台灣光華 Taiwan Panorama 2018/02

 文林銀行超有感
虛 擬人生大富翁
Mentoring Money Management:
Wenlin Elementary’s Virtual Bank
文•陳群芳　圖•莊坤儒　版面設計•蕭郢岑

31
 新北市文林國小首創校園貨幣，在學校辦銀
行、發行紙鈔。學生透過擔任幹部、遵守生活常
規等方式賺取薪水。孩子可以帶著存摺將薪水存
進虛擬銀行，或是到專屬柑仔店，購置喜歡的商
品，一切由學生自由選擇與決定。賺錢、消費、
儲蓄，成了文林國小的日常風景，透過生活的磨
練，彷彿真實版大富翁遊戲，讓我們看見理財教
育的無限可能。
下課鈴聲響起，文林國小的學務處外，學生俐
落地將貨架推到走廊，熟練地整理商品，來自四
面八方各年級的同學陸續前來。「你看，這個娃
娃好可愛。」、「要買哪個小盆栽好呢？」，貨
架前學生們彼此交談討論，選定商品後到櫃台結
帳。在這裡買東西不收新台幣，而是學校特別印
製的鈔票──文林幣。
獎勵制度大革新
三年多前，學務主任賴皓韋開始在校內推動
「文林銀行」計畫，在學校印製專屬貨幣，並以校
32 台灣光華 Taiwan Panorama 2018/02
第三節下課鈴聲一響，學生紛紛帶著自己努力
賺來的文林幣，在文林柑仔店自由挑選喜歡的
商品。
After the dismissal bell rings at the end of the third
period, students descend on the Wenlin rewards
store to spend their hard-earned Wenlin Dollars.
名取名為「文林幣」。嘗試以經濟制度的創新概
念，取代校園內蒐集榮譽卡換獎狀的獎勵制度。
榮譽卡或獎狀屬於精神上的鼓舞，從師長手
中獲頒榮譽卡、拍照留念，象徵性的獎勵，讓學
生無感。調皮愛搗蛋的學生，因為榮譽卡對自己
而言如天方夜譚，更不會想努力去爭取。「原有
的獎勵制度，似乎都在鼓勵原本就已經優秀的孩
子，但我更想吸引的是中後段的孩子。」賴皓韋
表示。
獎勵制度若想引起大多數學生共鳴，賴皓韋認
為，調整獎勵門檻是關鍵。舉凡擔任幹部、按時
交作業、打掃校園維持整潔等，不論事大事小，
只要是正向行為的表現都能獲得相應的文林幣。
接著讓孩子透過以文林幣消費的方式，自己決定
W enlin Elementary School in New Taipei City’s
Shulin District has created its own school cur-
rency, along with a campus bank to issue and manage
the banknotes. Students can earn “Wenlin Dollars”
through such means as adhering to the code of conduct
or being a class officer. Their salaries and cash awards
can be deposited in a passbook savings account is-
sued by the virtual bank or spent on items from the
school’s exclusive rewards store. Economic activities
like earning, spending, and saving money have become
commonplace for the children of Wenlin Elementary,
demonstrating the unlimited possibilities for money
management education by means of an imaginative
system that brings the classic wealth-building game
Monopoly to life.
After the dismissal bell rings, the hallway outside
Wen­lin­Elementary­School’s­student­affairs­office­clam-
ors with the activity of students wheeling out and set-
ting up racks of goods with seasoned skill. Classmates
of all grades descend upon the improvised store to
choose from the many items available for purchase. But
New Taiwan Dollars cannot be spent here, for the ca-
shiers accept only specially printed Wenlin Dollars.
Revolutionary rewards system
A little over three years ago, the school’s director
of student affairs, Lai How-wei, began promoting to
campus leaders his idea of setting up a rewards bank,
the “Bank of Wenlin,” that would issue its own “Wenlin
Dollars” (WL$). He set about replacing the old incen-
tive system that based rewards on the accumulation of
honor­certificates­with­an­innovative­concept­that­bases­
rewards on economic principles.
The age-worn concept of an Honor Certificate pre-
sented by a teacher, along with a photo taken to com-
memorate the event, had lost much of its former appeal.
Lai states, “The old rewards system pretty much just
encouraged those students who were already doing well,
but­I­wanted­to­find­something­that­would­also­appeal­to­
the less highly motivated ones.”
For Lai, the key to creating a rewards program that
would resonate with the majority of students meant re-
thinking the thresholds. Anything that exhibited a posi-
tive­attitude,­such­as­being­a­class­officer,­turning­in­an­as-
signment on time, or cleaning up school facilities, would
be the basis for earning Wenlin Dollars, which students
could then spend on prizes of their own choosing. This
was how Lai envisaged the Bank of Wenlin program.
The school’s principal, Chu Yu-huan, already intended
to improve the school’s rewards program, so hearing
Lai’s concept meshed perfectly with her plans.
The Wenlin economy
Lai felt that students needed to be free to spend their
hard-earned Wenlin Dollars on items of their own choosing
if­they­were­to­have­confidence­in­the­value­of­the­currency.­
Lai visited toymakers all over Northern Taiwan, dili-
gently selecting things that might appeal
to the children. Through trial and error he
gradually came to understand the children’s
preferences and the shelves got filled with
more and more products. The opening of the
rewards­store­in­the­Student­Affairs­hallway­
could­finally­be­considered­a­success.
A barcode reader attached to a computer
gave the students the means to rapidly scan
product codes. In this way, in only 20 minutes
just­four­store­staff­are­able­to­collect­money­
and make change for dozens of customers
桌子擺上條碼掃描機和平板電腦就能變身行
動櫃檯，孩子當起文林柑仔店的收銀員，有
模有樣。
A barcode scanner and tablet computer transform
a desktop into a mobile checkout counter.
33
 賴皓韋藉由推動文林銀行計畫，一步一步引導
孩子建立正確的金錢觀與工作態度。
Lai How-wei promoted the Bank of Wenlin program
as a means to instill a proper work ethic and good
money sense in grade-school students.

獎勵品，讓獎勵制度融入生活，便是賴皓韋心中
文林銀行計畫的藍圖。
孩子進到小學讀書，除了學習知識，更透過師
長的引導，學習正確的行為。原本就有意改善獎
勵制度的校長朱玉環，聽聞賴皓韋的理念更是一
拍即合。「作為教育單位，行為改變技術是我們
的短期目標，因為導入金錢的概念，並隨著皓韋
在孩子消費行為中的觀察，理財教育才成為長期
的目標。」朱玉環笑說，這樣的體驗教育竟在不
知不覺中越玩越大。

文林經濟體

賴皓韋表示，貨幣信心是文林銀行能順利推
動的核心，必須塑造文林幣的價值，讓孩子能用
文林幣買到喜歡的東西並擁有選擇的自由。於是
一開始賴皓韋準備了圖案可愛的文具，心想：鉛 電腦系統裏全校的存摺金額，便能掌握市場流動
筆、原子筆是學生的必需品，應該準沒錯。沒想 資金的數量。
到學生竟然不買單！一問之下，才知道原來孩子 透過調整商品的價格或是舉辦活動，不僅讓孩
覺得文具爸媽會買，自己賺的錢就不會想拿來 子對文林幣的興趣持續增溫，更能製造適度的通
買文具，反而是玩具、布偶、小點心才會吸引他 貨膨脹或緊縮。例如每年底推出的福袋預購，定
們，孩子天真直接的想法，讓賴皓韋上了一課。 價便有其策略，從第一年30元，第二年99元，到
賴皓韋跑遍北部地區的玩具批發工廠，細心地 今年的150元文林幣。賴皓韋表示：「福袋定價
挑選孩子可能會喜歡的東西，也情商友人贊助布 是循大部分人的存款來決定，不能太過便宜。目
偶。在一次次的嘗試中，慢慢了解孩子的喜好。 前孩子一個月的人均所得是99元文林幣，半數孩
貨架上的品項越來越多，學務處走廊上的文林柑 子負擔的起，但要價超過月薪，所以購買前還是
仔店，總算順利開張上路。 會有點痛。」賴皓韋笑說，這樣的掙扎，就是促
電腦搭配條碼掃描機，孩子有模有樣地掃描條 使孩子在消費前必須思考。賴皓韋一步一步推動
碼，收錢點鈔，短短20分鐘4位店員須應付少則數 文林幣的營運，就連前來參訪的金融人員也驚嘆
十、多則百人的購買人潮。看著排隊結帳的人龍， 這個經濟制度的完善。
擔任店員的孩子撒嬌地向賴皓韋嘟嚷壓力很大，但
虛擬銀行玩真的
語氣裡仍有掩不住的興奮與對自己工作的驕傲。
畢業自美勞教育學系的賴皓韋，在推動文林銀 希望與真實生活連結，賴皓韋心目中的文林銀
行前，對理財並不感興趣，為讓計畫順利推展， 行，不只要能印鈔票，還要能提供存款服務。文
他研究貨幣學、超商鋪貨技巧、條碼編排原則。 林國小全校1,600多名的學生，光是點鈔票就足以
每年作廢文林幣實體鈔票，印製新鈔，只要檢視 讓計畫失敗。

34 台灣光華 Taiwan Panorama 2018/02


or even 100 or so during peak times. When looking
out over the serpentine line made up of fellow class-
mates waiting to check out their purchases, the student
clerks often teasingly complain to Mr. Lai about their
high-pressure jobs; the delight and pride in their work,
however, is plain to see.
Year-end promotions include fukubukuros (lucky
grab bags) sold as advance purchase offers. There is a
deliberate strategy behind their pricing, which started at
WL$30­in­the­first­year,­going­up­to­WL$99­in­the­second­
year and reaching WL$150 for the current school year.
As summed up by Lai, “The price can’t be set too low:
with the present per-capita income of our students at
WL$99­per­month,­half­of­them­can­afford­this­amount,­
but we want the price to be more than a monthly wage
so that they can feel the pain when making a purchase
decision.” This is precisely the sort of struggle needed to
help the kids learn how to think over a purchase.
Playing at real with a virtual bank
For Lai, the ideal Bank of Wenlin not only had to be
able to print money, but should also offer savings ac-
counts. If Wenlin’s 1600 students, however, had judged
the system in its early days solely by how money was
以文林幣運行的經濟
體，有紙鈔、存摺，還
有專責的學生擔任銀行
行員，讓理財教育變得
真實有感。
In an economy based on
Wenlin Dollars, education
in financial matters comes
to life through proprietary
banknotes, passbook
accounts and student
tellers.
being counted, they might not have considered the plan
a resounding success.
Money counting machines have a counterfeit detec-
tion mechanism, and the weight and other characteristics
of the paper used for Wenlin Dollars differ from those
of real banknotes. Thus, no commercially available ma-
chines could be found that were suitable for counting the
school’s proprietary currency. Undaunted, Lai searched
all­over­Taiwan­until­he­finally­found­a­vendor­in­Shu­lin­
that was willing to custom-make a counting machine for
Wenlin Dollars. However, toner particles from the laser-
printed notes would build up in the machine, causing
frequent breakdowns, so that a service technician had to
come­almost­weekly­to­fix­it.­Trial-and-error­adjustments­
over­ the­ course­ of­ a­ year­ led­ to­ a­ fifth-generation­ itera-
tion­that­could­finally­be­called­a­success.
When a child makes a deposit in the Bank of Wenlin,
the­ teller­ first­ checks­ the­ amount­ by­ counting­ the­ bills,­
then inputs the account number and the amount to be
deposited in the computer, updates the student saver’s
passbook,­ and­ finally­ stamps­ the­ deposit­ slip­ with­ the­
teller’s own designated chop. This group of young bank-
ers, using their early morning self-study hour and noon
35
 點鈔機有仿偽機制，面對磅數、大小、材質 並夾進紙鈔，以班為單位送至文林銀行。由行員
都跟真鈔完全不同的文林幣，市面上的點鈔機根 逐一點鈔查核，在電腦裡輸入帳號、存款金額，
本派不上用場。賴皓韋遍尋台灣的廠商，終於找 然後補摺，最後還要蓋上每位小行員的專屬職
到一間位於樹林的工廠，打造文林幣專屬的點鈔 章，存款的手續才算完成。利用早自習或午休，
機。印表機列印的文林幣，隨著每次點鈔時的摩 處理全校的存款，這群學生行員的執行效率，跟
擦，鈔票上的碳粉便會掉落，卡進輪軸造成機器 大人相比毫不遜色。
故障。幾乎每周都要請工程師來處理，不斷地改 宛如真實職場，要成為文林柑仔店店員或是
進調整，前後試了一年，直到改到第五代的機器 文林銀行行員，必需過關斬將。先填寫報名表
才宣告成功。 說明希望加入的原因，參加過的社團、幹部經
文林銀行的存款服務採班進班出，偶爾接受零 驗等，如同求職履歷表。經過第一階段甄選，
星的臨櫃存款，讓低年級學生可以體驗自己拿存 再進行面試，模擬情境的考題，考的是孩子的
摺填存款單的真實感。各班彙整欲存款的存摺， 應變能力，因為無法預測考題，很多孩子都
說，面試比考試還要困難。
通過面試後，還須經過一個月
的試用期，才能正式錄用，「這
一個月，我觀察你，你也觀察這
份工作適不適合你。」賴皓韋都
這樣和孩子提醒。目前在文林銀
行計畫下各有10位店員和行員，
賴皓韋表示，因為工作得來不
易，努力爭取過後，獲選的孩子
都是工作動機強烈，因此流動率
非常的低。「期望從文林出去的
孩子，都能成為熱愛自己工作、
認真負責的人。」朱玉環說。

金錢遊戲的掙扎

準備好了硬體，計畫一上路，
校園裡隨即出現反對的聲浪，無
前例可循，又牽扯了消費行為，
可以想見外界的擔憂。在初期的
說明會議裡，家長、老師砲火猛
烈的要求賴皓韋停止計畫，時有
所聞。但賴皓韋明白，要做體制
內未曾有的嘗試，勢必要有受挫
的決心。
「一開始我找有興趣的老師
談，光是說明計畫，一談就是2
個小時。」在賴皓韋持續溝通
下，終於在第一年找來10個班級
開始運作文林銀行。如今全校八

36 台灣光華 Taiwan Panorama 2018/02


recess,­process­the­transactions­as­efficiently­as­any­adult­
banking professional.
Just like in the real world, students who want to work
in the rewards store or the Bank of Wenlin face a rigorous
recruitment process that includes a detailed application
listing­their­reasons­for­wanting­to­join­the­staff,­previous­
experience­as­a­class­officer,­and­participation­ in­campus­
clubs. Shortlisted candidates undergo an interview and a
simulated work-setting test. The test assesses situational
adaptability, but it is the interview that most students say
is the hardest.
After passing the interview stage, student workers must
still complete a one-month probationary period before
being formally hired. Currently under the Bank of Wenlin
program the bank and the store have ten employees each.
學務處一隅的文林銀行裡，紮鈔機、
點鈔機等設備齊全，不只能活存還能
辦定存。
The Bank of Wenlin, suitably outfitted
with equipment like bill wrapping and bill
counting machines, occupies a corner of
the student affairs office, from where it
offers not only current account services
but also time deposit savings.
According to Lai, due to the intense
competition for the posts, students
chosen for a staff position are all
highly motivated, and as a result
turnover is extremely low.
Challenges of the financial game
As soon as the program started,
voices were raised in opposition
across campus. With no precedent
to refer to, off-campus stakeholders
were likely to have many concerns
about the consumerist attitudes
implicated in the program. In an
early explanatory meeting, parents
and teachers passionately urged Lai
How-wei to halt the program.
Relating­the­difficulties­of­getting­the­ball­rolling,­Lai­
states, “In the beginning, just explaining the program
to an interested teacher could last a couple hours.” But
by constantly talking it up he was eventually able to
get­ten­classes­to­join­in­the­Bank­of­Wen­lin’s­first­year­
of operation. Now, 80% of classes in the school actively
participate in the rewards program.
Over the years, Lai has discovered that a child’s ca-
pacity to think of others often exceeds our expectations.
Many will keep close track of friends’ birthdays in their
group and use Wenlin Dollars to buy them gifts. One
of the boys even purchased a Hello Kitty pencil holder
for his mother. On seeing such positive acts of caring in
their children, parents set aside their worries.
Through countless instances of having to think over
37
成班級都以文林幣做為班級經營的獎勵。 隨著文林幣運作穩定，2017年
幾年下來，賴皓韋發現小朋友的思考超乎想 3月，賴皓韋推出助人計畫。他選
像。有孩子會觀察周遭朋友的生日，用文林幣買 定受尼伯特風災影響的台東紅葉國
禮物，也曾有小男生買Hello Kitty筆筒送給媽媽。 小，讓孩子了解與自己同齡卻因災
看到孩子貼心而又正面的舉動，家長心中擔憂的 害而無法上學的處境，再推出99元
大石這才放下。往年耶誕節家長會扮演耶誕老人 文林幣的愛心文具組，讓孩子自由
送禮物，今年家長會也主動提出希望以發送文林 認購。原本只準備了100份，沒想
幣紅包的方式進行，顯見他們對文林銀行的支 到學生熱烈響應，最後募集了八百
持。 多份，由賴皓韋和朱玉環兩人親手
面對外界質疑，讓孩子提早接觸金錢，是否會 將孩子的心意，交到台東縣延平鄉
讓人變得功利。人的個性千百種，利己與利他未 4所小學的孩子手上。能利己也願
必不能同時存在，透過生活中無數次的選擇，賴 意利他，對賴皓韋而言，文林銀行
皓韋期望孩子在過程中建立正確的金錢觀，分辨 的輪廓至此終於完整。
需要與想要。因為是自己努力之後的獲得，所以 一個辦銀行的計畫，蘊藏了對教
每一塊文林幣孩子都花得小心。賴皓韋說：「我 育的熱情與理想，讓理財融入孩子
常看著孩子將某個商品拿起又放下，也許無法用 的生活。賴皓韋開玩笑地說，要讓
工具丈量，但我知道有東西在孩子的腦袋裡轉了 台灣變得人人都很會理財，也許有
一圈。」那是思考，一項珍貴而需要培養的能 朝一日真能實現。 l
力。

文林銀行的最後一片拼圖

當理財已融入孩子的生活，要推展後續的
金融教育，難度就大幅降低。賴皓韋最近
推出定存方案，分為1、3、6、12月期，
短期長期利率不同。方案一推出，就有位
四年級學生，跑來找賴皓韋討論利率，研究
要如何存才能將資金有效運用。許多人都是
出社會有了第一筆錢才開始學習財務管理，
透過文林銀行的淺移默化，讓理財的概念在
孩子心中播下種子，未來他就能有更多的理財
策略。

存摺裡記錄了孩子的每筆消費、儲蓄，還有來自
師長的獎勵，賴皓韋相信，這些點點滴滴能形塑
孩子的價值觀，將理財的種子埋進他們心裡。
Student’s passbooks record all of their transactions
with the Bank of Wenlin. Lai How-wei is sure the
program will help them appreciate the value of money.

38 台灣光華 Taiwan Panorama 2018/02

a purchase, Lin hopes the children will develop good
money sense and the ability to distinguish want from
need. Because they earn Wenlin Dollars through their own
hard work, they are also careful how they spend them. “I’ll
often see students pick up items off the store racks and
then put them back. There may be no instrument to mea-
sure this, but I’m certain that gears are spinning in their
heads.” That process is called weighing the pros and cons,
an important and necessary ability that takes nurturing.
The last piece of the puzzle
Once money matters become a part of life, instilling a
financial­education­becomes­so­much­easier.­Recently,­Lai­
initiated a time deposit savings plan with one-, three-, six-
and­12-month­periods,­each­with­a­different­interest­rate.­
As soon as the plan was implemented a fourth-grader
hurried­over­to­ask­Lai­what­would­be­the­most­effective­
way to deposit her money. Far too many people don’t start
managing­their­money­until­they­earn­their­first­paycheck.­
The Bank of Wenlin’s osmotic learning process plants the
seeds­ of­ financial­ management­ in­ the­ minds­ of­ students,­
who in the future will have access to many more strategies
for managing their money.
In March of 2017 Lai How-wei launched a charity
campaign. Taitung County’s Hongye Elementary School,
which had been severely impacted by Typhoon Nepar-
tak, was selected as a recipient so that students might
understand the plight of those in their same age group
who could not attend school because of a natural disaster.
A­WL$99­charity­stationery­pack­was­created­for­children­
to buy and donate by their own choice. Initially the plan
called for 100 packs, but the students’ enthusiastic re-
sponse­resulted­in­a­final­donation­of­more­than­800.­Prin-
cipal Chu and Teacher Lai then personally delivered the
charity packages to students at four elementary schools in
Taitung’s Yanping Township. This charitable experience
demonstrated that the children not only had acquired the
skills to help themselves, but also exhibited a willingness
to help others. For Lai How-wei, this represents the cul-
mination of the ideals behind the Bank of Wenlin.
Wenlin Elementary’s plan for setting up a bank,
founded in enthusiastic and idealistic educational mo-
tives, has brought money management into the everyday
lives of grade schoolers. Lai quips that Taiwan is on the
road­to­producing­a­generation­of­financial­wizards.­­­­­­l
(Chen Chun-fang/photos by Chuang Kung-ju/
tr. by Scott Faul)

39
封面故事　
COVER STORY

40 台灣光華 Taiwan Panorama 2018/02

 航向未來
黃建榮校長的樹人大業
Setting Sail for the Future:
Principal Aaron Huang
文•陳亮君　圖•黃建榮提供　版面設計•蕭郢岑

41
 宜蘭縣岳明國小於2009年榮
獲教育部活化校園空間發展特
色學校特優；2010年獲行政院
國家教育永續發展獎；2013年
再度榮獲經濟部推動能源績優
學校傑出獎，以及宜蘭縣環境
教育獎特優。令人好奇的是，
是怎麼樣的家庭背景及成長歷
程，讓黃建榮校長能鍥而不捨
地堅持於實驗教育這條路；又
是怎麼樣的機緣，讓他排除萬
難，一次又一次地活化教學與
創新教育。在他身上，我們看
到了人對鄉土、對自然，以及
對於教學的熱愛。

「溫文儒雅」這四個字用來
形容宜蘭縣岳明國小校長黃建
榮再適切不過，瘦瘦高高的個
頭、慢條斯理的說話方式，加
上有條不紊的思考邏輯，在他
的帶領下，校務總能不斷地突
破與創新。從事教職近30年的
他，娓娓道來這一路走來的教
育歷程與心得。

來自鄉野的小孩

「我是在蘇澳聖湖附近出生
的，大概2-3歲的時候搬到馬
賽。」黃建榮說起孩提時期，
走過田埂、跨越小溪是他往
返學校必經之路；於溪邊抓魚、烤地瓜、玩泥巴
戰，更是放學或假日時的樂趣。大自然，對於黃
建榮來說是再平常不過的生活光景，要游泳，就
去家裡附近的武荖坑；要抓螃蟹，就去學校旁的
澳仔角海邊，他說：「我們這邊到了冬天會去海
邊抓鰻魚苗，那時海邊就像夜市一樣熱鬧，而這
也是當地人重要的收入來源之一。」由於家裡經
營雨衣店，印象中只要到了捕鰻魚苗的季節，晚
上大約11-12點都還會有人拿雨衣要來家裡縫補。
山、海、平原對黃建榮來說，就像呼吸一樣自
在黃建榮校長的帶領下，校務總能不斷地突破
與創新。（林格立攝）
Yueming Elementary has advanced and innovated
ceaselessly under Principal Aaron Huang’s
leadership. (photo by Jimmy Lin)
然，也在親近大自然的過程中，滋養了他往後從
事教育工作時的理念。
「爸媽生了3個女兒，還要繼續生，就是希望
生個兒子，而我的出生對家裡來說是件很開心的
事。」身為家中第一個男生，父母自然抱有期

42 台灣光華 Taiwan Panorama 2018/02

Y ilan County’s Yueming Elementary School has
many, many accolades to its name, including
2009 Ministry of Education honors for invigorating
campus spaces and developing the school’s unique
character, a 2010 Executive Yuan award for sus-
tainable development, a 2013 Ministry of Economic
Affairs prize for promoting excellence in energy edu-
cation, and a 2013 Yilan County environmental ed-
ucation award. Given these achievements, one can’t
help but be curious about Principal Aaron Huang’s
family background and childhood. Where does he get
his commitment to experimental education? What
enables him to overcome difficulties to enliven and
innovate education again and again? His passion for
his homeland, for Nature and for education is appar-
ent in everything he does.
Aaron Huang, principal of Yilan County’s Yueming
Elementary School, is a refined and cultured man. Tall
and slender, he speaks slowly and thinks through what
he says. Yueming Elementary has ceaselessly innovated
and progressed under his leadership. Huang shared
繼3個姊姊後，黃建榮是家中第一個出生的男
生（左1），從小品學兼優。
Huang (first from left), who has three older sisters
and was his parent’s first son, always excelled at
his studies.
with us stories from his nearly 30-year-long career in the
field, and what he’s gleaned from his experience.
A country boy
“I was born near Shenghu Village in Su’ao, Yi lan
County. My family moved to Masai when I was two or
three years old.” Huang remembers walking along the
embankments between rice paddies and crossing small
streams to get to and from school as a boy. He grew up
surrounded by Nature and liked to fish, roast sweet po-
tatoes, and play in the mud along the riverbanks on the
weekends. If he wanted to swim, he went to Wulaokeng,
a scenic spot near his home. If he wanted to catch crabs,
he went to the beach near his school. “In the winter, we
went to the seaside to catch elvers,” recalls Huang. “It
was an important source of income for locals, and the
beach bustled like a nightmarket at that time of year.” The
mountains, plains and sea were as much a part of him as
breathing, and this constant proximity to Nature would
go on to nurture his later thinking about education.
“I have fond memories of representing my middle
school in skills competitions,” says Huang. In those days,
schools would assemble teams of ten students who com-
peted in ten skills, including pitching a tent, cooking,
carpentry, conducting chemistry experiments, running,
English-language listening comprehension, and drawing.
The school’s best teachers would train team members
after school and on weekends for roughly half the year.
The young Huang finished second in the Yilan County
43
待，但是不會因為有所期待，就對他過度的干涉
與要求，反而是順應他的能力去發展。而黃建榮
就像是回應爸媽的期待般，從小功課在全班或是
全校都維持在前三名的好成績。甚至到了國中，
就沒有花太多父母的錢，因為他總是可以得到獎
學金。每一年學校要繳的費用，大概有一半都是
透過獎學金來支付。
「我很懷念國中時代表學校參加的學藝競賽」
他說，當時的學藝競賽，各校要組一隊10個人，
這10個人需10項全能，包括要會搭帳棚、烹飪、
做木工、化學實驗、跑步、英聽，還要比畫圖
⋯⋯等。大概有半年的時間，利用課餘與假日，
在全校最優秀老師的培訓下，參加當時由宜蘭縣
政府教育處所舉辦的校際競賽，最後只差第一名
0.2分，屈居第二。
不過這強調手作的體驗教學，深深地影響了黃
建榮，他笑著說自己家裡的木工傢俱，包含鞋櫃、
櫥櫃、桌椅⋯⋯等都是自己動手做的，後來辦學
帶孩子去露營、烹調美食、欣賞藝術、接近大自然
等，也都是源自於這段期間所受到的訓練與啟發。
44 台灣光華 Taiwan Panorama 2018/02
教學本來就不應該是死板板的，應該要有更多
的學習方式。
Teaching methods should be varied, not rigid
and rote.
國中畢業後，他是全校唯二考上師專的學生，這位
來自鄉野的小孩，也自此踏上教育之路。
山野學堂開課囉
黃建榮師專畢業後去新莊昌隆國小實習一年，
接著服兩年兵役，退伍後原本要回實習的學校任
教，但聽聞陽明山上有一所小學，校內有游泳
池，是一所自然環境很棒的6班小學校。對大自
然嚮往的基因促使他去報考台北市的教師甄試，
開啟了他於平等國小從事教職的生涯。
因為學校就位在陽明山國家公園的東南角，加
上1991年台北市率先實施田園小學的實驗方案，
「那時就想辦法讓教學與在地的環境資源作結合，
比如我們上國語課的時候，我會帶學生到溪邊，讓
他們做溪流的觀察，或者上到一首詩，有類似的情
境就帶孩子去⋯⋯」類似主題式的學習，逐漸擴大
Education Department’s intermural competition, miss-
ing out on first place by just 0.2 points.
His school’s emphasis on hands-on education stuck
with him. He laughingly recalls that he made all of
his family’s wooden furniture himself, from the shoe
cabinet and wardrobes to the table and chairs. It was
this early education and training that inspired him as a
principal to train students to camp, cook, appreciate the
arts, and get close to nature.
His foray into the field of education began when he
was one of only two students from his middle school to
test into a teaching college.
An outdoor classroom
After graduating from college, Huang first spent
a year as a student teacher at Chang long Elementary
School in Xin zhuang, Taipei County (now New Tai-
pei City), and then spent two more years fulfilling his
military service requirement. He had intended to teach
at Changlong again once he completed his military ser-
vice, but then heard about a small elementary school
on Yang ming shan that had a swimming pool and a
lovely natural setting. His “Nature appreciation” gene
activated, Huang registered for the Taipei City teacher
qualification exam and began his teaching career at that
very school—Pingdeng Elementary.
Pingdeng is located in the southeast corner of Yang-
mingshan National Park. Huang says that the location,
together with Taipei City’s 1991 implementation of its
experimental “ecologically oriented elementary
school” program, encouraged him to find ways
to integrate education with local environmental
resources. “For example, I would take students
to a creekside during Chinese literature classes
so that they could observe how the water
flowed.” He eventually extended his linking
of similar topics to science classes and multi-
disciplinary subject matter. For example, when
studying the Yangmingshan area, he might in-
corporate the natural environment, mathematics
and literature into a single lesson by discussing
annual rainfall and features of the local climate,
moving on to the measurement and calculation
of rainfall amounts, and accompanying the lot
with readings and creative writing exercises re-
lated to Yangmingshan. Huang finds Nature far
more compelling than textbooks.
馬賽國小的課程結合校外活動，每一站教學都有
學習的主題跟內容。
Masai Elementary School integrates fieldtrips into its
courses, with each one targeting specific subject matter
and content.
對黃建榮來說，大自然的一切要比課本精彩太多了，
圖為平等國小校外教學情形。
Huang believes that Nature is far more compelling than
a textbook. The photo shows a Pingdeng Elementary
School fieldtrip.
45
岳明國小多樣化的海洋課程，饒富趣味，也兼具啟發性。
Yueming Elementary’s ocean-oriented classes are both fun and
educational.

至跨科學習，把跨領域的科目連結在一起，如研究 況下，身體出了狀況，而且兩家親戚都在宜蘭，讓
陽明山地區，就會提到一年當中的降雨量，以及氣 他們興起了回鄉的念頭。他的教育路也因此輾轉回
候的特色，連帶就會教到雨量的測量與計算，再搭 到了母校──馬賽國小。從台北市的山林小學平等
配陽明山相關的文章閱讀與創作，一場結合自然、 國小，回到宜蘭原鄉的中大型學校馬賽國小，首先
數學、國文的主題式教學於焉成形。 面對的，卻是學校環境不良的問題。
對黃建榮來說，大自然的一切要比課本精彩太 首先，學校設施都是水泥建材，校園也沒了
多了。甚至到後來，一個星期就有一次的校外教 老樹，因為當初校舍在翻新時，下面用的是工
學，課本也全是自編。在平等國小的最後3年，黃 程廢棄土，不利種植，再加上西曬問題嚴重，
建榮又去師範大學環境教育研究所進修，更加強了 讓黃建榮苦思解決辦法。「當時我把我所學
他於理論與實務上的結合。當他要離開任教11年的 的，藉由教育部永續校園方案的經費來改造
平等國小時，前後6任的家長會長，陸陸續續來黃 校園，目的是讓它成為一個永續教學的大教
建榮家中拜訪，希望他能留任，直到今日，他仍每 室。」他覺得學校沒老樹，就沒了人文氣息，
年回平等國小，除了與老朋友敘敘舊外，也看看這 於是先換土，把水泥地轉變成是透水的、會呼
培育他成為一個可以不用課本來教學的地方。 吸的土地。再來是教室排放水的淨化及生態池
的營造，並利用爬藤植物去做建築物的第二層
永續環境大改造
皮膚。回收的雨水就用來種蜜源植物，吸引蝴
黃建榮的兩個小孩是在平等國小時出生的，當 蝶前來吸花蜜、產卵，以改變校園的生態環
時妻子為了照顧兩個小孩，疲憊加上睡眠失調的情 境，就不會感覺都是水泥叢林。

46 台灣光華 Taiwan Panorama 2018/02


A sustainable transformation
The first issue Huang faced when he left Pingdeng
to take up a position at Masai Elementary in his Yilan
hometown was the poor environment at the larger Yi-
lan school.
“I used everything I’d learned and money from the
Ministry of Education’s sustainable campuses program
to renovate the school’s campus,” says Huang. “My
goal was to turn it into a large, sustainable classroom.”
Feeling that schools need old trees to have a cultured
atmosphere, he replaced concrete with permeable soil
that would “breathe.” His next steps were cleaning
up the school’s wastewater, building an “ecological
pond,” and using climbing vines to create a “second
skin” on the drab buildings. He also used recycled
rainwater to water plants that would attract bees and
butterflies. When these came to drink nectar and lay
eggs, they made the school’s environment feel less like
a concrete jungle.
All of these elements had to be integrated into the
岳明國小的趴浪課程。
A bodyboarding class at Yueming Elementary.
帆船課程是結合社會、自然、藝文、語文等領域之綜合學習
課程。（林格立攝）
The sailing course integrates materials from the social studies,
natural science, literature and language curricula.
(photo by Jimmy Lin)
school’s academics so that students could learn about
environmental protection, sustainable development
and energy policy in conjunction with their course-
work, and the school could advance its green, low-
carbon, and sustainability goals.
“One time, I arranged a field trip for fourth-graders
who were learning about aquatic life.” He took them
to Yuan shan Township because it still had pristine
springs, irrigation channels, and ponds like those that
were around when he was young. Each of his field trips
had an educational focus. “The kids would tell me that
they had never been on field trips like these before,
where they had fun but also learned a lot.” In Huang’s
view, education should be varied, not rigid and lifeless.
Raising the sails
While Huang was at Masai, the Wu-Wei River Cul-
tural and Education Association asked him to create
an educational handbook on the ecosystem of Wuwei-
gang, an area he had played in as a boy. When Huang
later earned his school principal credential, he applied
for and obtained a position at the nearby Yue ming
Elementary.
With fewer children being born, young people leav-
ing to work elsewhere, and the neighborhood aging,
Huang faced serious challenges from the moment he
took the job. But the school’s proximity to the sea and
to a national bird refuge provided it with an environ-
ment that few Taiwanese schools can match. “It would
have been a real shame to close a school with such
great environmental resources.”
“When we took the children to the Dongshan River
for the International Children’s Folklore and Folkgame
Festival one year, they happened to see a sailboat on
47

而這些面向都需要與課程結合，讓環境保護、
永續發展與能源政策等議題搭配課程學習，朝低
碳、綠色、永續生態的目標邁進。如從大樹下去
找尋小樹苗，幫小樹苗做移植，以及把一顆社區
不要的老樹，從社區移到校園等，黃建榮從第一
年擔任教學組長開始，到後來擔任3年的總務主
任，一直到教務主任的2年期間，一步一步地透
過課程與工程，從學生的觀念到施作的細節來全
面性地改造校園。
「有一次學校四年級在教水生家族，我就安排
一個校外教學，帶他們去宜蘭的員山鄉⋯⋯」因
為員山鄉有最原始的湧泉、溝渠及池塘，就像他
小時候看到的一樣，每一站校外教學也都有學習
的主題跟內容，「孩子會跟我講說他們以前從來
沒有過這樣子的校外教學，玩得很開心，又學到
很多事情。」對黃建榮來說，教學本來就不應該
是死板板的，應該要有更多的學習方式。
揚起風帆任我行
在馬賽國小期間，「無尾港文教促進會」邀
請黃建榮來編寫無尾港生態學習手冊，這社區剛
好也是他從小玩耍的地方。後來他考取了校長資
格，就想說如果有機會，希望能來這附近的「岳
明國小」任職。
「我剛到岳明國小時全校67位學生、6個班
級，我來之前就知道這裡孩子的出生率會逐年下
降。」少子化與社區老化的問題，加上年輕一輩
48 台灣光華 Taiwan Panorama 2018/02
岳明國小為期4天3夜的日
本石垣島交流活動，讓學
生深入當地文化，了解多
元文化的可貴。
Yueming’s four-day
exchange program with a
school on Japan’s Ishigaki
Island enables students to
experience Ishigaki’s culture
at first hand and better
understand the value of
diversity.
都外出工作，讓他甫上任就面臨了嚴峻的考驗，
「這麼好的一個環境資源，如果被廢校，真的是
太可惜了。」附近有一個國家級的水鳥保護區，
離海邊又很近，全台灣要找到有這樣環境的學校
著實不多。
黃建榮提到剛來的時候，沒有做非常多的改
變，只是去找出它的潛力，跟未來可能發展的亮
點，「有一年帶小孩去冬山河參加國際童玩節，
在河邊看到一艘有帆的船。」旁邊教練解說這是
全世界小孩在玩的船，它甚至是亞運的項目，靠
的是操控帆，用風力的原理讓船前進。「剛好那
一年政府有個擴大內需方案，我就跟宜蘭縣教育
處提出了這樣一個大膽的構想。」後來在政府的
支持下購置了8艘船，並從社團開始，成立了第
一個帆船社。
但是，在推廣帆船課時，一開始就得面對家長
害怕孩子下水的安全問題，「於是我們就利用假
日，把家長都帶來冬山河，讓他們看著孩子在這
裡練船的樣子，也讓他們坐上大的帆船，實際下
去航行體驗。」依照黃建榮自己的觀察，他認為
玩帆船比打籃球還要安全，因為下水前都會要求
穿上救生衣，即便翻船了，掉到水裡也不會沉下
去，只要保持鎮靜，就會非常安全。此外，也可
以靠自己再翻回來，因為它有一個中央板，只要
人站上去，船就可以再翻回來；相反地，打籃球
一不小心就會扭到，甚至還會傷到脊椎等，它的
運動傷害絕對比帆船來得多，甚至更嚴重。
the riverbank.” A trainer standing nearby explained that
this kind of boat was powered by the wind, was sailed
by children around the world, and was used for an
event in the Asian Games. “That year, the government
happened to institute a policy aimed at expanding do-
mestic demand, so I put the idea [of teaching students
to sail] to the Yi lan County Education Department.”
The school used government funding to purchase eight
sailboats and formed Taiwan’s first elementary school
sailing club.
Huang initially faced resistance from parents con-
cerned about the dangers their children would face
being out on the water. “So we took parents to watch
the kids training to sail on the Dongshan River on the
weekends. We also put them into the boats so they
could experience sailing for themselves.”
透過食農教育種植、照顧、採收、料理與分享
的過程，打破生活與學習之間的界線。
The process of planting, tending and harvesting
crops, and cooking and sharing the food produced,
blurs the lines between life and education.
Once parents warmed to the idea of their children
sailing, the school made the course compulsory for all
students from the third grade on. It went on to make
sailing a graduation requirement for sixth graders. The
course incorporates principles from Bernoulli’s fluid
mechanics (when sailing into the wind) and parachuting
(when sailing with the wind), as well as the history of
maritime navigation, English sailing terminology, and
literature about the ocean. Huang says the point isn’t to
train future members of the national team, or even how
well the children learn to sail. Instead, the focus is on the
children’s personal growth and development.
From the swimming course for first-graders to the
body board ing, snorkeling, and sailing courses of-
fered prior to graduation, Yueming’s ocean education
strengthens the children’s bodies and broadens their
minds. Similarly, the challenges they encounter while
sailing not only teach them to overcome their fears, but
also help them to mature.
The next steps
The wind that fills the children’s sails has also led
to friendly exchanges with a school on Japan’s Ishigaki
49
自造的木造舢舨船，
包括釘槍、砂磨機、
黏膠等工序，需耗時
一年，即將於2018
年完工。（林格立
攝）。
Students are working
with nail guns, sanders
and glue to build their
own sampan. They
will spend a year on
the project, which will
be completed in 2018.
(photo by Jimmy Lin)

在家長慢慢能接受後，便更進一步從選修成為
必修，讓三年級以上的學生都要學，然後規定六
年級一定要會駕帆船才能畢業。一個帆船運動，
結合了自然科的伯努力流體力學原理（逆風），
以及降落傘原理（順風），還有社會科航海歷史
的發展，以及英文科術語溝通的教學，更有國語
科的海洋文學。黃建榮提到，其實不是希望能培
養多少個國手，或是能開得多好，反而是希望從
這個運動裡能看到孩子在人格發展上的成長。
從小一就開始的游泳親水課程，到畢業前的趴
浪（衝浪）、浮淺、帆船課程，讓岳明的海洋教
育豐富了孩子的視野，鍛鍊孩子的體魄。除了要
先克服恐懼外，在航行中所獨自面對的考驗，更
是孩子成長的關鍵，黃建榮說：「要感受風、感
受水流，風會改、水流也會改變，當我們逆風航
行時，我們反而會很專注；可是當順風時，卻最
容易翻船，因為一不小心，一個轉向，這個船就
會馬上翻掉，就像人生一樣。」
連接未來教育路
吹動帆船的風，牽起台灣蘇澳鎮與日本石垣
島雙方學校的交流情誼，因為石垣島那一端也有
孩子在玩帆船，他們在網路搜尋到台灣宜蘭的岳
明國小也在學帆船，便主動提起這項教育交流計
畫。利用在學期間，以寄宿家庭的方式，互相交
換學生，為期4天3夜，讓學生深入當地文化，了
解多元文化的可貴。
甚至連參加計畫的經費籌措都設計成課程的一
部分，讓孩子與家長共同發想，如何籌得這一萬
元的機票錢（其他費用由公部門支出）。例如有
位參加交流的小朋友，用阿公種的高麗菜及家裡
附近豬肉攤的豬肉，自己做餡料、水餃皮，全家
總動員，並在學校社群群組發送消息。在短短一
星期就收到了一萬元的訂單，再利用假日時去完
成，而這也是課程中的一環。
其實，岳明的主題課程遠不僅止於此，食農教
育、濕地探索、生活大師、山野教育⋯⋯等等，
在每年的春夏秋冬四個學期輪番上陣（有別於一
般學校之上下兩學期），預計在2018年還會推出
雙導師制，因為跨領域跨學科的學習需要不同老
師的專長，還有大家的腦力激盪。岳明國小從黃
建榮校長到任時的全校67位學生，到現在122位
小朋友前來就讀，甚至有家長為了讓孩子能念岳
明而把學籍遷來，因為這裡有全國唯一的帆船課
程，也有一群默默付出的教師和可愛的學生們，
更有一位將畢生心力奉獻於此的黃建榮校長。 l

50 台灣光華 Taiwan Panorama 2018/02

Island that, like Yueming, teaches its students to sail.
When the Ishigaki students discovered online that Yue-
ming was teaching sailing as well, they proposed an
exchange program. Students from each school stay with
the families of students from the other for four days
and three nights during the school year, allowing them
to experience the local culture and appreciate the value
of cultural diversity.
Raising the money to cover the costs of participating
in the exchange is actually a part of the course, with
parents and children together brainstorming ways to
pay the NT$10,000 airfare (the other costs are covered
by government departments). One participating child
sold homemade dumplings made using cabbage grown
by a grandparent and pork from a nearby butcher.
The boy’s whole family pitched in and members of
the sailing club helped spread the word. He received
NT$10,000 in orders in just one week, and used week-
ends to fulfill them.
林格立攝 photo by Jimmy Lin
Yueming’s course offerings extend far beyond
sailing, and include subjects such as food and agri-
culture, wetlands exploration, life skills, and the out-
doors. These are cycled over the school’s four-terms-
per-year schedule (versus the two-term schedule
of most schools). The school also plans to launch a
two-teachers -per-class system in 2018 so its multi-
disciplinary approach can make better use of its educa-
tors’ differing strengths.
Yueming has nearly doubled in size over Huang’s
tenure, from 67 students when he took up the post to
122 today. Nowadays, parents move their children to
the school’s district not just because it offers the na-
tion’s only sailing course, but also because, in addition
to its hardworking teachers and adorable students,
it has Principal Aaron Huang’s steady and dedicated
hand on the tiller. l
(Ivan Chen/photos courtesy of Aaron Huang/
tr. by Scott Williams)
51
 此去路迢遙 ◎ 顧玉玲
好讀
月
本書獲國家文化藝術基金會文學創作補助。
並獲金鼎獎文學類最佳圖書、台北國際書展非文學類最佳圖書、
中國時報開卷十大好書。

我 的 行 李 箱 裡 有 一小 塊 治 筋 骨 久了，沒有健保卡 也不敢去看 病。

的 草 藥，重 量 與 形 狀 都 宛 如 一 塊 你 拿 給 他，要 他 記 得 買 一 點 排 骨

香皂，外以 層層草紙 包妥，又 捆 縛 熬湯煮來吃。」

重重透明膠帶。 文 凱 走 過 來 邀 我 去 吃 飯，靦 腆

那是給阿仁的。 真 誠 的 笑 容。他 昨 日 聽 說 我 愛 吃

粉 紅 色 的 蚊 帳 尚 未 收 攏，小 雪 玉 米，天 未 亮 就 到 田 裡 摘 了 好大

拉著我在客廳的木床上坐下，稍稍 一 袋 白 水 煮 熟了 還 熱 騰 騰 冒 著 煙

壓到了蚊帳一角，她也宛若未覺。 呢。

僅管一旁忙進忙出的媽媽和老公 我 朗 聲 用 越 南 語 謝 謝 他，那 一

文凱根本聽不懂中文，小雪還是壓 小包草藥默默滑進口袋深處。
是一趟巡覽好文的旅程，
更是一回賞讀美篇的心靈停駐……
也是一段遍閱佳構的遨遊，

低了聲量，好 似呢喃，像在做什麼 從 河內搭客運巴士要二、三小時

不該做的事，隱 抑的、不能聲張的 的 車 程 抵 達 太 原 車 站，再 轉 搭 一

一點情懷，過了海就該封口。 個 小 時 的 公 車 到 鎮 上，從 鎮 上 騎

「這 是他的電 話號碼，」她拿起 摩 托 車 進 入 農 村，在 農 田 與 荒 林

我的手機按下熟悉無需思考的連 之間 穿 梭，經 過小學、中學、衛 生

串 數 字，叮 囑 我：「阿 仁住 萬 華， 所，遠 遠 看見有個 雜 貨 鋪了，泥 土

可以叫他去找你拿。」 路上有騎腳踏車的中學生，和嘻鬧

「這 是 藥 嗎？」我 拈 拈 重 量，聞 赤腳的孩童，小雪家也就快到了。

不 出 氣 味，猜 想 是 熬 煮 後 濃 縮 加 因 為 偏 遠，沒 有 緊 鄰 相 依 的 情

壓 的 什 麼 傳 統 草 藥 吧？又也 許 是 形，各戶人家都 有一定 的距 離，屋

一塊 削 切 過 的 動 物 骨 頭 或 陳 年 樹 子不大，院子及雜作的土地倒是不

根。 小。

「 嗯，這 個 很 有 效，台 灣 買 不 小 雪 的 父 母在 她 八 歲 時 就 離 婚

到。」小 雪 應 該 是準備 好 些 天了， 了。那個年代，一名 農 婦 竟 主動提

直 到 我 離 去 的 清 晨 才 慎 重 交 託： 出 和 外 遇 的 老 公 離 婚，獨 立 種 田

「他天天工作很辛苦，腰痠背痛很 養 大 兩 名 稚 子，可 想 見 的 流 言 蜚
語，可預 期的經 濟困窘，不可計數 沒 什 麼 積 蓄，但 在 村 子 裡 抬 頭 挺

的污名與嘲弄……，就知道這女子 胸 作 人。媽 媽 是 堅 毅 不 求 人 的 女

多麼 剛烈，何等好強！我 看著小 雪 性，長女小雪自幼就跟著學會一身

的 母 親，終 年 佝 勞 卻 依 然 強 勁 俐 技 藝，放 學 後 養 豬、餵 雞、煮 食、

落的身 形，瘦削但筆挺的體 態，她 打 掃、洗 衣 全 是 基 本 工，農 收 時

忙進忙出一刻不得閒，在家中掌有 期，小雪忙完家 裡的收 成，假日裡

至 高 的 實 權。家 裡事，她 說了算， 也 到 鄰 近 田 地 幫 忙 收 割、打 工 賺

就 算 小 雪 的 弟 弟 都 結 婚 生 子了， 錢。有時農忙缺 人手，小雪 乾脆 從

媽 媽 的 管 教 威 嚴 仍 不 受 動 搖，她 學 校 裡 請 假 終 日 在 田 裡 工 作，反

生 起 氣 來 當 眾 就 直 接 掌 摑、斥 責 正村子 裡 請 假 的 學 童 也 不只 她 一

兒子不受教，而未滿二十歲的兒媳 個。

婦，只 能 抱 著 啼 哭 的 新 生 兒 驚 懼 「我十二歲就開始賺錢了，手腳

地躲進房內。 不會比 大 人慢哦。」小 雪至今 猶然

書名：《回家》
當 年 小 雪的父親貪杯、外遇，這 自 豪：「我 是小 孩 子，大 人拿一百 作者：顧玉玲
定價：420 元
事 在 鄉 村 裡 本 屬 尋 常，哪 家 的 男 元，我 拿六十 元 就 好，所以 大家都
頁數：400 頁
人 沒 有 搞 三 捻 七 的 事 呢？誰 不 在 喜歡叫我去。」 出版：印刻出版社

農忙後偷閒喝上一杯呢？但小雪的 19 8 2 年 出 生 的 譚 玉 雪，國 中 畢

媽 媽 委 屈 不 得，她 決 定 離 婚 簡 直 業就開始正式工作了。

是把男人逕自趕出村子，她什麼都 她 聰 明、勤 快，一 如 母 親。學校 性格溫和客氣，凡事 不爭不 搶。也

不要不求，只堅決留下孩子由她獨 課 業 不 難，但 家 裡 還 有 年 差 八 歲 許 是 文 凱 身上 的 從 容 不 迫 吧？還

立照料養大。 的弟弟要照養、就學，她對 待弟弟 是 什 麼 較 接 近 輕 鬆 的 生 命 樣 態？

男 人後 來 聽 說 在 遙 遠 的 和 平 省 就像 是母 親的分身，管 教他，也 為 總之，那恰好是小雪奮力強毅的生

另組家 庭，從來，從來不曾回來 探 他 籌 謀 一 切。媽 媽 待 她 宛 如 左 右 命 經 歷 中，因 罕 有 放 鬆 而 深 受 吸

望過孩子。長久缺 席的父親，不 再 手，是 個共商家計的對 象。小雪到 引的質地。

有人提起。 海 外工 作 多 年，媽 媽 在 農 村 種 田 兩 個 人 才 交 往 三 個 月，她 十 九

小 雪 長 得 像 媽 媽，但 豐 腴 些， 持家，兩個女人一起把這個家撐起 歲，就 決 定 嫁 他了。現 在 回 想，也

也活 潑 些。她 穿卡通圖案的合身T 來，買 地、照 料 小 孩，把 弟 弟 扶 養 可 能 是 因 著 文 凱 的 媽 媽 嫌小 雪 家

恤，直筒牛仔褲，身 形俏 麗 敏 捷， 成 人，為 他娶了親，也 為 他 備了出 窮 反 對 兩 人 交 往，年 輕 的 文 凱 於

垂肩直 髮、齊眉瀏 海、脂 粉 未 施， 國賺錢的路。 是 求 婚 以 鑑 誠 心，一 身 傲 骨 的 小

笑 起來眼睛如彎月。在台灣時，很 她 倔 強、果 決，也 像 母 親。村子 雪，怎 容 得 未 來 婆 婆 如 此 評 比 作

多人猜她是大學生，遠比她實際年 裡 追求她的人不少，認真交往一、 踐？就 這 樣 更 被 激 怒 而 匆 匆 定 了

齡少十歲。 二年的也有。文凱家住在村子的那 婚嫁也未未可知。

小雪更像媽媽的是剛毅的個 一 頭，田 地 與 房 宅 都 比 小 雪 家 大 婚 後 和 婆 婆 同 居，小 雪 受 盡 委

性，不服輸，肯拼命。 得多，他 是家中老么，從小被 照 顧 屈，家 事農事她都一把捉，就 是被

孤 兒 寡母，田地 小，屋子 也 小， 妥貼沒什麼挫折，個子不高不壯， 看 輕 的 感 受 令人 輾 轉 難 眠。一 直

55
到 生了 老 大，她 和 文 凱 才 搬 出 婆 前行的足跡，路只能自己走出來。 賣掉的土地，小雪總算買回來了。

家，獨立住 到鄰近的老屋。老屋 雖 2 0 0 4 年，小 雪 籌 了一 千 美 金 的 返家，還 是 窮。這 三年像 做了一

是文凱家 產，但 殘破待修，田地都 仲介費，就飛到馬來西亞 工作了， 場 夢，精 疲 力 竭，大 雪 紛 飛，連 她

是婆婆的，做什麼都要向老人家伸 一 去 三 年。她 在 鄉 間 的 華 人 工 廠 掙扎走過的痕跡都被 厚冰掩埋不

手。文 凱 樂 天 輕 鬆，胸 無 大 志，農 工作，大 眾交通不方便，一 個女 人 見了。怎 麼 還 是冬天呢？這裡 那 裡

村裡有地有米餓不死人，但孩子未 單獨外出也怕出事，人 人都說治安 的家用全張大了嘴嗷嗷待哺，弟弟

來 什 麼 都 要 用 錢，小 雪 不 能 不 為 不好，半路被殺了也沒 人 知 曉，她 還 在 唸 國 中，家 門 前 的 荒 地 尚 待

將來打算。 於是拼了命加班，放假日全拿來補 整 理 只 能 臨 時 粗 放 種 些 玉 米，貧

決 定 出 國 打 工 前，小 雪 帶 著 老 眠，沒學會任 何外語，對馬來西 亞 窮仍是如影隨行。

公和女兒搬回娘家，襁褓中的孩子 一 無 所 知，日後也不 願再重 返。三 什 麼 都 沒 有 改 變，就 從 現 在 改

由阿嬤照顧，文凱留在家中幫忙搬 年間，她匯了總計十五萬元回家， 變。她 年 輕，有 了 經 驗 也 有 了 膽

重、下田。小 雪 就 如深冬無 糧 外出 這是她想都沒想過的好大一筆錢， 識，在 家 中 停 留 一年，生了老 二，

探路的獵人，承諾帶回全家溫飽， 託媽媽把家門前一小塊地買回來。 新的責任又來。她無以得閒，決定

隻身步入茫茫大雪中，看不見任何 這是當年媽媽離婚後為了養小孩而 再次出國，到台灣。

新的舊了 ◎ 張郅忻

本書獲國家文化藝術基金會文學創作補助。

回到家，我 拿出幻燈 片，對著 書 想 時，便 聞 到 一 股 濃 郁 的 阿 公 氣 和 一尊 短 捲 髮 少女 托 腮 看 書 的 半

桌 上 的 日 光 燈 再 看 一 遍。深 咖 啡 味，似 是從書桌上的展 櫃傳來。我 身塑像。少女塑像 是小姑婆的，她

色的底片裡，除了深淺與 輪廓外， 踩 著 椅 子，墊 起 腳 看 向 書 桌 上 方 出 嫁 前 住 過 這 間 房 間。她 是 阿 公

有 些 還 夾 雜 黃 色 與 紅色 等 鮮 豔 色 的展 櫃。這張「書桌」原來 是阿婆 的么 妹，只比爸爸大 六 歲。阿婆說

彩。不知道當它們投影到牆上會是 的梳妝檯，當初為了裝潢爸媽的新 她 剛嫁 來時，還得幫「細人小姑」

什 麼 模 樣？好 想看 看！我 記得，有 房，一 併改裝 這個房間，這 層櫃子 洗 身。這 尊 塑 像 是 戀 慕 小 姑 婆 的

台 幻 燈 機 有 圓 盤 狀 立 體 軌 道，乘 的另一面就是爸爸房間的衣櫃。 男同學送的，後來，小姑婆 和農會

著它，可以重新經歷過往風景。 展 櫃 主 要 是不 想 浪 費 空 間 而 做 的同事結 婚，並未把它 帶走。我高

阿公究竟把幻燈機藏去哪裡了？ 的設 計，但 因 為位置 太高，大多放 中時，小姑婆曾回房間看過一次，

儘管不知從何找起，但我相信幻 不常使用的裝飾品。譬如最下層是 看了看那尊塑像後就離開。曾祖母

燈機仍在這個房間裡。正當我如此 一 瓶 橫 躺 在 迷 你 拖 車 上 的 烈 酒， 過世以後，小姑婆便很少再來。特

56 台灣光華 Taiwan Panorama 2018/02

別是發生那件事之後。 直 到 阿 公 臥 床，小 姑 婆 才 再 次 拍下什麼？我舉 起相機，將眼睛 對

那 年 初 二，小 姑 婆 手 款 兩 盒 禮 走進這房子。她站在病床旁，摸著 著 觀景窗，轉動鏡 頭，眼前只有我

物，一盒 先 送 到對面屘 叔公家，一 阿 公 的 額 頭，不 能 說 話 的 阿 公 流 的房間。可能 是四周有框，那些不

盒 拿來我們家。她 經 過 騎 樓時，癲 下眼淚。小姑婆拿面紙替他擦淚， 明顯的細節變得清楚起來。房門轉

狗 叔 翹著二 郎 腿，倚在躺 椅上，冷 自己也 哭了，把 眼 鏡 取下拭 淚。站 角處有一座掛衣的立架，像一株沒

冷 地 說：「妳 要 還 的 毋只 這 兜。 在一旁的我第一次發現，原來小姑 有 樹 葉 的 樹，阿公從前一下 班，會

講 麼 个，妳 自家 清 楚。」當 時 我 正 婆和那尊塑像確實有幾分相似。 先 把 軍 綠 夾 克 掛 在 上 頭。無 論 寒

在 吧 檯 裡 煮 茶，沒 聽 見 小 姑 婆 回 塑像的位置過高，平時遠看不覺 暑，他只有 那件軍 綠 外 套，頂多寒

話，只 見 她逕自往 屋 裡 走。我向她 得 髒，如 今 近 看 才 發 現 它 被 灰 塵 流來時，會把報紙塞入外套和衣服

問好，她對我笑了笑就走入客廳。 均勻包裹。我小心翼翼把它取下， 之間的夾 層。還有，連 結房門的邊

我 端 著 一 杯 熱 茶，打 算 拿 到 屋 內 打算把它擦乾淨後再放回原位。阿 角，上 頭 有幾 條 刻痕。兒時的我 背

給小姑婆。正要 推開紗門時，癲狗 公的氣味不在塑像上，而在更高的 靠牆面，阿公用他隨身攜帶的瑞士

叔 拉住 我 的 手，說：「 斟 麼 个 茶？ 那一層。我只 好踩 上 桌面，兩手 攀 刀，一刀一刀留下 我的身高 紀 錄。

佢毋還錢 就走。」他的嘴 角有 殘留 著櫃子，顧 不得 櫃子上 的厚 灰，一 我記得，這裡發生的每一件事。

檳 榔汁，滿嘴 紅 通通，像張牙舞爪 手緊抓下層櫃子，一手往更上方尋 取 下 相 機 後，櫃 子上 方 的 氣 味

的年獸，讓人感到害怕。 索。在櫃子右後方摸到一條長繩， 減 損許多。我 知道，幻燈機不在櫃

本來 在 屋內跟小姑婆 聊天的石 拉出後發現是四方形的皮套。

頭 叔 推 開 紗 門，皺 著眉 頭 說：「你 我 簡 單 擦 拭 皮 套。從 形 狀 看

講該麼个話！」 來，它 不 是 幻 燈 機，而 是 阿 公 當

「大 過 年，吵 麼 个！」阿 公 從 二 時 用 來 拍 照 的 相 機。我 把 相 機

樓走下來。 自 皮 套 裡 取 出，鏡 頭 旁 寫 著 英

「佢看 毋 起你。」癲狗 叔手 指小 文 Y A S H I C A，閃 光 燈 前 方 寫 著

姑婆，大聲吼。 E L E C T R O 35。我上網搜尋它的

「惦 惦。」阿公咬牙擠出這兩個 型號，發現它是一 個日本的牌子，

字。 號 稱「窮 人 蔡 司」。即 使 如 此，在

「你 對佢 好，拿 錢 分 佢讀書、做 1 9 6 0 年 代 的 台 灣，它 還 是 奢 侈

嫁妝，結果勒？佢食 飯毋 想和你共 品。我 記 得，石 頭 叔 曾 帶 著 嫉 妒

桌，佢 看 你 毋 起，你 知 無？」癲 狗 說：「 妳 爸 從 小 就 被 妳 阿 公 寵 壞

叔繼續說。 了。以前，妳阿公跟 美國大 兵 買二

「惦惦！」阿公再說了一次，並深 手 相 機，五個 孩 子，就 給 妳 爸。全

吸 一 口 氣，模 樣 像 一 頭 受 傷 的 野 國 小，只有 妳 爸 有 相 機。」我 可 以

書名：《織》
獸。 想 像，個 性 像 隻 孔 雀 的 爸 爸 脖 掛 作者：張郅忻
定價：320元
我 待 在 門 邊 不 敢 動 彈，看 見 小 相機，神氣地走在校園裡。
頁數：288頁
姑 婆 一 步 步 往 後 退 至 門 外，快 步 不知 道 當 年 那 個 美 國 士 兵 看見 出版：九歌出版社

離開。她沒有反駁，也不再來。 了什麼？不知道阿公其他的幻燈片

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子上。我 看 向 四 周，除了書桌 和 展 的 長 裙 放 在 一 起。這 兩 套「 祖 孫 要 程 序，一 共 分成 三部：清 棉 部、

櫃，最可能 藏 匿東西的，就 是一旁 裝 」是 阿 婆 最 好 的 朋 友 阿 桃 姨 婆 前紡部、和後 紡部。清棉部的工 序

的 衣 櫃。我 將 椅 子 挪 到 衣 櫃 前， 做的，阿桃 姨 婆 死了以後，阿婆 就 是混棉、開棉和清綿，前紡部則是

踩 著 它 打 開 衣 櫃 最 上 層。只 見 一 沒有再訂做衣服，只到市場買一件 梳棉、併條和粗 紡，後 紡部則是細

隻 大 蜘 蛛 懸 掛 在 上 頭，我 忍 不 住 一百的衣 服來 穿。阿婆說，這種便 紡、筒搖 和成色。接下來的每篇逐

大聲尖叫，連忙關上衣櫃。幾 分 鐘 宜衫穿壞 就丟，不會傷心。我還找 一介紹每 個工 序。簡單來說，清棉

後，終於 鼓 起勇氣，瞇著眼把衣櫃 到 一 件 紅 白 交 錯 的 條 紋 襯 衫，看 是清理棉花，前紡部將棉併成紗，

打開。那隻蜘蛛沒有被我嚇 跑，動 那 尺 寸，應 該 是 阿 婆 年 輕 時 的 衣 後 紡部把 紗 織成布，最後 成色，又

也不動，全身緊縮，應該 是死掉一 服。 稱作染整。兒時跟阿公去紡織廠，

段 時 間了。雖 然 死了，但 掛 在 那 裡 在 舊 衣 的 最 下 方，有 一 本 泛 黃 他 只 帶 我 進 布 廠，從 不 帶 我 去 一

還 是 挺 嚇 人 的，我 找 來 一 條 抹 布 的手冊，以及一本綠 皮的資料夾。 旁 的 染 整 廠。好 奇 的 我 有 次 從 窗

包 裹 牠 的 屍 體，連 著 布 一 併 丟 到 那 些 東 西 是 阿 公 從 工 廠 帶 回 的， 門 的 空 隙 裡 窺 探，隱 約 看 見 一 個

垃圾桶裡，繼續尋找幻燈機。 明明已經用不到了，卻一直擺在這 工 人 推著 整車白布。突然，一陣灼

衣 櫃 最 裡 頭 有 一 團 橘 色 蚊 帳， 裡。不僅 是它們，我們家的每 個角 熱、潮濕的刺鼻氣味 襲來，惹得我

蚊帳邊是爸媽的結婚照，阿婆有次 落 都 留 著 這 類 早 該 清 除 的 東 西， 淚水直流，趕緊跑開，從 此半步都

拿下來給我看過，那是她偷偷從爸 新的疊上舊的，直到新的也舊了。 不敢靠近。我至今仍能清楚記得那

爸丟掉的東西裡撿回來的。我把手 根本難以判斷什麼是有用，什麼是 股刺鼻的氣味。

伸進蚊帳與結婚照之間尋找，摸到 無用，使得家裡處處陳舊雜 亂。生 大 致 翻 完 整 本 手 冊，我 發 現 一

一個軟綿綿的東西，拿出來一看， 性 愛 乾 淨 的 癲 狗 嬸 剛 嫁 來 時，最 件 奇 怪 的 事。手 冊 第 一 篇 右 上 角

是小時候偷偷和媽媽見面時，她送 看不慣這一點，曾一度趁阿公不在 標 註 著 1 9 5 6 年12 月 7 日。第 三 篇

給我的綿羊玩偶。媽媽改 嫁後，我 時丟了一些東西，包括他練習毛筆 「開清棉工程」，標註的卻是另一

把玩偶放進櫃子，印象裡的純白短 字用過的一大疊報紙。阿公發現後 個 日 期，19 5 6 年11月 3 0 日。第 四

毛如今已是骯髒的灰色。 非 常 生 氣，獨 自 坐 在 客 廳 整 天 不 篇的日期又變成隔年的8月25日。

衣 櫃 上 方 看來 是 沒 有 我 要 找 的 說 話。此後，癲狗嬸不 再丟棄家中 每 一 篇 不 僅 標 註 的 日 期 不 同，複

東 西，我 失 望 地從椅 子上 跳下，同 雜 物，但在 房門外放個大衣櫃，如 印的字跡也不 相同。譬如「概說」

時 間，阿 公 的 味 道 從 衣 櫃 下 方 抽 一座界碑。界碑以外的，癲狗嬸 再 字 體 細 小 秀 氣，第 三 篇 的 字 跡 卻

屜 竄 出 來，那 裡 放 著 幾 乎 不 再 穿 也不管，任它們自行 繁 衍，自生自 是張揚跋 扈。最後 一篇是「力織機

的舊 衣。打開下層衣櫃，高中時寫 滅。 構 講 義 」，特 別 針 對 當 時 工 廠 裡

的「十 九 歲 離 家 」的 紙 張 還 貼 在 我打開檯燈，翻閱泛黃的手冊。 使 用 的 豐 田 紡 織 機 做 解 說，段 落

上 頭，我不敢面 對 它，低頭拉開抽 封 面 用 四 張 紙 黏 成，邊 角 處 全 開 開 頭 處 常見「本廠 使 用」字 樣，看

屜，先 是聞到樟 腦丸的氣味，再是 花。內頁 是兩張 紙 黏 成一頁，講述 起來又是出自另一人 之手。這些不

阿公的味道從衣物堆裡傳來。我把 機械圖解、紡 織原理，圖表與文字 同人寫成的 複印紙，左側打洞，以

衣 服翻開，竟找到和小惠合照 上， 搭 配清 楚，就 連我這個門外漢，都 粗 線 綁帶。根據時間「1956」年判

我 身上 穿 的 那 件 黃 黑 交 織 的 格 子 能 大 致 了解 紡 織 程 序。首 篇 是 概 斷，「本 廠 」是 阿 公 工作 的 第一 間

洋 裝，它 和 同 款 布 料 做 成 的 阿 婆 說，以 簡 單 結 構 表 標 註 棉 紡 的 主 紡 織 廠。阿 婆 說 阿 公 這 一 生 用 一

58 台灣光華 Taiwan Panorama 2018/02

個 字 可 以代 表，就 是「忠 」。不 識 「 我 記 得，老 爸 工 廠 倒 閉 的 時 我 想 起 那 些 被 稱 作「 織 工 」的

字 的 阿婆，對 阿公 的「忠」體 會深 候，坐我隔壁的同學沒來 上學。一 人，他們模 糊的臉。有人 捏我的臉

刻。在家裡，阿公對曾祖母「忠」， 連幾天後，老師到他們家去找人， 頰 說：「好 像 阿 公 啊。」有 人 抱 起

因此 薪水是連袋子 一 併交給曾祖 才知道他爸的工廠突然倒閉，全家 我說：「又長高了呀！」那些人裡，

母。阿 公 對 工 廠 也「忠 」，一 直做 為了躲債搬到南部去。」 有一個就是小惠的母親。

到工廠不堪虧損裁員才離開。 我不明白這兩件事之間的關 我翻開另一本資料夾，開頭標列

為了知 道 更 多 關 於 這 些 手 冊 的 係，便傳了一個問號。 「欣棉染 織廠 股份 有限公司」，第

事，我 坐 在 電 腦 前，敲 打 鍵 盤，傳 「 我 聽 老 爸 說 過，因 為 韓 戰 的 二行為「織 布組 織 工程 須 知表」，

臉 書 訊 息 給 小 玉 姑 姑。不 僅 是 因 關係，美國給台灣大量 原料，導致 標 註 客 戶 名 稱 與 編 號，譬 如 香 港

為 獨 居 的 她 經 常 流 連 在 電 腦 前， 台 灣 的 紡 織 廠 增 加 太 快。每 間 紡 傑克、J O R D A C H E、F.T.等，客戶

還有，她向來是我們家記憶力最好 織廠都在搶原料，比誰的價格低， 不 限 於 台 灣。上 頭 還 寫 著 織 布 名

的人：「姑，妳 知 道 阿 公 工作 的 第 最後 大家都沒 飯吃，倒一大堆。我 稱、規格、織 法 以 及 交 貨 時 間。這

一 間 紡 織 廠？工 廠 怎 麼 說 裁 員 就 知道的就是這樣了。」 批 表 格 製 作 時 間 是 民 國 7 6 年，那

裁員？」 我回傳了Thank You的符號。 時 阿 公 已 經 從 越 南 回 到 台 灣，阿

叮 咚，那 端 立 即 捎 來 訊 息：「怎 「早 點 睡，不 要 想 太多。」小玉 公 就 是 在 這 間 紡 織 廠 退 休 的。這

麼突然這樣問？」 姑姑丟了這句話給我，便下線了。 裡 是 他 頭 家 夢 想 最 後 寄 託 處，只

我 猶 豫 著，不 知 道 該 不 該 把 遇 沒 有 睡 意 的 我 繼 續 翻 閱 手 冊， 是，最 終還是因為老 老闆過世、小

見 小 惠 的 事 告 訴 她，小 玉 姑 姑 值 發現有些段落下方有畫線的痕 老闆毀約而落空。

得 信 賴，但也多 疑，為了避 免不 必 跡。有 時，不只一 條 線，可能 是不 紀錄裡有些布料是用影印的方

要 的 麻 煩，我 決 定 暫 時 隱 瞞 小 惠 同時間畫下的重點。阿婆提 過，失 式呈 現，有些則保留一塊樣布，用

的 事。我 回 覆：「剛 好 在 房 間 裡， 去工作的阿公經老同事介紹，先去 膠帶黏貼在表格下方，一旁標註使

找 到 阿 公 以 前 在 紡 織 廠 工作 的 資 桃園，又 跳 到台中的紡 織 廠，薪水 用 的 顏 色 與 花 樣。有 些 顏 色 恐 怕

料，好 奇 嘛！＠＠」我 很 喜 歡 網 路 越 跳 越 高。這 本 手 冊 應 該 也 跟 著 已 經 褪色了，明 明寫 著 朱 紅色，我

的表情符號，它們像是一個面具， 他，一家換過一家。 看見的線條卻是淺淺的粉紅色。它

戴上它，可以隱藏各種情緒。 我 注 意 到 其 中 一 段「 完 備 之 力 們有些可能被織成衣服，穿在某人

另一端的小玉姑姑正在寫訊 織 機 之 必 要 條 件」，不僅 畫 線，還 身上；也可能 做 成窗簾，掛 在 誰家

息，刪 除 又再 寫。我 想，這 不是 容 打勾，這是整本手冊裡唯一有打勾 的門窗上。多年過去，全 都 舊了髒

易回答的問題。 的地方。力織機是相對 於手織機， 了，或 是 藏 在 誰家 衣 櫥 裡，或 是 成

「阿玲，妳會不會覺得戰爭這件 手 織 機 是 憑 人 力，力 織 機 的 原 動 為抹布、垃圾，早已燃成灰燼。

事 很 遙 遠？」幾 分 鐘 後，小玉 姑 姑 力則來自電、水 或 蒸 氣。上 頭 所列 那 台 幻 燈 機 恐 怕 也 是 吧，二、

傳來這樣的訊息。 的力 織 機 必 要 條 件，包 括：「構 造 三十年過去，不知被 擱在哪 裡、被

我 回 了 點 頭 的 動 態 表 情，心 底 簡單，便於管理」、「動力少，生產 誰丟棄，最 終和一包包垃圾為伍，

響起下午在金銀島聽見的「Where 多」，「織 工一人，要能管理多數 機 在 焚 化 廠 隨 風 而 逝。就 算 還 在 這

Have All the Flowers Gone?」 台」。簡 單 來 說，就 是 所 需 織 工 越 房裡，並 且被我 找到，恐 怕也無 法

這首歌。 少，獲利越多。 使用了。

59
影像對話　PHOTO ESSAY
 映象
綠島
圖／文 •
林格立
　
版面設計 •
胡如瑜

Green Island
Reflections
 從台東富岡漁港搭上交通船，約莫50
分鐘的大浪翻騰考驗，終於來到孤懸於
太平洋上的綠島。
它曾經是禁錮政治犯的地方，島上的
山壁上還留有當年鑿刻的愛國標語。走
過這段歷史，綠島目前已經轉型為生態
旅遊島，奇特的地形地貌，還有豐富的
海底生態資源，一年四季都適宜潛水。
藍天、碧海、陽光呼喚著來自各地的朋
友，盡情的在綠島揮灑青春。 l

A fter 50 minutes bobbing through

mighty waves, the ferry from Tai­
tung’s Fu gang Fishing Harbor finally
brings us to Green Island, which stands
alone out in the Pacific Ocean.
This is a place where political
prisoners were once confined, and the
hillsides still retain patriotic slogans
c a r v e d b a c k t h e n . To d a y, G r e e n
Island has been transformed into
an ecotourism island, with a unique
topography, rich undersea ecology,
and year-round diving. The blue sky,
jade­green sea and sunshine call out
to friends from all over to bring their
youthful vitality to Green Island. l
(photos and text by Jimmy Lin/
tr. by Phil Newell)

62 台灣光華 Taiwan Panorama 2018/02

綠島人權文化園區，訴說著過往的歷史。
The Green Island Human Rights Culture Park
bears witness to the island’s history.

63
告別黑暗終究迎來曙光。
Say goodbye to darkness and welcome
the dawn.
天氣好時可見到台灣本島的海岸山脈和中央山脈。
In clear weather you can see Taiwan’s Coastal Mountain
Range and Central Mountain Range.
68 台灣光華 Taiwan Panorama 2018/02
暫別忙碌，
在綠島享受片刻的閒適。
Take time out to enjoy a leisurely
visit to Green Island.

69
全球視野　GLOBAL OUTLOOK

插畫：王敬勛 art by Henry Wang

70 台灣光華 Taiwan Panorama 2018/02

溫柔生產在台灣
孕育產家的豐美地
The Beauty of Creation
—Gentle Birthing in Taiwan

文•蘇俐穎　圖•林旻萱　版面設計•王敬勛

你曾和母親、家人討論過，自己是怎麼被生下
來的嗎？從小到大，我們都被教導著，「生日」 H ave you ever asked your mother about the cir-
cumstances of your birth, or asked other family
members about theirs? We are taught all our lives that
就是所謂的「母難日」，生產，確實是母親用生
the day we were born was a great trial for our moth-
命去拚搏的一件大事，不過，除了肉身受苦受
ers. Certainly it takes a heroic effort for a mother to
難，對於生產，我們還能不能有更多元的想像？ give birth. But aside from the physical suffering, can
we not conceive of birthing in more imaginative ways?
到底什麼是「溫柔生產」？不少人以為溫柔生
產，就是「居家生產」或者「水中生產」，但不 What do we mean by “gentle birthing”? Many peo-
是的；溫柔生產，是將生產視為自然而然的生理 ple equate it with home birthing or water birthing, but
過程，而非需要治療的疾病，是以產婦的意志、 that is incorrect. Gentle birthing views birthing as a nat-
ural physiological phenomenon, not as a medical condi-
需求與身體本能為依歸的一種生產方式。
tion in need of treatment. It is a birthing method guided
在歐洲、日本、紐澳等以溫柔生產為主流的
by the mother’s willpower, her needs, and the natural
地方，臨床人員的分工清楚劃分為「正常歸助產 instincts of her body.
師，異常歸醫師」，七至八成可正常生產的產 In Europe, Japan, Australia and New Zealand, where
婦，都由經過現代醫學訓練，並取得專業執照的 gentle birthing is mainstream, midwives deliver babies
助產師（士），以支持的角度從旁協助，生產方 for non-problematic births, while obstetricians help
式結合現代醫學與順勢療法，包含姿勢可選擇蹲 with patients with potential difficulties. The 70–80% of
women who can be expected to have a non-problematic
姿、跪姿、躺姿、水中生產等，支持與減痛方式
birth are taken care of by midwives, who have all
則有產球、骨盆按摩、針灸、芳療、瑜珈、冥想
under gone modern medical training and obtained
等，形成多樣化的生產風貌。
professional accreditation. They play an assistive role,
然而，當我們來到台灣產科的生產現場，在 facilitating birthing methods that combine conventional
過去，台灣也以助產士接生為主，但由於西方醫 and alternative medicine, including birthing in a variety
學日益普及；加上1983年政府頒布一道行政命 of positions (crouching, kneeling, reclining) or water

71
令，規定助產人員在醫院必須要在醫師的指導之
下才能擔任接生工作，打破助產師與醫師的分
工模式；1991∼1999年間助產學科系更一度被廢
止，造成助產教育中斷⋯⋯種種因素，讓台灣目
前的生產方式，主要由婦產科醫師主導，且在普
遍認定「有病治病」與追求效率的思維下，建制
起一套高度醫療化的標準作業流程，包含：產婦
必須以平躺的姿勢生產、肚子綁上胎心音監視
器、人工破羊水、施打催生藥物或減痛分娩、剃
毛、灌腸、會陰切開、真空吸引、禁食禁水⋯⋯
等，若是還是生不出來，便得剖腹，即是所謂的
「suffering twice」（痛兩次）。
生產，是一個團隊的事
不論對醫界或產家來說，陳鈺萍都是一個很不
一樣的婦產科醫師。她從高雄醫學大學醫學系畢
業，曾擔任馬偕醫院婦產科的住院醫師，又因為
孩子的緣故，當了8年的全職媽媽，從一個醫生
到地方媽媽的身分轉變，在那段時間，她也到陽
明大學科技與社會研究所攻讀碩士，開啟了從人
72 台灣光華 Taiwan Panorama 2018/02
好孕工作室結合了一批以推廣溫柔生產為志業的夥伴。
陳鈺萍（左） 幸福地說：「都是他們自己來找我的！」
Moni’s Classroom offers the expertise of a diverse group of
professionals. “They all came to me of their own accord!”
Chen Yu-ping (left) says with gratitude.
文角度思考醫療的契機，也種下了日後推廣溫柔
生產的種子。
「好孕工作室」是陳鈺萍在2016年6月成立的
個人工作室，在這個隱身住宅區的寧謐空間，聚
集了婦產科醫師、護理師、助產師、中醫師、芳
療師⋯⋯等一線臨床工作者，大家從各自的專業
出發，提供針對產家開辦的諮詢與課程，內容領
域涵蓋中、西醫，從產前諮詢到產後調理，包含
身體調理、哺乳、穴道按摩、陪產知識等。
高嘉黛即是其中一名成員。在台灣目前超過
5萬名有照助產師（士）中，她與妹妹高嘉霙，
是那極少數、僅十來位裡，還在真正從事接生工
作的其中幾名。高嘉黛的溫柔生產之路，是從
個人經驗開始的，8年前懷第一胎的她，在當時
還只是助產所研究生的妹妹的建議下，決定在家
birthing. To assist the mother and help reduce pain,
they also employ a variety of supportive techniques,
including the use of birthing balls, pelvic massage, acu-
puncture, aromatherapy, yoga, and meditation.
In the past Taiwan’s maternity wards largely relied
on midwives to deliver babies. But later Western med-
ical practices became more common, and in 1983 the
government issued regulations requiring midwives to
deliver babies only under a doctor’s supervision. This
ended the previous division of labor between midwives
and doctors. Furthermore, from 1991 to 1999 all midwife
training courses were discontinued and the training of
midwives stopped. These and other factors resulted in
Taiwan’s current methods of birthing, directed by ob-
stetricians in a hospital atmosphere focused on treating
disease and pursuing efficiency. The system relies on
highly medicalized and standardized procedures, such
as giving birth in a reclining position, attaching a fetal
heart monitor to the mother ’s abdomen, artificially
breaking the amniotic membrane, injecting drugs to
induce labor or for pain relief, shaving the pubic area,
enemas, episiotomy, vacuum-assisted delivery, fasting,
and so on. If birth is delayed despite these techniques,
then doctors readily resort to a Caesarean section, caus-
ing the woman to suffer twice in the birthing process.
Birthing as a team effort
Doctors and families agree that Chen Yu-ping is an
obstetrician with a unique outlook. A graduate of Kao-
hsiung Medical University, she was formerly a resident
obstetrician at Mackay Memorial Hospital. When she
had her own children she traded her medical profession
for a full-time job as a mom for eight years. During that
time she earned a master’s degree from the Institute of
Science, Technology, and Society at National Yang-Ming
University, and began to reassess medicine from a more
humanistic point of view, planting the seeds for her fu-
ture advocacy of gentle birthing.
Chen opened Moni’s Classroom in June 2016.
選擇溫柔生產，也意味著自我負責，因此，多數產婦會
額外去上課，為生產作好萬全的準備。（好孕工作室提供）
Choosing the gentle birthing method puts the onus on mothers,
so they usually seek out prenatal classes to ensure they
are fully prepared. (courtesy of Moni’s Classroom)
73
生產，「一開始只是因為信任妹妹， 受傷的感覺。但是第二胎，生完的當下，身上
體驗過又覺得這個方式很好，可以在 完全沒有傷口，早上8點生完，下午2點就回家
自己的空間做一件私密的事。」高嘉 了，連自然產3天的健保給付都不用，」俞冠
黛回憶著，「但真正開始認同溫柔生 鳳津津有味地回想著，「當下真的覺得滿神奇
產，是在自己也到助產所進修、畢業 的！完全會很想再生！」「會想再生」，也許
後，開始到婦產科工作，才第一天上 是大部分產婦難以想像的狀態。
班，就被裡面的情況嚇到。」對產 因為溫柔生產，讓媽媽寶寶、甚至全家人
婦、助產師極度不友善的醫院體制， 的情感都因此變得更好，是大多數媽媽都有的
堅定了她走向溫柔生產的心志。 心得。廖沛晨是華德福學校的英語老師，因為
然而，若想邁向溫柔生產，高嘉黛 不希望生產時老公只是在產房外滑手機的局外
說：「光是醫生想推動，但負責待產 人，加上傾向不施打藥物與高度的自主性，讓
過程的護理人員不願意，過程中產婦 她選擇了溫柔生產。她說：「要溫柔生產，就
還是得到一般的照護模式，那樣就只 需要一個神隊友，因為這是一個家裡的事情
做到半套；若是助產師想推動，但醫 啊！」畢竟，一個新成員的誕生，也是一家子
生不願意，那就更不用說了，醫院裡 的事，到底要選擇什麼樣的生產方式？對媽媽
可能根本不會有助產師的存在。」畢 與寶寶造成的影響？該準備的功課有哪些？除
竟，就像陳鈺萍說的：「醫療，是一
個團隊的事。」
助產師推壓骨盆，幫助產婦減緩疼痛，
產家的真情告白 也能讓寶寶順利下降出生。（俞冠鳳提供）
A midwife performs a pelvic massage to reduce pain during
陳鈺萍說明，大部分醫師的養成 contractions and facilitate a smooth delivery. (courtesy of Fish Yu)

過程裡，往往以「有病」為前提，積
極介入「患者」，「轉向溫柔生產的
一個轉折，對我來說，就是要學習把
自己的手揹到背後去。」破除框架以
後，她嘗試從其他角度出發，因此看
到截然不同的風景。「當我們看到國
外的多樣性，我們卻這麼貧乏；只能
選擇，要不要催生？要不要打無痛分
娩？生不下來就開刀，就這樣而已。
所以，這2年來的努力，就是希望可以
把多元性帶進來。」
俞冠鳳的第二胎是陳鈺萍接生的，
她前後遭遇過一般生產以及溫柔生產
兩種方式。6年前，她以自然產、不打
減痛藥物的方式生下了女兒，也一併
歷經了大部分產婦會有的「剪會陰」
手術；第二胎，在家人的支持下，她
選擇溫柔生產。「如果只生一胎，
也算自然產，我已經自己覺得很不錯
了，但畢竟被剪一刀，心理上還是有

74 台灣光華 Taiwan Panorama 2018/02

Located in a nondescript residential area, the Most mothers using gentle birthing discover
tranquil space hosts frontline birthing special- that it creates a closer bond between the mother
ists such as obstetricians, nurses, midwives, and and child and even the rest of the family. “Gentle
practitioners of Chinese medicine and aroma- birthing requires the support of others because
therapy, who offer their expertise to expectant it is a matter for all the family,” says Grace Liao,
mothers through consultations and courses. Of- who chose this method of birthing.
fering both Chinese and Western medical tech- After all, the birth of a new family member
niques, the specialists cover pre- and postnatal concerns the whole family. What kind of birth-
care, including lifestyle and nutritional changes, ing method should be chosen? What effects will
breastfeeding, accupressure, and information for it have on the mother and child? What prepara-
partners and family members. tions should be made beforehand? Of course the
Midwife Kao Chia-tai is one of the prac-
titioners. “If the doctors want to introduce 俞冠鳳提供 courtesy of Fish Yu
gentle birthing practices, but the nursing staff
are against it, then mothers will still get just
standard nursing care, so you are only half way
there,” she says. “If the midwives want to do it
but the doctors are unwilling, then obviously
there’s nothing doing. And many hospitals have
no midwives at all.” After all, as Chen Yu-ping
says, “Medical care is a team effort.”
True confessions of a midwife
Chen explains that most doctors’ training
leads them to regard the people who come under
their care as “patients” whose “illness” requires
their active intervention. “For me,” she says, “an
important turning point in moving toward gen-
tle birthing was learning to sit on my hands.”
Fish Yu’s second child was delivered by Chen
Yu-ping. Yu has experienced both conventional
and gentle birthing methods. Six years ago she
gave birth to a daughter vaginally without an
epidural, but like most mothers in Taiwan she
was given an episiotomy. When she was preg-
nant with her second child she chose the gentle
birthing method with the support of family
members. “I was very proud to have my first
child, but the surgical procedure left me feeling
wounded emotionally,” Yu says. “When I gave
birth to my second child, I had no wounds to
recover from. I gave birth at 8 a.m. and by 2 p.m.
I was on my way home. National Health Insur-
ance covers three days for a vaginal delivery,
but I didn’t even need it.”
“I was amazed, and immediately wanted to
have another child,” Yu recalls excitedly.

75
了產婦必須積極主動參與、了解，家人也不該置
身事外。
另一名媽媽梁瀚心理所當然地說：「老公應該
算陪產的基本咖啦！」她陳述自己的生產經驗，
為了減緩宮縮的疼痛，產程中，先生必須每間隔
10分鐘就為她做一次30分鐘的骨盆按摩，「他說，
我生完連他都瘦了。」她表示：「我很慶幸自己
選擇了這個方式生產，經驗很美好，家人的連結
度很高。這個過程，也像是在為父親的角色作鋪
路，不是產婦單獨推進產房，爸爸只是最後抱
到孩子，才意識到自己是爸爸。」廖沛晨也說：
「我是在水中生產的，當時老公在我的背後環抱
我，寶寶臍帶還沒剪，就趴到我的身上作親膚接
觸，那種回憶很特別。」讓女兒全程陪產，並親
自為兒子剪臍帶的俞冠鳳更說：「因為女兒是一
起迎接寶寶，老大、老二競爭吃醋的情況就少很
多。現在，他們的感情很親密。」
吳孟蒨和余卓祺是一對港台聯姻的父母。從
吳孟蒨回台灣待產時，余卓祺便透過視訊學習
相關知識，到了足足兩天兩夜的生產時刻，因
為產程太久，陪產師甚至建議夫婦不妨到外頭
餐廳吃飯補充體力，再回來繼續生，這樣的經
余卓祺（左）說，香港罕見溫柔生產，
歷讓兩人嘖嘖稱奇。並且，「女兒是包著羊膜 但經由充分的產前教育，也共享了一段難忘的經驗。
Aki Yu (left) says that gentle birthing is rare in Hong Kong, but
囊出生的，如果是一般生產的話，很多會為了 thorough prenatal preparation allowed his family to have an
加速產程，以人工破羊水，聽說，這在愛爾蘭 unforgettable experience.

是幸運的象徵哦！」也由於過程中沒有藥物影
響，生出來的孩子不僅清醒，狀態也很穩定，
母體也恢復得快，可以順利以母嬰同室的方式
哺乳、照顧嬰兒。吳孟蒨另外說，自己母親的
生產過程並不愉快，看到女兒能以這種方式生
產，覺得非常驚訝，「也無形中拉近了我跟媽
媽的感情。」
陳鈺萍喜歡以登高山來形容生產過程：「就像
要攻頂玉山，妳可以選擇坐車上去、別人揹著妳上
去，但自己爬上去，那個感覺一定不一樣。」這些
深刻且獨一無二的生命記憶，加強了家人的情感連
結，也陪伴著一家子迎向下一段生命歷程。
關照細節，順勢而為
作為少數推動溫柔生產的婦產科醫師，陳鈺萍
說，不少同業告誡她，這麼做，醫療糾紛可能會
因此增加。然而，就像梁瀚心說的：「溫柔生產
既不是像一般的生產方式，醫生說什麼你就做什
麼，也不是你想怎樣就怎樣；而是產家與醫生達
到一個很好的溝通。」陳鈺萍指出，大多數的醫
院，在講求效率的前提下，醫護人員與產家的聯
繫往往很薄弱，產家也會憂慮醫師不曉得會對我
好不好，互築高牆之下，讓許多醫生寧願採取防
衛性的醫療模式。但是溫柔生產，產前至少會有
10次健保給付的產檢與1次的生產計畫書討論，
還有各種課程，甚至生產當下，產家與醫師就像
一個團隊。同時，所有的選擇也會明確告知需承
擔的風險，並簽署以示負責，如此下來，醫療糾
紛反倒下降了。
回到醫生的角色來看，陳鈺萍說：「生產其實
是瞬息萬變的，醫生應該是很細膩地觀照到很

76 台灣光華 Taiwan Panorama 2018/02

mother must take a keen interest in the preparations, but
so too should the family members who will support her.
“Of course at the very least the husband should be
there for birth,” says another mother, Candy Liang. She
describes how during her labor her husband had to give
her 30-minute pelvic massages with ten-minute intervals
between them, to reduce the pain of her contractions. “He
said that even he lost weight during the birth!”
“I was really happy that I chose that birthing method.
It was a beautiful experience and made our family
closer,” Liang says. “Being involved in the delivery also
helps the husband prepare for his future role as a father,
so that it’s not the mother going through labor alone
and the father realizing he’s a father only after the birth
is over and he’s given the child to hold.”
Rita Wu’s husband, Aki Yu, hails from Hong Kong,
where the couple live. He had to stay behind when she
came back to Taiwan during her pregnancy, and so had
to rely on online materials to prepare for the delivery,
before coming to Taiwan to be present at the birth. “My
daughter was born in the amniotic sac. Most doctors
would break the sac to facilitate the birth,” says Wu. “I’ve
even heard that in Ireland being born in the caul is an
auspicious sign!”
Because there is little use of medications in this birth-
ing method, the child emerges alert and healthy and
the mother recovers quickly. Thus mother and child can
share a recovery room, where the mother can breastfeed
and look after her newborn.
Chen Yu-ping likes to compare giving birth to scaling a
mountain. “It’s like reaching the top of Yushan,” she says.
“You could choose to be carried up by others, but if you
climb it yourself the feeling will be entirely different.”
These unique, profound moments in life bring a family
closer together and prepare them to welcome the future.
Devil in the details
“Giving birth is a complicated affair with a million
potential complications,” Chen says. “Doctors should
pay close attention to the mother’s condition. But hos-
pitals are often short on staff and other resources to give
adequate care to each mother, so they tend to simplify
the procedures.”
77
多細節，但因為一般醫院沒有人力、資源去個別 會自然引發催產素，同時帶動腦內啡的生成，所
照顧產婦，才讓這些事情都被簡化了。」以「壓 以，人體自己會有止痛效果。只要身體的運作
肚子」為例，常聞醫院裡的護士為了加速產程， 機制有配合到，產婦不但不會覺得痛苦，反而像
跳到產婦身上壓肚子，這種讓產婦聞之變色的 在跑極地馬拉松一樣，準備迎接最後很爽的時
行為，若由陳鈺萍來執行，則是順著宮縮，從 刻！」溫柔生產，是女性賦權，讓女性重展身體
寶寶屁股施力，幫助推出產道。某次她為產婦推 的榮耀。
肚子，當先生事後詢問產婦：「醫生剛剛這樣推
地方媽媽站起來
妳，不會痛嗎？」產婦卻回答：「醫生剛剛不是
只輕輕摸我一下而已嗎？」可見兩者的差異。又 前年到丹麥3間醫院參訪的陳鈺萍，看見丹麥
好比會陰切開，這種醫師慣常以「避免會陰亂 擁有超過400年歷史的助產師學會，婦產科助產
裂」為由而作的手續，倘若耐心等候，讓產婦的 師與醫師的配比高達2：1，溫柔生產的概念更早
陰道口變薄、變滑，胎兒自然產出，也不至於有 已普及於醫界與民間，讓她心中不無羨慕。
太嚴重的撕裂傷，更遑論作會陰切開的必要。 除了好孕工作室具體而微地作為溫柔生產的
不僅如此，陳鈺萍說：「在宮縮的過程中， 示範基地，另也有咖啡館業者徐書慧在臉書成立
「最溫柔的相遇—溫柔生產（友善生產）」社群
平台、導演陳育青與蘇鈺婷拍攝《祝我好孕》、
記者諶淑婷撰寫《迎向溫柔生產之路》，這些來
梁瀚心的姊姊將她的生產過程拍成短片，
自學界、醫界或者其他領域的媽媽們，各憑一己
吸引近70萬的瀏覽人次，讓不少人對溫柔生產產生好奇。
Candy Liang’s sister made a short film about Candy’s 之力，從下而上作倡議，只盼有天台灣能成為產
l
pregnancy. It has been viewed nearly 70,000 times online,
introducing the wonder of gentle birthing. 家引以為豪的豐美地。

78 台灣光華 Taiwan Panorama 2018/02

一段美好的生產經驗，
讓父母、親子、醫護人員都像一家人。
A smooth delivery makes parents, relatives and
medical professionals feel like a big family.
The practice of pressing on the mother’s belly during
delivery is a good example. We often hear stories of
nurses climbing onto a mother’s body during delivery
and applying pressure to the mother’s abdomen to as-
sist delivery, but it can cause great discomfort for the
mother. Chen’s method, however, applies pressure only
with the contractions, pressing on the baby’s bottom,
which can help the child move through the birth canal.
Once she performed the procedure and after birth
the husband asked his wife, “Didn’t it hurt when the
doctor pressed on your belly?” “I thought the doctor
just gently rubbed me for a moment,” the wife replied.
This shows the difference between the two approaches.
Similarly, doctors often raise the possibility of peri-
neal tearing as a justification to perform an episiotomy,
but if one waits patiently for the vagina to dilate and
become lubricated, the baby will emerge naturally. Any
tearing is likely to be slight and there will be no need
for an episiotomy.
“Moreover, during contractions the body will natu-
rally release the hormone oxytocin and endorphins—
painkilling substances naturally produced by the body,”
Chen says. “As long as the body is allowed to rely on
its own internal workings, the mother not only will not
suffer, but she will feel like a marathon runner nearing
the glorious end of a race!”
Gentle birthing is a form of empowerment that allows
women to display the natural wonder of their bodies.
Local moms stand up
While Moni’s Classroom provides a physical space for
demonstrating the gentle birthing method, others have
taken up the subject in different ways. Joyce Hsu, a cof-
fee shop owner, hosts a Facebook group, “The Gentlest
Encounter—Gentle Birth,” while filmmakers Mimi Chen
and Angel Su made a documentary, Happy Birthday (2016),
and journalist Chen Shu-ting wrote a book, Welcoming
Gentle Birth. Coming from the worlds of academia, med-
icine, and other fields, these mothers rely on the power
of their own stories to create a grassroots approach to the
subject, hoping only that one day Taiwan can become a
place to be proud of for its handling of childbirth. l
(Lynn Su/photos by Lin Min-hsuan/
tr. by Robert Green)
79
島嶼行旅　AROUND TAIWAN

80 台灣光華 Taiwan Panorama 2018/02

Open Your Ears and Listen Anew
—Redesigning the Metro Soundscape

文•鄧慧純　圖•莊坤儒　版面設計•王敬勛

不知您是否「聽覺」台北捷運閘門警示音，從呆
板、機械的嗶嗶聲換成了悅耳的鋼琴單音；當列車駛進
路線轉接點時，輕快的鋼琴音階迴盪在車廂間，提醒旅
客轉乘；藍、綠、紅、橘四線列車進站時，月台有專屬
的音樂旋律，陪伴市民一日的開始與結束；陸續推出的
捷運站體音樂，也希望成為市民的台北記憶。
從一個音符改變開始，這是「台北聲音地景計畫」的
一小步，卻是整個城市文化升級、邁向精緻的一大步。

自2007年開始，在台灣大學開設「音樂社會學」的李
明璁，第一堂導論總會跟學生談起由生態聲景學之父R.
Murray Schafer提出的「聲音地景」概念，用意在讓學生
學會聆聽，從而成為改變世界聲景的契機。

H ave you “heard”? The warning sound at the entry gates

to the Tai pei Mass Rapid Transit system has been
changed to a pleasing piano note. When a Metro train ar-
rives at an interchange station, a quick, light piano scale re-
verberates through the cars, reminding passengers to change
trains. When trains on the Blue, Green, Red, and Orange
lines come into a station, a melody specific to each line is
played on the platform, accompanying city residents at the
start and the end of their workdays. The ambient music that
is now being introduced at Metro stations will also, it is
hoped, become part of people’s shared memories of Taipei.
Starting from the change of a single note, this is one small
step in the Taipei Soundscape Program, but a giant leap in
upgrading and refining our urban culture.

81
 2014年，嗡嗡嗡的柯文哲以白色力量入 台北捷運系統裡尚有進步空間的音效設計就
主台北市政府，身為柯市府市政顧問的李明 是一個改變的開始，「這是一件非常小的事，
璁，向文化局提起，大眾可以一起來投入一 但我們把這些小事以更具文化的方式照顧到極
個微小但值得深入的議題──關於台北捷運 致時，我們便會重新去思索關於個體跟環境
的聲景設計。 的關係，可以如何更細緻地關照細節，照顧差
異。」李明璁說。
打破聽而不聞的理所當然
因此台北市文化局與捷運局合作，從刷卡匣
美國社會學家C. Wright Mills提出「社會學 門的音效聲開始，把原本刺耳的機械音效改成
的想像」，「就是每個人將其個人處境關連到 鋼琴的音色，從一個單音開始，邁出了改變的
社會公共議題的過程跟努力。」將之套入台北 一小步。
捷運的聲音設計，李明璁希望大眾反思，在我
從細節，小題大作
們共享的公共空間裡，是否有一般人習以為
常、習焉不察的理所當然，例如台北捷運的警 但僅一個單音，也搞得人仰馬翻。原初設計
示音；當大家以為高分貝的音效是對視障者的 是希望進站的鋼琴和弦有不同的音高，當乘客
提醒，殊不知對聲音敏感度高於常人的視障 進站刷卡時，能隨機譜成旋律；但捷運硬體設
者，高分貝音效反而是他們更不能忍受的。將 備容許的音效檔案大小有限，故僅能以單音呈
視障者的個人處境連結到公共環境的設計，就 現；而且音頻的調整，不能太高、過低，為了
是一種「社會學的想像」。藉此反思，也讓我 調教出「舒服」、「悅耳」的聲音，就讓團隊
們檢視眾人所處的公共空間是否不夠友善、不 嘗試了無數次。
夠細膩，忽略了弱勢族群的需求與感受。 接續「台北聲音地景計畫」二部曲是為台北

李明璁要藉由捷運音景再設計，讓大眾
打開耳朵，重新聽見。（林旻萱攝）
Lee Mingtsung wants to use the redesign of the
Metro soundscape to get the public to open their
ears and listen anew. (photo by Lin Min-hsuan)

82 台灣光華 Taiwan Panorama 2018/02

 Lee Mingtsung, who began teaching the sociology
of music at National Taiwan University in 2007, always
starts the first class by telling the students about the
concept of the “soundscape” proposed by R. Murray
Schafer, the father of acoustic ecology. If we learn to lis-
ten attentively, we may have the opportunity to change
the soundscape of the world.
In 2014, when Ko Wen-je became mayor of Tai pei
City, Lee, who is also a policy advisor to the Ko admin-
istration, raised with the city Department of Cultural
Affairs a subject that, though small, was worth explor-
ing in depth, and that the public could get involved in:
the soundscape design of the Taipei Metro system.
Taking sounds for granted
The American sociologist C. Wright Mills proposed
the idea of the “sociological imagination,” which is the
process and effort by which each person connects their
personal situation with public issues. Applying this
concept to the Taipei Metro soundscape, Lee Mingtsung
hopes that the public can reflect on whether or not
there are things we take for granted in our shared pub-
lic spaces, such as the warning sound for the Metro’s
train boarding gates. When everyone assumes that
high-decibel sounds serve as a reminder to the visually
impaired, they ignore the fact that for visually impaired
people, who are more sensitive to sound than most
of us, high-decibel sounds are even more intolerable.
When we connect the personal situations of visually
張君慈為松山機場站創作的站體音樂饒富未來感，
環繞著想要飛翔的氛圍。
The music created by Chang Chun-tzu for the Songshan
Airport Metro station is richly futuristic, and envelops
people in an atmosphere that makes one want to soar.
impaired people with the design of the public environ-
ment, this is an example of “sociological imagination.”
“This is a very small matter, but when we attend to
these small details and differences to the fullest extent
and in a culturally coherent way, then we are sure to
rethink the relations between the individual and the en-
vironment,” says Lee.
Therefore the Department of Cultural Affairs and
the Taipei Rapid Transit Corporation changed the harsh
mechanical beeping of the card readers at the entry
gates to the Metro system to a piano tone, thereby tak-
ing a small step in the direction of change.
Starting from the details
But even changing just a single sound required a lot
of work. The design team tried out countless adjust-
ments to the frequency of the sound—it couldn’t be too
high or too low—in order to find a note that sounded
“pleasant” and “comfortable.”
The second movement of the Tai pei Soundscape
Program was to design music that would play each
time a train came into a station on one of the four high-
capacity lines—the Tamsui–Xinyi Line (the Red Line),
83
高敏倫以為環境音
樂類似香氛，沒有
形體，卻可以默默
地改變心情。
Emma Kao thinks
of ambient music
as similar to
incense or perfume:
it is intangible but
can quietly change
people’s moods.

捷運淡水信義（紅線）、板南（藍線）、松山新 間的空間）音樂設計也接續登場。把音樂帶進捷
店（綠線）、中和新蘆（橘線）四條高運量路線 運站體，雖然實踐了音樂參與公共空間的理論，
設計各自專屬的進站音樂。 但它面臨的考驗就更多了；每個捷運站的空間都
紅線的創作者雷光夏以「小旅行」為概念，用 不一樣，懸殊的通勤人潮和播音設備皆是挑戰。
鋼琴、吉他、鋼片琴等創作旋律，帶民眾從古老 聲音是看不見的東西，將之調整成說不出的舒
的淡水穿梭到現代感的台北101；周岳澄則看上 服、剛剛好的悅耳、有品質的聲響，過程中對成
松山新店線的藝術、學術氣質，主旋律改編自蕭 果的吹毛求疵更是細節裡的魔鬼。為此執行單位
邦的《夜曲》，再灌注幾CC的爵士滋味，調製成 一試再試，微調上百次音量、速度、編曲、使用
一曲舒緩綺麗的樂章。 的樂器、音頻等細節，不僅諮詢通曉音樂、聲響
李欣芸以少見的五拍、重複的旋律和鋼琴聲， 專業者的看法，還納入使用者的意見，這些都是
讓最繁忙的板南線在她的音樂中，收束起煩躁的 看不見的努力，也不是一次到位，是一個緩慢累
心情。陳建騏則觀察中和新蘆線多是通勤族，決 積的「溝通」過程。
定以「舒緩壓力的幽默、輕盈旋律」為音樂定
公眾參與，尋求最大公約數
調，以電子音色創造流動的機械感，讓魔幻的曲
風陪伴市民上下班的路程。 溝通的過程中，當然不可缺少公眾的參與。
第三部曲則是車廂內轉乘、終點站的音樂設 市政府除了舉辦工作坊，邀請市民實地參與田
計，由周岳澄創作的「風起」，以十六分音符組 野調查，探訪城市的聲音。站體音樂第二波更廣
成的鋼琴旋律，除了提示乘客轉乘及終站的資 向大眾徵件，徵選的官方網站也別出心裁，設計
訊，也讓初訪台北的旅客有耳目一新的感覺。 DIY小遊戲，民眾只要選取不同的旋律、節奏、
執行難度最高的捷運站體（指票口匣門到出口 聲音，就能隨性組合出你想像中的音樂。

84 台灣光華 Taiwan Panorama 2018/02

the Bannan Line (Blue), the Songshan–Xindian Line
(Green), and the Zhonghe–Xinlu Line (Orange)—with
each line having its own specific music.
Red Line music creator Summer Lei used piano,
guitar, and celesta to produce a melody that would
take passengers from historic Old Tamsui to the ultra-
modern Tai pei 101. Ken Chou, meanwhile, took note
of the artistic and academic temperament of the Green
Line, adapting the main melody from a Chopin noc-
turne and injecting a little jazz flavoring to produce a
soothing and enchanting passage.
Cincin Lee used the uncommon 5/4 time with a
repeated piano melody to ease the agitated mood of
people riding the Ban nan Line, the Metro’s busiest,
which runs from Dingpu to Nan gang. George Chen,
meanwhile, observing that the Zhonghe–Xinlu Line was
mostly used by commuters, decided to adopt “a light
and humorous melody that would relieve stress.” He
used electronic tones to create a flowing mechanical feel
and a magical musical style to accompany citizens as
they go to work and return home.
The third movement in the Taipei Soundscape Proj-
ect was melodies for use inside Metro cars to indicate
interchange and terminus stations. The piano melodies
created by Ken Chou, composed of sixteenth notes, not
only remind people that they can change trains or have
reached the final stop, but also give travelers visiting
Taipei for the first time a refreshing feeling.
Next up came the most difficult task: the design of
ambient music for the stations themselves. Each sta-
tion has a different space, very disparate numbers of
passengers, and differences in public address equip- 你記憶中的龍山寺是由怎麼樣的聲響組成的呢？
What kinds of sounds make up the Longshan
ment; these are all challenges. Sound is invisible, and Temple of your memories?
the task of making it just right—a quality sound that
pleases the ear in an indefinably comfortable way—is
full of devilish detail. To this end those involved in the station ambient music the city government also
project experimented with more than 100 combinations solicited submissions from the public.
of volume, tempo, arrangement, instrumentation, and They responded with 447 creative works that
frequency, fine-tuning each aspect. These were all invis- came in from 12 countries and territories, offering
ible efforts, and the goal was not reached at once, but music for the Dongmen, Longshan Temple, Song-
required a slow, cumulative process accompanied by shan Airport, Xiangshan and Taipei Arena stations.
constant communication. “Roaming Traveler,” which Chang Chun-tzu
Finding the greatest common factor created for Songshan Airport Station, uses two ex-
In the process of communication, of course public tremely simple sonic lines, coming and going like
participation is indispensable. ocean waves, to symbolize a dialogue between
Besides holding workshops, for the second wave of expectations of a coming trip and memories of the

85
 站體音樂的徵件比賽受到熱烈迴響，共有來自
12個國家地區，447件作品，為東門站、龍山寺
站、松山機場站、象山站、小巨蛋站譜曲創作。
創作松山機場站音樂的張君慈，剛從成功大學
工業設計系畢業，從小學鋼琴的她，平日喜歡以
田野錄音記錄生活。她創作的「漫遊旅人」，以
極簡的兩條聲線如海浪般一來一往，代表旅程的
期待和過往記憶的對話，讓旅人彷彿被細霧環繞
著，帶著一種想要飛翔的氛圍出發。
高敏倫參與過國內諸多電影配樂，也是許多
音樂創作比賽的常勝軍。她覺得環境音樂像是
香水或香氛的概念，沒有形體，卻可以默默地
改變心情。她為象山站創作的樂音，就使用吉
他、曼陀林等撥弦樂器，營造清脆的聲響。重
複的音階，再加上堆疊跟減少的技法，讓站體
充滿音樂芬多精。
在舊金山攻讀電影配樂的張詠橋，一改廟宇給
人的莊重和寧靜感，以擅長的國樂嗩吶和鑼鼓，
再刷上電貝斯的聲響，呈現廟埕的熱鬧與人山人
海。大禾音樂總監林尚德，同時也是捷運站體音
86 台灣光華 Taiwan Panorama 2018/02
樂徵選計畫的主持人與評審委員，認為這件作品
氣質高雅，不全然都是東方的特質，樂器使用得
很巧妙，很有世界性。
創作小巨蛋站的音樂人馬一先，想呈現這區塊
繁忙、朝氣的城市精神。選擇的素材是自己從站
體內收錄的音效，如人聲、腳步聲、開關門、拍
手等聲響，以節奏為主，拼貼的方式，組出的短
曲，是五件優選作品中較不同的類型，也可讓通
勤者快速捕捉當地特色。
東門站是音樂人文尹宸和許啟隆共同創作，
以「熱鬧的市集」及「親切的人情味」為主軸，
發想「戲遊東門」的情境。以國樂傳統的五聲
音階為素材，文尹宸擅長的二胡在作品中戲鬧
著，再輔以許啟隆豐富的配樂經驗，融合了西
方交響樂，讓聲音更為飽滿。復古音樂與現代
音色的交融，也象徵著台北都會新舊不斷交替
的生氣。
除了自民間徵選作品外，聆聽各方使用者的意
見，找到最大公約數，這才是公共參與的真義。
以中和新蘆線進站音樂為例，當初音樂上線時，
馬一先以「城市精神」
為小巨蛋站下註腳。
Ma Yixian adopted the theme
of “urban spirit” in the music for
the Taipei Arena Metro station.
past. It gives travelers the feeling of being enveloped in a
fine mist, creating an atmosphere that makes one long to
soar aloft.
Emma Kao has taken part in a lot of soundtrack
work for domestic films. She feels that ambient music is
like perfume or incense: it is intangible, but can quietly
change people’s mood. The music she created for Xiang-
shan Station employs plucked stringed instruments like
guitar and mandolin. With repeated scales, plus layering
and reducing techniques, she fills the station with relax-
ing and refreshing music.
Chang Yung-chiao, who studied film score composition
in San Francisco, used traditional Chinese musical instru-
ments at which she is expert (including suona, gongs, cym-
bals and drums), and added the sound of an electric bass,
to express the busy, crowded feel of a temple for Longshan
Temple Station. Harvest Music Production head Mike Lin,
who organized the selection project for Metro station am-
bient music and was also on the judging panel, argues that
this piece is very elegant, that the instruments were used
ingeniously, and that the piece shows a global outlook.
Musician Ma Yixian, who composed the music for the
Taipei Arena Station, wanted to express the area’s busy,
dynamic “urban spirit.” The materials he chose were
sounds he recorded himself inside the station, such as hu-
man voices, footsteps, doors opening and closing, trains
entering and leaving the station, and hands clapping.
He made the rhythm the center and assembled other ele-
ments around it like a collage. It ended up being the most
unusual of the five top selections, and it allows commut-
ers to rapidly grasp the special local character.
Dongmen Station’s music was created jointly by mu-
sicians Yin Chen and Zero Hsu. Working with the themes
of “bustling market” and “warm human sentiment,”
they took the five-tone scale of Chinese traditional music
as their source material. Yin’s expert erhu playfully circu-
lates throughout the work, while Hsu, relying on his rich
experience in film scores, added in Western orchestral
music. The intermingling of old-fashioned and modern
music symbolizes the energy of the constant interplay of
old and new in metropolitan Taipei.
Besides soliciting works from the public and selecting
their submissions, the real meaning of public partici-
pation was in listening to the opinions of users from all
walks of life and finding the greatest common factor. For
example, when the music for trains entering stations on
the Zhonghe–Xinlu Line first came onstream, many citi-
zens called Taipei’s 1999 hotline to protest, and netizens
complained on social media that the music was weird,
unsettling, or strange, or put them in a bad mood. But
Lee Mingtsung says this is a good thing. He is happy to
hear different voices and see critical opinions appear, be-
cause this means that “people are starting to pay atten-
tion, because everyone is finally hearing, finally opening
up their ears, and that’s what I really want.”
東門站亦傳統亦現代的氛圍，
在二胡與交響樂交織下，更顯生氣活力。
Dongmen Station offers an ambience that is
both traditional and modern. The interplay of erhu
and orchestra lends it even greater vitality.
87
許多民眾撥打1999專線抗議，詭異、
不舒服、奇怪、聽了心情不好、又不
是天天在過萬聖節、有壓力等等的負
評都出現在網上。計畫團隊除了請設
計者微幅調整外，也都做好更換音樂
的心理準備。但「這是件好事」，李
明璁說，他喜見有七嘴八舌、批評的
意見出現，這代表「大家開始留意，
大家終於聽見，終於打開耳朵了，這
才是我要做的事。」

打開耳朵，重新「聽見」

大費周章地將台北捷運的音景「再
設計」，希望讓大眾把耳朵打開，重
新「聽見」。但我們疑惑，聆聽不是
先要安靜嗎？為什麼用加法，在環境
中再製造聲音？「我的思考是先透過
一定程度的加法，讓減法的需求可以
浮現出來。」李明璁解釋。因為用舉
牌、標語式的宣導減少噪音成效不
彰，倒不如讓大眾重新打開耳朵，重
新聆聽環境的聲響。
也因此，李明璁一再強調，環境
音樂的重點是環境，讓音樂融入環境
中，而非為環境做配樂。環境音樂要不
打擾環境，但又具辨識的特性，環境
音樂能使空間中眾多的聲響被收束下
來，讓吵雜的空間趨於平靜，人的情緒
也因之轉變。它與環境的關係是「入乎
其內，出乎其外。」白話點講就是要讓
人「聽見又聽不見」；但這又考驗著市
林旻萱攝 photo by Lin Min-hsuan
府官方對有感施政的認知。
相較於視覺，聲音的改變更幽微
且不易覺察，而環境音樂旨在融入環 「那裏」是「哪裡」呢？
境，而非被突顯，也因此林尚德坦 是設計者從使用者角度，細膩地設想每一個眉眉角角的差
言：「這個計畫走得很前面。」在以 異，窮究出的一種說不出的舒服、剛剛好愉悅的美學。是對
看得見為宗旨的績效管考下，市政府 細節究極，使文化升級，更趨精緻化的未來。
大可把經費撥給看得到成效的計畫， R. Murray Schafer曾說：「我們的耳朵沒有塞子，註定會
比較容易得到掌聲，「但是如果現 一直聽著，但這並不表示，我們有一雙開放的耳朵。」
在不做，我們就更沒有機會到『那 打開耳朵，學會聆聽，讓感官甦醒，從一個單音開始，相
裏』。」林尚德說。 信我們可以一起讓台北的聲景有所改變！ l

88 台灣光華 Taiwan Panorama 2018/02


Mike Lin hopes that the public will learn to listen for sounds of quality.
Open your ears and “hear” anew
The hope behind going to so much trouble to “rede-
sign” the Taipei Metro soundscape was to get the public
to open their ears and “hear” anew. But we wonder:
Doesn’t hearing first require quiet? Why did they opt
to add even more sounds to the environment? “My
thought,” explains Lee Mingtsung, “was to first add a
certain amount, which would enable the need for sub-
traction to appear.”
For this reason, Lee repeatedly emphasizes that the
main point of ambient music is the environment—to en-
able the music to blend into the environment, and not to
produce a soundtrack for the environment. Ambient mu-
sic should not interfere with the environment, but none-
theless should be distinctive. Its relationship with the
environment is “inside the object and outside the object.”
To put it more plainly, it is supposed to be “heard without
being heard.” But this is a challenging concept for city of-
ficials under pressure to produce tangible achievements.
Compared to the visual cityscape, changes in the
soundscape are more subtle and less easily noticeable.
Moreover, the point of ambient music is to mix in with
the environment, not to stand out, and Mike Lin says,
林尚德希望社會大眾學習聆聽有品質的聲音。
“This program is really avant-garde.” Given that offi-
cial evaluations of policy accomplishments emphasize
that which can be seen, the city government could have
more easily won plaudits by applying the funding to a
program that would generate visible results. “But,” says
Lin, “if we don’t do it now, we will have no chance to
get ‘there.’”
But where is “there”?
It is an aesthetic of indefinable comfort, of being
pleasing to the ear in a way that hits the Goldilocks
spot, that creators—looking at things from the user’s
perspective—arrive at by meticulously considering
every conceivable tiny difference. It is a future in which
extreme attention is paid to detail, in which culture is
upgraded, in which the trend is toward refinement.
R. Murray Schafer said that our ears have no lids,
so we are bound continually to listen, but that does not
mean we have a pair of open ears.
Open your ears and learn to listen, wake up your
senses. Starting from a single sound, together we can
change the soundscape of Taipei! l
(Cathy Teng/photos by Chuang Kung-ju/
tr. by Phil Newell)
89
藝文脈絡　CULTURAL TRENDS

現代感的
王 南 雄 的 色 彩 山 水
Ink-Wash with a Modern Feel:
The Colored Landscape
Paintings of Wang Lan Hsiung 文•鄧慧純　圖•林格立　版面設計•王敬勛

I
在繪畫路上的追尋，王南雄的畫 n his quest during his painting career, the brush of Wang Lan
筆未曾停過。從傳統出走，徘徊在抽 Hsiung has never rested. Emerging from tradition, he hesi-
象、超現實間，又再折返回水墨畫， tated between abstract art and hyperrealism, then turned back
只是此時，他看到的景致已有不同。 once again to ink-wash painting, except that now the views
he saw were different. Wang has used color to produce modern
畫布上融入了畫家心中的風景，王南
ink-wash paintings in his own style, and has become the only
雄以色彩走出屬於自己的現代水墨
artist in Taiwan to win the following four major arts prizes:
畫，也成為目前台灣唯一榮獲中興文
the Chung Hsing Literary Award, the Chinese Writers and Art-
藝獎、中國文藝協會國畫文藝獎、中 ists Association’s Literary Award for Painting, the Literary
山文藝國畫創作獎，以及國家文藝獎 and Artistic Creation Award presented by the Sun Yat Sen Aca-
四大獎項肯定的藝術家。 demic and Cultural Foundation, and the National Arts Award.

90 台灣光華 Taiwan Panorama 2018/02

 《高山流水天然景》
（王南雄提供）
Scene from Nature: Water
Flowing Through High Mountains.
(courtesy of Wang Lan Hsiung)

91
 和畫畫的淵源，王南雄說該從小學時算起，
從父親手中接過祖母用過的硯台，王南雄開始磨
墨畫畫，「但那時候還算是塗鴉啦！」他說。找
不到畫畫的參考資料，他從賣布的三嬸婆那兒，
臨摹布匹標籤上關公、觀音像；學校的美術課，
同學交出去的作業也幾乎都是由他代筆。從那時
起，王南雄執畫筆的手就沒歇過。
不懈的練習，不停的畫筆
初中畢業，沒考上公立學校的王南雄暫到法
院當臨時工友，他買到一本坊間出版的故宮名畫
92 台灣光華 Taiwan Panorama 2018/02
集，時常利用空閒時間臨摹書中的畫作。王南雄
當時尚未受過正規的水墨畫訓練，拿了道林紙練
習，機關裡的長官告訴他畫國畫要用宣紙，他
方知有宣紙這東西。當時工友一個月的薪俸120
元，假日加班費20元，而一張宣紙就要20元。王
南雄就拿加班費，一個月買一張宣紙，趁著假日
值班，把法院推事的桌子併成一個大平台，一次
畫一大張，一個人揮灑，現在回想起來，那時候
畫畫真的很享受，他說。
考上鳳山高中，遇見楊襄雲，指導他水墨的基
本技法，從那時起王南雄屢屢得獎，也讓他立定
 《莫內湖景》（王南雄提供）
Lake Scene, After Monet.
(courtesy of Wang Lan Hsiung)
Asked about his relationship with
painting, Wang Lan Hsiung says it goes
back to when he was in elementary
school, when his father gave him his
grandmother’s inkstone, and he began
to grind ink and paint rudimentary
images. Unable to find any reference
materials about painting, he started by
doing copies of the images of the deities
Guan Gong and Guanyin on the labels
of cloth sold at his grandaunt’s store. In
art class at school, the work turned in
by his classmates was virtually all done
for them by Wang.
Untiring practice
After graduating from junior high
school, Wang, who was unable to test
into a public high school, took a tem-
porary job as a janitor in a lawcourt. He
often used his free time to copy images
from books. At that time Wang had yet
to receive any formal training in ink-
wash painting, and he used printmak-
ing paper to practice on. One of the
court officials told him he needed to
use Xuan calligraphy paper for Chinese
painting, and only then did he learn
that Xuan paper even existed. At that
time a janitor ’s monthly salary was
NT$120, with holiday overtime pay of NT$20, while one sheet of Xuan
paper cost NT$20. Wang bought one sheet of Xuan paper each month,
and, taking advantage of working duty shifts on days when the court was
closed, he would push together the tables used by the judges into one big
platform, and paint one large sheet each time. Thinking back on those
days, Wang says it was really a pleasure to paint back then.
After testing into National Feng-Shan Senior High School, he met Yang
Hsiang-yun, who instructed him in the basic techniques of ink-wash
painting. From that time forward Wang won one prize after another, and
he was able to define his future direction, deciding to take the test for en-
try into the Department of Fine Arts at National Taiwan Normal Univer-
sity. But Wang had never even heard of sketching, which was a required
part of the test, so he searched for help in all directions, even insinuating
himself into the art classroom at a girls’
school to learn on the sly. Luckily, he
finally found two elder classmates at
NTNU to point him in the right direc-
tion, and after cramming for three days
he was ultimately able to test into the
department as he had hoped.
After graduating from NTNU,
Wang began teaching at Taibei High
School in Taipei, while he maintained
a painting studio off-campus. In addi-
tion, the parents of one of his students,
who ran an art gallery, invited him
to consign his works for sale. At that
time, when ink-wash painting was
very popular in the Japanese market,
Wang got up at four every morning
and took up his brush to paint. After
arriving at school he would use the
early self-study time and free periods
to continue to paint, producing at
least four works per day, so that after
12 years, he had created nearly 10,000
pieces of art. Creating these types
of paintings for export was in fact a
common experience for many artists
at that time, but most of them are un-
willing to talk about it. But Wang says
straight out that the works he pro-
duced in those years helped him out of
an economic pinch, and moreover that
the expectations that a painter has of
him or herself lie in training oneself, in
each work, in new compositions and
in practicing brushwork, which are
steps each artist must struggle through
to arrive at his or her own style.
Producing a style with color
It is no easy feat for a painter to
create their own personal style. When
Wang tested into the Department of
Fine Arts at NTNU in 1963, with guid-
ance from well-known teachers such
as Huang Chun-pi, Lin Yu-shan, and
Chang Te-wen, he had to study both
Chinese and Western painting, and the
93
志向，決定報考師大藝術系（今美術系），要以
繪畫為終身職志；但藝術系必考的術科「素描」
是他從沒聽過的名詞，為此王南雄四處尋求協
助，還曾混進女校的美術教室偷學。最後幸運地
找到兩位師大藝術系學長指點，惡補了3天的素
描，才如願考上師大藝術系，得以繼續在校園內
愜意的畫畫。
畢業後王南雄在泰北中學任教，也在校外自
營畫室，教導有意報考美術專科的學生。此外，
學生家長經營的畫廊，也邀請他寄賣畫作。當時
水墨畫很受日本市場喜愛，王南雄那時每天凌晨
四點起床，喝一杯咖啡後，就提筆作畫，到學校
後，也利用早自習、課間空檔繼續畫畫，一天最
少畫4張，足足12年之久，畫了近萬張的作品。創
作這類外銷畫其實是當年許多畫家共同經歷、不
願說起的過去，但王南雄直言不諱，他說當時的
作品大大地解決了他經濟上的困頓，而且畫家對
自己的期許，在每一張畫上訓練不同的構圖，練
習筆法，也是畫家走出自己風格前扎下的馬步。
94 台灣光華 Taiwan Panorama 2018/02
滿室的骨董收藏，讓半農廬的空間添一分典雅靜謐。
The antiques filling this room give the “Half-Farming Hut” an
air of refinement and tranquility.
用構圖、色彩走出風格
畫家要開創個人風格不是一件容易的事。1963年
王南雄考進師大藝術系，當初系上沒有分科，在
黃君璧、林玉山、張德文等多位名師的指導下，
中、西畫都要學，學校更鼓勵學生寫生與創作。
時值西方現代藝術風起雲湧，而台灣受歐美
思潮之衝擊，文化界熱烈地討論著傳統與現代、
東方與西方該如何融合、如何體用、如何自處。
王南雄當時傾向以現代繪畫的方式來表述自我理
念，他曾與同學蘇新田、吳炫三、李長俊等人共
組「畫外畫會」，標榜視覺震撼，「我們每一次
畫展，都找一個主題，用不同的形式去呈現概
念。」水墨、油畫、噴畫、版畫等都曾是王南雄
實驗的方式。「我正嘗試和徘徊於中西方畫家的

school encouraged students to do sketching from life as
well as creative works.
Wang at that time was inclined to use modern paint-
ing methods to express his own ideas. Wang, along
with classmates Su Hsin-tien, Wu A-sun, Tosi Lee, and
others, together formed the “Hua-Wai Painting Associa-
tion,” which extolled visual shocks. Wang experimented
with ink-wash, oil painting, spray painting, and prints.
“I was hesitating at a crossroads between being a Chi-
nese- or a Western-style painter, and didn’t know where
to go, but I faced up to it unflinchingly.” This is not
only the painter’s self-description, but is a struggle and
a process that everyone who wants to honestly express
themselves in art must go through.
In 1980, Wang left the teaching profession and fortu-
itously ended up at the side of Huang Chun-pi. Wang
says, “My return from modern painting to relatively
traditional ink-wash painting began when I was with
Huang Chun-pi.” He discovered that the two had differ-
ent angles on appreciating paintings, and often what he
would consider good, Huang would just shake his head
王南雄手捧北宋汝窯的天青燻爐，收藏美的
事物亦是他的嗜好。
Wang Lan Hsiung holds a sky-blue incense burner
from the Ru Kiln of the Northern Song Dynasty.
Collecting beautiful objects is one of his passions.
at. This caused him to reflect on the question: What is
the difference between us? So he began copying works
from books published by the National Palace Museum,
beginning with the very basics. Thus he relearned,
painting by painting, how to do traditional landscapes,
and so confirmed his path as a modern ink-wash artist.
Wang took the principles of Western painting-from-
nature, sketching, and perspective that he had absorbed
in his time at university and applied them to traditional
ink-wash painting. He took nature as his teacher, sing-
ing her praises with brush and ink. Wang also applied
colors to traditional landscape painting, with the fluctu-
ations of the seasons—the new greenery of spring, the
deep blue of summer, the red maples of autumn, and
the white snow of winter—becoming the color schemes
of his paintings. He traveled the world, integrating
beautiful scenery from many lands into his brushwork.
Not only the red-tiled houses of Taiwan but also the
dazzling cherry blossoms of Osaka, the magnificence of
European castles, the vitality of a Moroccan fish market,
and the dignity of India’s Ganges River all have made
guest appearances on his Xuan paper. But he always
likes to mix a little black ink into his poster colors to re-
duce their brightness and ensure they are not too gaudy.
He is insistent that you have to keep the charm of brush
and ink in ink-wash paintings.
All along his path, Wang says, he has kept firmly in
his mind the search for beauty. “Beauty” is the yardstick
東漢的鎏金鑲嵌獸形
銅硯盒和龍形舌削刀。
An inkstone box in the
form of a mythical beast
and a paring knife with
a dragon motif, both of
gilded copper with inlays,
from the Eastern Han
Dynasty (25–220 CE).
95
十字路口，不知何去何從，但我勇敢面對。」這
不僅是畫家的自述，想必也是每個想藉由藝術表
達自我的藝術家所必經的掙扎與過程。
1980年，王南雄離開教職，因緣際會下他回
到恩師黃君璧的身邊，每天接送黃君璧，師生
兩人一起看畫展、飲茶、談生活、聊藝術，幾
乎每天碰面。王南雄說：「我從現代繪畫走回
比較傳統的水墨畫，起點是在黃君璧那邊感覺
出來的。」長時間的相處，王南雄發現兩人的
賞畫角度不同，常常他認為好的，黃君璧卻是
搖頭。讓他反省其間差異何在？於是他再翻出
故宮的畫冊臨摹，從最基礎開始，一張一張重
新畫回傳統山水。當他再把新創作的作品拿給
黃君璧看時，黃君璧一看就說，這是市場上沒
有的風格，馬上鼓吹他辦畫展，也讓王南雄確
認自己的現代水墨路線。
傳統的水墨畫寫意居多，畫的是畫家心中的
山水；而王南雄把大學時期接受的西方寫生、素
描、透視等繪畫原理，轉用到傳統水墨畫裡。
他寫生，以大自然為師，以墨筆歌詠自然，黃君
96 台灣光華 Taiwan Panorama 2018/02
璧曾說：「王南雄的畫，十分生動，看他的雲
在動，風在動，水在動，這已達到作畫的要領，
由靜而動，得來十分不易。」王南雄更用顏料為
傳統山水添色，四季的變幻，春之新綠，夏的湛
藍，秋的紅楓，冬之瑞雪，都成了畫布上的色
調。他走訪世界，收納各國美景到他的筆下，除
了台灣傳統的紅瓦屋與鄉間田野景致，大阪城櫻
花的絢爛、歐洲古堡的壯美、摩洛哥漁市的朝
氣、印度恆河的莊嚴，都成了宣紙上的座上賓。
但他總喜歡在廣告顏料裡調一點黑墨，降低明
度，使色彩不俗豔，水墨畫還是要留有筆墨的韻
味，這是他的堅持。
要讓市場接受顏色豐富的水墨畫需要時間。許
多人看不慣王南雄的創新構圖，但他不死心的一
次次地將作品送去參加各大文藝獎，讓評審從一
開始排斥到肯定，也讓他的風格為市場所接受。
一路走來，王南雄說他心中秉持的是對美的追
尋。「美」是畫家心中的尺，王南雄說自己是唯
美主義者，當年在學校提到美，大家都說美就沒
個性了。「美當然有個性。」王南雄辯駁，而且
籌備中的美術館將展示他一生對美的收集。
The Wang Lan Hsiung Museum, currently in
preparation, will display some of the beautiful
artworks that Wang has collected over a lifetime.
 自在坐姿的水月觀音。
A “Water-Moon Guanyin” seated in a relaxed posture.
in the minds of painters, and Wang describes himself
as an aesthete. “Beauty of course has personality,” says
Wang, and moreover the expression of beauty definitely
requires skill and effort. It is not something you just
come up with in a moment of inspiration, but is pro-
duced by following your heart on a sturdy foundation
of basic skills.
Collecting things of beauty
Collecting antiques is a hobby of Wang’s. When
we enter his “Half-Farming Cottage” (besides paint-
ing, Wang spends half his time on farming, so he calls
himself “Master of the Half-Farming Cottage”), there
are sculptures from the Five Dynasties and Ten King-
doms period (10th century CE) displayed in his living
room, works which he has collected over the course of
more than 20 years. The facial features of one bust of
Prince Ananda unearthed from the tomb of Gao Huan
of the Eastern Wei Dynasty reveal farsighted wisdom
and compassion. And there is a wooden statue of a
“Water-Moon Guan yin,” sitting in a relaxed manner
with her right knee drawn up and her left foot hanging
down, whose grace and elegance make the space even
more tranquil and harmonious. Next Wang pulls out his
collection of incense burners, bowls, and potshards from
the Ru Kiln of the Northern Song Dynasty (960–1127).
Such pieces, with their glossy sky-blue Ru glaze and
elegant charm, are rarely seen on the market. These art-
works have a beauty that has passed the test of time.
Naturally there is a learning curve when investing
in antiques, but this is no bad thing, says Wang. At one
point, someone wanted to sell him an “Eighteen Arhats
Scroll” by Wu Bin of the Ming Dynasty (1368–1644),
but his friends all maintained that it was not authentic.
Wang had some concerns, but still bought the work
for NT$770,000. Later, he re-sold it through the auction
market for about NT$12 million. To his surprise, several
years later this work was sold for the record-breaking
price of RMB169.12 million (about NT$800 million). As
he tells this story, Wang shows us a scroll made from
photos of the work that he hired a photographer to take
back then. His words reveal something of his pride and
joy in his ability to distinguish the genuine from the fake.
97
美的表現，一定是下足功夫，不是靈機一現的取
巧，而是奠基在紮實基本功下的隨心所欲。

典藏「美」的事物

王南雄另一個嗜好是收藏古物，他對骨董的興
趣不在其歷史價值，而在其美感。走進他的「半
農廬」（除了畫畫，有一半時間在務農，故王南
雄自稱「半農廬主」），客廳裡陳列數尊五代十
國時期的雕刻，是他二十多年來的收藏，一尊東
魏高歡墓出土的阿難頭像，眉目間透著睿智與慈
悲；唐朝的天衣石坐佛，造型端正莊嚴，讓人望
而生畏。而坐立在窗邊、右膝曲起、左足下垂呈
自在坐姿的水月觀音木雕，其雍容典雅，讓空間
更生靜謐和諧。王南雄接著掏出各式龜、龍造型
的硯台，石刻的技術與精美程度讓人嘆為觀止；
更有北宋汝窯出品的香爐、碗、碎片的收藏，天
青的釉色和蘊潤高雅的丰韻，更是市面上難得一
見，這些藝術作品皆熬過時間的淬煉，是經得起
考驗的美麗。
投資骨董這一行，當然也繳過學費，但這全
然不是壞事，王南雄說。當年有人想轉售明朝吳
彬的《十八應真圖》，應真在印度語中是羅漢
之意，畫中有18羅漢，還有乾隆皇帝的題款、題
跋，但朋友都認定非真跡。王南雄心有疑慮但還
是以新台幣77萬元買下。其後，他轉手在拍賣市 優游於書畫，自在於山水，王南雄一生尋「美」而已。
Free and comfortable with calligraphy, at ease with
場以約新台幣1,200萬元賣出。沒想到幾年後，這 landscapes, Wang Lan Hsiung has devoted his life to the
search for “beauty.”
幅作品又以創新高價1億6,912萬人民幣成交（約
新台幣8億元）。他一邊展示當年請攝影師翻拍
留底作紀念的卷軸，一邊說著這個曾經擁有的故
事，言談間流露他識得真品的一絲驕傲與喜悅。 心是籌備「王南雄美術館」，他把住家對面的房
而要鑑別這些古物、名畫，收藏者於各門派知 子買下重新裝潢整修，展示多年來以色彩水墨詠
識多少需要涉獵，這又從王南雄的居家布置可見 贊自然的作品和收藏的諸多絕美古物。
端倪。前庭水池裡的橘白花紋的錦鯉養得極好； 回首來時路，王南雄為自己寫下「從吶喊到
院子裡一株百年的梅樹，歪斜的軀幹也自展風 細流」的字句，不是說明他的畫風，而是畫家一
骨；一盆盆姿態各異的松柏盆栽，是他早年的愛 路走來的體悟。藝術是開放給普羅大眾的，美感
好，他還養過蘭花，每一項都從興趣到究極，已 是直覺的，他不再獨舞式地、吶喊式地歌詠大自
臻專家之境。而這一切，該歸結畫家對於生命的 然，他希望自己的作品能近距離與觀賞者交流，
歌詠與對美的熱情吧！ 讓人長長久久回味這無窮無盡的美感。畫家更希
已過從心所欲不踰矩之年，王南雄還是生活自 望自身領悟的美善，能化成涓涓細流，讓更多人
律，他展示著一早起床習字兼記事的書法，每日 分享、體會，讓藝術成為生活中的養分，滋潤賞
晨走兼背誦詩詞是長年來的日常。而近日生活重 畫者的人生。 l

98 台灣光華 Taiwan Panorama 2018/02

 In order to authenticate these antiques and paintings,
collectors need to gather information from more or less
every field of knowledge, and you can get an indica-
tion of this from many of the items that grace Wang’s
home. The orange-and-white-patterned koi carp in the
pond in his front yard are in excellent health, the vari-
ously shaped bonsai pine and cypress are the fruits of a
long-standing hobby, and in the past he has cultivated
orchids too. In each case he has progressed from mere
interest to expert proficiency. And all of this can be at-
tributed to the painter’s reverence for life and his pas-
sion for beauty.
Now in his seventies, Wang still has a regular and
disciplined lifestyle. He shows us the calligraphy that he
does upon arising each morning to practice characters
and record events, and for many years now his daily
routine has included early morning walks when he also
recites verse from memory. Recently, the preparations for
opening the “Wang Lan Hsiung Museum” have been at
the center of his life. He bought the house across from his
and has renovated and redecorated it, and there he will
display color ink-wash works from over many years that
sing the praises of nature, as well as a good number of
the extraordinarily beautiful antiques he has collected.
Looking back over the path he has travelled, Wang
uses the motto “From shouting to slender streams” to
express the understanding he has gained over the course
of his life. Art is open to the masses and aesthetics are
intuitive, but he no longer pays tribute to nature in the
manner of someone dancing to his own tune or shouting
from the rooftops. He hopes that his works can inter-
act with the viewer at close quarters, and leave lasting
memories of beauty; and he hopes that even more peo-
ple can enjoy and appreciate them, so that art brings
sustenance into our daily existence, providing an essen-
tial ingredient to viewers’ lives. l
(Cathy Teng/photos by Jimmy Lin/
tr. by Phil Newell)
99
多元族群　COMMUNITIES

用愛播種，望見喜悅
融入在地文化的跳板
SEAMi: 望見書間
Bookstore as Cultural Springboard

文•李珊瑋　圖•莊坤儒　版面設計•王敬勛

位於桃園的「望見書間」，是一個東南亞新住民，輕
鬆轉換文化和心情的跳板。在友善的異國情調氛圍中，
培育無數安身立命的種子。隨著時光的推移，原鄉逐步
淡化為遙遠的記憶，在地的安定和幸福，望見生活中璀
璨的陽光。

微弱　但是恆久堅毅

一粒種子，只要放對了地方，自然會順著骨架扶搖
直上，迎來開枝散葉的光芒。望見書間，一個座落在桃
園後火車站的微小空間。近三年來，望見書間創辦人、
桃園市東南亞藝文教育創新暨研究協會創會理事長林周
熙，憑藉著一股傻勁，和一群志同道合的伙伴，為東南
亞新住民默默耕耘。「我的想法很單純，只是希望提供
一個輕鬆的空間，就像傳統的廟口，讓來這裡的人，自
在的交流。」
走出桃園火車站後站地下道，彷彿穿越了時光隧道，
印入眼簾的，是一整排外來文的招牌，一瞬間，立即置 望見書間的工作夥伴，熱情打造
東南亞新住民的藝文關懷堡壘。
身東南亞生活圈。「望見書間」就低調地隱身在印尼小
The workers at SEAMi bookstore are
吃店的二樓。週四的下午，工作伙伴們圍繞著桌子開 building a caring cultural stronghold for
Southeast-Asian migrants.
會。林周熙認真的敲打著計算機，仔細盤算著課程和活

100 台灣光華 Taiwan Panorama 2018/02

T aoyuan’s SEAMi bookstore offers Southeast-Asian
migrants a relaxed venue in which to share their
feelings and their cultures. The shop’s friendly, multi-
cultural atmosphere has nurtured many a seed over the
years. With the passage of time, memories of the “old
country” fade, enabling migrants to appreciate the sta-
bility and happiness they enjoy in Taiwan.
A constant determination
Lin Zhouxi is the founder of the “SouthEastAsian
Migrant inspired” (SEAMi) bookshop. Lin is also di-
rector of the Southeast Asian Cultural Renewal and
Research Association of Taoyuan, and has spent the last
three years working with a group of like-minded indi-
viduals to enrich the lives of Southeast-Asian migrants
in Taiwan. “My idea was very simple: I wanted to pro-
vide migrants with a laid-back, informal space where
they could share their cultures and experiences, a space
like a traditional temple plaza.”
Coming out of the underpass behind Taoyuan Sta-
tion can feel a bit like emerging from a tunnel through
space and time—the shop signs in foreign languages
that line the streets instantly teleport you into a South-
east-Asian community. SEAMi has a low-key second-
101
動經費。「雖然此刻為了捉襟見肘的經費，大家
愁容滿面，但是只要活動一開場，大家又拋開煩
惱，熱誠的投入，每個人都充滿幹勁。」林周熙
露出憨厚的笑容說。
補白　圓一個關懷的夢
「桃園是一個很有趣的城市舞台，一天二十四
小時間，永遠有不同的族群面貌，不停頓的輪番
上陣。」退伍後曾在桃園做7-11牛奶配送員的林
周熙，走遍大街小巷，每每在工作時，觀察社會
的各個層面。
桃園工廠林立，是外籍移工的大本營之一，再
加上婚姻關係，粗估有13萬外籍人口。「每一個
在地的族群，都有歸屬和依靠，唯獨外籍族群，
當時是一片荒漠，只有零星的關懷，和瞬間熄滅
的火光。」林周熙回憶起三年前的光景。「我其
實更希望能夠搭起一座讓在地人和移民間，彼此
了解的橋樑。」一個從無到有的補白計畫，就這
樣逐夢踏實。「我想要把火點起來，希望這個社
會能夠有所改變。」
林周熙大學讀的是國際關係，研究所則專注在
東南亞文化，「國立暨南大學的李美賢和王宏仁
102 台灣光華 Taiwan Panorama 2018/02
教授，是我走上社會關懷的重要推手。」林周熙
非常感謝恩師的培育和帶領，讓一個沒有財力資
源的年輕人，可以勇敢的踏出圓夢的腳步。
望見書間，只有一整排簡易的書架，但是卻
承載著外籍移民無盡的故事。在這個侷促的空間
裡，每天上演著不同的戲碼。「我們不走傳統的
制式教育」，林周熙希望這是一個吸引人主動學
習的磁場。
擁有豐富教學經驗的Michael Ty老師是菲國華
僑，目前在「望見」培育種子教師。大學畢業後，
來台工作二十多年間，從事仲介翻譯和輔導工作，
對國際移工的心理狀態，有著深切的了解。
書間　演繹滄桑的載體
「到台灣來工作的菲國人，通常都介於20到35
歲間。不管有沒有結婚，離開家人，到一個陌生
的國度獨自生活，總是容易落寞。」人是感情的
Michael Ty老師是菲國華僑，定期為
望見書間的種子教師上課。
Chinese-Filipino educator Michael Ty
trains seed teachers at SEAMi.
story presence here, sitting inconspicuously atop an
Indonesian restaurant. On this Thursday afternoon, the
shop’s staff are holding a meeting, with Lin pecking at
a calculator to work out the cost of upcoming classes
and events. “We might be looking a little downcast at
how strapped for cash we are, but once these events get
underway, we’ll throw ourselves into them and our wor-
ries will fade,” says Lin, flashing a smile.
Realizing a dream
Lin worked for a time delivering milk to 7-Elevens
after completing his military service. The job took him
all over Taoyuan and introduced him to people from all
walks of life.
The city is practically forested with factories, and con-
sequently something of a hub for migrant workers. In fact,
when you include those married to Taiwanese, the area is
home to some 130,000 migrants. “Every local ethnicity has
its own affiliated groups and support mechanisms. But for
migrant ethnic groups, it was a desert with only a smatter-
ing of short-lived oases of support,” says Lin, recalling the
lay of the land three years ago. “I really wanted to build
a bridge between locals and migrants.” For the last three
years, he has been slowly turning this dream into reality.
The bookstore has only a single row of plain book-
shelves, but it contains countless migrant stories and puts
on different programs every day. “We try to educate in
an informal way,” says Lin, who hopes that the approach
will encourage people to learn proactively.
Michael Ty, a Chinese-Filipino educator with copious
teaching experience, is currently training seed teachers at
SEAMi. Ty came to Taiwan more than 20 years ago after
graduating from university, and has worked here as a
labor-broker translator and counselor. That experience
has given him a deep familiarity with the mindset of mi-
grant workers.
A vehicle for change
He observes that human beings are feeling animals
who can develop psychological issues if they don’t have
an outlet for the loneliness they feel when away from their
homes. “One migrant worker I encountered never spoke,

在「嬉友不稀有」的活動中，用貼紙
拼貼出各具特色，卻同樣快樂的臉。
For one of SEAMi’s “friendship” events,
the shop was decorated with an array of
different looking but equally joyful faces.

103
動物，離鄉背井的孤單，如果沒有抒發的管道，
難免會發生情緒問題。「當時有一位移工，總是
默默不語。等到晚上大家休息時，他就在走道上
來回踱步。」異常的舉動，讓雇主和同室的移工
十分擔憂，害怕他會傷害自己或他人，於是雇主
提前遣返他回國。
「遣返回去的下場是很悲慘的。」因為一來
無法償還仲介費，再來立即沒有收入，經濟更加
困頓。而且紀錄不良，找工作更難。所以自殺或
是躲藏在陰暗角落，不敢面對家人的情況，比比
皆是。「很高興現在有這種友善的園地，可以
讓移工有交友和學習成長的機會，減少憾事的發
生。」Michael Ty欣慰的說。藉由寶貴的經驗分
享，讓望見書間的種子教師們，擴展視野。未來
面對類似的問題時，知道如何去輔導和協助。
守份　成就跨國好姻緣
「第一次不愉快的工作經驗，讓我發誓，再也
不要來台灣。但是迫於家計，我流著淚，再度來
台。」來自越南的范美幸老師，談起十多年前的
往事，那份心酸，仍舊歷歷在目。
「2001年農曆年前一個禮拜，我到台灣來做
看護，當年還不滿20歲，體重只有40公斤。但是
104 台灣光華 Taiwan Panorama 2018/02
望見書間經常舉辦各種活動，讓第二代的新住民，
對自我有完整健全的認知。（望見書間提供）
SEAMi regularly organizes a variety of events aimed at helping
second-generation immigrants develop a positive understanding
of themselves. (courtesy of SEAMi)
每天清晨要幫忙雇主的自助餐廳備料，餐後要洗
碗打掃，還要照料70公斤中風的阿嬤。」日復一
日，起早睡晚，真是身心俱疲，再加上氣候不適
應，沒等到期滿，就回去越南。
原本以為可以留在越南工作，但是一場大火，
全家人頓時陷入絕境。再次搭上來台的班機，她
只能以淚洗面。但是姻緣線，卻讓她命運翻轉，
對台灣完全改觀。
「雖然我會說國語和台語，但是這次雇主是
客家人，我又從頭學起。」一種被生活擠壓出的
力量，讓她很快地就能用客語溝通，獲得雇主的
喜愛。半年後，雇主大方的借她10萬元給家中購
地，讓范美幸感受到信賴和關懷的喜悅。接著雇
主又為她介紹男友，但是守份的她，始終不願意
離開阿嬤去約會。純樸善良孝順的本質，感動了
雇主。於是兩年後，范美幸成為雇主的孫媳婦。
原本的傷心地，化身為幸福天堂。
育有二女一子的范美幸，始終對語文有很大
and would pace the halls after everyone else had gone to
bed for the night.” His employer and migrant roommates
worried about his behavior. His employer ended up send-
ing him back to his home country early because he was
concerned that the man might harm himself or others.
“What happened after he went home was tragic.” His
sudden loss of income and inability to repay the labor
broker’s fees put him in a financial bind, and his poor
record made it hard for him to find work. People in these
circumstances often commit suicide or become too embar-
rassed to face their families. “I’m so happy we now have
a friendly, inviting place that provides migrants with the
chance to make friends, learn and grow. It reduces the fre-
quency of these kinds of tragedies,” says Ty. His valuable
experience provides SEAMi’s seed teachers with models
for offering guidance and help should they someday en-
counter similarly difficult situations.
A successful marriage
“I came to Taiwan the week before the 2001 Lunar
New Year to be a caregiver. I wasn’t yet 20 years old
and weighed just 40 kilograms,” recalls Pham My Hanh
from Vietnam. “But I had to help prepare meals at my
employer’s cafeteria early every morning nonetheless.
Once the customers finished eating, I had to wash the
dishes, clean up the cafeteria, and then take care of his
mother, a stroke victim who weighed 70 kilos.” Pham
rose early and went to bed late day after day in a cli-
mate she wasn’t used to, until she was mentally and
physically exhausted. She ended up returning to Viet-
nam before her contract was complete.
She thought she would be able to live and work in
Vietnam, but when a major fire plunged her whole fam-
ily into dire economic straits, she made a tearful return
to Taiwan.
“While I could already speak Mandarin and Taiwan-
ese, my employer this time was Hakka and I had to start
a language from scratch again.” A strength forged of ne-
cessity enabled her to quickly pick up enough Hakka to
get by and win the affection of her employer, to whom
she provided care. Six months later, she was thrilled to
feel trusted and cared for when her employer generously
loaned her NT$100,000 so her family could buy a piece
望見書間創辦人林周熙，期望為東南亞
新住民打造一間開放式的友善人文空間。
SEAMi founder Lin Zhouxi’s goal is to create a warm and
welcoming cultural space for Southeast-Asian migrants.
望見烹飪教室，由新住民傳授東南亞各種道地美食。
Migrants share a variety of authentic Southeast-Asian
dishes in SEAMi’s cooking classroom.
105
 正在中原大學修習應用華語文
學博士學位的梅氏清泉，編製
越南語發音及會話教材。
Currently pursuing a PhD in
Chinese literature at Chung Yuan
Christian University, Mai Thi Thanh
Tuyen has also developed her own
materials for teaching Vietnamese
pronunciation and conversation.

的興趣。剛巧教育部開辦「新住民母語教學訓 語言是溝通的橋樑，也是接納彼此的催化
練」，她完成訓練後，開始到國小代課。今年更 劑。「我的教學層面可以分為三類，除了培育
到望見書間，開設「快樂學越語」課程。 種子教師外，越語教學也是重點。」學習對象
范美幸揚起幸福的笑容說，「我先生有時候會 通常是政要或是老闆級，還有社會人士及大學
用越南話謝謝我，讓我好窩心。」婆婆也能用越 生。「文化分享也是我最喜歡的課程。」曾經
南話和親家相互問候，讓范美幸好感動。 受邀到中央大學、中原大學、健行科大等地演
講，傳播越南文化。
語言　成就跨國文化使者
目前在望見書間培育種子教師和教授越語的梅
「以前聽到人家說我是越南新娘，我的心就 氏清泉，不但自己研發出發音及初級會話教材，
好痛，但是現在我可以體諒了。」文化的差異， 更教導新住民姐妹們從事翻譯工作。她有系統的
讓我們在無意間，傷害了別人。「所以我要讓 比對越語和華語間的差異，掌握用詞的準確性，
更多人了解越南文化，化解因為差異而產生的誤 對姐妹們開拓工作機會，有很大的助益。
會。」范美幸充滿自信的說。這項目標，也正是
回眸　拋不下孩子的笑顏
望見書間的願景。
來台七年多，正在中原大學修習博士學位的 「原本規劃試做兩年，但是一旦投入，就完全
梅氏清泉，來自北越。靈慧的大眼，傳遞出遠大 失控的潦落去。」孩子的笑顏，讓林周熙不忍棄
的宏願。2009年9月9日，梅氏清泉第一次來台， 守。「我覺得這是一種使命，需要去補足這個缺
在中原大學應用華語文學系取得碩士學位。「做 口，尤其是讓第二代的新住民，有一個完整健全的
為越南和台灣文化交流的橋樑，是我的志願。」 認知。」唯有了解來時路，才有自信面對未來。
在新南向政策啟動後，預定明年將會在國小全面 「其實書間更像是文創產業，必須要向下扎
推動東南亞語文教學。所以新住民種子教師的培 根，用善和美，帶動週邊的產業。」林周熙追求
育，正在快馬加鞭的進行中，也成為梅氏清泉當 的，不是表象的光環，而是長久落實的經營，融
前重要的任務。 入生活，共同成長。 l

106 台灣光華 Taiwan Panorama 2018/02


of land. Though her employer went on to introduce her
to a potential boyfriend, Pham impressed her with her
kindness, honesty, and filial piety when she didn’t feel
comfortable leaving her unattended to go on a date. Two
years later she became her boss’s granddaughter-in-law,
appending a fairytale ending to her Taiwan story.
Now a mother of three, Pham has retained her interest
in languages. Fortunately, the Ministry of Education has
begun training migrants to teach their mother tongues.
After completing the training course, she began working
as a substitute elementary-school teacher, and this year
introduced her own Vietnamese class at SEAMi.
“My husband sometimes thanks me in Vietnamese,
which warms my heart,” says Pham with a sunny smile.
She has also been touched by her mother-in-law learn-
ing to greet family members in Vietnamese.
Cultural ambassadors
Originally from North Vietnam, Mai Thi
Thanh Tuyen has been in Taiwan for more
than seven years and is currently pursuing a
PhD at Chung Yuan Christian University, as
well as teaching Vietnamese. “My ambition is
to become a cultural bridge between Taiwan
and Vietnam,” she says. Taiwan’s New South-
bound Policy is set to give her an opportunity
to do so. Under the policy, elementary schools
are scheduled to introduce classes in South-
east-Asian languages next year.
Language is both a bridge for communi-
cation and a catalyst for acceptance. “It’s not
only important to cultivate seed teachers,
but also to teach the Vietnamese language,”
says Mai, whose language students include
government officials and business owners, as
well as ordinary people and college students.
At SEAMi, in addition to teaching Viet-
namese and training seed teachers for the
elementary-school language program, Mai
is giving classes in translation to her fellow
immigrants. By systematically contrasting
Vietnamese with Mandarin and training
her migrant students in correct usage, she
is helping them develop skills they can use
to find work. She has also developed teach-
ing materials for pronunciation and basic
conversation.
A childlike smile
“I originally planned to try this for a couple of years,
but once I started, it swallowed me up,” says a smiling
Lin Zhouxi. “I feel like it’s a kind of a mission, that
there’s a need I have to meet, especially so that children
of migrants can really grasp their heritage.” They need
to know where they came from if they’re to face the fu-
ture with confidence.
“SEAMi really is more like a creative and cultural
enterprise—it has to put down roots, and lead other
businesses through beauty and benevolence.” Lin isn’t
interested in superficial glory. He’s aiming to build a
real and sustainable business that becomes a part of
people’s lives and grows along with them. l
(Lee Shan Wei/photos by Chuang Kung-ju/
tr. by Scott Williams)
107
多元族群　COMMUNITIES

108 台灣光華 Taiwan Panorama 2018/02

 為新住民發聲─黎雲英
熱血助鄉親，牽成台越情誼

Le Van Anh:
Speaking Up for New Immigrants

文•楊齡媛　圖•林旻萱　版面設計•王敬勛

漫走在桃園市延平路與大林路口至建國路的
路上，望眼所及的商店看板，全是台灣人陌生的 S trolling along Taoyuan’s Yanping Road between
Da lin and Jian guo Roads, visitors are greeted
by billboards featuring languages unfamiliar to
泰文、印尼文與越南文所寫成。餐廳賣的是道地
most Taiwanese—Thai, Indonesian, and Vietnamese.
的東南亞口味，連手機店、服裝店、雜貨舖等都
Restaurants serve authentic dishes from Southeast
充滿濃厚的東南亞風味。這裡，彷彿脫離台灣風
Asia, and shops selling mobile phones, clothing, and
土，自成一個小小的東南亞聯合國。 sundries have a strong Southeast-Asian flavor. It feels
like a world apart, a microcosm of Southeast Asia.
遠離桃園火車站後站之延平路、建國路等熱
鬧的東南亞商圈，往大林路前段走去，馬路開始 On one four-story building on Dalin Road hangs a sign
寬敞，沿途多是大型工廠，為數不多的商店默默 for the Candy Wedding Salon. The humble building lacks
the elegant window displays and seductive blown-up
守在大樓騎樓下，為街景增添繁榮的顏色。眼前
wedding pictures of fancier wedding boutiques. The first
一棟四層的樓房架起斗大的「CANDY婚紗工作
three floors house a restaurant, and those in search of wed-
室」看板，除此之外，樸素的樓面外觀缺少坊間
ding dresses have to make the climb up to the fourth floor.
婚紗店精心布置的櫥窗，以及引人駐足的大幅婚 Le Van Anh, who hails from Vietnam, opened the wed-
紗照，一至三樓是餐廳，想要挑選結婚禮服，還 ding salon less than three years ago, and it has already
得爬上四樓。 found favor among many Vietnamese living in Taiwan.
這間婚紗店，是由越籍的黎雲英（L ệ V â n Le, who has lived in Taiwan for nearly two decades, has
Anh）一手創建，成立不到三年，促成了許多台 also become a reliable source of support for many Viet-
namese spouses during hard times.
越佳偶。在台灣居住十多年的她，更成為許多越
Finding fulfillment in helping the community
南新住民遭遇困難時，最能倚靠的好姊妹。
Born in Vietnam’s Nghe An Province, Le arrived in
幫助同鄉，找到成就感 Taoyuan in 1998 and worked as a quality control inspec-
tor at an electronics plant. There she first met her future
「婚紗店一開始開在二樓，一樓是服裝店，三 husband, an engineer, and the couple married a short
樓是攝影棚，四樓才有供餐。但是小吃店的生意 time later. After giving birth to her second child, she

109
太好了，來用餐的客人抱怨爬太多樓梯，才又整
個大改裝，把餐廳搬到樓下。」出生在越南義安
省（Nghệ An）的黎雲英，1998年來到桃園的電
子工廠擔任品檢員，並結識了同公司的工程師，
兩人隨後組成家庭。生下第二個孩子後，她覺得
不能老是讓孩子在越南母親家寄養，而且大兒
子也到了上學的年紀，於是就把孩子接回台灣。
「老闆對我很好，讓我把工作帶回家兼差做，也
說好隨時可以回去復職。」
哪想到幾年後，桃園工廠一間間地倒閉，公司
回不去了，也沒差可兼。黎雲英翻開報紙，看到
教會徵求服務移工的工作，薪水不多，但可以幫
助自己的同胞，讓她想去試試。「教會的工作是
幫忙照顧移民署安置的外勞，我常被警察局請去
當外勞的翻譯，看到很多同鄉不懂台灣法律而觸
法，或是受不了雇主壓榨而逃跑被抓，大家都是
滿腹辛酸，越做越有感觸。」這份工作她一做就
是5年，認識了很多好姊妹，也看到許多移工受
不公平的待遇，激起她想為同胞服務的熱情。
110 台灣光華 Taiwan Panorama 2018/02
黎雲英把家鄉的風景帶進餐廳裡，讓鄉親解鄉愁。
Le Van Anh decorated her restaurant with images of Vietnam to
remind diners of home.
這段期間，適逢「桃園縣越南婦女協進會」改
選理事長，她被推舉而繼任，進一步有機會受縣
政府（桃園2014年升格直轄市）婦女權益促進委
員會邀請為委員，進入縣議會為同胞發聲，認識
了幾位有心的議員協助她處理事情。越做越多，
越做越大的結果，佔用了很多私人時間，也自掏
腰包花了很多錢，而教會工作的薪水一個月25K，
實在不夠用，讓她興起了開店做生意的念頭。
「想來想去，做小吃生意比較快上手，而且也
可以讓姊妹有聚會的地方。」黎雲英把店先是開
在移工匯聚的內壢，後來搬到離家較近的延平路
上，很快地成為人氣餐廳，但卻也引來一堆麻煩
事。無處宣洩情緒的移工常來喝酒滋事、酒醉喧
嘩，使得警察常上門臨檢，讓她很難堪。「以前
decided to bring her elder son, who had reached school
age, back from Vietnam, where he was being cared for by
her mother. “My boss was really supportive,” she says.
“He let me bring work home to do in my spare time and
told me I could return to work whenever I was ready.”
But she never dreamed that a few years later, the fac-
tories in Taoyuan would close down one after another.
Her old job no longer existed, and even her part-time
work dried up. Leafing through the newspaper, Le came
across a help-wanted ad posted by a local church for a
job assisting foreign workers. The pay was low, but she
would have the opportunity to help fellow Vietnamese.
She decided to give it a try. “The job entailed helping
take care of foreign workers placed by the National Im-
migration Agency,” she says. “I was often called upon
by the police to translate for foreign workers. I realized
that many foreign workers inadvertently committed
offenses because they didn’t understand Taiwan’s laws,
or could not stand the pressure put on them by their
employers and therefore ran away, only to be picked up
by the police. As I saw how much they suffered, I grew
more and more sympathetic with their plight.”
In the five years that she did the job, Le made many
good friends and witnessed many instances of mistreat-
ment, sharpening her desire to serve Taiwan’s Vietnam-
ese community.
During that period, the Taoyuan County Vietnamese
Women’s Association was also voting for a new direc-
tor. Le won the election and was subsequently invited
to serve on the Women’s Rights Advancement Com-
mittee of the then Taoyuan County Council (Taoyuan
became a special municipality in 2014), where she met
many well-intentioned councilors who assisted her in
her work. But the more effort she put into the job, the
greater the demands on her became, and she found that
it was taking up much of her personal time and eating
up her personal funds. The post at the church paid only
NT$25,000 per month, and she was struggling to get by.
She started to consider opening a business.
“After thinking it over, I realized that it would be
easier to open a small restaurant,” Le says. “This would
also give Vietnamese friends a place to meet.”
She first opened the business in the Neili area of Tao-
yuan’s Zhongli District, where many foreign laborers
店內收集了許多越南日常用品，打算在店內陳設一處小型
博物館，讓更多人認識越南風土。
Artifacts from home are displayed in Le Van Anh’s wedding salon.
She plans to establish a small museum in the space to introduce
Vietnam to a wider audience.
繪飾精美的傳統茶壺保溫盒。
An exquisitely decorated traditional teapot warmer.
111
我是被禮遇帶往警局協助溝通的人，開店後反而 禮服、西式婚紗，一應俱全，還能包辦外拍婚紗
被當成嫌犯般被警察盤問，落差太大了！」於是 照、舉辦婚禮，全部花費只要5萬元台幣，非常
決定結束營業。 划算。
「越南婚禮和台灣古早的辦桌婚禮相似，我們
辦婚宴，辦活動，都是為了一解鄉愁
尤其喜歡請現場樂隊一路伴唱到結束。」黎雲英
光靠老公的薪水付房貸車貸，還要養家，實在 說，很多台灣人參加越式婚禮，都會驚呼：「怎
不夠，黎雲英想再做不一樣的生意。「看到很多 麼這麼歡樂！」這就是越南民族的天性，喜歡唱
姊妹開美甲美容店，我突然想到，以前在越南開 歌跳舞，流露赤子之心。而她婚禮辦多了，自然
過婚紗店，何不在這裡也開間？」在開小吃店的 就有常配合的班底，有些廠商、團體想為移工辦
時候，黎雲英就常在店裡辦歌唱活動，也辦過婚 活動，自然而然地就找上她。
禮，同時，她想要有塊空間開一些新住民有興趣 「只要我答應幫忙，就會全力以赴。」她說，
的才藝課程或是教新二代越語。選定地點後，毫 有些廠商像是旅行社，或是易付卡、美容保養品
不猶豫地租下整棟樓開啟新的事業。 等公司針對越南移工做宣傳活動，就請她找歌
新出發的婚紗店，馬上又成為同鄉結婚時的 手、樂團，甚至找觀眾參與活動。後來一些社團
熱門選項。除了專為越南新人準備的古式結婚 組織找她一起辦活動，之前合作的廠商反而變成
她尋求經費贊助的對象。
「我幫忙的社團都是公益性質，他們就是缺
黎雲英最喜歡的時刻，就是幫鄉親好姊妹 錢、缺人，我就四處幫他們找錢、找人。」黎雲
妝扮美美地完成終身大事。
Le Van Anh is happiest when helping other Vietnamese women
英不但出力，還會出錢，「有一次辦活動找越
look their best for their wedding ceremonies.
南大牌歌星來演唱，我先墊錢匯了十幾萬元到越

112 台灣光華 Taiwan Panorama 2018/02


were located, but later moved to Yanping Road in Tao-
yuan District, where the restaurant became a popular
gathering place. It also, however, attracted trouble.
Foreign laborers lacked a place to blow off steam, and
came to her place to drink. They sometimes caused a
ruckus after drinking, often prompting the police to in-
tervene, which caused Le much embarrassment. “In the
past I used to be treated with deference when the police
wanted my help communicating with Vietnamese peo-
ple,” she says. “After I opened a restaurant, however, I
was treated no better than a suspect and questioned by
the police. It was too much to take!” She therefore de-
cided to close the shop.
Finding new cures for homesickness
Le knew however that husband’s salary wasn’t enough
to cover the mortgage and car payments and raise a fam-
ily, so she decided to try her hand at a different business. “I
noticed that many other Vietnamese women had opened
nail salons and beauty parlors,” she says. “I used to run a
wedding salon in Vietnam, so why not open one here?”
When Le was running her restaurant, she held singing
contests for patrons and even hosted a wedding party.
She also wanted a place that would have space where
Vietnamese wives could take courses and their children
could take Vietnamese language classes. Once she settled
on the location, she rented the entire building without
hesitation and set out on her new enterprise.
黎雲英喜歡攝影，也成為她
開設婚紗工作室的主因。
Le Van Anh’s love of photography
was one of the reasons she
opened her wedding salon.
The new wedding salon became an instant sensation
among Vietnamese brides. Aside from offering tradi-
tional Vietnamese and Western-style wedding outfits
the salon also arranges for wedding photos and can or-
ganize the wedding itself, all for only NT$50,000. It’s a
real steal.
“Vietnamese wedding ceremonies are much like tra-
ditional Taiwanese wedding banquets of the past,” Le
says. “We like to invite musicians to play throughout
the event.”
When Taiwanese people attend Vietnamese wed-
dings, they often remark on how lively they are. This is
the nature of Vietnamese people—a love of singing and
dancing, with open hearts. After organizing a number of
weddings, Le had a good working relationship with the
performers. When factories or other groups want to put
on a celebration for foreign laborers, they turn to Le.
“Once I had invited a famous Vietnamese singer and
paid a deposit of more than NT$100,000,” Le says. “But
I couldn’t raise enough money to host the event. I was
worried to death!”
After Le sought sympathy from some friends, word
got to the director of the New Immigrant Women’s Care
Association of Taoyuan, Yang Huiqing, who said that
she would work it out, and Le should just carry on with
the event.
In the end the event was a huge success. About
113
黎雲英經手過大小活動，
其中一場湧入1.5萬人，就
為了一睹越南情歌王子譚
永興（Dan Vinh Hung）。
（黎雲英提供）
Le Van Anh has organized
events large and small,
including a concert by Dan
Vinh Hung, a famous crooner
of love songs, which drew a
crowd of 15,000. (courtesy
of Le Van Anh)
南，後來沒籌到經費，眼看活動辦不成，我急死
了！」跟姊妹哭訴後，「新移民女性關懷協會」
理事長楊惠青要我放心繼續做，她來想辦法。
後來那場活動辦得極為成功，有1.5萬人湧入活
動現場，就為了一睹越南情歌王子譚永興（Dan
Vinh Hung）現場演唱，那是黎雲英經手活動中最
盛大的一場。當她得知後面的經費全由楊惠青買
單時，當場感動地大哭。
外配才是弱者，期盼珍視新住民
每辦完一場活動，黎雲英就會告誡自己：「千
萬不要再辦活動了！」不但勞心勞力，還要到處
請求廠商幫忙贊助，覺得自己臉皮實在太厚了。
可是每次接到同鄉的FB留言：「謝謝你們辦的活
動，把家鄉帶到我們面前！太棒了！」「好高興
能看到熟悉的大明星！」讓她又心軟了，因為很
多人的思鄉之苦就靠這些小活動得到紓解，她怎
能棄之不顧？
黎雲英經手過台越足球聯賽、越南電視節目選
秀活動、中秋烤肉、慈善募款等大小活動，「外
籍勞工遍佈全台，所以活動舉辦的地點一定要在
火車站附近，方便大家坐車來參加。」黎雲英在
114 台灣光華 Taiwan Panorama 2018/02
板橋、新烏日、台北等很多地方辦活動，都很成
功。在高雄辦活動時，高雄市政府的觀光局也會
前來協助。「我們在台中第一廣場辦活動，活動
中心內還有托兒服務呢！」
黎雲英提到，桃園有十萬多名移工，新住民
則有五萬多人，外配媽媽的中文能力不好，政府
有義務協助她們教育下一代。桃園市府今年7月
成立「新住民聯合服務中心」，負責推動新住民
文化，並輔導他們就業與法律諮詢。黎雲英表示
歡迎，但她更希望能有座潔淨、安全的東南亞廣
場，不但方便新住民購物、學技藝，也讓台灣老
公願意帶著孩子一起陪著逛，同時讓更多台灣人
藉此熟悉東南亞風土民情。
「我們都很愛台灣，也希望留在台灣生活，可
是我們就是長得不一樣，又有口音，難免還是會接
收到歧視眼光。如果台灣人也能多接觸、瞭解我們
的文化，大家的情誼又會更上一層。」她想從自己
做起，挪出一個做生意的房間規畫成越南文化館，
把越南人的錢幣、生活用品、風土故事做展示，讓
有興趣的人可以真實觸碰他們的文化。黎雲英說：
「我們希望台灣對多元民族的包容力也能擴及到外
配，因為我們也是台灣人哪。」 l
「CANDY婚紗工作室」技術到位，價格實惠，逐漸成為越籍新人的熱門首選。
The well-equipped, affordable Candy Wedding Salon has gradually become a favorite with Vietnamese brides.
15,000 people flocked to the venue to see Dan Vinh
Hung, a Vietnamese prince of love songs, perform live.
It was the biggest event Le had ever organized. When
she found out that Yang had put up all the remaining
costs herself, she couldn’t hold back her tears.
Supporting immigrant communities
Le has organized events both big and small, includ-
ing helping Vietnamese fans in Taiwan watch World
Cup qualifying matches, arranging auditions for a
Vietnamese TV talent show, putting on barbecues for
the Mid-Autumn Festival, and staging charitable fund-
raisers. “Because foreign laborers are scattered all over
Taiwan, it’s important to hold the events near a railway
station, so they can take the train,” she says.
She has held successful events near Banqiao Station
in New Taipei City, Xinwuri Station in Taichung, Taipei
Railway Station, and stations in other cities. For events
in Kaohsiung, she has enjoyed the support of the Kao-
hsiung City Tourism Bureau. “The first event we held in
Taichung’s ASEAN Square even provided babysitting
for the children of the attendees,” she says.
Le points out that Tao yuan is home to more than
100,000 foreign workers and more than 50,000 “new
immigrants.” The Chinese language skills of South-
east-Asian spouses are often limited, and the government
has an obligation to help them educate their children.
She would also like to contribute her own efforts. She
plans to turn part of her salon into a Vietnamese cultural
center that exhibits objects commonly used in Vietnam,
including the currency and household items, and dis-
plays stories of life at home. In this way visitors could
come into closer contact with Vietnamese culture. l
(Yang Ling-yuan/photos by Lin Min-hsuan/
tr. by Robert Green)
115
多元族群　COMMUNITIES

116 台灣光華 Taiwan Panorama 2018/02

來自彩虹大地的筆
印尼筆會台灣分會
Rainbow Land Writers:
Indonesia’s Forum Lingkar Pena
Shines in Taiwan
隨著大量的外籍移工與逐年增加的留學生，
來自異國的寫作組織默默地在台灣開花、結果，
最初從1999年菲律賓移工詩社至今，這群堅持以
母語寫作的異鄉遊子累積出許多精彩作品與創作
能量，印尼筆會台灣分會（Forum Lingkar Pena
Taiwan, FLP Taiwan）更是其中的佼佼者。
印尼筆會（Forum Lingkar Pena）是由印尼作
家Helvy Tiana Rosa於1997年在雅加達創辦，分會
遍佈印尼32省與海外五大洲12國，全球共約一萬
三千名會員。筆會常保開放性，活躍於文化出版
領域，除了與出版商、代理商交流，公開舉辦文
學研討會、寫作工作坊等，為社會帶來各種時代
性的議題。對筆會成員而言，寫作不只是抒發個
人情感，更是禮敬神祇的神聖展現。
台灣分會的成立，則與印尼的經濟發展緊密相
關。1980年代起，印尼每年有大量勞動人口輸出
至馬來西亞、台灣等地從事勞力密集與居家照顧
產業。印尼筆會海外分會的成員，自然多數也是
由勞動者所組成。
文•黃淑姿　圖•林格立　版面設計•蕭郢岑
I n the wake of the arrival of increasing numbers of
migrant workers and overseas students, writing or­
ganizations have unobtrusively blossomed and borne
fruit on Taiwanese soil. Beginning in 1999 with the
Taiwan chapter of the Philippine poetry club Sama­
hang Makata International, these groups of wander­
ers from foreign lands who have a passion for writing
in their mother tongues have amassed much positive
energy and created many wonderful works. Among
these bodies, the Taiwan chapter of Indonesia’s Forum
Lingkar Pena ranks as one of the most outstanding.
Founded by Indonesian writer Helvy Tiana Rosa
in 1997, Jakarta-based Forum Lingkar Pena (FLP) has
established chapters in all but two of Indonesia’s 34
provinces, and in 12 countries on five continents. Mem-
bers number about 13,000 globally. Though founded in
religious belief, FLP is open to the world. It is active in
the field of cultural publishing and in addition to inter-
acting with publishers and agents, it hosts literary sem-
inars and writing workshops to introduce to the com-
munity at large a host of topics relevant to our times.
117
 台灣分會的成立
FLP Taiwan前身「寫作空間」（“Bilik Sastra”）
由YuheRina Gusman所創辦，當時她留學台灣，研
究印尼移工的精神生活，發現印尼移工所學多為
英語或中文及電腦技術等實用課程，精神上卻很
匱乏。2010年，YuheRina向印尼國家電臺（Radio
Republik Indonesia，RRI）提出「寫作空間」計
畫，申請了一批印尼語文學書籍提供在台移工閱
讀，吸引了許多創作與閱讀愛好者聚集。爾後，
「寫作空間」集結了許多成員共同於2012年加入
印尼筆會，成為海外分會一員，活動內容也自閱
讀交流擴大為寫作課程與作品分享與評論。
FLP Taiwan沒有明顯階級或固定聚會場所，之
所以能發揮效能，除了創辦人YuheRina與先生都
是在台灣求學的留學生，相對於來台工作的勞動
者而言，夫妻倆生活穩定，而有餘力可以貢獻時
間、精力給FLP Taiwan，參與者的積極、主動投
入，也佔有重要因素。
此外，團結力量大，透過在台灣的印尼同胞之
間的人脈網路，獲得各種非正式的場地、人力、
118 台灣光華 Taiwan Panorama 2018/02
筆會聚會當天，眾人翻閱Mira Luxita帶來的寫作教學書籍。
Aspiring authors examine the writing textbooks that Mira Luxita
has brought to an FLP Taiwan gathering.
物資等資助。比如，2017年11月第一場聚會，因
為原本常使用的台北車站場地同時舉辦印尼英雄
日的慶祝活動，而將聚會場地改到印尼同胞推薦
的BNI（Bank Nasional Indonesia）位在台北市忠
孝西路的辦公室中就是一例。
高度自我要求
移工們平常工作就很忙，可能連休息時間都不
夠了，為何還願意抽時間出來閱讀、寫作，更何況
是花很多時間與別人討論作品？ YuheRina說，筆會
成員的人格特質與一般人不同，最大的差別就在高
度自我要求：「他們的學習動機很強烈，希望能更
進步，有一天可以帶著在台灣、在國外所學習到的
一切知識與技能，回到家鄉做出更好的貢獻。」
移工們珍惜台灣的學習環境，有些知識在印尼
是學不到的或者沒有途徑可學。她指了指BNI的
場地說，這裡有兩間教室，免費提供印尼移工在
 Establishment of Taiwan chapter
The forerunner to FLP Taiwan, Bilik Sastra (“Literary
Salon”), was founded and managed by YuheRina Gus-
man. At the time, she was studying in Taiwan and re-
searching the lives of Indonesian migrant workers here.
She found that many were taking practical courses such
as English, Chinese and computer technology, yet a spir-
itual dimension was missing. In 2010, YuheRina submit-
ted a proposal to Radio Republik Indonesia to initiate a
“Writing Space” program, and requested Indonesian liter-
ary texts for the country’s migrant community in Taiwan.
The program attracted many fans of reading and writing
in their mother tongue, and these meetings led many par-
ticipants to join FLP as overseas members. Activities grew
from reading and socializing to encompass courses where
they could share and discuss their own writing.
FLP Taiwan possesses no clearly defined hierarchy
or fixed meeting place. Its successful role and continued
existence are rooted not only in the positive, proactive
engagement of its participants, but also in the fact that
both in the past as overseas students in Taiwan, and now
in their settled life together, YuheRina and her husband
have more time and energy to devote to its operations
than do most migrant workers.
Aspiring writers: Distinguished by self-discipline
Typically quite busy, migrant workers often haven’t
enough time to rest, so why are they willing to
devote their free time to reading, writing and
discussing written works with others? YuheRina
explains that FLP members’ personalities are not
those of a typical person. The greatest difference
lies in the high demands they place on them-
selves. “Their motivation to learn is very intense.
They hope to make greater progress, so that one
“Asmara Suata Ketika”是Bunda Umy以台灣移工經
驗寫成的印尼文小說，文字淺白易懂，故事頗富趣
味。
Bunda Umy’s novel Asmara Suata Ketika is an easy-to-
read but compelling tale of romance that draws on her
experience as a migrant worker.
day they can take all the knowledge and skills they’ve
learned in Taiwan and elsewhere, and return to their
hometowns to make a meaningful contribution.”
Versatile Bunda Umy can write and sing too. In 2016,
she collaborated with three Taiwanese artists on Sound
Route: Songs of SPECX—“The Singing,” as the lead vo-
calist in the role of Saartje Specx, a daughter born in
17th-century Na ga saki to a regional governor in the
Dutch East India Company and his Japanese concubine.
Raised largely in what was then the Dutch East Indies
(modern-day Indonesia), she later lived in Taiwan be-
fore her death at just 19. When Umy used Indonesian-
accented Taiwanese to sing the old Taiwan favorite, “Ro-
mance of Anping Port,” her alien yet oddly familiar ren-
dition of the unrequited love of a half-Dutch, half-Asian
girl for a fickle Dutchman unexpectedly became the high
point of the show. Her representation of the legend res-
onated with both performer and spectators in terms of
collective and individual memory and identity—for Tai-
nan’s Anping was briefly occupied by the Dutch, while
Indonesia was for centuries. The show required a lot of
practice, and Umy’s standard weekly day off was far
from enough time. With her employer’s permission—
on condition that it did not interfere with her work—she
invited the artists to her workplace for rehearsals.
When her Taiwan contract ends, Bunda Umy plans
119
此學英文、學電腦；印尼文雜誌“Indosura”雜誌
編輯Mira Luxita因辦公室場地同樣位在BNI的地利
之便與同鄉情誼，更主動為筆會找來寫作教學書
籍，無償提供給需要的人借閱。如何在繁忙工作
中爭取創作空間？YuheRina提及Bunda Umy的國語
流利且擅長語言溝通，是她能夠有彈性時間發揮
創作的重要因素。Bunda Umy自己則說，「如何與
雇主溝通」是一門重要的藝術。
多才多藝的B u n d a U m y能寫還能唱，2016年
擔任《聲線計畫：史貝克斯的歌──「唱」》
（Sound Route: Songs of SPECX—The Singing）
主唱，與三位台灣藝術家合作，用歌聲演出跨國
混血孤女史貝克斯的故事。當她用印尼語腔調唱
出台灣人耳熟能詳的台語老歌〈安平追想曲〉，
既陌生又熟悉的語言表達，意外成為表演中的高
潮；聽的人、唱的人，一起在共同的歌聲裡託付
各自的歷史記憶與身世情感。演出需要很多排
練，U m y一週只有一天的休假遠遠不夠用。因
此，她與雇主討論，在不影響工作的空檔中邀請
藝術家到僱主家中進行排練。
Bunda Umy預計在台灣工作契約到期後，返回
印尼中爪哇Solo附近的家鄉開一間書店，與熱
愛搖滾樂的兒子一起創作歌曲。類似的正
向循環，在筆會成員們身上特別明顯。
這些人結束海外工作返回印尼家鄉，帶
著在異地生活的堅強與知識回到母國，
創造良好的正面影響。YuheRina告訴我
們，許多筆會成員回到印尼，因為具備
多種技能與語言專長，加上在筆會中學
到的書寫、表達與溝通技巧，都能幫助
他們找到比當初出國前更好的工作。
高水準創作與交流
實體聚會之外，FLP Taiwan成員在臉書私密社
團中亦積極互動。筆會安排寫作課程，現任社長
Justto Lasoo，以及YuheRina、Bunda Umy等資深
成員也會出功課給其他成員練習，並點評作品、
分享創作技巧。僅有高中畢業的Bunda Umy，卻
能教授印尼古典文學中每首4句的詩歌「板頓」
（pantun）技巧，除了她本身熱愛寫詩，與東南
亞國家的學生普遍從小就開始學寫詩有關。首創
120 台灣光華 Taiwan Panorama 2018/02
在台開辦移工詩文比賽的前任台北市勞工局局長
鄭村棋在深入了解後發現，「在泰、菲、印尼，
寫詩就像台灣學生寫周記般尋常。」
逐年成熟的FLP Taiwan，也開始延續總會的對
外互動傳統，邀請以母語徵件的移民工文學獎
（Taiwan Literature Award for Migrants）策展團
隊，從台灣攜帶2014至2016的移民工文學獎印尼
得獎作品、紀錄影片、作品集等成果，前往雅加
達舉辦兩場成果發表會，並參與「台印移民工文
學論壇」。2016年則與四方文創合作，邀請「移
工文學之母」Pipiet Senja來台舉辦寫作工作坊。
異中求同的文學語言
印尼國徽中，神鷹腳下牢牢抓住的古爪哇語
「Bhinneka Tuggal Ika」，意指「異中求同」，這
句話出自古老的印尼神話：據說，很久很久以前
有位國王，他每天都要吃掉一個人，使人民經常
活在死亡恐懼中，不知道哪一天自己將要受死。
有一天，一位非常同情老百姓受苦的武士，向
國王提出請求說：「不如
創辦人 Yu h e R i n a
Gusman從草創至今不間斷
地參與筆會聚會，並擔任線上
寫作師資。
FLP Taiwan founder YuheRina
Gusman is still involved in
the group to this day, and
serves as one of its on-
line creative writing
instructors.

來自印尼爪哇中部的筆會成員Nna Achlam，正專心閱讀寫
作教學書籍。
Nna Achlam, a native of Central Java, diligently consulting a
how-to text for writers.
to return to her hometown near Solo in Central Java,
where she will open a bookstore and co-author songs
with her son, a big fan of rock ’n’ roll music. A similar
positive cycle is evident among other FLP members.
When these individuals return to their hometowns, they
take back to their motherland the perseverance and
knowhow they have acquired in a foreign land, with
the intent to make a positive impact.
Creative interaction
Members also interact via a private group on Face-
book, in addition to gatherings and regular writing
classes arranged by FLP Taiwan. Justto Lasoo, current
head of the Taiwan chapter, and senior members such as
Yu he Rina Gus man and Bunda
Umy, set homework for other
members to do for practice, and
they also review works and share
creative writing techniques.
Bunda Umy, who has only a high-
school education, teaches how to
write four-line, rhyming pantun
verse in the classical Indonesian
style. Her own passion for po-
etry aside, familiarity with this
format is also due to the fact that
in Southeast Asia students gener-
ally learn to write poetry from a
young age.
As FLP Taiwan has matured
over the years, it has also begun to
institute the practice of external in-
teraction that has become a tradi-
tion for FLP headquarters in Indo-
nesia. The Taiwan chapter invited
the organizers of the Taiwan Liter-
ature Award for Migrants (TLAM),
a competition for migrant workers
writing in their own languages,
to Jakarta, where two presenta-
tions were held to highlight the
Indonesian-language works that
won awards from 2014 to 2016, and to show a film
about the presentation of the awards, featuring inter-
views with the winners. While in Jakarta, TLAM par-
ticipated in the “Taiwan–Indonesia Migrant Workers
Literary Forum,” together with FLP Taiwan, FLP Jakarta
and other Indonesian literary associations. In 2016, FLP
Taiwan and 4-Way Voice Culture and Creativity invited
Pipiet Senja—dubbed “the mother of migrant worker
literature”—to hold a writing workshop in Taiwan.
Seeking unity in diversity
The lower portion of Indonesia’s national emblem
consists of a scroll gripped by the claws of a legendary
Garuda bird, on which appears a phrase in Old Java-
nese: Bhinneka Tuggal Ika—“Out of the Many, One.” This
is an adage from an ancient myth. It is said that long,
long ago there lived a king who devoured one human
each day, thereby instilling fear amongst the people un-
sure who would be next.
121

由我來代替百姓受死吧，但也請您從此以後不要
再吃人了。」「區區一個武士，竟然也敢妄想干
涉我的決定！」國王怒而拒絕武士的請求。當武
士發現國王根本不聽從勸告，他放棄和平訴求，
與國王展開激烈的打鬥。搏鬥過程中，濕婆神
（Shiva）進入國王的身體中、佛陀（Buddha）進
入武士的身體裡各顯神通，誰也贏不了對方，雙
方僵持不下。最後，梵天（Brahma）介入打鬥中
說：「Bhinneka Tuggal Ika！」（呼籲兩人停戰）
因為他們雖然外表長相不同、想法差距頗大，但
彼此卻是一體而不可分割的。
印尼作家M o c h t a r L u b i s以「彩虹下的大地
（Land under the Rainbow）」描述印尼，這塊大
地擁有諸多珍貴的古老文明、豐富多元的社會風
貌，以及老百姓日常生活的智慧。閱讀這些印尼
作家的文學作品與和他們間的互動交流，正好打
開了一扇台灣人理解與同理的友善窗口。
文學作品中所描述的生命、慾望、喜悅與苦難
種種，是跨越種族、語言、文化的人類普遍性訴
求。也因此，FLP Taiwan的存在，不只讓在台的
印尼移工、留學生有為自己說故事的個人表達空
間，他們筆下所描述的一切，也是人類集體文化
意識的一部分。自然，台灣人的創作也是這集體
的一部分，一切在這塊土地上的匯集，終將如同
神鷹腳下的古老格言所說：異中求同。
122 台灣光華 Taiwan Panorama 2018/02
印尼籍的異鄉遊
子，齊聚台北車站
大廳裡，慶祝一年
一度的印尼開齋節
盛會。
To mark the end of
Ramadan, Indonesian
migrant workers far
from home enjoy the
customary feast—this
time in the concourse
of Taipei Railway
Station.
One day a warrior, saddened by the plight of the com-
mon folk, made a request of the king: “Better that I die on
behalf of the people. But I beseech Your Highness to cease
this practice henceforth!” Outraged, the monarch refused.
“How dare a lowly warrior dream of interfering with the
will of the King!” When the warrior realized his advice
would not be heeded, he abandoned his peaceful appeal
and initiated a fierce fight. During the battle, the Hindu
deity Shiva entered the body of the king, while Buddha
likewise entered the warrior’s. Each demonstrated his
prowess to the fullest, but a deadlock ensued. Finally,
Brahma intervened: “Bhinnekha tuggal ika!” he pronounced,
signaling an end to their duel. For although the pair were
dissimilar in looks, and the gulf between their mindsets
was great, in reality they comprised an indivisible entity.
The various lives, desires, joys and tribulations por-
trayed in literary works represent a universal appeal that
transcends ethnicity, language and culture. Therefore, FLP
Taiwan exists not only to provide a space in which Indone-
sian migrant workers, students and immigrants in Taiwan
can tell their own stories; everything they describe when
they put pen to paper is also part of human collective cul-
tural awareness. Of course, the creative works of Taiwan-
ese also form part of this collective. Everything coalesces
on this soil, echoing the words on the scroll gripped in the
Garuda’s talons: “Out of the Many, One.” l
(Sanya Huang/photos by Jimmy Lin/
l tr. by Bruce Humes)
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Chinese Sayings Told in Pictures

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Hold that Note!—Stories from Taiwan’s Stage

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A Taste of Taiwan

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