Taiwan Panorama 2019 Jan

全球．在地．人文
中華民國108年1月第44卷第1期
中英文北美版
Vol. 44 No. 1 January 2019
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
探索
柬埔寨
甦醒的柬埔寨
台灣戲劇耀「演」國際
中研院90年，迎向大眾
既國際又在地：衛武營
Discovering Cambodia
建議售價
NT$150
US$5
HK$40
¥600
東港迎王
Welcoming Wangye
圖／文•林格立　版面設計•王敬勛
W angye’s Boat, built at a cost of over NT$7 mil-

價七百多萬元的王船，
造在吉時緩緩移出東隆 lion, passes out through the golden archway of
宮黃金牌樓，這是三年一科 Donglong Temple in Donggang, Pingtung, in one of the
「東港迎王平安祭典」的重 highlights of a religious festival held every three years.
頭戲之一。 The procession moves through Donggang, driving
王船遶境東港街區，為民 out malevolent spirits and disease. Households wel-
眾押煞逐疫，家家戶戶也擺 come Wangye with offerings, incense and fireworks,
上祭品，焚香鳴炮相迎，祈 and with prayers for favorable weather and wellbeing.
求風調雨順，合境平安。 (photo and text by Jimmy Lin/tr. by Phil Newell)
編人的
編者絮話語
重新認識柬埔寨
文．陳亮君
中華民國108年1月1日出版（月刊）／
中華民國65年1月1日創刊
1990年代台商陸續至柬埔寨披荊斬棘、開此外，公視自製戲劇《你的孩子不是你的
出版者光華畫報雜誌社
發行人／吳釗燮
拓市場，根據經濟部國貿局統計，2017年孩子》是台灣第一部在國際影音平台Netflix
Publisher: Jaushieh Joseph WU
社長／陳銘政
Director: Henry M.J. CHEN
台柬雙邊貿易已達7億美元，而柬埔寨台灣同步上架的台灣戲劇，從2018年7月播出以
總編輯／陳亮君（代理）
Editor-in-Chief (acting): Ivan CHEN 商會自1996年成立至今，也已有23年的歷來，國內外迴響不斷，也讓國際看見台灣戲
副總編輯／陳亮君
Deputy Editor-in-Chief: Ivan CHEN
文稿主編／曾蘭淑史，擁有四百多位會員數。劇的優質實力；另一方面，有來自公視東南
Editor: Esther TSENG
除了商業活動，來自台灣的N G O團體，
文稿副主編／郭玉平
Deputy Editor: Camille KUO 亞語新聞的印尼語主播譚雲福，跟讀者分享
文字編輯／鄧慧純陳群芳蘇俐穎
Writers: Cathy TENG, CHEN Chun-fang,
Lynn SU 在各項人道援助計畫上盡心盡力。從醫其一路走來之心路歷程；更有中研院成立90
版面主編／胡如瑜
Director of Layout: HU Ju-yu
美術編輯／蕭郢岑王敬勛
療、水井到教育，處處可見台灣志工的身周年之專題報導，介紹這國內學術的最高研
Art Editors: HSIAO Ying-tsen, Henry WANG
攝影組召集人／莊坤儒
Photographic Coordinator: CHUANG Kung-ju
影。此次《光華》編採團隊，除深入柬埔究殿堂，如何透過各項創新作法，讓這學術
攝影組長／林格立
Photographic Director: Jimmy LIN
攝影編輯／林旻萱
寨探訪台商、N G O外，更有在當地從事藝高塔，走入民間。
Photojournalist: LIN Min-hsuan
英文編輯／陳瑩潔唐樂榕倪凱駿文活動的台灣人，第一手的分享報導。 * * *
English Editors: Audrey CHEN, Robert TAYLOR,
Phil NEWELL
日文編輯／山口雪菜施家騏從台商、N G O、藝術、教育到文化，隨著國寶級相聲大師吳兆南的辭世，其入
Japanese Editors: YAMAGUCHI Yukina,
Shila SHIH
印尼文編輯／陳德銘讓民間交流的能量，帶我們重新認識柬門弟子、吳兆南相聲劇藝社團長劉增鍇，述
Indonesian Editor: Temmy WIRYAWAN
越南文編輯／武秋香
Vietnamese Editor: VU Thu Huong 埔寨。說著師徒之間的互動與趣事，一方面緬懷師
資深行政編輯／段蜀華
Senior Administrative Editor: DUAN Shu-hwa
* * * 父指導的足跡，另一方面也象徵薪火的傳承
總監／鍾宜蓉
Marketing Director: Carianne CHUNG
業務協理／陳俊偉
當專業獲得充分授權，設計師、藝術家不會熄滅，持續讓這源自市井的東方說唱藝
Deputy Manager: CHEN Jyun-wei
綜合服務組長／陳淑英
Chief of General Affairs: CHEN Shu-ing
的創意能量就能被全面啟動與實踐。透術，在說、學、逗、唱的詼諧幽默裡，蘊藏
綜合服務組／李淑慧
General Affairs: S.H. LEE 過近期盛大開幕的「衛武營國家藝術文化著發人深省的提問。
發行組／何世隆
Circulation: HO Shih-lung
中心」及「台中世界花卉博覽會」，讓來從戲劇到相聲，從學術、傳播到大型展
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,
Taiwan, ROC 自各領域的策展人、藝術家們帶我們了解演活動，還有民間交流的柬埔寨現況，讓
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其設計理念，以及在公私部門的共同努力《光華》隨著台灣的發展，陪伴你度過每
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本刊物印刷油墨使用環保認證大豆油墨
Meeting Cambodia Anew EDITOR’S NOTE
T aiwanese businesses began blazing a

trail to Cambodia in the 1990s, and Tai-
wan’s business relationship with Cambodia
standing capacity for planning and executing
exhibitions and performances.
Meanwhile, the Public Television Service
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中華民國95年1月改為台灣光華雜誌
bodia, which now exceeds 400 companies, an enthusiastic domestic and international Taiwan Panorama
GPN: 2008000038 ISSN1991-525X
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目次
CONTENTS 中華民國108年1月第44卷第1期 Vol. 44 No. 1 January 2019
6 封面故事 Cover Story
6 探索柬埔寨
Discovering Cambodia
圖•林旻萱
8 甦醒的柬埔寨
民間交流無國界
Cambodia Rising:
Helping Hands Reach Across Borders
文•曾蘭淑　圖•林旻萱
18 18 風中的希望
知風草與希望之芽
Hope on the Wind
—Two Taiwanese NGOs in Cambodia
30 借力使力•佈局全球
台商在柬
Taiwanese Firms in Cambodia
—Leveraging Location in a Global Age
30
40 文化書柬
沉靜的交流
Sharing Cambodian Culture:
Enlightening Exchanges
編者的話來自地方的明信片
Editor’s Note Postcards from Home
2 重新認識柬埔寨 1 東港迎王 52 月月好讀

Meeting Cambodia Anew Welcoming Wangye Variety Pages
文•陳亮君圖／文•林格立中央研究院研之有物編輯群
影像對話 Photo Essay
封面說明： 56 柬式符號
文明古國柬埔寨，正戮力擺脫過去戰爭的陰影， Symbodia
急起直追。（林旻萱攝．王敬勛設計）圖／文許紘捷
Cover: Cambodia, a country with an ancient history and
culture, is putting the shadows of war behind it and forging
全球視野 Global Outlook
a new path. (photo by Lin Min-hsuan, design by Henry Wang)
66 台灣戲劇耀「演」國際
公視打造影視沃土
Take Two: Taiwan Television in the
Streaming Era
文•陳群芳　圖•公視提供
76 劃時代之研
中研院90年，迎向大眾
Welcoming In the Public
66
—The Academia Sinica at 90
文•蘇俐穎　圖•林旻萱
島嶼行旅 Around Taiwan
84 永續的綻放
2018台中世界花卉博覽會
Sustainability in Bloom
—The 2018 Taichung World Flora
Exposition
文•蘇俐穎　圖•莊坤儒
藝文脈絡 Cultural Trends
94 既國際又在地
84
長出來的衛武營
National Kaohsiung Center for the Arts:
Think Global, Act Local
文•鄧慧純　圖•衛武營國家藝術文化中心提供
106 永不絕響的相聲
說學逗唱30年──劉增鍇
Crosstalk for Ever!
—Liu Zengkai’s 30-Year Performing Career
文•李珊瑋　圖•林格立
多元族群 Communities
116 共築新移民新聞平台
94
跨國媒體合作推手──譚雲福
Building a Platform for Immigrant News
—Transnational Media
Matchmaker Tony Thamsir
文•郭玉平　圖•林格立
封面故事
COVER STORY
探索柬埔寨
Discovering
Cambodia
林旻萱攝　photo by Lin Min-hsuan
封面故事
COVER STORY
甦醒的柬埔寨
民間交流無國界
Cambodia Rising:
Helping Hands Reach Across Borders
文•曾蘭淑　圖•林旻萱　版面設計•王敬勛
被柬埔寨人尊為「獨立之父」的希哈努克國王
曾說：「歷史容不下欺罔與謊言，因為時間必然 N orodom Sihanouk, the father of Cambodian
independence, famously stated: “Time will inevit
ably uncover dishonesty and lies; history has no place
會揭露它們。」
for them.”
然而，柬埔寨從1960年代烽火不絕，在紅色高
But the chaos of the 1960s, and the tyrannical rule
棉暴政與大屠殺下，更讓這個國家的政經發展在
and massacres of the Khmer Rouge regime in the 1970s,
歷史上幾乎停格。內戰讓經濟的鐘擺往後撥了30 halted Cambodia’s political and economic develop
年，隨著1990年代經濟的改革開放，柬埔寨人帶 ment. The country’s civil war would postpone the
著「欺罔與謊言」的傷痕，勇往直追。 swing of the economic pendulum for 30 years, until the
liberalization and reforms of the 1990s allowed a scarred
俄羅斯大道兩旁，白色的雞蛋花樹燦爛盛開， Cambodian people to march forward once again.
這條四線道的大馬路，汽車、嘟嘟車、人力車無
Blooming white frangipani trees line both sides of
時無刻不塞在一起。但路旁華麗雍容的總理府、
Russian Federation Boulevard, a major Phnom Penh
國際級商業金融高樓大廈鱗次櫛比，街頭繁忙，
thoroughfare jammed with automobiles, tuk-tuks, and
商業興盛；從大人的哈雷到小孩的Combi嬰兒車專 rickshaws at all hours of the day and night. Behind
賣店，應有盡有，這是柬埔寨首都金邊。 the frangipani stand rows of office buildings housing
但在金邊市中心的白樓，曾是金邊最時髦的複 international ventures, the lovely and elegant Council
8 台灣光華 Taiwan Panorama

9
金邊皇宮閃耀著耀眼光芒，是高棉文化的象徵。
Phnom Penh’s Royal Palace, a cultural icon,
sparkles in the sunlight.
合式住宅，因為經歷內戰的摧殘，現在猶如廢墟大革命帶來的浩劫，冥頑殘酷的領導人波布強調
一般，殘破不堪，與旁邊新建的社區形成明顯對經濟自足，將金邊的居民全趕到鄉間實施共食合
比，就像現今的柬埔寨，繁榮與凋敝兼具，覺醒作社，全國教育幾乎停頓。更慘絕人寰的是，波
與遲疑並存。布展開政治鬥爭與整肅，淡江大學亞洲研究所榮
譽教授陳鴻瑜所著的《柬埔寨史》提到，全國知
百廢待舉，浩劫重生
識份子與官員有25萬人遭到殺害，而更多人則死
根據世界銀行的統計，2017年柬埔寨的國內生於營養不良與飢荒。根據美國聯邦調查局統計，
產總值，在全世界排名第109名，已從低收入國家 1975年柬埔寨有750至800萬人口，紅色高棉統治
進步到中低收入國家；但人均國內生產總值排名的四年多內，柬埔寨約有四分之一，約二百萬人
第143名，在東南亞各國中敬陪末座。慘死。
本是漁米之鄉的柬埔寨，第二次世界大戰之後在紅色高棉的暴政之後，又是十多年內戰，1991
由國王希哈努克領導脫離法國殖民獨立，曾建立年由聯合國主導停戰協議，為和平帶來曙光。
短暫的榮景，但1960年代捲入越戰、1970年接連不或許浩劫的盡頭，正是柬埔寨發展的開端。
絕的內戰與紅色高棉的暴政，讓柬埔寨陷入萬劫 1990年代內戰結束，為了協助柬埔寨從廢墟中重
深淵的30年。建，歐盟、加拿大等國均給予柬埔寨貨物出口免
1975至1979年紅色高棉統治，遠超過中國文化稅的優惠，藉此吸引外資。

法國殖民時期由法國建築師設計的中央市場，
十字形圓頂金碧輝煌，是金邊的地標。
Designed by a French architect during the French
colonial period, the domed Central Market is a
Phnom Penh landmark.
of Ministers building, and retail outlets ranging from a catastrophe of almost unimaginable proportions. Pol Pot,
Harley-Davidson dealership to a Combi stroller shop. the regime’s despotic leader, became fixated on economic
This is Cambodia’s bustling, prosperous capital. self-sufficiency and forcibly re located Phnom Penh’s
Once its most fashionable homes, the white buildings citizens to the countryside to work on collective farms,
in Phnom Penh’s downtown were ravaged by the coun- effectively bringing all schooling to a halt. According to
try’s civil war. Dilapidated and abandoned, they stand in the US Federal Bureau of Investigation, during its four
stark contrast to the new communities that have risen up years of rule the regime killed roughly one-quarter of the
around them. The area is a microcosm of modern Phnom population, which stood at 7.5–8.0 million when it took
Penh, where prosperity and poverty, progress and hesita- power in 1975.
tion, exist side by side. The country then suffered more than a decade of civil
A tumultuous rebirth war after the Khmer Rouge were deposed. It wasn’t until
According to the World Bank, as of 2017 Cambodia the UN-brokered ceasefire agreement of 1991 that peace
ranked 109th in the world in terms of gross domestic finally brought a new dawn.
product (GDP), and had advanced from “low income” The end of this catastrophe marked the start of Cam-
status to “low & middle income” status. However, its bodia’s development. When the civil war ended, the
per-capita GDP still ranked 143rd in the world, and last European Union, Canada and other nations awarded the
in Southeast Asia. country preferential tariff rates to help it attract foreign
The Khmer Rouge’s 1975–1979 reign was a national investment and rebuild.
11
台商紛紛利用此契機，例如全球第一大鞋廠寶流亡中國，2012年在中國病逝。這也使得柬埔寨
成工業、第一大水類運動服飾製造廠薛長興工業長期依附在中國羽翼之下，也相對打壓了台灣與
等，均前進柬埔寨設廠，運用關稅優惠與低廉人柬埔寨的外交空間。
力的優勢，在全球生產鏈中投資佈局。成衣廠坤負責柬埔寨事務的駐胡志明市台北經濟文化
洲企業還成為第一個在柬埔寨上市的台商。辦事處前處長梁光中強調，「思路決定出路，佈
柬埔寨總理洪森自1985年掌權至今，推出經濟局決定結局。」柬埔寨的台商基於政經分離的原
開放的政策，建築業、成衣等製造業，以及觀光則，一心拚經濟，尤其在近日中美貿易煙硝戰火
業蓬勃發展，讓柬埔寨1995~2017年平均經濟成長中，美國廠商紛紛將中國訂單轉至日本與東南
率達7.7%，成為世界第6大經濟快速成長的國家。亞，越南、柬埔寨的台商也在受惠之列。
柬埔寨的第一個曼哈頓經濟特區，便是台商美德根據經濟部國貿局統計，2017年台柬雙邊貿易
向邦集團在柬國政府支持下成立。達7億美元，隨著台商1990年代到柬埔寨披荊斬
棘，開拓市場，在熱心台商的號召之下，柬埔寨
思路決定出路，拚經濟
台灣商會自1996年成立至今已有23年歷史，擁有
深受柬埔寨人敬重的國王希哈努克，在冷戰時四百多位會員。
期力求在東西方兩大陣營中保持中立，不向美、現任柬埔寨台灣商會會長王美蕙今（2018）年6
蘇大國靠攏，1970年政變發生後，希哈努克只能月一上任，秉持著「走透透」的服務精神，逐一拜

Since taking office in 1985, Prime Minister Hun Sen separation between economics and politics, and focused
has been promoting economic liberalization, construction, all of their efforts on their businesses. With American
and manufacturing industries such as garment-making. businesses moving their orders from mainland China to
He has also pushed the development of tourism. These Japan and Southeast Asia in response to the recent US–
efforts enabled Cambodia’s economy to grow at the blis- China trade war, Taiwanese businesses in Vietnam and
tering pace of 7.7% per annum from 1995 to 2017, mak- Cambodia have benefited.
ing it the world’s sixth-fastest-growing economy over Taiwanese firms were trailblazers in the country in
that period. Interestingly, the country’s first “Manhattan the 1990s, and in 1996 they established the Taiwan Com-
Special Economic Zone” was established by Taiwan’s mercial Association in Cambodia (TCAC), which now has
Medtecs International Corporation with the support of more than 400 members. According to Taiwan’s Bureau of
the Cambodian government. Foreign Trade, trade between Taiwan and Cambodia was
Planning a way forward worth US$700 million in 2017.
David Kuang-chung Liang, who oversaw Cambodian Wang Mei Hui took over the presidency of TCAC in
affairs during his tenure as director-general of the Tai- June 2018, and has spent much of the early part of her ten-
pei Economic and Cultural Office in Ho Chi Minh City, ure visiting members of the group. She has visited nearly
Vietnam, says, “Thinking determines direction; deploy- 40 of them so far to show her interest in their situation,
ment determines results.” He explains that Taiwanese hear their concerns, provide them with relevant business
businesses in Cambodia have long observed a strict information, and foster cooperation among them.
The Taiwan Hakka Association Cambodia actively
promotes Hakka culture in Cambodia, and has been a
long-term donor of desks, chairs, and stationery to Hakka
villages in Veun Sai District, Ra ta nak Kiri Province.
“There’s a Chinese school in Veun Sai, and the Hakka
students there all have Taiwan’s flag emblazoned on their
book bags,” says Peng Chung Nien, explaining that Cam-
bodia’s Hakka share the same loyalty and attachment to
their hometowns as Hakkas elsewhere.
Humanitarian aid
Nations from around the world have not only pro-
vided financial aid to help Cambodia recover from the
war, but also sent material aid and the help of NGOs.
Taiwan has been a part of this effort, with social wel-
fare organizations such as the Formosa Budding Hope
Association (FBHA), the Field Relief Agency of Taiwan,
金邊市區商業繁榮，交通擁擠。
Business is booming in downtown
Phnom Penh, and so is traffic.
13
海外打拚難得相聚，一年三節的聯誼會，現任柬埔寨台灣商會會長王美蕙一上任，
是台商聯絡感情的好時機。逐一拜訪會員，傳達台灣商會的關心。
Working abroad can leave little time for socializing, which Wang Mei Hui, the current president of the Taiwan Commercial
makes TCAC’s thrice-yearly gatherings an especially good Association in Cambodia, has been visiting TCAC members to
opportunity for Taiwanese businesspeople to get together. demonstrate the association’s interest in addressing their needs.
訪在柬埔寨的會員，至今已經走訪近40家台商。除家子弟的書包上，都有中華民國國旗的標誌。」
了傳達對台商會員的關心，聽取台商心聲，同時提彭仲年說，客家人的忠義與鄉情，一樣在柬埔寨
供相關的商情資訊，凝聚台商向心力。發光發熱。
王美蕙說，在柬埔寨的台商平常因生意忙難得
人道援助，愛無國界
碰面，遇上一年3節的新春團拜、中秋聯歡晚會、
會員大會等聚會，大夥兒國、台語並用，聯誼高世界各國為了幫助柬埔寨從戰爭中復甦，除了
歌，鄉親的熱情湧現，頓時忘卻異國奮鬥的艱外資，也引進大量的外援與NGO進駐。台灣也不
辛，鄉情溫厚、滿溢心懷。落人後，深耕柬埔寨多年的社會福利機構，包括
行政院客家委員會曾在亞洲台灣客家總會聚會台灣希望之芽協會、中華民國知風草協會、德普
中，鼓勵在柬埔寨的客家鄉親成立客家聯誼會，文教協會、以立國際服務等，在各項人道援助計
創會會長彭仲年說：「就這樣政府的一句話，畫上盡心盡力。更有許多到柬埔寨旅遊的旅客，
2015年我們在27小時內募集一萬元美金，3人發起選擇以志工服務，做為探索世界的旅遊方式。
成立柬埔寨台灣客家聯誼會，現今已成長至88個我們參與了希望之芽的義診，從金邊走3個多小
會員。」時車程到達波蘿勉省近志縣的小學，從希望之芽
柬埔寨台灣客家聯誼會平時除了積極在柬埔協會創辦人許毓丕牙醫師2006年起開始到柬埔寨
寨推廣客家文化，也長期關心客家鄉親，並且義診，至今已舉辦第24屆。
捐助課桌椅與文具給位於柬埔寨拉達那基里省義診陣容堅強，馬偕紀念醫院捨以往單打獨鬥
的雲曬客家村，「雲曬村有一個光華學校，客海外義診方式，與玉山銀行柬埔寨分行及希望之

the Cambodia–Taiwan Education and Employment only realistic opportunity to have their dental problems
Program, and the Empowering Lives through Innova- properly treated. As one person puts it, “If I don’t have it
tive Volunteerism group having worked there for years pulled now, I don’t know how long I’ll have to wait.”
delivering humanitarian aid in a variety of forms. Many Over the course of three days, each of the dentists pulls
travelers who have visited the country have also helped as many teeth as they would in a month in Taiwan. They
by choosing to participate in volunteer work. use two tables and chairs pushed together as examining
On one day of our stay, we drive to Kanhchriech District, stations. A volunteer holds each child still while the den-
Prey Veng Province, more than three hours from Phnom tist removes the bad tooth, moving quickly so the child
Penh, to see the volunteer medical and dental services that won’t have time to register the pain until after the tooth
FBHA is providing at an elementary school there. is out. Dr. Lu Guanting, an oral surgeon with the Datong
Dr. Hsu Yu-pi, the dentist who founded FBHA, began
participating in volunteer clinics in Cambodia in 2006. To
date, FBHA has organized 24 such clinics.
The lines for dental care are particularly long because
tooth extractions usually cost around US$30 in Cambodia.
The high cost relative to income leaves the country’s poor
to endure the pain of a bad tooth, or to treat it using a 位於金邊的柬埔寨台灣商會，經常協助遺失護照的
台灣旅客，向胡志明駐處辦理入國證。
traditional method. But the latter still requires “patients” Headquartered in Phnom Penh, the TCAC regularly
to live with a mouthful of bad teeth and endure the kind helps Taiwanese travelers who have lost their passports
to get return visas from the Taipei Economic and
of pain that makes it hard to eat. The clinic is the villagers’ Cultural Office in Ho Chi Minh City, Vietnam.
15
芽協會組成策略聯盟，事先向當地衛生所蒐集資痛，就只能用傳統的偏方：塞樹枝，但仍痛到無
料，再開出最需要的科別，包括小兒科、婦科與法吃東西，一口爛牙也只能忍耐，因此義診團對
牙科等，同時準備超音波掃描器與足夠藥品，還村民來說是絕無僅有的治療機會，「錯過此次不
有急診醫學科醫師應援，因為急診醫師是全科醫拔，就不知要再等多久。」
師，什麼病都可以看，甚至有開刀房的護士自費每位牙醫師3天拔的牙是台灣一個月的量。由二
報名加入義診行列。張課桌椅合起來的看診檯，那頭義工壓住小孩，
義診現場，特別是牙科大排長龍，因為在柬還沒有意識到很痛要哭，這頭牙醫師已把牙齒拔
埔寨拔一顆牙要30元美金，對窮人來說，除了忍出來了。擅長拔智慧齒的大同牙醫外科醫師盧冠
廷也在義診襄助之列，他3天拔了二百多顆牙，
「有位病患罹患水平埋伏齒，在沒有X光、精密
器械的情況下，我用土法煉鋼的方法，將蛀牙擊
碎再挖出，很有成就感。」盧醫師說。
高二學生志工張立哲充當牙醫師助理，他發現
希望之芽協會辦理的義診，醫師在簡陋的環境下
展現高明的醫術。柬埔寨小孩十分勇敢，忍痛力也非比尋常，針打
The Formosa Budding Hope Association’s clinic
gives doctors and dentists a chance to apply their 下去不哭，勇敢的模樣看得他心裡想掉淚。小孩
skills in a challenging work environment.
被醫師拔完牙，還會雙手合十鞠躬才走。他說，
不像他12歲的弟弟在台灣看牙醫，由4個大人陪
同，還哭到不願上診療台。張立哲看到柬埔寨的
小孩很多赤腳、沒有鞋子穿，心有所感地告訴媽
媽，以後買鞋不用買名牌，有鞋穿就好。
醫師們操翻了，累到腰都直不起來，3天看了
二千多位病患。原本村民們只是腸胃不適，但因
為久病未癒，極不舒服，加上無知與恐懼，以為
自己快死了，在看過醫師後，只要領個消炎藥，
即藥到病除，醫好了病也醫好了心，讓醫師感覺
自己醫病的功力加倍地強。
所以在義診團，真正受惠的是志工與醫師們。
很多醫師說，來柬埔寨義診，反而變成放鬆心
情與洩壓之旅。在醫療資源如此缺乏的柬埔寨，
來義診的醫師們卻感受病人百分之百的信任、尊
重與被需要，雖然時間有限、治療也有限，卻激
起醫師當初行醫的初衷，帶著這股力量，回到台
灣，重新面對自己的工作。
志工們也從一開始抱怨水不夠熱、床不夠軟，
到體會付出行善的力量，看見改變，也能體會在
台灣的幸福。因為若能在苦難中找到意義或救
贖，那怕一絲一毫也好，便能使人的心志獲得
昇華。 l

Dental Clinic who specializes in removing wisdom In some respects, the real beneficiaries of the volun-
teeth, is among those helping at the clinic. He says he teer clinic are the medical staff and volunteers.
has pulled more than 200 teeth over his three days there. Many doctors say that their time at the clinic is almost
“One patient had a horizontally impacted tooth,” says like a stress-free vacation. Cambodia lacks sufficient
Lu. “Without an X-ray machine or precision instruments, medical resources and personnel to meet its needs. As
I had to remove it using a traditional method: first break- such, the volunteer doctors feel trusted, appreciated and
ing the tooth, then extracting the pieces. I got a real sense needed by their patients. Though they are only able to
of achievement from completing the procedure.” spend limited time at the clinic and provide only limited
Zhang Lizhe, a high-school sophomore and volunteer treatments, the experience reminds them of why they
who has been helping as a dental assistant, says that the went into medicine in the first place. It reinvigorates
experience has shown him that Cambodian children are them, and they are able to take this newfound energy
very brave, have an exceptional tolerance for pain, and with them when they return to their work in Taiwan.
don’t cry when given injections. He says their bravery From their early complaints about tepid water to
brought him nearly to tears. When a dentist finishes pull- wash with and uncomfortable beds to sleep in, to experi-
ing a tooth, the children put their hands together and bow encing the energy that comes of doing good deeds, the
before leaving. Zhang goes on to say that they act nothing volunteers have seen changes in themselves and have
like his 12-year-old brother, who goes to the dentist in come to appreciate the advantages they enjoy in Taiwan.
Taiwan accompanied by four adults, and still cries and When you can find meaning or redemption in hardship,
resists getting into the examination chair. Zhang adds that a little bit of trepidation is fine, because the experience
the sight of so many Cambodian children with no shoes itself may well be transformative. l
inspired him to tell his mother that he didn’t need brand- (Esther Tseng/photos by Lin Minhsuan/
name shoes for himself anymore—any pair would do. tr. by Scott Williams)
17
封面故事
COVER STORY
風中的希望
知風草與希望之芽
Hope on the Wind
—Two Taiwanese NGOs in Cambodia
南非大主教屠圖曾說：「他們和我們素昧平
生，但傾注自己的愛心，提供資源幫助他人時，
A rchbishop Desmond Tutu once said, “In our world
we tend to be blind to our connection until times
of great disaster. We find we start caring about people
就會意識到彼此是相連在一起的。而且當我們盼 in Timbuktu, whom we’ve never met… and yet we pour
望造福他人的時候，就能感受到最大喜悅。」中 out our hearts. We give resources to help them because
華民國知風草文教服務協會與台灣希望之芽協 we realize that we are bound up together. We are bound
會，集結台灣的愛心與資源，在柬埔寨扶弱濟 up and can be human only together.” The Field Relief
Agency of Taiwan and Formosa Budding Hope Associa-
貧，讓人在苦難中看到希望，行善無國界。
tion are two organizations that are bringing Taiwanese
resources to people most Taiwanese will never meet,
一場大雨，把原本顛簸不堪的黃土路弄得更加 binding us together with the underprivileged people of
泥濘，從波貝到馬德望省的諾薇村二個多小時的 Cambodia and bringing them hope amidst hardship.
車程，一路上下彈跳，身體隨著彎路左右來回晃
Heavy rain has turned the bumpy dirt road muddy
動，昏昏沈沈之際，一到東波諾薇寺，迎來的卻
on the two-hour-plus car trip from Poipet to Lovea, in
是熱情不斷的掌聲。
Battambang Province. Bouncing along the road, we sway
掌聲迎接的是身穿白色長衿的中華民國知風 and rock as we head for Dongpo Lovea Temple, where
草文教服務協會秘書長楊蔚齡，她集結台灣與海 we receive a rapturous welcome.

19
內外華人的愛心捐款，為化身爐（台灣稱「火化諾薇村村民含著眼淚感謝知風草協會秘書長楊蔚齡（右）
協助興建化身爐。
爐」）完工主持剪綵典禮。 A resident of Lovea tearfully thanks the Field Relief Agency’s Yang
Wei-lin (right) for assisting in the construction of a crematory.
東波諾微寺建於1910年，在1970年代柬埔寨內
戰時幾乎完全摧毀，重建後，現是附近四、五個村
落的生活重心，村民每8天就來禮佛一次，婚喪喜
慶也都在廟裡舉行。化身爐剪綵典禮是諾微村的大
事，村民幾乎全數動員，每人身穿白色上衣的正式在柬埔寨投入扶貧助學、急難救助廿多年，楊
服裝，女性圍著紗籠、肩披裝飾用的水布，一千多蔚齡會興建化身爐是因為協會長期資助的一個愛
位學生穿著制服，以最莊重的心情來參加。滋個案，「不幫不忍心」，她說。
這位媽媽小時候被家人賣做雛妓，後來嫁作人
守住人生最後的尊嚴
婦，幾年後不幸愛滋病發作，同時也傳染給她的
這是知風草協會遍及柬埔寨7個省份所蓋的第先生，在生下3個愛滋孩子後，先生跑掉，她病逝
137個化身爐。時，沒有棺材，而是就地焚燒。
「在柬埔寨的偏鄉，如果寺廟裡沒有化身爐， 3個穿著白衣送終的孩子，眼睜睜地看著媽媽大
人往生了，通常就是放在地上燒。有時沒有燒完體在地上火化，屍體遇火緊縮而彈跳起來，不僅
整，屍骨被田間的牛隻踐踏，被流浪狗叼走。」在旁的眾人嚇得退卻三步，原本大哭的3個孩子驚
楊蔚齡解釋。嚇到頓時哭聲止在喉中，讓一旁的楊蔚齡決心在

台灣愛心捐款在柬埔寨偏鄉興建化身爐，
在人生的最後一程重拾生命的尊嚴。
Donations from Taiwan have been put to
use to build crematories in rural Cambodia,
letting the recently deceased have their
times on Earth conclude with dignity.
have helped with the building of 137 crematories across

seven provinces around Cambodia.
“In rural Cambodia, if the local temple doesn’t have a
crematory, when people pass away they are usually just
laid on the ground and burned. Sometimes they don’t
burn completely, and the bones get trampled by cattle or
carried off by stray dogs,” explains Yang.
Having invested over two decades into poverty allevi-
ation, education and emergency relief in Cambodia, Yang
turned to building crematories after the death of a woman
with AIDS that the FRA had been working with for years. “I
couldn’t bear to not help after that,” she says.
The woman in question was sold into prostitution as
As we arrive accompanied by people from the Field a child. She later married, and unfortunately developed
Relief Agency of Taiwan (FRA), one person is welcomed AIDS after a few years, infecting her husband and going on
particularly enthusiastically—Yang Wei-lin, FRA secretary- to bear three children with HIV. Eventually, her husband
general. Yang has gathered donations from both Taiwanese abandoned her and she passed away from the disease.
and the international ethnic Chinese diaspora, and is there With no coffin, she was simply burned on the ground.
to host the ribbon cutting ceremony marking the com- Her three children, dressed in white for mourning,
pletion of a new crematory. watched their mother’s cremation. Contorted by the flames,
Dongpo Lovea Temple was built in 1910 and was almost her body seemed to spring up, driving shocked observers
entirely destroyed during the Cambodian civil war of the back and terrifying the small children beyond tears. Yang,
1970s. Since its reconstruction, it has become the central who was watching from the sidelines, decided then and
focus for four or five nearby villages, not only hosting wed- there to build a crematory at Poipet’s Sras Trach temple, to
dings and funerals, but also serving as a place of worship give people in such tragic situations some dignity in death
for local villagers every eight days. The ribbon cutting cere- and avoid compounding the grief of the bereaved.
mony is a major event for Lovea. Almost every resident of “It rains frequently in Cambodia, but amazingly the
the area is present, all dressed in white formal attire, the moment I cut the ribbon on that crematory, the rain com-
women in sampots and over 1,000 schoolchildren in their pletely stopped,” says Yang, her faith in the power of good
uniforms. The mood throughout is solemn and respectful. deeds evident in her voice.
Dignity at the end of life’s journey Engraved onto the crematories are the names of donors
With the inauguration of this crematory, the FRA will from Taiwan and Hong Kong in both Chinese and Khmer,
21
波貝所在的達賴和尚廟蓋一座化身爐，讓這些悲化身爐的故事說不盡，爐身以柬文、中文刻著
苦的人在臨終火化時，還能保有一絲尊嚴，不要來自台灣與香港捐款人的名字，就像化身成終結
像那愛滋媽媽，走到人生盡頭還留下更大悲痛給苦難的菩薩，將慎終追遠、盡哀盡禮的祝福傳達
兒女。給柬埔寨人。
「柬埔寨時常下雨，但很奇妙的是，每當我
善行種子，隨風擴散
剪綵化身爐的那一刻，雨就停了。」楊蔚齡淡定
的語氣裡，顯露出善行的力量。不知為何，一傳我們再跟著楊蔚齡去驗收水井工程。根據聯合
十、十傳百，甚至有許多偏鄉寺廟的和尚走了國統計，柬埔寨至今仍有70%的人口沒有自來水，
二、三天到訪，或是來了二、三趟，希望知風草偏鄉居民平日生活用水都是接雨水或是汲取自溪
協會為他們的寺廟興建化身爐。水，旱季不僅有無水之苦，也容易滋生登革熱、
有一天，一位在洞里薩湖的12歲沙彌由他的爺瘧疾與腸胃病。
爺陪同，來到知風草協會辦公室所在的波貝市。知風草協會從2015年開始募集指定用途的捐
小和尚的父親2年前過世，當地由於沒有化身爐，款，為柬埔寨偏鄉的學校興建水井，現已鑿了50口
雨季地上溼，就放到大樹上燒。沒有想到他的父水井。由於學校沒有水，平時校方都要耳提面命，
親火化時，不小心大樹著火，尚未火化的遺體有要求師生帶水到學校，才能提著水去上廁所。現在
一半掉到湖裡，看到這幕情景的孩子因而發願當有了井水，不僅師生上廁所不用再提著一桶水，由
和尚，為他父親念經超渡，並且來求助知風草協於馬達抽水1小時即可以抽滿一大桶，小朋友還可
會協助興建化身爐，希望讓他父親的悲劇不再發以帶乾淨的井水回家用。這井水不僅是當地最乾淨
生到其他人身上。的水源，卅年的湧泉，還可以百年樹人。
台灣獅子會總會2005年
捐助興建的都巴薩中學，
解決了地雷村學生大量輟
學的困境。
（知風草協會提供）
In 2005, the Lions Club of
Taiwan helped build a high
school in a Cambodian
village known as “Landmine
Village,” providing a
solution to the problem of
large numbers of dropouts.
(courtesy of FRA)

bringing blessings from afar to the people of Cambodia, During our visit we see many of these wells and
like a bodhisattva with the power to end suffering. crematories that the FRA has constructed in rural com-
Seeds on the wind munities, but Yang also reminds us with a smile that in
We accompanied Yang on a visit to inspect a well proj- fact her background is in education, and she is also prin-
ect. According to UN statistics, as much as 70% of Cam- cipal of the FRA Secondary and Vocational High School
bodia’s population has no access to running water. The in Poi pet. This school, with its red-tiled roof, wooden
water people in rural communities use tends to be rain- window frames and traditionally decorated eaves, was
water or drawn from local streams, and during the dry built with donations from Taiwan, but is brimming with
season they not only have to deal with a lack of water, Khmer style. The only high school in a five-village area, it
but also face increased odds of catching dengue fever, currently boasts a roll of over 300 students between sev-
malaria, or gastrointestinal diseases. enth and tenth grades.
Since 2015, the FRA has been collecting donations for Yang began her work in Cambodia in 1987. At the time,
specific uses, like sinking wells for schools in rural Cam- she was a flight attendant with China Airlines, and had
bodia; to date, they have completed 50 such wells. With a
well, not only do teachers and students not need to take
a bucket of water with them to use the toilet, an hour
of motorized pumping can fill a large tank with clean
water, and children can even take water home for their
families to use. But these wells are more than just the 楊蔚齡（右）探訪地雷村急難救助的貧戶，這位媽媽
長年多病，兒子剛病逝，留下孤苦無依的她。
cleanest water sources available locally; the water from Yang Wei-lin (right) visits impoverished residents of “Landmine
them will be invaluable in the long-term development of Village” with emergency aid. Here we see her with a woman
who has been in poor health for years and whose son recently
these communities. passed away, leaving her alone and without support.
23
小朋友歡喜領著台灣
捐助的愛心文具。
Young children happily
collect stationery items
donated by Taiwanese.
在偏鄉看了這麼多知風草協助興建的化身爐與廿多年來，知風草協會從教育切入扶助的工
水井工程，楊蔚齡笑著提醒我們：「不要忘了我作，「只有教育能終止多年內戰造成貧病的循環，
是做教育出身的，」她現在同時也是波貝縣知風讓赤貧人自立，我們只是拉他一把，陪他走一
草職業中學的校長。這所由台灣愛心捐款興建，段。」楊蔚齡坐在波貝辦公桌正後方，是一個大大
紅瓦木窗、貼花屋簷，充滿高棉風情的學校，是的台灣地圖，她從台灣募集善款、物資，遠渡重洋
方圓5個村的唯一中學，現已招收三百多位7至10 送至柬國，已經協助建立柬埔寨18所華校，另加上
年級的學生。由楊蔚齡二十多年前親手種下的阿知風草中學，台灣民眾送的愛心文具、教科書與助
勃勒樹已比屋簷還要高。學津貼，目前已有七萬多名學童受惠。
楊蔚齡在柬埔寨的扶助工作，最早從1987年開我們造訪由台灣獅子會總會全力捐助位於地雷
始，當時還是華航空姐的她到泰國難民營當國際村的都巴薩中學，「要專心學習」的柬文標語掛
志工，由於柬泰邊境是戰場，時常看到受到內戰在牆上，這所學校從一片荒煙蔓草中興建，至今
蹂躪，陷入極度貧困的柬埔寨人民。因此她決定已有18間教室，成為地雷村唯一的完全中學。根
留在生活條件最艱困的地雷村，收容在泰柬邊境據聯合國統計，2017年柬埔寨完成中學學業的比
流浪、乞討的孤兒到「流浪兒童之家」，並且在例只有57%，台灣愛心興建的都巴薩中學解決了地
1995年成立中華民國知風草協會。雷村學生大量輟學的困境，13年來，已有五千多
知風草是一種多年叢生的雜草，花絮常在微位學童從這裡畢業。
風中搖動。為何以知風草為名？楊蔚齡說，生活「在台灣吃一頓大餐的錢，就可以扶助一個
在落後地區的人們，就好像飄散在曠野中的知風貧童。」楊蔚齡說：「在歷史的長河裡我何其有
草，「孩子是天養的」，政府資源到不了的偏幸，看到柬埔寨人沒有被戰亂的衰敗打倒，知風
鄉，就靠人的善行來補足。草善良的種子就這樣散播下去。」

volunteered to aid in a Thai refugee camp. With the Thai– High School. The people of Taiwan have also generously
Cambodia border area still a war zone, she often saw donated stationery, textbooks, and student stipends, all
firsthand the devastation and extreme poverty the Cam- of which have reached over 70,000 students so far.
bodian refugees were suffering under in the wake of their “For the price of a good restaurant meal in Taiwan,
nation’s civil war. She decided she wanted to stay, settling you can support a poor child,” Yang says, adding, “I feel
in a village known as “Landmine Village” despite the dif- lucky to be able to play my part in history. I’ve seen how
ficult conditions. She began taking in homeless orphans the people of Cambodia have refused to be beaten down
along the border who were surviving by begging, and in by the chaos and destruction of war, and I’ve had the
1995 she established the Field Relief Agency of Taiwan. chance to sow the seeds of good through the FRA.”
Over the past two decades, the FRA has provided re-
lief in the form of education. “Ultimately, only education
can end the cycle of poverty that the civil war began and
help the poorest stand on their own feet.” Behind Yang’s
desk in Poipet hangs a huge map of Taiwan. She works
to collect donations of money and supplies from Taiwan
希望之芽協會在大吳哥縣的職訓中心，由台灣的
and ship them to Cambodia, and has already helped to 愛心捐款興建，得以在扶助工作中發光發熱。
build or rebuild some 18 Chinese-medium schools in the The Formosa Budding Hope Association has set up
a vocational training center in Angkor Thom, using
country, as well as the FRA Secondary and Vocational Taiwanese donations to bring light and hope to the area.
25
希望之芽柬籍的社工實地到貧戶家訪，了解他們的需要。
Cambodian social workers with the Formosa Budding Hope
Association visit underprivileged families to understand their needs.
到每半年到柬埔寨義診的牙醫師許毓丕。隨著義
看到真正的赤貧
診次數的增加，看到的苦難與需求愈來愈多，這
我們跟著台灣希望之芽協會，將社會服助的腳些志同道合的志工們從短暫性的義診，到加入送
步從地雷村轉到柬埔寨旅客必訪的吳哥窟，它所在米、送衣、送文具等援助，為了整合更多的資
的暹粒省市中心有一條酒吧街，許多老外坐在充滿源，2010年才成立台灣希望之芽協會。
異國情調、時髦裝潢的餐廳裡，與距離市區不到一綁個馬尾、像個大姐姐的余慈薰解釋，「在
小時車程的大吳哥縣，卻有著天壤之別的景觀。柬埔寨可以看到什麼是赤貧，一個國家落後到
貧民所居住的傳統高腳屋，屋頂用隨處可見的『零』，什麼都沒有，孩童因為繳不起每天上學
棕櫚樹葉搭建，但房舍無法用「家徒四壁」來形要交500元柬幣（約台幣7元）的文具費給老師而輟
容，因為他們窮到房屋沒有牆，只用破布或帆布學。因此我深信如果能支持他們受教育，對他們的
袋圍著，煮飯的炊具放在樹下，屋內空無一物，未來一定不一樣，因為受教育才有機會翻身。」
唯一醒目的「家具」是一個二手的行李箱，裡面
台灣資源，發光發熱
放著這家最珍貴的「貧戶卡」與一些衣物。
這二手行李箱是希望之芽協會在台灣募集，每希望之芽透過與大吳哥縣政府合作提供貧童名
次由義診團志工自願減輕自己旅行的行李，帶著單，經由社工訪視確認，將台灣資助人每月700元
文具、二手衣服等物資，裝在行李箱中運到柬埔台幣的資助金，及發送水煮蛋與15公斤的白米給
寨，送給貧戶。受資助的貧童。特別的是，每當希望之芽發麵包
希望之芽協會執行長余慈薰十多年前當背包或是白煮蛋，孩子會問可不可以不要吃，因為想
客到柬埔寨旅遊，學社工出身的她先加入日本在把麵包留回家給弟弟妹妹們，愈是貧乏，孩子愈
柬國所成立的第一支救護車團隊，又因緣際會遇會珍惜與分享。

Witnessing true poverty If we can help them get an education, I really believe
Next, we leave Landmine Village and join the Formosa their futures will be different, because education is an
Budding Hope Association as they take their services to opportunity for transformation.”
Siem Reap, known as a “must see” tourist destination. Taiwanese resources light up lives
There, the poor live in traditional stilt homes, their roofs With a list of impoverished children provided by the
made with palm leaves. These homes lack walls, though, government of Angkor Thom, and after visits by social
because their residents simply can’t afford to build them, workers for confirmation, the Budding Hope Association
instead substituting rags or tarpaulins. Their cookware provides some NT$700 and 15 kilograms of white rice per
sits at the feet of trees, their homes bereft of furniture be- month to each family. When the children come to collect
yond secondhand suitcases that hold their most valuable these items, the association also gives them something
possessions—their IDPoor cards—and a few clothes. to eat such as bread or boiled eggs. But the children al-
The ponytailed, sisterly Sally Yu, CEO of Formosa ways ask if they can save them instead of eating them on
Budding Hope Association, tells us, “In Cambodia you the spot, so they can take them home for their younger
can see what real poverty is. It is a country that fell back siblings. The worse their situation, the more the children
to square one, was left with virtually nothing. If children value these small blessings and want to share them.
can’t pay their teacher the 500 riel daily stationery charge The Budding Hope Association has set up a vocational
[about NT$7], then they’re forced to drop out of school. training center in rural Angkor Thom, supported by
希望之芽協會執行長余慈薰，希望之芽協助婦女種香菇，
投身柬埔寨的扶助工作已超過十年。增加家庭收入，是一種賦權的做法。
Sally Yu, CEO of the Formosa Budding Hope The Formosa Budding Hope Association
Association, has dedicated over a decade of helps local women grow mushrooms to boost
her life to providing assistance in Cambodia. household income and gain empowerment.
27
在台灣，不會因為沒有一支鉛筆就輟學；但在柬埔寨
卻是如此，貧童因買不起文具不敢上學。
In Taiwan, just not having a pencil isn’t enough reason to drop
out of school. In Cambodia, however, this can and does happen,
as families lack the money to buy even basic stationery items.
希望之芽的職業訓練計劃，教婦女利用棕櫚葉手工編織
做成各式包裝盒，藉此改善女性在家中的地位。
Training programs by the Formosa Budding Hope Association
teach women to make all kinds of boxes and containers from
woven palm leaves, helping improve the women’s status at home.
希望之芽副主任吳侑家指出，由於一家只能資棧道，有的買了十多隻雞來養。
助一個孩子，通常會選擇家中學齡最小的孩子，余慈薰說：「柬埔寨很多家庭沒有節育，孩子
藉此可以拉長資助的年限。我們所訪視的其中一生很多，養不起，就把孩子送到孤兒院。職業訓
個9歲女孩，因為營養不良，看起來只有5歲，她練計劃透過植物染布、養菇等訓練，或是教婦女
的父親到泰國打黑工，因意外受傷，回到家中靠利用棕櫚葉手工編織做成各式包裝盒、手提包，
挖馬鈴薯與砍木頭維生，她的姐姐14歲就中輟學讓這些媽媽可以在家代工，增加收入，不僅可以
業在家幫忙，而透過資助計劃希望再減少貧童輟改善太太在家中的地位，更讓孩子有機會留在原
學率。生家庭，不致送至孤兒院。這種賦權的做法，符
希望之芽協會在大吳哥縣鄉野中的職訓中心，合聯合國2030年永續發展消除極端貧窮飢餓、兩
是由台灣冠軍磁磚資助。但有了房子，卻沒有性平等的目標。」
電，雖然電線桿早在兩年前就已裝設好。這時工「柬埔寨是我心靈的舒適圈，因為在這裡我
研院拿出看家本領，為職訓中心裝設了太陽能成為一個真正有用的人。」很多朋友常常覺得余
板，今（2018）年初成為當地第一個有電的屋慈薰十分辛苦，但她引用德蕾莎修女的話說：
子。連輔導貧戶種香菇，社工們發現真空包滅菌「愛是看見別人的需要，在苦難中看見自己的責
不完全，袖珍菇種不起來，再求助農委會農業試任。」從希望之芽與知風草協會，可以看出台灣
驗所的專家，解決滅菌過程的問題後，第一期的雖是地理上的小國，但集結了台灣人的智慧與資
菇農靠著賣香菇收入，有的幫家門前走道鋪了木源，就可以是愛心輸出的大國。 l

希望之芽協助偏鄉學童透過教育脫貧，受教育就有機會翻身。
The Formosa Budding Hope Association helps rural students escape poverty through
education, giving them the opportunity to change their lives through learning.
Taiwanese tiling company Champion. However, while the in skills such as dyeing fabric with vegetable dyes and
center may have a home, it has until recently lacked electric- mushroom cultivation, and some of the women also learn
ity despite power poles being put up two years ago. To ad- to weave palm fronds into bags and boxes. They can
dress this, Taiwan’s Industrial Technology Research Institute then work from home, increase their income, and not just
has taken the lead by installing solar panels at the center, improve their standing at home, but be able to keep and
making it the area’s first place with power as of early 2018. raise their kids. This kind of empowerment is also in line
The association has also taken to teaching the locals to grow with the UN’s Sustainable Development Goals of elimin
mushrooms; however, their social workers found that im- ating extreme poverty and fostering gender equality.”
perfections in the vacuum packing of the oyster mushrooms “I really consider Cambodia my ‘comfort zone.’ I
delivered to the farmers meant they wouldn’t grow. Experts can really be of use here.” Yu draws on the example of
from the Taiwan Agricultural Research Institute set to work Mother Teresa, who once said that love is seeing what
on the problem, and after they found a solution, the first others need and seeing your own responsibilities even
batches of mushrooms harvested brought in enough income amidst suffering. Through the examples of both the FRA
for families to start getting back on their feet, with some of and the Budding Hope Association, we can see that while
them laying wooden boardwalks in front of their homes and Taiwan may be small geographically, with the combined
others buying a dozen or more chickens to raise. wisdom and resources of her people, she can produce
“A lot of families in Cambodia use no birth control, so great amounts of love. l
they end up with a lot of kids they can’t take care of and have (Esther Tseng/photos by Lin Min-hsuan/
to send to orphanages,” says Yu. “We give people training tr. by Geof Aberhart)
29
封面故事
COVER STORY
借力使力
佈局全球
台商在柬
Taiwanese Firms in Cambodia
—Leveraging Location in a Global Age
根據世界銀行最新的報告，柬埔寨從1995至
2017年之間維持平均7.7％的高經濟成長率，其 A ccording to the World Bank, Cambodia managed
a high average growth rate of 7.7% from 1995 to
2017 by relying on the economic pillars of construc-
中主要靠成衣業出口，以及國內觀光與建築業成
tion, tourism and export-oriented clothing manufac-
長所支撐，而台商對拉抬柬埔寨經濟成長，功不
ture. Taiwanese firms have played important roles in
可沒。
fueling Cambodia’s economic growth.
我們走訪了台南企業集團的子公司金速旺製 To understand how Taiwanese companies are far-
衣廠，以及水類運動衣著製造全球市佔率第一的 ing in Cambodia, we visited Gin-Sovann Fashion
薛長興工業柬二廠，見識了台商在海外殷實的管 (Cambodia) Ltd., a subsidiary of Tainan Enterprises,
理，利用柬埔寨輸出歐美優惠關稅的條件，借力 as well as one of the Cambodian factories of the
使力，在全球供應鏈佈局獲利。 Sheico Group, the world’s largest maker of water-
sports clothing. These plants take advantage of the
low tariffs levied by the EU and the United States on
十多台縫紉機連成一排的生產線，轟隆隆地
goods from Cambodia, deftly leveraging the global
聲響迴盪在明亮、寬敞的金速旺製衣廠。戴著不
supply chain to their maximum benefit.
同顏色領巾、代表不同品項分工的女工們，沒有
停歇地踩著高速縫紉機，車上滾邊線，送往另一 From a production line with more than ten sew-
條生產線打摺、釘鈕扣，最後再車上尺寸衣領標 ing machines in a row, the noise echoes through the

31
籤，做成一套套供應美國梅西百貨的睡袍，趕在柬埔寨的基本工資逐年上升，甚至比越南部份地區還高。
Basic wages have been rising steadily in Cambodia and are now
聖誕節前裝十幾個貨櫃出口至美國。 higher than in many areas of Vietnam.
「今（2018）年7月柬埔寨大選前，經由勞動
部的安排，總理洪森來到這裡拉票造勢。他就這
樣一排接著一排與1,200個女工自拍，一個接著
一個合影留念，停留了三個多小時。許多女工沒但是從柬埔寨出口歐盟沒有紡織品配額的限
有想到會在工廠遇見國家領導人，甚至激動得哭制，為了做歐洲單子，林志龍1997年即來到柬埔
了！」金速旺製衣廠總經理林志龍接著說：「洪寨，開始在金邊5號公路旁蓋工廠，同年7月柬埔
森總理當天順勢要求工廠讓員工放假，全場歡聲寨還打了2天內戰。
雷動。我們能說不嗎？」不過，讓員工多放一天 1998年工廠開工時，計劃招聘600個工人，卻從
假，一天減少一萬多美金的產能。全國各地湧來了二千多個，僧多粥少，大家都想
進來面試，還出動荷槍的軍警維持秩序，這些軍
開疆拓土，賣命趕鬼
警反而向應徵的工人要50美元的仲介費，當時工
挺著一個大大的啤酒肚，台商朋友都叫他「熊人每月工資只有30美元。
貓」的林志龍，說起當初來到柬埔寨設廠的緣由：這些都是事後才知道，林志龍說起當初動盪混
「我當時在越南的紡織廠，出口100萬打成衣到英亂的治安：「我到銀行領5萬美元準備發薪水，遇
國，由於配額的限制，被退了一個貨櫃回來，因為到搶劫。8枝槍頂著我，搶匪還用槍托打我的頭，
是代工迪士尼的單子，還要錄影燒毀。」真的是在賣命呀！」搖著頭，想起當初柬埔寨的

expansive spaces of the Gin-Sovann plant. The seam- prime minister suggested that the factory give the work-
stresses wear different-colored scarfs that represent ers a day off, the whole place erupted in cheers.”
different work teams. They incessantly push the pedals Breaking new ground
of their high-speed sewing machines, finishing hems. Called “Panda” by his fellow Taiwanese business-
Afterwards, the garments are brought to another line men because of his beer belly, Lin recalls what brought
for pleating and sewing on buttons. At the last stop, the him to Cambodia: “I had a plant in Vietnam, which had
label and size tags are sewn on the pajamas, which are exported 12 million garments to Britain. But because
bound for the American department store Macy’s. The of quotas, one container was sent back. It was an order
plant is rushing to fill more than ten US-bound contain- for Disney, so we were required to make a video of the
ers in time for the Christmas shopping season. goods being destroyed.
“In July of this year [2018], before the Cambodian But there are no quotas on imports of textiles from
elections, Prime Minister Hun Sen came here to cam- Cambodia to the EU. To get European orders, Lin came
paign under arrangements by the Cambodian Ministry to Cambodia in 1997, building a factory in Phnom Penh
of Labor and Vocational Training,” recalls Panda Lin,
general manager of Gin-Sovann. “Hun went along each
row of machines taking selfies with the seamstresses—
some 1,200 in all. They all wanted a photograph, so he
金速旺製衣廠總經理林志龍為了突破紡織配額限制，
ended up staying for more than three hours. Many of the 1997年就來到柬埔寨設廠。
women had never imagined they’d see a national leader Panda Lin, the general manager of Gin-Sovann Fashion,
opened his first Cambodian factory in 1997, aiming to avoid
at the factory, and some were moved to tears! When the import quotas imposed by the EU.
33
亂象，他心有餘悸地說：「當時工廠來了幾台新配一條小魚乾，難怪工作到一半就昏倒。她說，
的紡織機，半夜卻有小偷出動吊車把機台偷走，警「我將部份加班錢用在午餐上，讓每人每天至少
察局列為重大刑事案件，承諾一定要抓到人，真的吃到一塊肉，把四、五百位女工養得白白胖胖，
沒有多久即抓到小偷，原來就是幾天前幫我招募工因此我的工廠從來沒有鬧鬼傳聞。」
人的村長。最後，從警察局拿回被偷的機台，還要
經濟起飛，展現企圖心
花500元美金當『破案獎金』，警方才願放行。」
然而，利用歐盟與加拿大給予柬埔寨出口免稅的優 1990年代柬埔寨開始經濟改革，實施自由寬鬆
惠，金速旺製衣廠迅速擴充至3個工廠。的外匯政策。柬埔寨也成為台灣各家銀行的兵家
還有工廠鬧鬼也是趣聞之一。已在台灣竹南經必爭之地。在金邊市區，合作金庫、匯豐銀行等
營35年的雙瑞興洗染廠，負責成衣後染後洗的加台灣銀行的招牌，熟悉地映入眼簾。1998年就到
工。董事王美蕙說，1999年我們紡織業的上游廠金邊開設分行的第一銀行，拜放款利率高達13％
商到柬埔寨投資設廠，我們下游廠商也跟著來形之賜，獲利豐厚。消息傳回台灣，讓其他銀行躍
成生產供應鏈。躍欲試，紛紛到金邊設立分行。
說到一開始，由於常常有女工一個接著一個玉山銀行柬埔寨分行的經理梁原溢指出，柬埔
昏倒，甚至在別的工廠傳出鬧鬼。現任柬埔寨台寨經濟正在起飛，有資金的需求，因此銀行業務成
灣商會會長的王美蕙認為，海外設廠最重要的就長很快，目前柬埔寨信用卡持有者約有八萬多張，
是「三本」原則，本錢、本人、本事，尤其是本玉山銀行發卡數達一萬四千多張，高居第一名。
人，她親自坐鎮柬埔寨工廠，發現根本不是工廠「愈是缺乏的地方，愈是有機會」梁原溢提
鬧鬼，而是女工營養不良，常常午餐只有一碗飯到，柬埔寨相關的法令與機制，不若香港或日本
金邊地區經濟起飛，大興土木，隨處可見。
With Phnom Penh’s economy booming, major
construction projects are underway everywhere.

第一商業銀行是台灣第一個前進柬埔寨的銀行。
First Commercial Bank was the first Taiwanese bank
to open a branch in Cambodia.
beside National Highway 5. In July of that year, a coup banks grew hungry for a piece of the action, and one after
led to two days of violence. another they came to Phnom Penh to establish operations.
When the factory opened in 1998, the plan was to hire Jerry Liang, a manager at E. Sun Bank’s Cambodian
600 workers, but more than 2000 aspirants came from subsidiary, Union Commercial Bank, points out that the
all over the country, and the number of positions wasn’t Cambodian economy was just taking off back then and
sufficient. With multitudes eager to get an interview, mil- had a great need for capital. Consequently, the banking
itary police were called in to maintain order. industry grew rapidly. UCB has issued 14,000 of Cam-
His early days in Cambodia were marred by disorder: bodia’s 80,000 credit cards—more than any other bank.
“Once I went to the bank to take out US$50,000 to pay But the capital of Phnom Penh has undergone a dra-
salaries and got held up. Eight guns were pointed at me, matic transformation over the past two decades. The
and the robbers pistol-whipped me. I was truly risking basic monthly wage for a worker has risen from US$30 in
my life!” He shakes his head as he recalls the incident. 1998 to US$170 today. When you include the potential for
Economic take-off bolsters ambitions two overtime hours a day, a worker might earn US$270
The economic reforms of the 1990s in Cambodia per month. Wages are thus higher even than in some
brought foreign-exchange liberalization that turned the areas of Vietnam. And with various taxes added to those
country into a battleground for Taiwanese banks. In rising wages, overall labor costs for clothing manufac-
downtown Phnom Penh, any Taiwanese will recognize turers have grown substantially. And yet the prices these
the familiar sight of branches of Taiwan Cooperative factories can charge for orders are falling. According to
Bank, HSBC Taiwan and other Taiwan banks. Thanks to statistics from the Garment Manufacturers Association in
an interest rate on loans of 13%, First Commercial Bank Cambodia, the number of plants is falling too.
made big profits after it set up a branch in Phnom Penh in The biggest driver of this decline has been the wave
1998. When news of its success got back to Taiwan, other of labor unrest that began five years ago. Many trade
35
健全，給予外派員工發揮興業與創業的精神，妥在一片漫煙黃土中，薛長興工業2008年花了四
善進行風險管理，建立機制，所創造的業績與績個多月即蓋好工廠開工，從三百多位員工開始，
效便是在柬埔寨工作最大的成就感。至今已是十多個廠房、四千多位員工的工廠。
但廿多年來，首都金邊出現了十分大的變化。然而，2013年柬埔寨興起許多反對黨，透過
工人基本工資從1998年的每月30美元，漲到170 不同工會鼓吹罷工，設路障不讓員工上班，甚至
美元，算入每天2小時加班，員工每月可以領到毀損工廠大門。罷工潮就像傳染病一樣，擴散蔓
270美元。工人工資上漲，甚至比越南部份地區還延，雖然薛長興是最後一個受到波及的工廠，但
要高，加上各種名目的稅，以及各種從勞工安全罷工封路造成員工無法上班，柬一廠也不得不停
到反恐怖主義的安全檢查，工廠成本增加，但接工10天，導致出貨延遲，歐美的客戶雖然能諒
單單價卻愈來愈低，根據柬埔寨成衣廠商協會統解，但擔心像2008年大陸深圳工廠那樣一發不可
計，成衣廠數目正在逐年減少當中。收拾的罷工潮，為了分散風險，便在臨近金邊機
影響最大還是五年前開始的罷工潮，許多在野場附近，興建了「柬二廠」。
黨組成各式工會，煽動罷工，「平時對員工那麼
海外設廠，子弟兵放心
好，罷工時翻臉不認人，讓我心寒。」林志龍指
出，洪森此次當選，也壓住了工會的勢力，相對薛長興工業生產水類運動服飾，從水上的沖
帶來穩定的政經情勢，但罷工在其他工廠仍時有浪、泛舟、帆船、站立式划漿，以及至水下的游
所聞，這也是在柬埔寨投資會有的風險。
然而在海外努力這麼多年，林志龍與台灣的連
繫並沒有因此減弱。曾連任2屆台商會長，同時也
是現任僑務委員的林志龍感性地說：「每次到越
南胡志明市參加雙十國慶，到馬來西亞出差看到
中華民國國旗飄揚，心中都感動到想掉眼淚，出
門在外，美不美故鄉土，親不親故鄉人。」
在世界移動，分散風險
而薛長興工業南進柬埔寨設廠，則是因為大陸
深圳的怠工潮。
總經理薛敏誠說起2008年急於到柬埔寨設廠，
是因為深圳全區爆發嚴重的怠工潮。內部評估單
靠一家工廠無法解決問題，近二千人的工廠可能
關廠，訂單又在成長，產量與進度將受到嚴重影
響。因此決定到柬埔寨與越南的邊境設廠，由於
工廠靠近胡志明市，原物料與成品都可就近進
口、出口。
薛長興工業總經理薛敏誠兢兢業業，力保全球第一。
Sheico managing director Min Shiue is working diligently
to maintain the company’s leading global position.

unions formed by opposition parties called for strikes. Lin With the dust swirling over the bare earth of the
notes that after Hun Sen won the most recent election, he construction site, Sheico was able to build its factory in
has limited the power of unions and brought greater polit just four months. Having started with 300some work
ical and economic stability. Yet one still hears of strikes ers, the factory now has more than ten workshops and
being called at other factories. It is simply one of the risks of more than 4000 workers in all.
investing in Cambodia. Yet 2013 saw the rise of several opposition parties in
Moving globally, spreading risk Cambodia. With calls for from various labor unions, a
Sheico, meanwhile, came to Cambodia as a result of labor wave of strikes spread like a virus. Sheico was hit when
unrest in Shenzhen in mainland China. the strikes elsewhere made it impossible for employees
Min Shiue, the company’s managing director, says that to get to the company’s original factory in Cambodia.
they hastily came to Cambodia in 2008, fearful of how the la Work stopped there for ten days, which resulted in
bor situation in China would affect their Shenzhen plant with delayed shipments of finished garments. Although the
2000 workers. Orders kept growing, but production and prog company’s European and American customers were
ress on the orders were seriously impacted. Consequently understanding, Sheico feared it wouldn’t be able to
they decided to establish a factory in Cambodia near the endure a wave of strikes like it had experienced in
border with Vietnam. Because Sheico’s first Cambodian fac Shenzhen in 2008. It thus decided to spread the risk by
tory was thus close to Ho Chi Minh City, raw materials and establishing a second Cambodian factory near Phnom
finished garments were easily imported and exported. Penh’s airport.
薛長興工業靠著優秀的台灣子弟兵，掌控海外生產基地，
是維持全球代工產量第一的秘訣。
Sheico employs many Taiwanese managers to control production
at its overseas operations. They are a major reason the company
is able to maintain its industry-leading global status.
37
理陳志昌說，除了定期與工會代表開會，聽取工
會心聲，還有就是用福利與待遇抓住員工的向心
力，例如經常舉辦球類比賽，新年聚餐抽獎，懷
孕的同事都有貼心的休息室與提早休息等優惠。
薛長興特別要求台籍幹部「在地化」，一定要
學高棉語，而且定期考核，列入考績。由於高棉
語有7階，各省的方言與用語又各有不同，對台籍
幹部來說並不容易學。但台籍幹部會說當地話，
除了可以避免透過翻譯可能會產生的誤會，也更
容易取得柬籍員工的尊重與信任。
尤其是總經理薛敏誠每一個半月到柬埔寨廠視
察時，都會先考台灣幹部高棉話。也是基層出身
的他強調：「不能鬆懈！」
說起2008年另闢柬埔寨海外廠，對薛長興工業
是一個學習教訓的一年。當時在大陸深圳廠鬧罷
工的員工，不乏有陸籍幹部帶頭。罷工事件平靜
後，有些人跑去對手工廠上班，甚至有一位員工
從倉庫偷拍原料的照片，賣了5至10萬元人民幣。
「我們的化學品供應商私下反映，有大陸工廠
想向他們買相同的原料。」由於與供貨商長期建
立的信任與忠誠，因此獲知此消息。但有了此教
訓，薛敏誠說，從此決定大陸廠不生產核心技術
薛長興工業研發特殊的油墨，數位印刷在潛水衣上，影像逼的產品。
真，獲得德國「戶外機能性產品趨勢大獎」中的材料創新獎。
Sheico has developed special ink that it digitally applies 薛長興工業因此將技術與材料研發的重心都
to Glideskin wetsuits to create highly realistic images. The
breakthrough earned it a German Design Award in 2018. 留在台灣，總部設在宜蘭。「雖然台灣人事成本
高，但因為只放心自己的子弟兵，台灣廠目前有
一千多位員工，透過研發，拉大與對手的距離。
結果最大的競爭者變成自己，因為自己跑得快，
泳、潛水等項目，應有盡有，全球市佔率高達六讓別人追上很困難。」薛敏誠說。
至七成。董事長薛丕拱1965年成立長興工業，為了不受制於材料商，2012年開始便自行開發
自製雨衣雨鞋，1968年改名為薛長興工業。今潛水衣的材料，舉凡原物料的材質、功能、織布
（2018）年正好成立50週年，為了低廉的勞動力染整的工法，每年都申請到十多個專利，保溫性
與設廠成本，海外設廠也有30年歷史，已建立一的材料最薄可以到0.5公釐，最厚可以超過1公分，
套制度化的管理制度。還可以做出全世界最輕的沖浪衣。
我們造訪位於金邊的「柬二廠」，3個廠區分別原來這就是薛長興決勝全球的關鍵，立足台
生產浮力背心、潛水衣，以及少量多樣客製化的灣，重視研發，拉大與對手的距離，並且透過海
運動成衣與材料，總產量每月達廿多萬件。外設廠，利用出口歐盟、東南亞國協的關稅優
如何「一次勞資對立都沒有發生？」柬二廠副惠，借力使力，因地制宜，決勝全球。 l

薛長興使用日本原廠的縫紉機，不會有跑針的問題，保持產品品質。
Sheico uses Japanese industrial sewing machines, which don’t skip stitches, thus maintaining a high level of quality.
Going native plant led the strikes. After the strikes were called off, a
Sheico makes all manner of water sports clothing and share of their employees left to work for a competitor.
accessories—for surfing, rafting, sailing, and paddle- There was even one employee who secretly photo-
boarding to swimming and diving. It enjoys a total global graphed the raw materials in the company warehouse
market share of 60–70%. With the Chung Hsin brand, and sold the photos for RMB50,000–100,000.
company chairman Shiue Pi-goong established the com- Min Shiue says that based on its experiences in
pany in 1968, manufacturing raincoats and rubber boots. mainland China the company decided that it wouldn’t
In 2018, Sheico celebrated its 50th anniversary. In order produce products in China that made use of its core tech-
to keep labor and factory construction costs down, it has nologies. Sheico’s R&D and raw materials production are
been locating factories overseas for 30 years. By this point based in Taiwan, with its headquarters located in Yilan.
it has well-oiled management systems in place. Each year the company files more than ten patents for
At the company’s second Cambodian plant, in Phnom processes connected to the texture and functionality of its
Penh, there are three separate factory buildings that make raw materials, as well as to its dyeing and finishing pro-
flotation vests, diving clothes, and a variety of customiz- cesses. The company makes an insulating neoprene fabric
able sports garments and equipment. They produce more that can be produced in thicknesses ranging from only
than 200,000 pieces a month. 0.5 millimeters to more than one centimeter. It is used to
Sheico requires all its Taiwanese management staff to make the lightest surfer’s wetsuits in the world.
“go native.” They must learn Cambodian, and they are reg- It has turned out that one key to Sheico’s successful
ularly tested on their proficiency, with scores included in global strategy has been to remain based in Taiwan,
performance assessments. With the Taiwanese staff speak- where its focus on R&D enables it to keep its lead over
ing Cambodian, it both prevents misunderstandings when its competitors. Meanwhile, by establishing factories
meaning is lost in translation and makes it easier for the overseas, it has leveraged the favorable treatment the EU
staff to gain the respect and trust of Cambodian workers. offers ASEAN countries. By playing to its strengths and
2008, when the company established its first factory in adapting to local conditions, it is conquering the world. l
Cambodia, was a great learning year for Sheico. Back then (Esther Tseng/photos by Lin Min-hsuan/
some of the company’s local management at its Shenzhen tr. by Jonathan Barnard)
39
封面故事
COVER STORY
文化書柬
沉靜的交流
Sharing Cambodian Culture:
Enlightening Exchanges
柬埔寨有什麼魅力？讓從事視覺與影像設計的
許紘捷變賣家產，到柬埔寨一待8年？讓念文化 W h a t i s C a m b o d i a ’s a p p e a l ? W h a t m a d e
graphic designer and photographer Hsu Hung
Chieh sell everything he owned and move there for
研究的林之淯，翻轉她對藝術的想像？
eight years? What upended cultural studies graduate
不只是中世紀宏偉的古文明吳哥窟，博大精
Lin Chih Yu’s conception of art?
深；不只是建築雕刻的精緻工藝，引人入勝；
It isn’t just Cambodia’s magnificent 12th-century
而是柬埔寨人歷經大規模屠殺與歷史檔案被銷 Angkor Wat temple complex, nor yet its delicate
毀的浩劫，一步步在滿目瘡痍的廢墟中，希望 architectural sculpture. Instead, what causes visitors
重建自己文化、尋回歷史真相的生命力，讓人 to tarry is the Cambodian people themselves, who,
低迴忘返。 having lived through horrific massacres and cata-
strophes, are now working to rebuild their culture and
recover the positive aspects of their history.
一頭長髮紮在腦後，手戴著一串從柬埔寨不同
廟裡祈福來的絲線手環，攝影文化工作者許紘捷
Casual and composed, Hsu Hung Chieh, a ponytailed
慢條斯里地說：「喜歡改變的我，卻在柬埔寨貧
photographer with numerous temple bracelets tied
乏的環境中，感受到單純的質樸與快樂。」 around his wrists, tells us: “I like change, but I found
2010年因緣際會協助出版社到柬埔寨拍攝吳哥 a kind of pure ingenuousness and happiness in Cam
窟，在工作之餘，他請嘟嘟車司機帶他到觀光客 bodia’s impoverished environment.”

柬埔寨的舞者Nget Rady
（後者），與台灣戲曲學
院老師張宇喬，合作演出
《天宮》的猴舞。
Cambodian dancer Nget
Rady (rear) and National
Taiwan College of
Performing Arts professor
Chang Yu-chau perform
“Heavenly Palace of Monkey
Business,” a monkey-dance
demonstration.
41
不會到的鄉間，所到之處，看到柬埔寨生活的真
實樣貌，與觀光區相比，落差非常大。
柬埔寨貧而知足的生活衝擊著許紘捷，他因此
做了一個很大的決定：「我反省我的生活看似豐
富，其實都是用錢堆起來的。有3間房子堆放我
收集的玩具公仔、DVD、漫畫，我也不用去遞名
片，就可以接到許多生意。」從事10年視覺設計工
作的他，決定實踐「斷捨離」，賣了房子與許久的
收藏，「把自己清乾淨，到柬埔寨當志工。」
心有所寄，志有所託
許紘捷2010年到柬埔寨為台灣希望之芽協會的
義診團當國際志工，同時協助攝影記錄。2011年
開始長住金邊，並且以經營只有3間套房與2間通
鋪的民宿，來換取生活基本收入。8年來，他跑遍
柬埔寨，透過攝影進行田野調查，用鏡頭見證柬
埔寨的轉變。
民宿有太太幫忙打理，許紘捷利用更多時間參
與希望之芽協會與以利國際服務社會企業的志工
服務。
2015年許紘捷開始進行「兒童藝術創作計
劃」，為希望之芽協會的貧戶兒童上繪畫課。
「吸引他們前來上課的原因，不是因為可以免費
學畫畫，而是因為有一頓免費的午餐。」
許紘捷的教法有些特別，與2位助教約法三章，
絕不特別誇讚某位學生，也不打分數。「因為你
一誇某位同學，其他人就開始模仿，學生在沒有柬埔寨的學童在繪畫課中，利用採集自家旁的植物，
結合成他們的「手」作帽子。（許紘捷提供）
任何參考的標準下，就會畫出自己的風格，我覺
Cambodian children created hats and masks for their art
得這是獨立思考的開始。」他強調。 class using plants picked near their homes and cutouts
of their hands. (courtesy of Hsu Hung Chieh)
透過他出的怪題目，例如：雲上的高腳屋、植
物與同學、鳥的風箏，學生的創作力被啟蒙，想像
力被激發。由於這些貧童家裡沒有電視，家旁沒有
商店，不會受到廣告印象的影響，只把生活週遭畫
柬式符號：記錄消失的柬埔寨
進畫作裡，例如：回家路上的蛇、禮佛時寺廟裡的
雕刻，3年的畫作課，學生無師自通地表現出虛實為了記錄柬埔寨的不同樣貌，許紘捷沿著公
技法，透過繁複線條所展現的原創力，與受到傳統路，走過一個一個的城鎮，看到什麼就拍什麼；沿
繪畫技法訓練的作品截然不同。幾堂課下來，學生著湄公河流域、洞里薩湖週邊，記錄下高棉傳統祭
從無所適從、害羞，變得樂於分享，更有自信。祖的亡人節、雨季結束感謝天神的送水節；他又循

許紘捷跑遍柬埔寨，用鏡頭見證它的轉變。
Hsu Hung Chieh traveled Cambodia, capturing
its transformations with his camera.
while also helping shoot a documentary. He began living

in Phnom Penh long term in 2011, supporting himself
by running a bedandbreakfast with just three private
rooms and two dormitorystyle rooms. He spent eight
years in Cambodia, traveling its length and breadth do
ing field research and documenting the changes taking
place with his camera.
Symbodia: A record of things lost
Sent to Cambodia in 2010 to photograph Angkor Wat Looking for different sides of Cambodia, Hsu fol
for a publisher, he spent his spare time taking tuktuks lowed the roads wherever they led, visiting town after
into the countryside to explore rural areas rarely visited town and photographing whatever he saw. He traveled
by travelers. There he saw at first hand the huge disparity the Me kong River and the banks of Tonlé Sap Lake
between real Cambodian life and that visible in the areas documenting traditional festivals like Pchum Ben, when
that tourists visit. Cambodians pay their respects to the dead, and Bon Om
Struck by how content Cambodians seemed to be with Touk, which gives thanks for the end of the rainy season.
their lives in spite of their poverty, he made the radical de Hsu met Cambodians of many different stripes, in
cision to sell his home and his belongings in Taiwan. “I cut cluding survivors of the Khmer Rouge terror. Hsu says,
myself free, then came back to Cambodia as a volunteer.” “The Cambodian intellectuals who weren’t slaughtered
A home for the heart fled abroad. The trauma to society of having close
Hsu returned to Cambodia in 2010 as an international friends, relatives and neighbors violently killed left even
volunteer with the Formosa Budding Hope Association, healthy people despairing of living another day.”
43
著原本戰後荒廢的鐵路，拍攝重新修築到完工後的認識自己的國家，更讓許紘捷相信，用影像記錄
改變，也記錄了沿著鐵路而居的住民生活。柬埔寨的重要。
許紘捷因緣際會接觸到許多柬埔寨人，包括尤其是柬埔寨社會正歷經快速的變遷，讓他觀
早期經歷過紅色高棉的倖存者，他說：「柬國的察到這個國家為了吸引外資與建設，正面臨大量文
知識份子不是被趕盡殺絕，就是逃往國外，鄰居化資產被消滅的危機，而代表城市脈絡的老房子與
與至親好友慘死的絕望，整個社會受到的集體創廟宇，面臨拆毀的命運，卻沒有人記錄下來。
傷，讓健健康康的人也不奢望可以活到明天。」他舉例，他曾走遍各城各鄉，常見許多見證城
柬埔寨的苦難因此激發著許紘捷思考，或許可市歷史的手繪舊招牌、有小吳哥意象的屋簷與壁
以做些什麼來回饋、貢獻給這個國家，或許透過畫、木屋旁手製欄杆上雕刻著一排兔子的精緻裝
所拍的照片，可以發揮一些作用。他認為，對柬飾藝術，可是當下次經過時就拆掉不見了。
埔寨人來說，再多的國際援助都沒有用，除非新 2018年6月回到台灣，累積了上萬張的圖檔與資
一代的知識份子發揮力量。料，他決心建立一個具有索引功能，影像與地圖
他也接觸到沒有經歷紅色高棉暴政的新一代知兼具的資料庫──「柬式符號」，他希望更多到柬
識份子與文史工作者，這些人抱持著延續自己國埔寨旅行的攝影師，可以補充更多的內容。
家傳統文化的強烈使命感，試圖透過音樂、紀錄「我只是起一個頭，成事不必在我，柬埔寨這
片影響社會，不要忘記過去。但在這個過程中，麼大，我相信有一天，柬埔寨需要這些文化檔案
因為戰爭的摧殘，沒有足夠的文史資料與資源來時，我的資料庫就會派上用場。因為一個民族沒
柬埔寨的學童畫「雲
上的高腳屋」，把回
家途中遇到的蛇，畫
入圖畫中。
（許紘捷提供）
A Cambodian student’s
drawing of a “stilt
house in the clouds”
includes an encounter
with a snake on the
way home. (courtesy
of Hsu Hung Chieh)
林之淯（後排右3）自告奮勇到柬埔寨「永恆現代表演舞團」實習，隨團演出，並與團員合影。（林之淯提供）
Lin Chih Yu (back row, third from right) poses with Amrita Performing Arts, a Cambodian modern dance company with
which she did a performance internship. (courtesy of Lin Chih Yu)
Hsu came to the conclusion that more international than 10,000 images he had gathered. He calls the database
aid was pointless unless the country’s young intellectuals Symbodia. Moving forward, he hopes that other photo
began lending their own aid to the recovery effort, and graphers visiting Cambodia will share their photos to help
wondered if he might be able to do something to help. fill in any gaps.
He had met young intellectuals and cultural workers “I’m only one person,” explains Hsu. “Cambodia is so
who hadn’t experienced the Khmer Rouge’s tyranny and big that I can’t complete this project alone. [Even so] I’m
who felt a strong sense of mission to preserve their coun sure that my database will be useful when Cambodia needs
try’s traditional culture. They were attempting to pre this cultural information in the future, because a people
serve their history through music and documentary film can’t reclaim its selfrespect without [access to] its culture.”
societies, but were dealing with a lack of historical and Passing on traditional culture
cultural information, much of which had been destroyed Cambodia’s younger generation of artists have a
by the war. Their plight convinced Hsu of the import passionate desire to pass on their traditional culture. Lin
ance of creating a photographic record of Cambodia. Chih Yu caught the bug while interning with Cambodia’s
Cambodian society was undergoing rapid changes, Amrita Performing Arts troupe.
and its efforts to attract foreign money and construction As a student in the Cultural Studies and Criticism
were putting it in danger of losing many of its cultural track in the Graduate Institute of Dance at Taipei National
assets. Hsu noted that no one was documenting the University of the Arts, Lin traveled to Cambodia in 2014
many old homes and temples that were at the heart of to serve an internship with Amrita as part of her work on
city life, but slated to be torn down. her master’s thesis. While organizing documents and per
He set about doing so himself, and returned to Tai forming with the troupe, Lin learned that the 17member
wan in June of 2018 determined to build a searchable company, which was founded in 2003, not only had a deep
database of images and maps from the data and more grasp of its cultural roots, but also incorporated aspects of
45
有文化，就找不回自己的尊嚴。」許紘捷為他的灣的柬籍新住民，還帶著香茅魚湯米線來慰勞表
工作下了最好的註腳。演工作者，有如異鄉的家人一般。
台灣戲曲學院則邀請榮念曾導演編導、主持
傳承高棉傳統文化
《驚夢．天宮》工作坊，嘗試將傳統表演藝術進
柬埔寨新一代的藝術工作者希望傳承高棉傳統行跨地區、跨文化的對話與合作，今年10月並在
文化的熱情，同樣也感染了曾在柬埔寨現代舞團台灣、香港等地演出。其中《天宮》舞作邀請柬
實習的林之淯。埔寨的舞者Nget Rady，他專攻柬埔寨傳統面具舞
就讀台北藝術大學舞蹈所文化研究與評論組中的猴角，與專攻京劇美猴王的老師張宇喬，各
的林之淯，2014年為了撰寫她的碩士論文，自告自教授古典高棉舞與傳統京劇，讓學生體會兩種
奮勇到柬埔寨永恆現代表演舞團實習。在她為舞傳統文化的精髓與創新。
團整理文獻與隨團演出的過程中，十分驚訝2003 台灣戲曲學院從2016年開始邀請東南亞傳統
年才創團的永恆現代舞團，不僅有深刻的文化底表演藝術家，透過開設藝術工作坊與大師班的方
蘊，17位舞者所涵蓋柬埔寨宮廷舞、面具舞、民
俗舞蹈等多面向的舞作，豐富多采。
林之淯觀察，柬國的當代舞者，除了將家庭、
社會關係反映在作品中，也會從戰爭中倖存的藝
術家汲取知識，舞出父母親那一輩不想再談論的
紅色高棉歷史。「曾有一位與我年紀相仿的舞
者，十分努力提攜後進，並且致力保存高棉的傳
統舞蹈，希望這些傳統文化不會到下一代就式微
了。這種傳承民族文化的熱情，與台灣年輕人只
想到自己要什麼，很不一樣。」林之淯說。
受到感染的林之淯，勉勵自己能成為台灣與東
南亞表演藝術交流的種子。2016年她拿到文化部
「青年文化園丁隊」補助，帶著台灣編舞者顏可
茵、舞者劉航煜和視覺藝術家李奎壁，到柬埔寨
舉行工作坊和交流演出。
跨國界的文化交流
不只是許紘捷與林之淯，台北藝術大學從2014
起擔任亞洲藝術院校聯盟理事主席，積極推動與
東南亞各國進行教學與展演的交流。
國立傳統藝術中心今（2018）年初曾邀請柬埔
寨金色年代藝術協會演出皮影戲與二弦說唱，台
柬埔寨的兒童利用課餘，練習跳傳統節慶相關的舞蹈。
These Cambodian children are using their after-school hours to
practice dances performed during traditional festivals.

palace dance, Khmer mask-drama dance, and folk dance Infected by this enthusiasm, Lin was encouraged to
into its dances. become a bridge for exchange between Taiwanese and
Lin observed that in addition to reflecting family and Southeast-Asian performing arts.
societal relationships in its works, Cambodian modern Transnational cultural exchange
dance also drew from artists who had survived the war, Hsu and Lin aren’t the only ones engaging with Cam-
and incorporated that information into dances that re- bodian culture.
flect the Khmer Rouge history that the older generation The National Taiwan College of Performing Arts
no longer wanted to talk about. “One dancer of my age (NTCPA) invited Danny Yung to direct and host The
was really dedicated to supporting the younger dancers, Interrupted Dream · Monkey Business, an attempt to engage
and did her utmost to preserve traditional Khmer dance traditional performing arts in transregional, cross-cultural
in hopes of preventing this portion of traditional culture dialogue and cooperation that was staged in Taiwan and
from fading away. Her passion for traditional folk culture Hong Kong in October 2018. In one dance segment, called
was very different from the narrow focus on personal de- “Heavenly Palace of Monkey Business,” the Cambodian
sires that’s so common in Taiwan’s young people.” dancer Nget Rady, who specializes in playing the monkey
role in traditional Khmer mask-drama dance, and Chang
Yu-chau, who specializes in the Monkey King role in Pe-
king Opera, demonstrated aspects of classical Cambodian
dance and Peking Opera to show students the core and
innovations of each traditional dance form.
Rady has performed his wild yet graceful style of
dance several times in Taiwan. At the November event,
he focused on teaching NTCPA students how to dance the
monkey role, in the hope that exploring physical move-
ments and practicing sounds would boost the students’
confidence on stage.
He says: “Even though Taiwan and Cambodia have dif-
ferent political systems and social backgrounds, music and
the arts can bridge the differences and connect people.”
Meanwhile, Rotary Taipei Asia Link and a Cambodian
group called Artisans Angkor jointly organized the “Art
Creation Program.” Under the program, Asia Link do-
nated US$6,000 to help fund a Formosa Budding Hope
Association program that pays fine arts teachers from Ar-
tisans Angkor to provide drawing classes to impoverished
children. The groups also arranged a joint charity bazaar
in Taiwan in mid-November.
Artisans Angkor is a non-governmental organization
founded in 1992 with funds from the French government.
Vidana Kernem, the group’s secretary-general, says that it
runs job training workshops in sculpture and silk weaving
that teach traditional arts and handicrafts to unemployed
18-to-25-year-old Cambodians with limited educations.
The organization also provides job opportunities.
47
吳哥藝術學校協助柬埔寨的失業青年，習得雕刻等
傳統工藝的一技之長，並且提供他們工作機會。
Artisans Angkor helps unemployed young people
learn traditional arts and crafts, such as sculpture, and
provides them with employment opportunities.
望之芽在暹粒扶助的貧童上繪畫課，並聯袂於今
年11月中旬在台灣舉行「聯合義賣」。
吳哥藝術學校是1992年由法國政府出資創立的
非政府組織。秘書Vidana Kernem指出，吳哥藝術
學校透過創設絲織與雕刻的職業訓練工作坊，協
助當地低學歷18~25歲的失業青年，習得雕刻、紡
織等傳統工藝的一技之長，並且提供工作機會，
甚至讓他們可以回到自己家鄉工作。
式，與當代劇場作一個連結。教務長陳正熙說，「我們在訓練過程中，特別保留了高棉傳統
師生透過文化交流的學習，接觸不同國家傳統的的技藝，運用當地的石材，透過現代的設計與色
表演藝術，打破傳統與現代的隔閡，能夠在傳統彩，品質的管控，以時尚包裝傳統工藝，讓學員
技藝基礎上，尋求當代藝術發展的可能。的成品，如精品般地精緻。」Vidana Kernem所說
舞者R a d y曾多次來台演出，他的舞蹈狂野靈學員的作品，在暹粒與金邊的機場專賣店都可以
動、舞態生風。此次教授台灣戲曲學院的學生跳買得到，也讓吳哥藝術學校有「社會企業的愛馬
猴舞，他希望透過探索身體的動能，還有發聲的仕」之稱。
練習，訓練學生有自信地站在舞台上。 19世紀法國生物學家亨利．穆奧為尋找熱帶動
他說：「雖然台灣與柬埔寨在政治制度、社會物，無意地在原始森林中發現了宏偉驚人的吳哥
背景都不一樣，但透過藝術與音樂，是可以將每窟。吳哥藝術學校也同時參與吳哥窟古蹟修建的工
一個人的心都串連在一起。」程，確實成功地展現了柬埔寨在新舊交融的時代
跨領域的交流，還有亞聯扶輪社與吳哥藝術學中，以現代、創新的方式，扶貧自立，復興高棉的
校合作「藝術創作計劃」。亞聯扶輪社首次贊助傳統工藝與藝術。或許透過文化的復甦、自覺的力
6,000元美金，由吳哥藝術學校美術老師幫台灣希量，假以時日，柬埔寨能重振其古文明的光榮。 l

“The training program uses local stone and preserves tradi
tional Khmer crafts. Students incorporate modern designs, colors,
and quality controls into their work, giving the traditional craft a
modern makeover, and producing top-flight results,” says Kernem.
Artisans Angkor is also involved in the renovation of Angkor
Wat, demonstrating how Cambodia is using modern and innova
tive methods, and job training for the poor, to revitalize traditional
Khmer arts and crafts. Perhaps with time Cambodia’s germinat
ing cultural revival and selfawareness will enable its civilization
to regain the heights it once knew. l
(Esther Tseng/photos by Lin Min-hsuan/
tr. by Scott Williams)
49
世界最美麗海灣 in 澎湖
The most beautiful bay in Penghu
躍上國際觀光島嶼新舞台
Penghu in the limelight of island tourism
大鬧風景，適逢組織年會舉辦的
家對澎湖印象深刻於夏季的熱
M any people are familiar with Penghu’s lively summer scenes. But
the uniquely intoxicating attractions of Penghu in autumn and
winter were showcased in 2018 when the islands hosted the World
附加價值並鏈結澎湖秋冬季節的令人
Congress and Carnival of the Most Beautiful Bays in the World Club. The
心醉神迷獨特景緻的觀光元素，且融
Penghu Autumn Festival, the International Carnival Parade, a program
合「澎湖秋瘋季」、嘉年華遊行、音
of concerts and sports events, and the Worldwide Cities Exposition
樂會、運動賽事及全球城市博覽會等
all came together to offer international friends a great opportunity to
活動，推廣澎湖國際觀光島嶼給國際 visit Penghu and get to know the local culture while enjoying the warm
友人，並展現澎湖在地文化與熱情。 welcome offered by the people of these stunningly beautiful islands.
歡迎到澎湖感受澎湖在地特色與 Come to Penghu and experience the charm of our unique local vibe
獨特風情的魅力，玩出難忘澎湖味。 and customs. Penghu is unforgettable!
廣告
研之有物
中央研究院
穿越古今！中研院的25堂人文公開課 ◎
研之有物編輯群
好讀
月
飯，不只是把食物送進嘴裡的過程，探究古人如何吃
吃飯，也能了解古人如何生活。對於清末、日治時期的臺
灣人而言，在「酒樓」宴飲攸關事業前途，而家中的「鋤燒
會」則是殖民統治下的紓壓場合。本文透過中研院臺灣史研
究所曾品滄副研究員的飲食史研究，帶你穿越歷史，和古人
一起吃頓飯、搏感情。
穿越！回到清末、日治時期吃飯局
回到清末：聽歌又看戲，清末開港後，來臺的文人、豪

吃飯不當低頭族商、官員人數增多，應酬宴飲的
在現今，親友間若有聚會，可需求也增多，這些具有高消費
以到高級的餐廳用餐，享受現場力、有興趣品味佳餚的客群，需
L I V E表演，或是外帶精緻的桌菜要公共的高級餐飲消費空間，這
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，
回家享用，免去在廚房揮汗如雨、可能是「酒樓」出現的契機。

廚藝不佳的煩惱。這些享受美食若你是不善社交的省話一哥、
的特權並非現今獨有，時光回溯一姊，回到清末的酒樓吃飯，也
到清末時期，彼時臺灣已經出現不用怕無法融入大家，因為當
「酒樓」，當代士紳階級可以在此時酒樓有可以聽歌的「藝旦」表
宴飲或是叫外送服務。演，和可以看戲的「梨園」表演。
在酒樓出現之前，講究生活品藝旦表演類似現今尾牙場合中的
味的士紳階級通常是在自家「花歌手表演，由藝旦搭配曲師的演
廳」宴客，例如板橋林家的白花奏，演唱哀怨悠長的南音，或是
廳、霧峰林家宮保第的大花廳。活潑熱鬧的北管、亂彈。清末時，
現代人吃飯都在低頭滑手機、甚臺北的「阿波」即因歌唱絕佳，
少交談，但清末的士紳可不會白擁有相當高的人氣。有些酒樓還
白浪費吃飯時光。主客們會在花會從福州特聘梨園戲團來表演，
廳裡一邊品嘗美饌，一邊聽曲或讓大家在宴會中不必大眼瞪小
看戲，享受視、聽覺與味覺交織眼，飽足之際，更能提升音樂文
的饗宴。化氣息。
至於當時在酒樓吃飯究竟感福州師傅原為清朝上層社會之專
覺如何？「正是酒樓風景好，囊任廚師，為清朝官員個人服務，而
中只少買山錢。」李逢時〈郡寓隨著政權結束或個人學有所成，
雜作〉的這句詩為我們留下想像大廚們便來到酒樓大展身手。但
的空間。吸引客人上門的，不只美味的菜
餚，從古至今，「娛樂」更是一大
回到日治時期：料理多元，
仍愛酒樓，美人等你嘗重點，一如《水竹居主人日記》
一八九五至一九一一年間，隨中所述：「演梨園三枱，內地女優
著統治政權轉換為日本，臺灣除一座，藝妓、酌婦侑酒，直燕飲至
了酒樓更加興盛，也出現日人設七時餘方散。」（一九一四年二月
立的日本料亭與西洋料理屋。現二十一日）
代人回到日治時期，可能會因道若你有幸回到此時參加飯局，書名：研之有物
穿越古今！中研院的25堂人
地的日式或西洋料理而感到興除了欣賞藝旦或梨園表演，可能文公開課
奮，但這時的日本料亭與西洋料還有機會同時獲得「食」與「性」作者：中央研究院研之有物編輯群
定價：360元頁數：267頁
理屋中，客人多半是日本人。因為的享受。日治時期，由日人引進出版：寶瓶文化
日本料理較生冷，盤腿或跪著吃「酌婦」，亦即「陪酒女郎」，主要
兩個小時就腳麻爬不起來，西洋服務為席間陪酒、聊天，甚至在酒
料理用餐規矩多又貴，不甚符合酣耳熱之際提供性服務。但可別
臺灣人的口味與習慣。急著寬衣解帶，根據林獻堂等人肉、豆腐與蔬菜為主，臺灣人則改

在清朝想當官出頭天，可以透的日記所載，當時性病為猖獗的食豬肉、雞肉。鋤燒以共鍋形式烹
過科舉的管道，但到了日治時期沒流行病，所以乖乖吃飯仍為上策。煮，大家坐在一起動手煮食、自己
有科舉，想要受到重視，就得多多取食，沒有誰應該服務誰的規矩，
回到日治時期：不想上酒樓？
和日人交際應酬、拓展人脈，彰顯在家吃「鋤燒」更開懷！令人感到無拘無束，有助拉近同
自己的社經地位和實力。當時許現今的大學生或上班族，在冷儕之間的距離，也反映自由平等
多臺灣士紳的宴會，逐漸從私人颼颼的冬天會相約一起吃火鍋，的精神。加上食材製備簡單、價格
場域「花廳」移轉到公共空間「酒邊煮食邊聊天，身體暖了，也加溫低廉，成為當時友人聚會活動的
樓」。用現代話來理解，「花廳」是了彼此的感情。這樣的社交聚餐，核心。林獻堂平時吃遍數不清的
在家開par t y，「酒樓」則是到餐館在日治時期也有相似的活動。日治應酬餐會，仍定期和一群摯友輪
開 p a r t y。因此，儘管出現日本料時期的臺灣年輕人，吃不起酒樓的流在家舉行鋤燒會，大概就是因
亭和西洋料理屋，臺灣士紳和日人精緻大菜，又想要聚餐，便會選擇為比起酒樓宴飲，鋤燒會的氛圍
主要的聚會場所仍以酒樓為主，例在家與朋友一起吃熱騰騰的「鋤更能讓人開懷暢飲，自在愉快。
如臺北的平樂遊、東薈芳，臺南的燒」，食用者以受日本教育或與日
回到日治中、後期：文青吃飯
醉仙樓、寶美樓。人密切往來的知識分子為主。兼救國，臺灣味料理興起
這時的酒樓提供許多精緻佳鋤燒（スキヤキ），也就是壽喜太陽花學運、同志大遊行 ……
餚，多出自福州師傅之好手。這些燒，是一種日式火鍋，內容以牛現代人若想對政府表達思想與
53
立場，走上街頭是理直氣壯的方一九四一年，全臺實施物資管都插著花，無論吃飯或喝茶，隨
式，但在日治時期，臺灣知識分子制政策，所有糧食都須經由配給時都可以欣賞唱機播放的樂曲，
只能在酒樓「暗著來」。取得，但山水亭透過黑市的管道，成為烽火城市中的一處清涼地，
相較於在公會堂等公共場合暗地裡從農家購買各種在地食許多臺灣當代文藝界人士幾乎以
「演講」，在酒樓宴席上臺「開場材，仍能豪邁地供應各式各樣新此為家。
致詞」較不受日本警察的監督控鮮的「純臺灣菜」，例如刈包、雞若你是假日喜歡逛農夫市集的
管，因為日本政府以為臺灣人只腳凍、炒酸菜蝦仁、煎菜脯蛋、燖「鄉青」，或是流連於美術館、音
是在聚會吃飯。因此，當時臺灣醬冬瓜肉等。從產地直送餐桌，山樂會的「文青」，有機會穿越古代
的知識分子，例如以林獻堂、蔣水亭不僅保存、推展臺灣人的飲一回的話，這個時期的山水亭定
渭水等人為首的臺灣文化協會，食生活傳統，也豐富了臺灣人的能讓你滿足於鄉土食材的美味，
便透過酒樓宴席推廣反日思潮，生活經驗與情感。體驗與臺灣文人交流的樂趣。唯
而蔣渭水甚至買下「春風得意雖然山水亭沒有寬敞的宴會空一的缺點是 ── 要注意外頭空襲
樓」，做為臺灣人自己的社交公間、藝旦現場演唱，但每張桌子上轟炸的危險性。
共空間。
一九三七年中日戰爭爆發後，
由於戰爭時期糧食缺乏，臺灣
* * *
開始重新注意「鄉土料理」。在
此之前，酒樓中所謂的「臺灣料
含在醫療行為和論述背後的權力關係、知識流動，都是
理」其實是「中華料理」，幾乎都
是由福州、廣東或四川大廚所烹隱醫療史關注的焦點。「微觀」的醫療，關注個體的健康
飪的精緻大菜，例如紅炖魚翅、十與疾病；醫療史的研究，則是從「宏觀」角度切入，把醫療
錦火鍋、脆皮雞、掛爐烤鴨、白炊
行為放在更大的社會結構、文化脈絡、歷史縱深之下，以進
行動態的觀察。
酥雞等；一般臺灣人在家庭中吃
中研院歷史語言研究所的陳韻如助研究員，研究宋朝人如何
的仍然是家常菜，例如空心菜、
討論「瘴病」這回事，帶領我們從醫療面去認識一個時代，
鹹魚、番薯籤飯。直到戰爭導致
並藉生老病死的議題，靠近千百年前的古人。
外來糧食不足，許多酒樓便將臺
灣本地原料的家常菜轉化為宴席

翻開瘴病史書，陪蘇東坡一起吃檳榔！
料理，例如菜脯蛋、虱目魚等，從
此，宴席菜才開始出現「臺灣的宋代的「瘴病醫學研討會」病。在傳統醫學的觀念裡，瘴病

家鄉味」。對於「瘴」這個字，現代人應該泛指在濕熱地區發生的種種症
若想品嘗有臺灣特色的料理，是很陌生的，因為我們大概不會狀，例如感覺忽冷忽熱、失語等。
並與當時的知識分子會晤，推薦聽到醫生說「你得了瘴病」。但對在南宋筆記《嶺外代答》中，便記
你回到一九三九年，由王井泉成於古人來說，這是人人聞之色變有：「南人凡病，皆謂之瘴。」
立的「山水亭」。它位於大稻埕，的疾患。相對於黃河流域中原地區是華
具有「臺北文化沙龍」的美名。其實，瘴病不是一種單一疾夏文明的核心，嶺南地區被視為

開化較晚的蠻荒地帶，山林間除蘇東坡，就因被貶官到儋州，而留關於古人對檳榔的看法，中研
了毒蛇猛獸、蚊蚋蟲虺，還有可下不少文字。院史語所的林富士研究員亦有豐
怕的「瘴癘之氣」，也就是濕熱士人或墨客提到瘴氣，總猶富的研究可以參考。
天候蒸熏出來的有毒氣體。北方如遇到妖魔鬼怪一般，例如杜甫
瘴病論述生力軍
人若一個水土不服沾染上，可就曾言：「江南瘴癘地，逐客無消 ——被貶官的士人們
得了瘴病。而瘴病可能會讓身體息」，幾乎帶有一種蠻荒恐怖的宋代醫療史的有趣之處，就是
忽冷忽熱、嘔吐頭痛，嚴重者甚氣息。但蘇東坡即使來到他人眼第一次有這麼多士人和醫者，留
至可能死亡。中的蠻夷之地，仍然不改樂天的下各式各樣關於瘴病治療的意
根據其他學者的研究，瘴病的個性。當地人認為檳榔可以解瘴見。當然，宋代之前可能也有類似
某些症狀類似現代醫學中的「瘧癘之氣，蘇東坡便入境隨俗、大吃這樣的對話，只是資料並沒有完
疾」，也包括部分的感冒、中暑、特吃，吃到臉紅冒汗好像喝醉一整保留下來，流傳後世的文本幾
高山症等。我們現在當然已經弄樣，還特地寫詩歌詠檳榔：「可療乎都是醫書，收錄著由醫者掛保
清楚瘧疾的病原是原蟲、病媒是飢懷香自吐，能消瘴癘暖如薰。」證，且經使用過、證明有效的「驗
蚊子，但在千百年前，古人主要把實在讓人難以將國文課本裡的唐方」。
這些惡疾歸咎於南方濕熱的風土宋八大家，和臺味十足的紅唇族到了宋代，已經不只醫書在討
環境。聯想在一起。論瘴病治療了，還包括各種書信、
中國最早有明確年分的瘴氣記除了蘇軾之外，也有其他人支詩詞、筆記作品、史地采風等文
載，是在西元四十二年（東漢年持吃檳榔可以抵禦瘴病的觀點。本，原因就在於嶺南宦遊的士人
間），此後的各朝各代便開始陸續像是南宋羅大經在《鶴林玉露》也參與了書寫，留下許多珍貴的
有醫者進行研究，將「瘴」視為一一書中提到：「嶺南人以檳榔代觀點和史料。
種疾病或是致病因子，提出成因茶，且謂可以禦瘴。」他說自己宋代士人的書寫特別強調親
與治療方法，並記載在醫書中。剛到嶺南的時候，對檳榔敬謝不身見聞，這種整體文壇的風格演
到了宋代，瘴病治療的討論風敏，過了一段時間才敢稍微嘗試變，同步影響了南宋醫療敘事的
氣突然興盛了起來。許多文本雨看看，等到住了一年多，就完全吃呈現樣貌。也開始有部分士人認
後春筍般出現，除了各抒己見，甚上癮，「不可一日無此君矣。」為，醫療用藥配方應該要配合患
至會彼此對話論辯，彷彿開起了不過，也有人對檳榔嗤之以者體質和地理條件等個人差異。
「瘴病研討會」。鼻，認為吃檳榔除了不雅觀之外，發現這些關聯性和趨勢之後，
檳榔與瘴病的恩怨情仇更沒有任何防瘴之功。南宋周去陳韻如將更深入地探究分析，找
宋朝重心南移，許多士人或遭非的《嶺外代答》即寫道：「有嘲出資訊秩序的變化軌跡。比方
貶謫，或為遊歷觀光，而來到了廣人曰：『路上行人口似羊。』言說，是不是有哪些地區因為印刷
嶺南這個瘴氣的故鄉。於是，「瘴以蔞葉雜咀，終日噍飼也，曲盡術的進步，而讓醫學知識擁有更
病治療」不再只由醫者寫在醫書噉檳榔之狀矣。每逢人則黑齒朱好的傳播基礎？宋朝朝廷將醫學
裡，士人也加入了論述的行列。他唇；數人聚會，則朱殷遍地，實可古籍重新校勘付梓，此種官方政
們把所見所聞以個人筆記或采風厭惡。」言詞中，對於嶺南居民嚼策是否促進了民間的知識流動？
誌的形式記錄下來。例如大文豪檳榔、吐紅渣的情狀，極盡輕蔑。這些都是值得再深究的課題。
55
影像對話　PHOTO ESSAY
柬
式
符
號
Symbodia
圖／文•許紘捷
版面設計•蕭郢岑

柬埔寨在1953年成功脫離法國殖民統治，在希哈努克國王努力
推動現代化之後，迎來一個政治與經濟文化蓬勃的黃金時期。但這
一切的建設，在1975年至1979年赤柬3年8個月的統治期間，被摧
毀殆盡。焚書、迫害宗教、殺害知識份子與有產階級，導致柬埔寨
歷經數十年的赤貧與社會問題，文化倒退，停滯不前。
從2010年開始，在約八年的長期採樣與記錄，我感受到因近
二十年內外資逐漸投入，發展快速的柬埔寨社會在一切以經濟為主
的政策下，許多的傳統文化資產與習俗不斷的在消失中。而因為缺
少知識份子的傳承，其中大部分的歷史典故與知識、技術大量流
失，永不再現。
但現代柬埔寨的知識份子，正逐漸透過自己的力量，嘗試文化
復興運動，試圖透過文化的力量療癒戰爭的集體傷痛，並找回柬人
的自信與驕傲。而資源與知識的先天侷限，需要透過大量的圖像保
存與蒐集，希望在未來能建置資料庫並結合教育系統，帶來實質的
助益。 l
C ambodia achieved independence from French colonial

rule in 1953. Its king, Norodom Sihanouk, subsequently
promoted the country’s modernization, leading to a brief
political and economic golden age. Sadly, the Khmer Rouge
destroyed everything built in this period during its 1975–1979
reign. The regime burned books, persecuted religion, and
massacred intellectuals and the bourgeoisie during its three
years and eight months in power, leading to decades of pov-
erty and social problems, as well as cultural regression.
I spent nearly eight years exploring and documenting
Cambodia beginning in 2010. During that time, I saw nearly
20 years of foreign investment and economically focused
policy spur the rapid development of Cambodian society and
the disappearance of many of its cultural assets and tradi-
tional customs. Without intellectuals to pass along the coun-
try’s history, knowledge, stories and traditional ways of doing
things, it lost a great many of them.
Present-day Cambodian intellectuals are attempting to
洞里薩湖的箭型定置捕魚 create a cultural renaissance movement, using the power
陷阱設置於淺水區，使用
of culture to heal the collective war wounds and rebuild the
樹枝或竹子固定在湖底的
泥地上，沿著湖岸線一字 Cambodian people’s confidence and pride. Because they
排開，箭頭向湖心射去。 have only limited resources and knowledge, they are collect-
In shallow parts of Tonlé Sap
Lake, arrow-shaped fish traps
ing and preserving large numbers of images that they hope
are anchored to the muddy to incorporate into a database and integrate with the educa-
bottom with wood or bamboo.
The traps are arranged in tional system as a means of bringing the country closer to
rows that follow the shoreline, that goal. l
their arrowheads pointing
towards the center of the lake. (photos and text by Hsu Hung Chieh/tr. by Scott Williams)
57
柬埔寨僅存不到十間百年歷史的寺廟，大多沒有受到重點保護，
受潮剝落的情況嚴重。這間位於暹粒的寺廟，
牆上壁畫可以清楚看見法國殖民時期的民生狀態，
大街上有法國軍官、印度商人、當地仕紳、小販與室內抽大煙的中國人。
There are fewer than ten temples more than 100 years old left in Cambodia.
Most have not been a focus of preservation efforts, and are deteriorating from
the dampness.
The murals on the walls of this temple in Siem Reap show life under French
colonial rule, with French soldiers, Indian businesspeople, local officials and
hawkers in the streets, and Chinese people smoking opium inside buildings.
59
送水節／Bonn Om Tuk
東南亞普遍存在的水燈節，在柬埔寨
本土化之後稱作送水節，仍保有放水燈
的習俗，在日間同時會舉辦龍舟賽，
紀念闍耶跋摩七世率海軍擊敗占婆
軍隊。送水節與柬埔寨民生息息相關，
主要慶祝雨季結束後捕魚季節與耕種
時節的開始。
Water festivals are common throughout
Southeast Asia. Cambodia’s is known
as Bonn Om Tuk, and preserves the
custom of releasing lanterns on the
water. Dragon-boat races are also held
during the daytime to commemorate
Jayavarman VII’s defeat of the invading
Cham in a 12th-century naval battle.
Primarily a celebration of the end of the
rainy season and the start of the fishing
and planting seasons, the festival is
closely connected to the rhythms of
Cambodian life.

麥加寶蕉節／Meak Bochea Day
麥加寶蕉節在每年佛曆三月的滿月進行，盛大的寶蕉節法會通常在夜間的寺廟內舉行，
照片可見民眾踏入以燭火圍成的曼荼羅（Mandala）以求得平安。在部分鄉村地區，
仍保有使用香蕉莖雕刻製成的祈福燭台與神龕來祭拜的習俗與技術。
Meak Bochea occurs on the full moon of the third month of the Buddhist calendar, and its
ceremonies are usually held in temples at night. In the photo, lay people stand in a mandala
made of candles to find peace. Some rural areas still preserve the custom of using prayer-
candle stands and niches carved from banana stalks.
亡人節／Pchum Ben
（左圖）柬埔寨的亡人節相當於華人世界的清明節。在亡人節期間，柬人
會帶著自製的小糯米飯糰、糕點、水果、蠟燭等超度亡魂，在僧侶的帶領
下，捧著小盤繞著廟一邊行走一邊對亡者佈施。最後，柬人會放置7種食物
在小船上，點上蠟燭後置入河中漂流，送亡者們離開。
Pchum Ben is a Cambodian festival for the dead similar to the Tomb Sweeping
Day familiar to the Chinese-speaking world. During the festival, Cambodians
prepare homemade glutinous rice balls, cakes, fruits, candles and other
offerings for the spirits of the deceased, then, led by monks, carry them around
the temple on small plates to distribute them to the spirits. Finally, they load little
boats with seven kinds of food, light candles, and then set the boats adrift in the
river to send the deceased spirits on their way.
61
在50∼60年代，帶領柬埔寨邁向現代建築的國家級建築師Vann
Molyvann，由於擅長使用古高棉藝術的語彙融合現代建築，其影響
力深入民間。圖為其設計的外語學院。
Internationally trained architect Vann Molyvann led Cambodian
architecture into the modern era in the 1950s and 60s. Adept at
incorporating the vocabulary of ancient Cambodian art into modern
buildings, he became very influential. The photo shows the Institute of
Foreign Languages, which he designed.
傳統的斜屋頂上必備的祈福用裝飾通常會顯示初建屋的年份，並展現
因地域相異而不同的信仰。
Decorative auspicious elements atop traditional-style sloped roofs
usually include the year the building was constructed, as well as
religious elements that vary by region.

63
柬埔寨的皮影戲歷史悠久，一般分成大小兩種型式，大皮影戲承襲古老的
神話故事，小皮影戲多是民間故事。
Cambodian shadow puppetry has a long history and is generally divided into
two genres: Sbek Thom uses large puppets and deals with myths; Sbek Toch
uses smaller puppets to tell folk tales.

65
全球視野　GLOBAL OUTLOOK
台灣戲劇耀「演」國際
公視打造影視沃土
文•陳群芳　圖•公視提供　版面設計•蕭郢岑
公視長年關注社會脈動，致力開發台灣戲劇的可能，
提供觀眾多元視角，拓展思考視野。公視自製戲劇《你
的孩子不是你的孩子》是第一部在國際影音平台Netflix
同步上架的台灣戲劇，從今年7月播出至今，國內外迴
響不斷。
該劇探究親子關係、教育體制、社會價值觀，以微科
幻戲劇包裝紮實的編劇文本，公視在節目製作的用心與 Take Two:
躍進，讓國際看見台灣戲劇的優質實力。
Taiwan
T he Public Television Service’s On Children is Taiwan’s
Television
in the
first serial to be released simultaneously as a “Net flix
original.” Since it began airing in July of 2018, it has garnered
rave reviews both in Taiwan and abroad. On Children exam-
ines social values, the education system, and relationships
between children and parents. It features well-constructed Streaming
screenplays with fantastical sci-fi elements. The high produc-
tion values and major thematic advancements demonstrated
by this PTS serial are showing the international community
Era
that Taiwan can make excellent television.

《你的孩子不是你的孩子》以微科幻戲劇詮釋
尖銳的社會議題，令觀眾耳目一新。
Greeted by audiences as fresh and innovative,
On Children brings fantastical sci-fi elements to its
examinations of difficult issues.
67
《你的孩子不是你的孩子》改編自作家吳曉
樂的同名小說，從自身家教經驗出發，書寫因為
升學主義至上而逐漸扭曲的家庭關係。2015年公
視啟動戲劇的籌備，規劃以家教老師為主軸，連
結各個家庭，加入偶像劇必備的愛情元素，試圖
以甜美糖衣包裹辛辣苦澀的教育主題。編劇、導
演、製作團隊一切準備就位，原預計2016年底上
檔，事情卻在導演陳慧翎癌症復發後有了轉折。
以國際市場為目標重新出發
原著在2014年出版時，因為點出台灣社會普遍
存在「萬般皆下品，唯有讀書高」的價值觀，作
品真實地呈現家長如何「以愛之名」，扼殺孩子
的夢想與快樂，引發不少討論。若按原本的劇本
規劃，或許能將尖銳議題修磨成大眾能接受的版
本，但卻失去了原著的力道，彷彿只是點到為止
卻搔不到癢處。
陳慧翎在化療期間反覆自問：「如果我只剩下
一部片可以拍？我要說怎麼樣的故事？」同時，
Netflix在台落地，公視看見了國際平台對類型劇
的需求，「我們的戲很好看，是有品質能放到國
際平台，放在一堆國際的戲劇旁邊時不會輸，也
《你的孩子不是你的孩子》在國際影音平台Netﬂix 同步上架，會有觀眾很渴望想要追劇的。」節目部經理於蓓
戲劇好看又有議題的深度，成功吸引國際觀眾的目光。華表示。於是重新啟動《你的孩子不是你的孩
On Children is available for streaming on Netflix. Its compelling
plots and profound examinations of important issues have won 子》的製作，目標就很明確：「希望觸及國際平
over international audiences.
台，讓全世界都可以看到台灣戲劇。」

On Children was adapted from the novel by Wu out of place amid a group of internationally recognized
Xiaole. Drawing from Wu’s own experiences as a home dramas. And they would make viewers eager to see
tutor, the novel describes how the pressure-cooker what follows.” The goal for restarting production of On
educational system warps family relationships. PTS be- Children was clear: “We wanted to make a splash on in-
gan planning the adaptation in 2015, placing a tutor at ternational streaming platforms, so that the whole world
the center as the figure linking all the families together. would see the quality of Taiwan’s dramatic serials.”
A romantic storyline was also added to sweeten the Skipping the original “idol drama” elements, the
otherwise bitter look at Taiwan’s educational system. new approach put the parent–child relationships at the
The show was originally scheduled to air at the end of core of the show, before adding some touches of fantasy.
2016, but the date was pushed back because of director There are five separate episodes: “Mother’s Remote,”
Chen Weiling’s battles with cancer. “Child of the Cat,” “The Last Day of Molly,” “Peacock”
Targeting the global market and “ADHD is Necessary.” Each was split into two
If they had gone with the original plan for the scripts, parts for ten separate airings on PTS.
the approach would perhaps have made difficult topics In consideration of the demands on quality that an
accessible to mass audiences, but the power of the book international streaming platform like Net flix makes,
would have been lost. the originally planned HD format was upgraded to 4K.
During her chemotherapy, Chen repeatedly asked To accomplish this, the PTS production team not only
herself: “If it turns out that I only have one more film to upgraded camera equipment, but they also paid a lot
shoot, what story do I want to tell?” Meanwhile, with of attention to furnishings and décor. The interiors for
Netflix having arrived in Taiwan, PTS had seen the de- the five separate episodes were carefully matched to the
mands that the platform was making on different genres: plots, and considerable effort was put into making the
“Our serials are good, of a high enough quality to put on fantastical elements look as realistic as possible.
an international platform,” says Yu Pei-hua, director of For instance, in “The Last Day of Molly,” Molly’s
PTS’s programming department. “They wouldn’t look mother arrives at laboratory where her friend’s son is
carrying out neurological research, and sits in a surgical
chair where sensors are attached to her and she is able
to experience the memories of her dead daughter. The
entire lab was constructed from scratch by the series’
art crew in an empty building. Yu points out that if you
created a scene involving high-tech devices and then
put Styrofoam bowls or hardhats on people’s heads, it
would have a comical effect that would make it impos-
sible for audiences to suspend their disbelief.
With realistic sets and excellent plots, success was
inevitable: When Netflix saw a 17-minute trailer, they
immediately pushed to finalize terms.
公視節目部經理於蓓華相信，廣納各種題材，不害怕嘗試任何戲劇類型，
引領產業做出優質的台灣戲劇，是公共電視理所當然的責任。（莊坤儒攝）
Yu Pei-hua, director of PTS’s programming department, believes it is the
broadcaster’s duty to fearlessly push in new directions and elicit the highest quality
of programming from Taiwan’s TV production industry. (photo by Chuang Kung-ju)
69
〈媽媽的遙控器〉 “Mother’s Remote”
在製作團隊的共識下，將劇本砍掉重練，跳脫感知儀器，便能夠窺知死去女兒腦中的記憶。整座
原本的偶像劇，直接以小孩與父母為核心，加入實驗室便是美術人員在空屋內從無到有搭建出來。
帶有暗黑色彩的微科幻元素。找來陣容堅強的編於蓓華舉例，想營造一個高科技的場景，如果頭上
劇們：蔣友竹、簡士耕、洪茲盈、夏康真、費工戴的儀器變成保麗龍碗或安全帽就會很可笑，令觀
怡、馬千代，製作成〈媽媽的遙控器〉、〈貓的眾無法入戲。所以整齣戲雖然有許多虛構的科幻
孩子〉、〈茉莉的最後一天〉、〈孔雀〉、〈必元素，卻因為場景的細節逼真，讓觀眾相信劇中
須過動〉5個獨立單元共10集的詩選劇。所演是合乎邏輯的，自然能沉溺於看戲的樂趣。
考量國際平台對高品質影音的需求，製作規格場景逼真、劇情精彩，登上國際平台當然勝券
從HD提升至4K。為此不只攝影設備提升，劇中在握，Netflix在看過公視提供的17分鐘片花後，
每個場景的陳設與配置也都十分講究。5個單元旋即敲定同步上架的合作機會。
的色調、家庭的裝潢都隨著劇情各別定調，每個
帶動話題，國內外迴響不斷
科幻元素都力求逼真。
例如〈茉莉的最後一天〉茉莉媽媽來到朋友兒正式播映前，Netflix在臉書粉絲頁放上1支《你
子正在進行腦科學研究的實驗室，坐上手術椅頭戴的孩子不是你的孩子》3分鐘的預告片，剪輯了

trates how these influence parents. “This
isn’t the parents’ fault, and it’s not solely
an issue of the ‘system,’” says Yu. “Today,
everyone’s ingrained values aren’t chang-
ing, so no attempts at perfecting the system
are liable to do much good. Changing uni-
versity admissions weighting policies won’t
accomplish anything, because the weight-
ings will still exist in people’s minds.”
In light of copycat suicides that followed
the airing of a series in the United States,
before broadcasting each episode PTS had
actors who play children in the shows offer
some warm words. For instance, one said,
〈貓的孩子〉 “Child of the Cat”
製作團隊十分講究場景的細節，每個單元都有
Fostering conversations 各自的色調，營造不同的戲劇氛圍。
The production team meticulously attended to
Before making the series available for streaming, Net- the smallest of details on every set, giving each
flix put a three-minute ad for On Children on Facebook. episode in the anthology its own feel.
Fast paced, it combines clips of mothers’ earnest entreat-

ies and expectations about their children’s academic per-
formance with clips of the children crying or shouting or
resisting. It had a big impact on viewers. Compared to
most trailers shown on Facebook pages, which might get
views in the tens of thousands, this ad had 1.56 million
views at the time this article was written.
Internet streaming platforms have wide reach and
have allowed PTS to rupture echo-chambers and tran-
scend national borders. In November, On Children was
the top-viewed serial on Japan’s Netflix “hot picks” list.
Many reviewers used the term “toxic parent hell” to de-
scribe their feelings of empathy for the characters. The
New York Post’s Decider website told its viewers not to
miss it.
As Taiwan’s public television system, PTS aims to
“discuss and analyze important issues.” It understands
its duty to lead discussion of issues while maintaining
balance and avoiding bias. Consequently, from planning
to postproduction, the team making On Children has
taken heed of Wu Xiaole’s injunction “not to demonize
parents.”
The drama does not simply focus on the pressure that
parents put on children. It also highlights the invisible
〈必須過動〉 “ADHD is Necessary”
stressors imposed by the outside environment and illus-
71
雖然沒有歐美國家製作影集的高預算，但
工作團隊仍拍攝出媲美國際戲劇的好
作品。台灣影視產業的軟實力，不容
小覷！
Although working on a small budget, the
makers of On Children have produced
television that stacks up well against the
best of America and Europe. The soft
power demonstrated by Taiwan’s film and
television industry should not go unnoticed.
（右圖）劇組在空屋搭建出〈茉莉的最後
一天〉裡充滿科技感的腦科學研究室，
每個細節都能看到導演陳慧翎對美術的
要求。
The production crew constructed the hi-
tech lab featured in “The Last Day of
Molly” in an empty building. Everywhere,
you can see director Chen Weiling’s
uncompromising artistic vision.
劇中媽媽們對孩子學業成績的殷殷叮嚀與強烈期團隊都謹記吳曉樂提醒的「不要妖魔化爸媽」。
盼：「如果你像我一樣放棄一切，你的自由、你戲裡不是只有孩子單方面的承受父母施加的壓
的工作、你的頭銜、你全部的一切……犧牲一切力，劇中也呈現外在環境有形無形的壓迫，是如
是換來什麼啊？」交雜孩子或哭或喊的反抗：何影響著父母。整齣戲都緊扣著台灣社會對成功
「你以為我想被你生出來喔！你那時候有問過我的單一標準，這樣堅信不移的主流價值如何扭曲
們嗎？」搭配快節奏的配樂，情節緊湊令觀眾震了家庭裡的親子關係為主題。「不是爸媽的錯，
撼不已。與粉絲頁上其他短片平均約數萬個的點也不是單一制度的問題。今天大家根深蒂固的價
閱數相比，此預告片迄今已有156萬觀看人次。值不改變，制度修得再完善也沒有用；教改改得
用科幻元素來處理富有討論空間的教育議題，再不計較分數也沒有用，因為你心裡會計較。」
公視收視群通常都落在40歲左右中產家庭；但是於蓓華說。《你的孩子不是你的孩子》確實反映
《你的孩子不是你的孩子》以獨特的奇幻色彩成台灣超過一個世代的共感，大家都深受其苦。
功吸引了年輕觀眾，顛覆他們對公視戲劇總是嚴此劇赤裸地將因社會價值觀而扭曲的親子關
肅沉重的刻板印象。係，真實且毫不避諱地攤在觀眾面前，因為太痛
網路影音平台的無遠弗屆，讓公視戲劇穿透苦、太真實，許多人看戲後會勾起不快樂的回
了同溫層，也穿透國界。截至11月，《你的孩子憶。有鑑於美國曾有影集播出後造成高中生自殺
不是你的孩子》仍是日本Netflix精選熱門劇集裡的模仿效應，為此公視在每個單元前加入由劇
的第一名，許多網友用「毒親地獄」來形容自己中飾演小孩的演員講述的溫馨小語。例如「愛是
的感同身受。美國《紐約郵報》旗下的娛樂網站關懷、擁抱、尊重，但不是傷害，你今天說愛了
「Decider」給予正面肯定，建議觀眾不要錯過。嗎？」、「緊握著雙手並不能控制什麼，記得隨
公視作為國家的公共媒體，以「重要議題和觀時給對方一個大大的擁抱。」也找來深諳心理
念的分析和解釋」為節目製作目標，深知引導議學、親子關係等領域的專家在影片後導讀，談夫
題的社會責任，立場不能過於偏頗，「需要檢視妻、親子相處、情緒勒索等，提醒觀眾如何在現
自己在媒體提出的角度和觀點，檢驗自己的選擇實生活中化解類似的情境。公視甚至與全台張老
判斷有沒有失準。」於蓓華表示。所以《你的孩師基金會合作，編織一張縝密的安全網，在碰觸
子不是你的孩子》從初期規畫到後期宣傳，整個議題時做足細緻的準備。

“Love is care, hugs, and respect. It isn’t abuse. Have thriller. Adapted from a novel by Joseph Chen, it stars
you said you love someone today?” PTS also found singer Jam Hsiao playing a therapist to ghosts. His
psychologists and experts on parent–child relationships clients include all manner of strange beings, includ-
to offer guidance at the end of the broadcasts. Apart ing one case where it is unclear whether the client is a
from discussing interactions of husbands and wives and split personality or a beautiful woman possessed by a
of parents and children, they also examined the prob- gangster spirit. Via deep psychological explorations, it
lem of emotional blackmail and offered suggestions examines the search for happiness and security inherent
about how viewers can resolve interpersonal issues in in human nature.
their own lives. Another show, No Outsiders, begins with an indis-
Cultivating diverse Taiwan dramas criminate killing and explores the different mental
In contrast to the wide variety of shows found inter- states of the family members of the culprit and the
nationally, most of Taiwan’s television serials fall into victim. It delves into human rights law, the role of the
two categories: family dramas and “idol dramas”— media and other social issues.
the latter featuring attractive young actors in romantic In order to provide the industry with a taste of
roles. With this lack of diversity, it becomes hard to raise greater creative possibilities, in 2017 PTS began pro-
the cultural level of audiences. Freed from commercial moting production of “PTS originals,” welcoming all
considerations, PTS is naturally able to try out a greater manner of different genres of shows—from cops and
range of dramatic possibilities. robbers, horror and thrillers to sci-fi and fantasy. These
For instance, Green Door, which is scheduled to be productions give creators much more artistic license to
aired in February of 2019, is PTS’s first psychological tell their stories.
73
公視推出「新創電影」節目，
並將作品帶進戲院，致力
開發台灣戲劇的各種可能。
PTS has been actively
pushing “PTS originals,”
which it has even screened
in theaters, opening up new
possibilities for film and
television makers in Taiwan.
都在此得到實踐。多年下來，敘事方式都以寫實為
培養多元的台灣戲劇
主。為了提供產業更具開創性的嘗試，公視在2017
放眼國際影劇的多元，台灣戲劇大多限縮在年開始了「新創電影」的節目製作，歡迎各種天馬
家庭倫理劇與偶像劇。當戲劇類型趨向單一，行空的徵案，警匪、恐怖、驚悚、科幻、喜劇等
觀眾的文化素養就無法提升，節目題材越多類型不拘，讓創作者有更多說故事的空間。
元，大眾就有更多的思考空間。商業電視台有如此開放性的徵案一開，果然吸引了許多有
太多被左右的因素，揹著承重包袱就難有開創創意的企劃，像是帶有奇幻色彩的靈異片《無界
性的嘗試，公視除卻了商業考量，自然能嘗試限》，描述西元2020年全人類無預警陷入昏迷，
更多戲劇的可能。 49秒後人們醒來，大家都可以看到鬼，當人鬼活
例如2019年2月即將推出的《魂囚西門》，是在同一個世界，會是何種令人意想不到的光景！
公視第一部心理驚悚劇。改編自台灣作家九色夫《完美正義》就是台灣少見的警匪片，想要
的同名小說，由歌手蕭敬騰飾演一名幫鬼魂諮商製作吸引人的警匪片，槍戰場面、子彈特效都必
的心理治療師，治療對象千奇百怪，有分不清是須到位，至於恐怖片裡的特殊化妝又是另一門學
雙重人格還是被流氓附身的美女，有被困在鏡子問。這些影視背後所必須具備的能力，都需要透
裡宣稱死於30年後的女高中生等。透過心理層面過一次次經驗累積，才能讓影視產業更加精進。
的深入探討，刻劃人性對幸福與安全感的追求、公視以電影規格製作電視節目，並與戲院合作
對摯愛無怨無悔的陪伴與守候……等。隨著諮商舉辦影展，提供大眾不一樣的觀影經驗。除了在
一位又一位的個案，原本陷入人生低潮的主角也頻道播放，公視還將這些優質的戲劇送往國際影
逐漸解開自己的心結，重拾人生的自信與主導展參展，也都屢屢獲得佳績，例如入圍蒙特婁世
權，呼應了九色夫所寫：「人心即鬼神！除心魔界電影節的《濁流》，入圍釜山國際影展的《最
即是渡化人，但要渡人就得先渡己。」後的詩句》。
而另一部作品《我們與惡的距離》則從無差別先在國內把戲劇做好，培養觀眾，促進影視產
殺人事件出發，探究加害者和被害者家屬的內心狀業良好的循環。在網路影音平台興起的現代，觀
態，其中牽扯出媒體的反思、人權法律的掙扎等各眾超越了國籍，唯有不斷提升戲劇的品質，才能
種社會的樣貌，也是公視明年的精彩作品之一。吸引國際目光。期待公視所帶來的養分，為台灣
培養孕育影視人才的沃土，公視已經二十多年戲劇帶來更多的可能性，讓世界看見台灣文化與
的節目「人生劇展」，許多新銳導演的第一支長片影視產業的實力。 l

This greater freedom has achieved the intended needed for different kind of productions can only be
effect of producing works showing greater creativity. acquired gradually through experience. That’s how the
Take, for instance, the colorfully imaginative ghost film industry moves forward.
Samsara. It describes the year 2020, when all of human- Apart from taking a filmmaking approach to making
ity falls into a coma. When they awake 49 seconds later, television, PTS is also working with theaters to put on
everyone can see ghosts. What unexpected situations film festivals, giving audiences different viewing experi-
arise when people and ghosts exist in the same world! ences. And apart from broadcasting on its channel, PTS
Justice is one of Taiwan’s rare cops-and-robbers is also sending its original films to international film
shows. If you want to give a show in this genre audi- festivals, where they have repeatedly earned praise. Up-
ence appeal, then you’ve got to get the gunfire scenes stream, for instance, was shortlisted for an award at the
and bullet special effects correct. On the other hand, Montreal World Film Festival, and Last Verse was short-
the makeup required for horror shows requires a whole listed at the Busan International Film Festival.
different kind of expertise. The behind-the-scenes skills In the current age of Internet streaming platforms,
viewing audiences are not bound by national borders.
Only by continually improving quality can Taiwan’s in-
dustry attract international attention. May PTS open up
公視提供影視人才更多元的創作空間，藉由一次次的經驗
累積，如驚心動魄的警匪槍戰、恐怖駭人的殭屍鬼怪等，都 new possibilities for serials in Taiwan, so that the world
難不倒台灣戲劇。 will notice Taiwan’s culture and the power of its film
l
PTS has provided Taiwan’s film and television production talent
with more space to explore new creative directions and thus to and television production industry!
gain experience in different genres. The resulting high-quality
works have ranged from cops-and-robbers thrillers to zombie-
(Chen Chun-fang/photos courtesy of PTS/
populated horror movies. tr. by Jonathan Barnard)
75
全球視野　GLOBAL OUTLOOK
劃時代之研
中研院
美國的長紅電視劇《宅男行不行》，以一群加
州理工學院的科學家作為主角，描述智商高人一等
的天才與一般人大相逕庭的日常，並且成功吸引全
球觀眾爭相觀賞。而在台灣，也有這樣一個天才濟
90
年，迎向大眾
濟的地方，超乎想像的奇人軼事不勝枚舉，就是台
灣最高學術研究殿堂──中央研究院。
Welcoming In 過去，常讓人覺得距離很遙遠的中研院，近來，
the Public 似乎「潮」了起來！去（2017）年4月才推出的新
—The Academia 媒體品牌「研之有物」是重要推手，一篇篇源於
Sinica at 90 研究論文，同時兼具趣味性的科普文章，令人耳目
一新，網站上也推出各種活動，好比開放網友向院
長提問，將問題集結後進行專訪，或者匯集院內景
點，吸引文青、網紅前往朝聖。
文•蘇俐穎　圖•林旻萱　版面設計•蕭郢岑
（中央研究院天文及天文物理研究所提供 courtesy of ASIAA）

由中研院所架設的格陵蘭望遠鏡，已加入全球陣列計畫，將與世界各地的
電波望遠鏡連線，進行黑洞觀測。（中央研究院天文及天文物理研究所提供）
The Greenland Telescope, set up by the Academia Sinica, has already joined a
global array project under which it will be linked to radio telescopes around the world
to observe black holes. (courtesy of ASIAA)
今（2018）年又逢中研院成立90周年，過去只
在院區內舉辦的科普講座，首度走出學術高塔， T he long-running US television series The Big
Bang Theory focuses on a group of scientists at
the California Institute of Technology, depicting how
遠赴台南、花蓮等地舉辦；10月下旬的院區開
different the daily routine is for high-IQ geniuses as
放日，更是一大盛事，向來寂靜的院區，罕見湧
compared to ordinary people, and winning a global
來逾十五萬人潮，平日神龍見首不見尾的研究
audience in the process. But Taiwan too has a place
員，齊聚一堂，熱切地向民眾分享近來重要的 where brilliant people congregate, with countless
研究發現。 anecdotes of eccentric geniuses. It is Taiwan’s leading
academic research institution: the Academia Sinica.
點亮時代的基礎研究
作為台灣最高的學術研究單位，中研院是由院 Recently the Academia Sinica, which used to give
士組成的榮譽社團（honor society），以及由研 the impression of being remote and distant, seems to

have been “trending”! The new media outlet “Research
究人員為首的研究單位所組成，且直接隸屬總統
for You,” launched in April of 2017, has played an im
府，由國家任命，賦予投入基礎研究的任務。
portant role in this transition. One interesting popular
不過，相較於能即時解決問題，創造經濟產值 science article after another, based on research papers
的應用科學，聽來抽象縹緲的基礎研究，跟國民 but highly readable, have been a breath of fresh air.
到底有什麼關係？ The website has also promoted various activities, such
2016年才上任的院長廖俊智說明，基礎研究就 as allowing netizens to submit questions to be put to
像蓋建物以前的地基，地基打好，才可能進一步 the president of the Academia Sinica in interviews, or
arranging gatherings around scenic spots on the Aca
在上頭蓋上建物。
demia Sinica campus, attracting young intellectuals and
從基礎研究走到實際應用，距離並不遠。以生
Internet celebrities to make pilgrimages to this place.
命科學領域來說明，基礎研究致力於探索細胞的
2018 marks the 90th anniversary of the founding of
演化，以及分裂、增生、代謝、死亡的過程，乃 the Academia Sinica. Popular science lectures, which
至癌細胞的突變、擴散與死亡，之後才可能衍生 in the past were held only on the campus, have for the
77
出新藥開發研究與臨床應用等種種應用，廖俊智生。擁有建置網站、經營社群媒體經驗的陳昇
說：「所謂的基礎，指的不是日常生活中每天都瑋，毛遂自薦後接下任務，同時積極向外延攬專
可以感覺到的，而是具有潛移默化、長遠性的特業人才，共組團隊，科普新媒體「研之有物」就
質。」在這群人戮力之下催生而出。
不過，多數的基礎研究都是曠日廢時，並且中研院院士王汎森曾說，走在中研院裡，若有
不斷歷經失敗，一旦突破，就常帶來劃時代的改任何問題，只要在走廊上碰到超過3個人，就一定
變，完全稱得上是高風險、高報酬率的工作。資能給出解答。今日的研究員，就猶如過去的翰林
訊科學研究所研究員、同時也是「研之有物」責大學士，各個學富五車，只不過，研究論文往往
任編輯陳昇瑋說，就是因為失敗率極高，所以才艱澀難懂，過去在廣告公司任職的執行編輯林婷
需要仰賴國家的支持；就像近年才逐步普及的人嫻，就像吃下翻譯蒟蒻，將專業報告轉譯成老嫗
工智慧，就是由學術界發展而來的，早在六十能解的淺白文字，並輔以流行、詼諧的標題；美
年前，世界各國就已看見人工智慧未來的發展潛術編輯張語辰除了負責將資訊圖像化，也像「美
力，紛紛挹注資源投入研究，只是到了今日，才少女夢工廠」，鏡頭下的研究員各個搖身一變，
逐漸開花結果。從凡人到明星一般風姿煥發。
作研究講求科學根據，打造品牌也需要實際
研之有物：科普新媒體
數據來支持。陳昇瑋的研究團隊發現，科普文章
雖然中研院的研究成績斐然，不過在過去，多在標題上使用驚嘆號、問號，格外容易吸引讀者
停留在學術界，民間罕人知悉，但廖俊智認為，注意；林婷嫻也分享，研之有物的官網上裝設了
既然中研院的研究經費來自社會大眾，對國民自 Google Analytics，可蒐集相關資料；他們依據現
然也有著一份使命，必須主動解釋基礎研究的意代讀者的閱讀習慣與偏好，調整文章的內容、寫
義、價值，並公開說明研究成果。作風格及配圖比例，最後將網站定調為「寫給大
因此，秉持「說到大家懂，也是我們的責任」人看的輕科普」。
的理念，建置中研院知識分享平台的想法因應而中研院擁有數理科學、生命科學與人文社會
科學三學組，知識產出可觀，團
隊嘗試從中梳理與國民日常生活
的關聯。宮鬥劇正流行，團隊連
忙前往採訪社會學研究所研究員
吳齊殷，由社會學角度探討青少
年霸凌的現象，發現原來青少年
的霸凌行為，就如同成人世界彼
此競爭社會位階；近年身分認同
議題格外受矚目，便趁勢報導生
物多樣性研究中心副研究員鍾國
芳的研究成果，他從廣泛分布於
東亞及中南半島的「構樹」DNA
中研院內許多精密儀器設備，院區開放日
供民眾一探究竟。
Citizens were able to check out many items of
sophisticated instrumentation and equipment
at the Academia Sinica on Open House day.

接下領導職不久的
廖俊智，格外重視對外
溝通，帶領中研院
一步步走入民間。
James C. Liao, who
took over as president
of the Academia
Sinica in 2016, pays
special attention to
communicating with the
outside world, and has
led the institution to
build more connections
with the public.
first time ventured out of the ivory tower to places as the evolution of cells, as well as the processes of cell
far away as Tainan and Hualien. The Open House day division, proliferation, metabolism, and death, and the
held in late October was a grand occasion. More than mutation, meta stasis, and death of cancer cells. It is
150,000 people visited the usually tranquil campus, and the understanding of these basic processes that makes
the researchers who normally are rather a mystery to it possible to develop various kinds of new drugs and
outsiders gathered together to enthusiastically share re clinical applications. As Liao puts it: “What we call ‘basic
cent research discoveries with the public. research’ is not something that you can feel every day
The importance of basic research in ordinary life, but it does shape our lives impercept
Taiwan’s most important institution for academic ibly in the long term.”
research, the Academia Sinica is an honor society com A new medium for popular science
posed of academicians, and comprises research insti Although research at the Academia Sinica has pro
tutes mainly populated by research fellows. It is directly duced some remarkable breakthroughs, in the past it
subordinate to the Office of the President, and is en has been little known outside academic circles. How
trusted by the state with the mission of basic research. ever, James Liao believes that since the funding for re
However, in contrast to applied science, which can search comes from the general public, there is naturally
solve immediate problems and create economic value, a sense of responsibility toward citizens, and the Aca
basic research can seem abstract and obscure. How ex demia Sinica must take the initiative to discuss the sig
actly is it connected with citizens? nificance and value of its basic research and to publicly
Academia Sinica president James C. Liao, who took explain its research results.
office in 2016, explains that basic research is like the The concept that “it is our responsibility to speak
foundation for building a house: only if the foundation in ways that everybody can understand” is at the root
is sound can you go ahead and build a structure on it. of the idea of constructing a platform for sharing the
In fact, the distance between basic research and institution’s knowledge. Chen Shengwei, a research
practical applications is not so great. In the life sciences, fellow in the Academia Sinica’s Institute of Information
for example, basic research is focused on exploring Science who had experience in building websites and
79
16 年來，他率領的研究團隊，利用生物與植物
化學方法，最終在咸豐草中找到名為「聚多炔醣
苷」（cytopiloyne）的化合物，證實可以增加胰
島的功能，並且保護胰島細胞，避免它們死亡。
由於當前以人工合成的西藥，均無法遏止病情
惡化，更遑論治癒，這樣的突破，無疑為備感棘
手的糖尿病治療問題，另闢出新局。
雖然中研院的任務並不在於開發商品，但現階
段的研究成果已技術轉移給國內生技廠商，並推出
保健商品，楊文欽的下一步，是希望藉人體試驗，
繼而研發出糖尿病新藥，至於普羅百姓最關心的
價格，「因為研究經費也是來自大家的錢，我已
經交代廠商，定價不可以太高。」楊文欽說。
地表最強！格陵蘭天文望遠鏡
廖俊智說，作基礎研究，是為了滿足人類的好
中，發現台灣與南島語族之間的關聯性，以生物奇心，尤其人類對於宇宙的追求，更是人類一貫
學角度佐證人類學家所說的，大洋洲南島語族均的好奇心；而好奇心，正是人類求知與文明進步
源自台灣的「出台灣說」。的重要推力。
為了滿足大眾對於宇宙的好奇，開放日當天，
雜草翻身，咸豐草治療糖尿病
天文及天文物理研究所研究副技師韓之強向大眾
一年多來的積極發聲，逐步發酵，讓今年度的說明，就在2017年5月，由中研院研究員主導的
院區開放日，更顯盛況空前。跨國團隊，已成功在格陵蘭島，架設了全球第一
在人山人海的現場，農業生物科技中心研究座位於北極圈的望遠鏡。
員楊文欽是民眾關注的焦點。原來，投入藥用韓之強解釋，格陵蘭望遠鏡是由美國國家科
植物研究的他，證實台灣野地常見的咸豐草，學基金會等單位所捐贈的阿塔卡瑪大型毫米波及
當中含有的植物化合物，可用於糖尿病治療，次毫米波陣列（ALMA）原型機所改裝，高12公
而台灣目前有超過200萬的糖尿病患者，糖尿病尺，要價高達800萬美元的機器，從美國新墨西
更高據全球10大死因之一，這樣的福音，讓現哥州千里迢迢地搬到格陵蘭，為了要適應北極圈
場民眾感到振奮。零下70℃的酷寒氣候，又再耗費5年、1,000萬美
「種植物可以救人，也可以救地球。」楊文欽元投入改裝，而從運輸、安裝到建置成形，均由
說。台灣野地常見的咸豐草，是農夫欲去之而後台灣主導，加上後來的極地操作與遠端遙控，證
快的雜草，然而，具可食性、生命力強盛的咸豐明台灣科學家的堅強實力。
草，被廣泛運用於民間，如涼飲、中藥材，在世而格陵蘭望遠鏡也已加入以觀測超大質量黑洞
界各地，也有使用咸豐草來治療糖尿病的紀錄，為目標的「事件視界望遠鏡」（EHT）全球陣列
但想要從傳統的草藥研發成符合「一致性、安全計畫，跨洲際的望遠鏡將同時連線，猶如在地表
性、有效性」標準的西藥，並不容易。建置出一隻超強大的人工之眼，而格陵蘭望遠鏡
楊文欽說，天然界中已找到超過17萬種的化合可與智利ALMA望遠鏡連線，形成南北向最長基
物，有八成都來自於植物，但也由於成分太多，線，大幅提升影像解析能力，是當前最先進的光
研究過程格外費時費工費力。學望遠鏡的1,000倍。

managing social media, volunteered to take this task translator, transforming specialized reports into ordi
on. He recruited outside talent to put together a team, nary language that anyone can understand, while com
through whose efforts the website “Research for You” plementing her “translations” with trendy or humorous
was born as a new media outlet for popular science. titles. Meanwhile art editor Chang Yuchen, besides
(“Research for You” is our own translation of the web being responsible for putting data into graphic form,
site’s Chinese name, “Yan Zhi You Wu.” The name is a must also—as in the video game Princess Maker—use
pun on an expression that refers to someone’s words her camera lens to transform researchers from ordinary
having substance, but with the character yan meaning people into “stars” who radiate charisma.
“speech” replaced by yan for “research.”) Research requires scientific evidence, and creating
Researchers today, like the academicians of the Han a brand likewise requires concrete data. Chen Sheng
lin Academy in imperial times, are people of great wei’s team has discovered that it is easier to attract
erudition and scholarship. However, the research pa readers’ attention if you use exclamation points or ques
pers they write are often difficult to understand. “Re tion marks in the titles of popular science articles. Lin
search for You” executive editor Lin Ting hsien, who Tinghsien also shares with us that Google Analytics is
formerly worked at an advertising agency, is like a installed on the official website of “Research for You,”
so they can collect relevant data. They can use data on
the reading habits and inclinations of contemporary
readers to adjust the content and writing style of arti
研究員分享研究成果，點燃年輕學子對知識的好奇。 cles, and the proportion of graphics, ultimately setting
By sharing their research results, researchers spark the tone of the website as “light popular science written
young students’ curiosity to learn.
for adults.”
81
林婷嫻（右）與張語辰（左）組成研之有物團隊，為中研院
塑造出新貌。
Lin Ting-hsien (right) and Chang Yu-chen (left) have organized
the team at the “Research for You” website, creating a new
image for the Academia Sinica.
談到未來展望，「我希望科學家從事基礎研
究，必須要有使命感。」廖俊智說：「第一，對
學界、同儕，要讓大家知道你的研究有價值、有
前瞻性、有原創性；第二，對納稅人負責，主動
雖然觀測黑洞與一般人的日常生活沒有直接的解釋基礎研究的重要與意義；第三，是對全世界
關聯，但韓之強解釋，黑洞一直都只存在於理論人類的使命，當前的全球暖化、氣候變遷、高齡
模型之中，只有間接證據佐證，因此黑洞觀測除長照的議題，希望可以藉由深入的研究，解決全
了滿足天文學家的好奇心，也將藉此驗證愛因斯人類的問題。」 l
坦的廣義相對論，深具意義。
看過來！國寶在這裡
中研院固然是知識重鎮，然而走過將近一世
紀，因著各種淵源，院內還有不少對外開放的公共
空間，好比前院長胡適、錢思亮、蔡元培與知名學
者吳大猷，都曾參與院所的創辦，或在此進行學術
工作，因此許多以學者之名成立的紀念館、小型
圖書館，就散落在院區之中，成為歷史的佐證。
另外，展示晚清嶺南畫派作品的嶺南美術館，
與收藏民間文物的歷史文物陳列館等展館，尤其
受民眾喜愛。秘書處處長暨政治學研究所研究員
吳重禮說明，許多人都以為故宮是國寶最多的地
方，然而，收藏超過36萬件的歷史文物陳列館，
國寶數量較故宮更勝一籌，加上品項多來自於民
間，有別於故宮是以宮廷藝匠之作為主，內容更
是多元豐富。
邁入90年，中研院正逐步走出象牙塔，唯獨學
術旗艦的地位，始終不變。
走過90載，除了秉具求真究實的精神，中研院也逐步轉型，
步出學術高堂。
At 90 years of age the Academia Sinica, while upholding its
spirit of seeking the truth, is gradually being transformed and is
shedding its image as an ivory tower.

A telescope in Greenland donors, it came at an initial price of US$8 million, and
James Liao says that the purpose of doing basic research was transported the vast distance from New Mexico in
is to satisfy human curiosity. In particular, the nature of the the US to Greenland. To adapt the radio antenna to the
universe has always been a subject of interest for mankind. freezing climate of the Arctic, where temperatures can
Curiosity is an important driving force behind the human go as low as −70°C, an additional five years and US$10
quest for knowledge and the advance of civilization. million were invested in refurbishing it. Everything
In order to satisfy public curiosity about the universe, from transportation and installation to final completion
on the day of the Open House Johnson Han, associate of the structure was led by Taiwan, and when you also
research engineer in the Institute of Astronomy and Astro consider that Taiwan has handled later polar operations
physics (ASIAA), explained to visitors that in May of 2017 and longdistance remote control, the genuine capabili
a multinational team led by researchers at the Academia ties of Taiwan scientists have been clear for all to see.
Sinica had successfully erected the world’s first radio tele The Greenland Telescope has already joined the
scope inside the Arctic Circle, in Greenland. “Event Horizon Telescope” global array project, whose
Han explained that the 12meter Greenland Telescope mission is to observe supermassive black holes. Radio
is a repurposed prototype originally built for the Atac telescopes on different continents can be linked to
ama Large Millimeter/Submillimeter Array (ALMA). gether, as if constructing a super-powerful artificial eye
Funded by the US National Science Foundation and other on the surface of the earth. The Greenland Telescope
can link up with the ALMA in Chile, forming the lon
gest northsouth baseline in the world. This greatly in
creases the image resolving power, to 1000 times that of
the most advanced optical telescopes in existence.
Although there is no direct connection between
observing black holes and the daily lives of ordinary
people, Johnson Han explains that black holes have
previously only existed in theoretical models, with only
indirect evidence to prove their presence. Observing
black holes doesn’t merely satisfy the curiosity of astron
omers and astrophysicists; it can also test Einstein’s the
ory of general relativity, and is thus of great significance.
Entering its 90th year, the Academia Sinica is stepping
out of the ivory tower, though its status as the nation’s
flagship for academic research remains unchanged.
Looking to the future, President James C. Liao says, “I
hope that scientists doing basic research will feel a sense
of mission.” He adds, “First you must let your academic
peers and colleagues know that your research has value,
is forwardlooking, and is creative. Second, you must be
responsible to taxpayers, and take the initiative to ex
plain the importance and significance of basic research.
Third, you must have a sense of mission for humanity.
I hope we can do indepth research to solve problems
facing all of mankind, such as global warming, climate
change, and longterm care for the elderly.” l
(Lynn Su/photos by Lin Min-hsuan/
tr. by Phil Newell)
83
島嶼行旅　AROUND TAIWAN
永續的綻放
2018 台中世界花卉博覽會
Sustainability in Bloom
—The 2018 Taichung World
Flora Exposition
文•蘇俐穎　圖•莊坤儒　版面設計•蕭郢岑
2014年，台中世界花卉博覽會（簡稱「台中花
博」）還在孕育的初期，劃定為博覽會用地的后里
園區，卻在預定地調查的過程中，發現保育類動物
石虎的蹤跡。故此，台中市府果斷地放棄與野生動
物活動交疊的範疇，另納入外埔、豐原葫蘆墩公園
等區塊，展區一分為三，生態保育、環境永續的核
心，也就此確立。
I n 2014, when planning for the Taichung World Flora

Exposition was still in its embryonic stage, the in-
tention was to host the event at Houli Park. However,
surveys of the area revealed the presence of the protected
leopard cat, and so the Taichung City Government aban-
doned their original plans as they would have encroached
on the animal’s habitat. Instead, they chose a three-
pronged approach, reducing the space they would use at
Houli and adding venues at Waipu and at Fengyuan’s Hu-
ludun Park. It was through these actions that the organ-
izers established that environmental sustainability and
conservation would be at the core of the 2018 event.

85
秋日向晚，夜幕籠罩，點起暈黃燈光的「四口土，尋找一種人與自然長久共存的生活方式。
之家」，巧妙地掩映在大樹的林蔭底下，站遠一重視農作物與生態環境平衡的有機農業，為劉
看，這幢木造平房，前院坐擁一畦園圃，出現在德輔指引出一條新路，此後，他又投入學習自然
綠蔭叢叢的森林，不僅沒有半分突兀，甚至讓人農法、生物動力（BD）農法，甚至是自然建築、
一時忘記，這是一個博覽會的現場。樸門永續設計等建築工法，種種門道，都環繞著
環境永續展開。久而久之，他的身邊也群聚起一
素人起家：劉德輔的生存之道
批以身作則、積極倡議環保的人。
寧謐的四口之家，有股難以言說的魔力，讓人因此，當劉德輔與2位好友，以「永續家園」
紛紛留步。不過，這個使人留連忘返的空間，兩的概念向公部門提案，缺乏專業建築師背景，形
年以前，當策展人劉德輔選定它時，還是一片荒象更像公民團體的他們，屢屢遭人質疑：這群素
地，四周是高低起伏劇烈的壕溝與土堤，以及一人，真的有辦法蓋出一棟房子？
株株拔地而起的大樹，破碎的空間條件，並不受雖然劉德輔信誓旦旦地宣稱：「永續家園是很理
多數策展團隊的青睞。性的。」但好比不採用傳統的磚瓦，而想以木料、
然而，劉德輔並不是什麼專業的建築師或景觀稻稈、黏土取代，種種創舉均遠超一般人對於公共
設計師。過去以攝影為職的他，也曾以時尚攝影工程的想像，因為這個緣故，四口之家的案子兩度
在業界大鳴大放，只不過，無形間也在鼓吹消費被砍，幸而許多設計師大力支持，終於被保留下。
的攝影工作，與長年關注環保議題、茹素的他，「如果沒有這群人，那花博就沒有靈魂。」台
理念相違。2009年是重要的轉捩點，因為聽見臭中世界花博設計團隊設計長吳漢中說，「因為，
氧層破洞的消息，他毅然收起自己的攝影棚，從花博裡最珍貴的，不是花花草草，而是有一群為
燈紅酒綠的台北，搬到東岸，想在台灣最後的淨土地努力的人。」

Liu Te-fu, though, is neither. In his old life, Liu was
a big name in fashion photography, but over time, the
pro-consumption attitude of his work began to clash
with his longtime concern for the environment and
his vegetarianism. 2009 was a major turning point for
Liu. Hearing news about the hole in the ozone layer,
he decided it was time to pack up his tripod and move
away from the bright lights of Taipei to the East Coast,
the last “pure land” in Taiwan, to seek out a way to
live sustainably with nature.
Over time, he brought together a group of people
who led by example, actively advocating for the pro-
tection of the environment. He and two friends put
together a proposal for a sustainable home exhibit for
the Taichung Flora Expo, but since they had no back-
ground as architects, they came across more as a civic
group, which led people to wonder how these “ama-
teurs” could possibly actually build a house.
While Liu is adamant that “sustainable homes are
entirely rational,” their plans included innovations
well beyond the average person’s understanding of
public works, like trading out traditional brick and
tile for wood, straw, and clay. As a result, their “Eco-
Friendly Home for Four” plan was struck down twice
before finally securing the support of several designers
展現生態永續、社群協力等價值的四口之家，猶如靈魂指標， and being accepted.
在展場中曖曖發光。
The “Eco-Friendly Home for Four” is like the soul of the expo, a “Honestly, without that group of people, the Flora
shining exemplar of environmental sustainability and the power Expo would barely have a soul,” says the expo’s chief
of community.
design officer, Wu Han- chung. “What’s really valu-
able about the expo isn’t the flowers and other plants,
but all the people who are working for the good of
the land.”
As the autumn night settles in over Houli, the lights At Liu Te-fu’s call, some 70 people from eight civic
of an “Eco-Friendly Home for Four” flicker on. Nestled groups and two cooperatives came together to work
among the trees, this one-story wooden home, com- on the Eco-Friendly Home. The only part that used the
plete with front yard, appears so much in keeping with usual reinforced concrete was the foundation, while
its surroundings it can be easy to forget you’re actually the main structure was made with Japanese red cedar
looking at part of the Houli Forest Park expo site. and the walls with rice straw left over from farms.
Seeking a path for survival It incorporates energy and water recycling systems,
The ineffable charm of the tranquil dwelling can along with green roofing. Overall, 95% of the home
stop guests in their tracks. But two years ago, when comes from natural, recyclable resources, and the ab-
curator Liu Te-fu chose the site, it was a nondescript sence of the usual energy-intensive calcination of ce-
wasteland, surrounded by trenches and embankments, ment has reduced the home’s carbon footprint by 38%.
with massive trees jutting out from the earth. Such a “It feels like I’ve been waiting to get this done for a
rough, broken-up space is hardly what most architects decade,” says Liu as he sits on the front porch, sighing
or landscapers would be looking for. with satisfaction.
87
吳漢中催化公部門與設計界，共創美學盛會。
Wu Han-chung was the spark that ignited a
cooperative effort between the public sector and
the design world, resulting in the joint creation of
this aesthetic landmark.
經過劉德輔的號召，四口之家整合8個公民團說四口之家是台灣最前衛的一幢建築，並不
體與2個合作社，約70人的力量投入，建材上，為過，後來獲得「鑽石級建築碳足跡認證」、
唯有地基使用到傳統的鋼筋水泥，結構體則採用「倫敦設計大獎銀獎」等榮譽，應證了劉德輔的
柳杉木，牆面則以農業廢棄物的稻稈做成的「稻願景。不過，對他來說，這些榮譽不過是錦上添
稈捆填充牆」組裝，同時融入能源再生系統、雨花，更重要的是，藉此實證了，確實有一種人與
水回收系統、綠屋頂等設計，95％都是源於天自然可以長久共存的生活方式。
然，可再回收的材料，由於沒有經過一般鋼筋混「彷彿這10年，就在等著做這件事。」坐在廊
凝土建築耗能的鍛燒程序，排碳量降低38％。前簷下，他發出滿足的輕嘆。
美學治理大躍進
作為精神起源與具體象徵的石虎，在展區頻頻現蹤。承接公部門的案子，最後做出來的成品，常常
As both spiritual inspiration and actual mascot, the leopard cat is
much in evidence around the expo. 不如原初的預期，這樣的刻板印象，長年流傳在設
計圈之中。不過，這一次台中市政府對於專業所
展現的誠意與尊重，打破了許多設計師的成見。
有別以往的大型公共工程，市府首先別開生面，
在招標前舉辦公開說明會，廣發邀請函，吸引到80
幾組團隊前來聆聽，且由設計界頗具聲望的台創
設計中心董事張基義擔任評審，更象徵了公信力。
過去的大型公共工程，除了展覽會設立策展
人，但好比外圍景觀，多由景觀工程廠商處理，
因此常見整體美感良莠不齊。首次全面導入策
展人制度也是台中花博的創舉，所有的展區、展
館、景觀設計、裝置藝術，都由設計師、策展
人、藝術家負責；換言之，小至警衛亭、醫療
站，大至造價最高的建物，都有專業把關。

One great leap in aesthetic governance of designers, curators, and artists. In other words,
When public projects are undertaken, quite often the everything from the guard booths and first aid stations
final product is not as good as the original plan. Or so to the most expensive structures has had professional
goes the common and longstanding stereotype in the supervision.
design community. This time, though, the Tai chung The crew was finally fully in place in May 2017, with
City Government showed a sincerity and respect for the design team led by chief design officer Wu Han-
the profession that shattered that stereotype for a num- chung and design director Lo Wen-cheng. The two set
ber of designers. to work as mediators and catalyzers, facilitating dia-
Unlike large-scale public works of the past, this time logue between the government and the executive team
the city government began with public meetings, hold- and making sure things went smoothly.
ing open briefings ahead of invitations to tender. This Biomimetic design
attracted some 80 teams to come listen, and the bids With sufficient power delegated to them, the de-
were judged by highly respected architect Chang Chi-yi, signers and artists were able to start putting their
which further spoke to the credibility of the project. vision into practice. Building on their original aims of
In past exhibition projects, while the exhibition itself environmental protection and ecological sustainability,
has been placed in the hands of curators, the exterior and on the sound foundation that had been laid down
landscaping has often been entrusted to a landscap- by the actions to ensure the preservation of the leopard
ing contractor, frequently resulting in an inconsistent cat’s habitat, those intentions and that foundation be-
overall aesthetic. The introduction of a comprehensive gan to be more fully reflected in their design ideas.
curatorial system is a pioneering move by the Taichung The curator of the Houli Forest Park expo site, Wu
Flora Expo, with every exhibition area, hall, landscape Shu-yuan, worked with two researchers from the Na-
design, and art installation handled by a unified team tional Museum of Natural Science, heading out into the
保育課題融合科技美感體驗，為民眾帶來耳目一新的觀展
樂趣。
Bringing together environmental education and technological
experiences, the expo offers visitors a fun and invigorating time.
89
花舞館闢設蘭花展區，介紹台灣蘭花產業實力。
Inside the Blossom Pavilion is an orchid exhibition that
showcases the strength of Taiwan’s orchid industry.
2017年5月，團隊終於全部到位，由設計長吳原生秘境策展人尤瑪•達陸，貢獻台灣原住民
漢中、設計總監羅文晟等人組成的設計團隊，開在民俗植物所累積的各項知識，展場就如同部落
始發揮作用，從中斡旋、催化，為執行團隊與公的共享教室。
部門作雙向溝通，並且疏通層層關節。由於期程花舞館建築師陳玉霖，運用自然界常見的曲
緊迫，所有團隊無不備感挑戰，「不過，雖然困線，構成場館的空間、動線，貼近地表的建築，
難，有『難』卻沒有『困』；因為碰到『困』，靜靜地降落在空曠的大草坪……。
就是在解決『困』，讓所有人可以向前走。」吳經過台北花博、世大運的鍛鍊，不論是思惟或
漢中這樣說。內容，台中花博都更上一層樓。
而躬逢這一場千載難逢的盛會，無獨有偶，不
設計的仿生學
少人紛紛表示，大自然，才是這博覽會的主角。
當專業獲得充分授權，設計師、藝術家的創豐原葫蘆墩戶外景觀建築師陳宣誠說得絕對：
意就可以被全面性實踐，而本於環境保育、生「作品本身並不需要太多論述，因為它會消失、
態永續的初衷，在初期由石虎保育行動就奠定會不見，它常常不是最重要的一件事。重要的
下來的良好基底，持續在各樣的設計中擴大是，我該用什麼方式，重新看見它；並且透過
發酵。它，看見什麼樣的事情。」
后里森林園區策展人吳書原與團隊，跟著自也像樂農館策展執行總監鍾秉宏說的：「自然
然科學博物館的兩位研究員，走入荒野，挑選台不能被設計，只能被設計師模仿。」關於設計，
灣的原生植物，依據等高線位置，經過馴化、培所有人都有了新的收穫。
育，種植在園區土地上。
天時、地利、人和，機械花開
發現館建築師潘天壹，由博覽會結束之後反
推使用的設計元素，決定採用可回收的新型建材走在森林園區，如同吳漢中說：「我們是瘋狂
「再生塑化磚」，而非會製造大量水泥廢料的鋼的設計控。」從展櫃、變電箱，甚至階梯的防滑
筋混凝土。條，都經過美學統合，以低彩度的材料，融入仿

wilderness to select some native Taiwanese plants to
domesticate and cultivate in the expo park, where they
are grouped according to their original altitude.
Discovery Pavilion architect Monda Pan opted for
materials that could be reused after the expo is fin-
ished, choosing recycled wood–plastic composite bricks
rather than traditional reinforced concrete, which tends
to generate a substantial amount of waste.
Chen Yu-lin, architect of the Blossom Pavilion, made
use of the curved lines commonly seen in nature to
create a flowing, approachable space that hugs the
ground, seeming to have gently landed on broad, roll-
ing grassland.
Overall, the Tai chung Flora Expo has learned from
the experiences of the 2010 Tai pei Flora Expo and
the 2017 Tai pei Universiade, and taken them to an- Blooming is another attempt at pushing the envelope of
other level. size and complexity. A huge ball 15 meters across, it in-
Flora ex machina corporates machinery, optoelectronics, music, and video,
Walking through the Forest Park, you may be struck and is composed of 75 segments and 697 “flower buds,”
by how everything from transformer boxes to show making it the world’s largest mechanical flower bed.
cases to even the anti-slip strips on the steps have been LuxuryLogico agreed to take on the challenge af-
designed to meld into and imitate the natural environ- ter seeing the support the government was giving to
ment. The only exception is the mechanical installation professionals on the project. But even so, turning out
piece The Sound of Blooming, an eye-catching giant red a massive art project like that in just eight months was
ball of flowers that seems to float above the sea of trees. going to be a monumental task.
Designed by LuxuryLogico, who also designed the During the concept development stage, Luxury-
much-talked-about Universiade flame, The Sound of Logico thought beyond just budgetary limits, taking a
higher perspective on the entire
expo. However, even with a bud-
get of NT$10 million, which would
be more than generous for most
public art projects, they were still
a fair way off their initial rough
estimate, and so the team turned
to private-sector fundraising.
“We put our proposal and cost
estimate to [Taichung Construction
Bureau] Director-General Huang
因著博覽會契機，葫蘆墩公園設置
許多花卉主題的琉璃裝置藝術，美感
大幅升級。
The expo has also provided the
opportunity to give Huludun Park a big
aesthetic upgrade with a number of
new, floral-themed glass installations.
91
森林園區搭配參觀動線與展覽
內容，敘述植物由一顆種子到
花開綻放的過程。
The Houli Forest Park expo site
makes use of carefully selected
exhibit content and well-designed
visitor routing to depict the
process from seed to bloom.
擬野地的自然環境，在整個園區，唯獨豪華朗機企業來贊助。」這個提議，讓講究「共感」的藝
工的作品「聆聽花開的聲音」，一朵巨大的紅色術品，落實成實質的「共創」。
花球，從樹海中躍然浮升。台中精密機械產業聚落成了最強靠山。龍頭
曾因世大運聖火台引起話題的豪華朗機工，這公司上銀科技率先出手，總經理蔡惠卿一句話：
一次，再度挑戰宏觀繁複的極致，創造出直徑高「要幫年輕人完成夢想。」利茗機械針對作品的
15公尺的巨大球型，結合機械、光電、音樂、影需求，設計出新款式的馬達減速機，大大減少其
像等元素，以75種零件，697朵花苞，構成了地他不必要的零件開發。
表最大的一朵機械花。「贊助商通常都是給現成有的東西，但他們甚
團隊之一的張耿華，回憶著前一年，由於時間至在很短的時間內，開發出prototype（原型），
緊湊，不斷遲疑著是否要參與的他們，因著一場讓我們測試。」張耿華說：「台中，就是有一種
與市府的會議，才決定進場。很熱情的感覺！」
會議現場，過去總是坐在後排的設計師、策展而在各家企業的支援之下，隨著品質三級跳，
人，改坐到最前方，後面則是參與協力的建設、造價也節節攀升，最後造價高達7,000萬，是豪華
營造廠商，台中建設局局長黃玉霖果斷地向標案朗機工成軍以來，最奢豪的一件創作。
評審委員說：「這次我們聽策展人的！」許多人不約而同都說，「這朵花要不是種在台
公部門展現的魄力與對專業的支持，成為豪中，不然不會開。」台中獨特的製造產業與濃厚
華朗機工接下挑戰的主因。不過，想在短短8個的人情味，甚至晴朗穩定的天候，都成為強大
月內，做出一件巨大的藝術創作，仍是艱鉅的任的奧援，讓這件需要步步為營、不容任何差池
務，尤其博覽會展出的作品必需具有的實驗性與的作品，竟就此一步步順利通過考驗，在戶外
獨特性，更意味所存在的高風險。施作完成。
在構思的階段，豪華朗機工便跳脫預算的框巨大的機械花，經過程式與人工智慧的接通，
架，以博覽會的高度來思考。不過，這也讓對一就像長出了靈魂，經過多點控制的花朵，時而含
般公共藝術來說，已綽綽有餘的1,000萬預算，離苞，時而綻放，依隨著當下的日照、風動，甚至
初步粗估，還有一大段距離，團隊因此動了向企是人聲，猶如一體地和諧互動。
業募款的念頭。團隊說：「花開，是植物生長的時候，細胞
張耿華回憶：「我們把作品提案、估價跟想法分裂最繁複的狀態。這種複多的整合，就像藝術
向黃局長提，局長卻說，募款不算困難，只是，家、政府與企業的關係。」
為了節省成本，都使用大陸產品，不如找台中的而經歷過複多整合的台中，正是花開時節。 l

[Yu-lin],” recalls Luxury Logico’s Chang Geng-hua. Thanks to the use of computer code and artificial
“He responded that raising that amount from private- intelligence, the huge mechanical flower seems almost
sector donors would not be too difficult, but rather alive. Making use of many points of control, the indi-
than sourcing components from mainland Chinese vidual buds are sometimes blooming, sometimes closed,
companies in order to try to keep costs down, why not interacting harmoniously with their environment as
get local Taichung firms to sponsor us with products they respond to light, wind, and even people’s voices.
instead?” It was this suggestion and Huang’s attention “When plants grow, the opening of flowers is like the
to “togetherness” that helped make the final piece a most complex version of cell division,” the team say. “It
real “co-creation.” is a complex coordination, like the relationship between
With the support of several companies, they were ourselves, the government, and the private sector.”
able to hit a higher level of quality on the project, And through such complex coordinations, Taichung
which also led to a higher cost—at NT$70 million, The is coming into full bloom. l
Sound of Blooming is the most extravagant project in (Lynn Su/photos by Chuang Kung-ju/
LuxuryLogico’s history. tr. by Geof Aberhart)
93
藝文脈絡　CULTURAL TRENDS
既國際又在地
長出來的衛武營
National Kaohsiung Center for the Arts: Think Global, Act Local
文•鄧慧純　圖•衛武營國家藝術文化中心提供　版面設計．胡如瑜

外型像是來自外星球的太空船，但設計概念
卻是從高雄當地根鬚盤錯的老榕樹群得到靈感， W ith a façade that resembles a spacecraft from
an alien planet, the design concept of the Na-
tional Kaohsiung Center for the Arts was inspired by
「衛武營國家藝術文化中心」不僅外觀很前衛，
nearby groves of old banyan trees with interwoven
營運團隊要做的事情也很搖滾，要在素被稱為文
aerial roots. The center not only looks avant-garde,
化沙漠的南台灣種出表演藝術的花朵，要站在台 but the ambitions its management team have for the
灣的南端向國際發聲。 venue really rock too. They hope to grow a flower of
performing arts in south Taiwan—once considered
a cultural desert—and make their voice heard inter-
nationally from the island’s southern tip.
95
1967年出生的簡文彬，22歲出國深造，30歲那
年他受聘為德國萊茵歌劇院駐院指揮，44歲獲聘
為終身駐院指揮，是極少數在世界古典音樂世界
裡，指揮歐洲頂級樂手的台灣人。47歲那年他辭
去德國萊茵歌劇院駐院指揮終身職，落腳在曾被
稱為文化沙漠的高雄，成為衛武營國際藝術文化
中心總監，「我之所以決定要回來，其實就是這
個動力（在台灣向國際發聲），過去二十多年在
國外看到台灣的處境，讓你希望可以回來為台灣
做一點事情。」
衛武營開幕的新聞在歐洲擴散，迄今已有
夜間的衛武營像極了科幻電影中的場景，充滿未來感，與白
天的樣貌截然不同。（林格立攝）七十多篇外媒報導，英國《衛報》更以「史詩
Weiwuying by night: Futuristic, like a scene out of a science
fiction movie, and utterly distinct from its daytime persona. 級鉅獻」為題，稱讚衛武營是地表最強藝術表
(photo by Jimmy Lin)
演館。
不只是開幕時的曝光，衛武營的國際共製節目
《驚園》與《杜蘭朵》，早在2015年即進行世
從籌劃、興建再到開館，經過15年漫長的等界首演，《驚園》的靈感來自明代湯顯祖膾炙人
待，今（2018）年10月15日，衛武營國際藝術文口的崑曲名作《牡丹亭》，是由衛武營、美國林
化中心（簡稱「衛武營」）開幕了。肯中心、美國斯波萊多藝術節（Spoleto Festival
開幕音樂會上，衛武營藝術總監簡文彬指揮的 U S A），與新加坡藝術節跨國委託、共同製作
手勢就定位，片刻的寧靜像把籌備期的紛紛擾擾的獨幕歌劇，簡文彬在其中擔任指揮。台德
歸零，第一個音符揚起，正式開始。共製的《杜蘭朵》則是簡文彬口中所說「不小
心的成功案例」，這齣歌劇的幕後製作團隊，
向國際發聲
從導演黎煥雄、服裝設計賴宣吾、舞台設計梁
「其實對我們來講，這真的是所謂歷史上的若珊到影像設計王俊傑，皆不折不扣地來自台
一天。 …… 這之前所有的準備，大家的通力灣。這樣的機會不知道何時才會再發生，但
合作，最重要的都是在向國際發聲。」簡文「真的希望在歐洲傳統的歌劇、舞台劇的產業
彬說。裡，我們有發揮的地方。」簡文彬說。

After a wait of some 15 years from planning to
completion, the National Kaohsiung Center for the
Arts—aka Weiwuying—opened to the public on
October 15, 2018.
Speaking to the world
“In fact, for us this is really an historic day. All
the preparations and everyone’s energetic collabora
tion notwithstanding, the crucial thing is to make
our voice heard internationally,” says Chien Wen
pin, the center’s executive and artistic director.
Born in 1967, Chien went abroad for post
graduate study when he was 22, and at the age of
just 30 was designated resident conductor of the
Deutsche Oper am Rhein (“German Opera on the
Rhine”)—one of the first Taiwanese to conduct a
top-flight European orchestra. Fourteen years later,
he obtained the tenured position of conductor
inresidence with the same body. But at 47 he
resigned from this permanent post to relocate to
Kaohsiung—long dubbed a “cultural desert”—and
lead the National Kaohsiung Center for the Arts.
“Making Taiwan’s voice heard on the inter
national stage was the motivation behind my
（右圖）從屋頂天井射下的光線，形似陽光透過
樹梢撒下的氛圍。（林格立攝）
(right) Light radiates in via skylights, mimicking the
ambience of sunlight filtering through treetops.
(photo by Jimmy Lin)
（下圖）隨處可見的流線造型是衛武營的一大
亮點。（林格立攝）
(below) The omnipresent streamlined look is a highlight
of the center’s architecture. (photo by Jimmy Lin)
97
旅歐多年的簡文彬回到
台灣，把衛武營當作他
另一個新的創作。
Long based in Europe,
Chien Wen-pin returned
to Taiwan to focus on
his new work of art—
Weiwuying.
等等細節。藝術欣賞這件事應該不是一個四四方
創作南台灣的表演藝術生態
方、要立正站好的事情，不希望以台北怎麼做，
大學畢業後出國深造，旅歐近30年，簡文彬迄所以高雄便如何來結案，他開玩笑著以高雄人騎
今待在國外的時間比在台灣還久，之前常聽外界車習慣「直接左轉」為例，面對高雄的觀眾自然
形容高雄是文化沙漠，這些名詞對他來說是個不需要特意的咬文嚼字，服務的對象不同，服務
「傳說」，他還未親身經歷。但身為一位場館的的方式自然也需要調整，舉凡這些細節都需要再
經營者，簡文彬說：「我們必須要接受市場的樣一次被提出，然後決定一種跟此地真正契合的方
態，然後『看看我們可以做什麼』。」式。「對我來說，並不是在拚績效，它是一個大
笑稱自己不會認枕頭，適應力很強的簡文的創作，創作一個以高雄為中心的南台灣表演藝
彬，開始在衛武營揮動他的指揮棒。「我們為術生態。」簡文彬強調。
什麼不能發展屬於高雄的表演藝術風格呢？」他
眾人的藝術中心
自己提問。
面對市場的開發，簡文彬認為先讓大家走進 2015年，簡文彬喊出「眾人的藝術中心」的口
來，直接去感受，是現階段重要的事。他把在高號來定位衛武營。
雄藝文市場的耕耘也稱為「創作」，不管是文這與打造衛武營建築的荷蘭建築師法蘭馨•侯
化沙漠也好，藝文邊陲也罷，他認為高雄就是高班（Francine Houben）的設計理念相呼應，她從
雄，高雄不是台北，也不需要是台北，發展專屬在地的榕樹群得到靈感，設計的單一平面大波浪
南台灣的藝文風格才是該當的。屋頂形同榕樹群樹冠相連的樣態，根鬚盤錯形成
而談到場館營運，「創造出一種欣賞藝文的生的樹洞，成了屋頂下的通路與休憩空間；透過天
活型態，看到大家絡繹不絕到衛武營來，充分地井射下的光線，形似陽光透過樹梢撒下的氛圍；
利用衛武營的空間，這對我來說才是重要的。」因為風洞效應，樹冠下的廣場不時涼風習習；場
為此，在籌備開館的過程中，簡文彬與夥伴們溝館的平面坡道與衛武營都會公園的步道相連，自
通，所有在表演館場中習以為常的規矩都被提出然而然地邀請民眾進入到榕樹廣場，共享這半戶
來討論，包括如何引導觀眾、接待、服裝、用語外空間的舒適愜意。

return,” says Chien. “I had observed Taiwan’s plight from Spoleto Festival USA and the Singapore International Fest
overseas for over 20 years, and this made me keen to re ival of Arts. But the behindthescenes production team for
turn and do my bit for Taiwan.” the Taiwan–German coproduction of Turandot—from dir
News of the center’s grand opening has spread like ector Li Huanhsiung to costume designer Lai Hsuanwu,
wildfire throughout Europe, and to date 70-plus foreign stage designer Liang Joshan and video designer Wang Jun
media have covered the center. For example, “Epic Scenes: jieh—are all natives of Taiwan.
The Biggest Arts Venue on Earth Lands in Taiwan” reads Creating Southern Taiwan’s performing arts ecology
the headline in Britain’s prestigious daily The Guardian. After graduating from university, Chien went abroad
The exposure provided by this October ’s opening for further study and resided in Europe for almost three
ceremony is not the only thing to capture global attention decades. He has spent more of his life overseas than in Tai
for the center. World premieres of productions of Turandot wan. He often heard Kaohsiung described as a cultural des
and Paradise Interrupted, international undertakings in ert, a term he considers a “myth.” But as a venue operator,
which the center participated, took place in 2015. Inspired Chien comments: “We just have to take the market for what
by 16thcentury Chinese dramatist Tang Xianzu’s ac it is, accept it, and then ‘consider what we can do with it.’”
claimed Kunqu opera Peony Pavilion, the oneact Paradise “Why can’t we nurture a performing arts style that be
Interrupted was coproduced by the National Kaohsiung longs to Kaohsiung?” he wonders.
Center for the Arts, the Lincoln Center of the United States, As regards market development, Chien believes that
at this stage the important thing is to draw the public in
to personally experience the venue. He also refers to the
cultivation of Kaohsiung’s arts market as an “ongoing
國際共製，結合崑曲、視覺藝術的獨幕歌劇《驚園》， creative work.” In his opinion, Kaohsiung is Kaohsiung;
2015年在國外首演後，將回到衛武營開幕季與國人見面。
Paradise Interrupted: This one-act opera, an international it isn’t Taipei and needn’t try to be. Instead, creating a
coproduction inspired by a 16th-century Kunqu piece, premiered southern Taiwan performing arts style is in order. In terms
worldwide in 2015, and will be performed at Weiwuying during
the center’s two-and-a-half-month opening season. of managing the venue, “Seeing an endless stream of
99
「台灣舞蹈平台」的建
置，帶起台灣與世界舞者
的對話。圖為印尼編舞家
里安多的作品《方寸之
間》。（Wannes Cré攝）
The establishment of the
“Taiwan Dance Platform” has
sparked dialogue between
Taiwan and the world’s
dancers. Pictured is Medium,
a work by Indonesian
choreographer Rianto.
(photo by Wannes Cré)
衛武營擁有國際級表演場地，圖為以「台灣紅」為基色的歌劇院。
The Opera House: One of the new center’s four international-class
performance venues, with “Taiwan Red” as its thematic color.

流線曲面的屋頂下，室內空間則涵括了兩廳兩 people coming to the center, making optimal use of the
院──音樂廳、表演廳、歌劇院、戲劇院。 space—that’s what matters to me.”
全台灣唯一採葡萄園式設計的音樂廳，讓聽眾 To this end, while preparing for the official opening
he brainstormed with his partners. All the customary
形同圍觀著演出者，柏林愛樂音樂廳、洛杉磯的
etiquette employed in a performance venue was open
迪士尼音樂廳、東京三得利音樂廳、巴黎愛樂音
to discussion, including how to guide audiences in ap
樂廳等都採類似設計。廳內設置擁有9,085支發音 preciating performances, the style of interaction with
管的管風琴，是亞洲最大規格的管風琴。 visitors, audience dress code, vocabulary, dialect, terms
表演廳作為室內樂及獨奏會的演出場地，環繞 of address, and so forth. Just because something is done a
空間的反音板、吸音簾、菱格牆面等設計，只為 certain way in Taipei, doesn’t mean Kaohsiung must fol
營造最佳的聲學效果。 low suit. As an example, he jokes about the typical Kao
hsiung motorcyclist’s habit of directly turning left at an
要等到12月雲門舞集45周年「林懷民舞作精
intersection, instead of obediently proceeding to a “left
選」才正式曝光的歌劇院，是全台最大的劇場，
turn box” and awaiting a green light as Taiwan’s traffic
廳內以台灣紅為主色，馬蹄形的席次安排，最多
regulations demand. When dealing with a Kaohsiung
可容納2,260席。 audience, there is naturally no need to make things sound
戲劇院以台夫特藍為主色，舞台可視需求調整 complicated; the people you are serving are different, and
為單面鏡框式舞台及突出式的三面舞台，後者拉 therefore the way in which you serve them should be ad
近觀眾與演出者的距離，觀眾能近距離感受表演 justed to a format that is genuinely appropriate for locals.
者的喜怒哀樂，深刻體會戲劇張力。 “For me, this is a major creative undertaking. It’s

not a matter of efficiency above all. It’s about creating a
國際級的規格，南台灣同樣也值得享受世界
performing arts ‘ecosystem’ that is centered around Kao
級的表演場地；但另一方面，簡文彬並不希望藝
hsiung,” emphasizes Chien.
術就此被高高拱起，「我希望這邊會變成大家會 “Everyone’s Art Center”
喜歡來的『地方』，而不是一個『殿堂』。」因 In 2015, Chien proclaimed “Everyone’s Art Center”
此，他們在榕樹廣場舉辦「衛武營樹洞」計畫， as the center’s positioning.
邀請民眾一起來做瑜珈、盪鞦 This slogan echoes the design concept of
韆;也曾舉辦「樹洞窺電 the center’s Dutch architect, Francine
Houben. Inspired by the local ban
影」，讓民眾悠哉地躺
yan trees, she designed a flat roof
在榕樹廣場下，欣賞投
consisting of a single undulating
structure that resembles the
canopy of a grove of the iconic
trees. Hollow spaces formed
within the interwoven aer ial
roots became passages and resting
spots under the roof. Light radiates
inside via skylights, mimicking the ambi
ance of sunlight filtering through treetops. Meanwhile, the
「衛武營馬戲平台」讓民眾體驗馬戲與雜技的創意結合。
圖為姚尚德創立的「野孩子肢體劇場」表演劇碼《哼哈爺奶》
（李昆晏攝）。
The Weiwuying Circus Platform allows the public to experience
a creative combo of circus and acrobatics. Shown here is Yao
Sunteck’s Granny Grandpa A Go-Go, performed by L’Enfant S.
Physical Theatre. (photo by Abel Lee)
101
衛武營沒有大門，是對所
有人開放的空間，歡迎來
衛武營盪鞦韆、看電影，
用各種方式親近它。
Where’s the main entrance?
Kaohsiung’s new center for
the arts doesn’t have one! Its
space is open to all. There
are many ways to get familiar
with it—play on the swings,
watch a movie and more.
放在鋼板曲面牆上的電影。而且衛武營沒有大從2015年開始，衛武營利用下半年舉辦「童
門，是對所有人開放的平面空間，民眾可從四面樂節」、「藝術祭」，與高雄市政府在上半年舉
八方接近，歡迎用各種方式親近衛武營。辦的春天藝術節接力，高雄的藝文人口慢慢地被
每年舉辦的「衛武營藝術季」，國際論壇第滋養出來了。
一場一定是公民論壇，邀請各行各業來討論思考特別值得一提的是2016年推動的「衛武營馬
衛武營與自身的關係，試圖勾勒衛武營發展的服戲平台」與「台灣舞蹈平台」。一年一度的馬戲
務，如何與外界連結？平台是馬戲工作者的交流平台，同時也向社會大
踱步在場館中的時光迴廊，細讀衛武營的歷眾介紹以人為主「新馬戲」，讓民眾有機會親近
史，才知曉這廣域的空間從清領至日治時期就這項平民藝術。台灣舞蹈平台也與歐陸年輕編
是軍事要地，戰後轉為新訓中心，1979年軍方釋舞家網絡平台Aerowaves締結合作關係，成為亞
出，1992年由曾貴海醫師等民間力量推動衛武營洲首個與其建立正式夥伴關係的組織。衛武營
公園化，開始十餘年的南方綠色革命運動。2003 也成為今年年中由亞洲各國舞蹈專業人士所發
年政府通過「衛武營藝術文化中心」計畫，在都起的「A N D +」創始夥伴，集結亞洲舞蹈新能
會公園內保留10公頃為作藝術中心用地，至2018 量，平台的創設就是要連結國際，讓台灣被國
年「衛武營國家藝術文化中心」落成。這歷程一際看見。
如總統蔡英文在啟用典禮致詞所言，代表台灣在啟用典禮「揭幕──璀璨閃耀」開幕音樂會上
空間解嚴與文化平權的努力。的曲目，特別挑選出身高雄鳳山、國內大師級作
曲家蕭泰然的《來自福爾摩沙的天使》，以及同
Let’s party
樣出身高雄的作曲家黃思瑜的《客家薪傳》和台
衛武營開幕季足足兩個半月，節目是匯集過去灣青年作曲家王乙聿的《簧》，濃濃的在地味，
三年多衛武營營運推動小組的成果報告。同時向高雄這個偉大的港口城市致意。

network of linked ramps and municipal park pathways panels, with soundabsorbing drapery behind rhom
surrounding the center naturally channels the public into bic openings in the panels around the upper half.
Banyan Plaza, where they can enjoy the comforts of this The Opera House is the largest theater in Taiwan. Domin-
semioutdoor space. ated by the color “Taiwan Red,” the horseshoe-shaped
Under the streamlined roof, the interior space consists of seating layout can accommodate audiences of up to 2,260
four venues: the Concert Hall, the Recital Hall, the Opera people.
House and the Play House. The Play House is decorated mainly in Delft blue. De
The Concert Hall is the only one in Taiwan to adopt a pending on the demands of a specific performance, the
“vineyardstyle” design, in which the performers are entirely stage can be configured as a singlesided framed stage
surrounded by the audience. Berlin Philharmonic Hall, Walt or a projecting three-sided stage. The latter positions the
Disney Concert Hall (Los Angeles), Suntory Hall (Tokyo), audience close to the performers, allowing theatergoers to
and Paris Philharmonic Hall all feature a similar design. experience the tension of the drama more intensely.
As a performance venue for chamber music and Southern Taiwan certainly deserves to enjoy world-
recitals, to obtain optimal acoustics the walls of the class performance venues, but Chien does not wish for art
Recital Hall are lined with soundreflecting wooden to be put up on a pedestal. “I hope this will become a ‘place’
103
夜間在戶外劇場舉行的《眾人的派對》，則猶疑地說：「當然就是交響樂囉！」各種樂器在
是由德國藝術創意團隊phase7，與國內外百名表樂章中都有自己的位置，一如衛武營的舞台是為
演藝術團隊如蒂摩爾古薪舞集X地磨兒部落、丞各式各樣的人而存在，每個人都可以在這裡找到
舞製作、Corby Welch、莊金梅、吉姆 Jimix、他的位置。
十鼓擊樂團等共同演出，展現表演藝術的多元「衛武營這麼大，真的要靠大家一起去撐起
面貌。來，而作為眾人的藝術中心，另一層意義就是
若用一種音樂類型來形容衛武營，簡文彬毫不大家要一起成長。」簡文彬堅定地說。 l

衛武營要站在台灣的南端向國際發聲。（林格立攝）
Weiwuying’s mission: To make southern Taiwan’s voice heard on
the global stage. (photo by Jimmy Lin)
that this vast space served as a key military site from the
Qing Dynasty through the era of Japanese rule and beyond.
In 1979 the military relinquished claims to it, and in 1992
the Weiwuying Metropolitan Park Promotion Association,
founded by poet and physician Dr. Tseng Kui-hai, promoted
the site’s conversion into a municipal park. In 2003, the cen
tral government approved the “Weiwuying Art and Culture
Center” plan, reserving ten hectares of land within the park
for the art center, which was completed in 2018. As stated
by President Tsai Ing-wen at the grand opening ceremony,
its completion represents the fruits of efforts to strive for cul
tural equality and liberate space in the postmartiallaw era.
Let’s party
The center’s opening season runs for two and a half
months, and the programs chosen represent the fruits of the
past three years of effort by the management team at the
Weiwuying preparatory office. Since 2015, the Kaohsiung
City Government has staged the Kaohsiung Spring Arts
Festival in the first half of each year, while the Weiwuying
team has organized the Weiwuying Children’s Festival and
the Weiwuying Arts Festival in the latter half of each year.
Kaohsiung’s art and culture audience has been gradually
nurtured. Especially worth mentioning are the Weiwu-
ying Circus Platform and the Taiwan Dance Platform, both
inaugurated in 2016. The annual circus platform is a venue
where circus performers can interact. The Taiwan Dance
Platform has also entered into a partnership with Aero
waves, a European networking platform for young choreo-
graphers, thereby becoming the first organization in Asia to
formalize collaboration with that body.
If a musical metaphor can be used to describe the cen
ter, Chien doesn’t hesitate to put it like this: “Of course, it’s
a symphony!” All kinds of musical instruments have their
place in a symphonic composition, just like the center’s
where everyone likes to come, and not a ‘temple.’” So they stage exists for all sorts of people. Each person can find his
organize activities in Banyan Plaza such as inviting people or her own place here.
to practice yoga or for children to play on swings. They “The center is so massive that we really must rely on
have also organized movie screenings that allow spectators everyone to shoulder it together,” insists Chien. “And as
to recline casually in Banyan Plaza while watching a movie ‘Everyone’s Art Center,’ on another level of meaning it
projected onto the curved steelplate wall. signifies that all of us must grow together.” l
While strolling in the center’s “Time Gallery,” I read the (Cathy Teng/photos courtesy of National Kaohsiung
detailed history of Weiwuying, and only then did I learn Center for the Arts/tr. by Bruce Humes)
105
藝文脈絡　CULTURAL TRENDS
永不絕響的相聲
說學逗唱 30年──劉增鍇
一襲長袍，一把扇子，只消往台上一站，沒
有繁複的道具，無需花俏的裝扮，只是動動嘴皮
子，眼波稍稍流轉，就能牽引著觀眾放聲開懷，
笑中有淚。相聲，一個源自市井的東方說唱藝
術，在說、學、逗、唱的詼諧幽默裡，蘊藏著發
人深省的提問。
吳兆南相聲劇藝社社長劉增鍇，師承國寶大
師吳兆南。30年來堅守傳承，培育新秀。兩岸三
地，接力演繹。不只致力於傳統藝術薪火相傳，
更用切合時事的段子，為相聲注入永續生命力。
一襲長袍，一把扇子，劉增鍇用相聲牽引
著觀眾進入虛擬情境。
Dressed in a long robe, with a fan as his only
prop, Liu Zengkai uses “crosstalk” to draw
the audience into imaginary situations.

Crosstalk for Ever!
—Liu Zengkai’s 30-Year Performing Career
文•李珊瑋　圖•林格立　版面設計．胡如瑜
S tanding on stage in a long robe, with no other props than the

fan in his hand, the performer brings the audience to laughter or
tears simply by his words and the expressive movements of his eyes.
“Crosstalk” (xiangsheng, or comic dialogue), an Asian performance
art based on speaking and singing, with its origins among the com-
mon man, contains questions that make one think deeply hidden
within its humorous talking, imitation, teasing, and singing.
Liu Zengkai, director of the Wu Zhao Nan Xiang Sheng & Theater
Association, learned his craft from crosstalk master Wu Zhaonan,
who was celebrated as a national treasure. For the past 30 years,
Liu has steadfastly passed along the tradition and trained new tal-
ent. He has performed in Taiwan, Hong Kong, and mainland China.
He has not only devoted himself to passing along this traditional
art form, he has injected sustainable vitality into crosstalk with
routines that keep up with current events and the times.
107
國北平的吳兆南，本名照南，畢業於北平中國大
祖師爺賞飯吃
學經濟系，師事相聲泰斗侯寶林。父親是北平市
「俗話說，男怕入錯行，我是糊裡糊塗就入了銀行行長，吳兆南打小就在梨園裡票戲，相聲更
行，而且一忽悠，居然就過了半甲子。」台下的是生活裡不可或缺的調劑。
劉增鍇，眉目之間依然滿滿是戲。「爸媽都是山 1950年前後的台灣，在那個沒有電視的年代，
東人，爺爺從小就帶著我聽京戲。」在台灣出生淡水河畔的「螢橋樂園」，吳兆南的單口相聲，
的劉增鍇，卻說得一口京片子，走入相聲這行，是眾人最嚮往的企盼。其後遇到魏龍豪，開始說
好像一切都是水到渠成。對口相聲，再加上章翠鳳唱京韻大鼓、孫玉鑫講
「打從小時候開始，我比較有自信的，是拿筆評書，組成「鼓、溜、彩」雜耍，在螢橋河畔
寫文章，最沒自信的，就是開口講話。」大學聯「納涼晚會」、「樂園書場」裡，真是紅極一
考作文近乎滿分的劉增鍇，自嘲真是造化弄人。
個性一絲不苟的父親，偏偏遇上個總愛不按牌理
出牌的寶貝兒子。有一陣子，父子倆的關係，還《相聲啟示錄》公演，是「吳兆南相聲劇藝社」社長劉增鍇
真弄得有些彆扭。「還好母親一路支持。」東吳從藝30年來的檢視回顧，劇中劉增鍇破例以女相演出。
The show Thirty Years of Selected Works by Liu Zengkai was a
大學中文系念了3年就落跑，外號「相聲秀才」 retrospective on the 30-year career of Liu, who is director of the Wu
Zhao Nan Xiang Sheng & Theater Association. During the show, Liu
的劉增鍇，最終還是有緣回到最愛，在花蓮師範 broke with his usual practice by performing dressed as a woman.
學院民間文學研究所，寫了17萬字的論文《大陸
曲藝近50年在台灣之發展》，取得碩士學位，也
成為重要的曲藝文獻。
「其實我從國中開始，就對相聲著迷，但是
真正和相聲結緣，要拜救國團之賜。」五專的
那個暑假，參加「說唱藝術研習營」，結業後，
被同學拉去「漢霖民俗說唱藝術團」瞧瞧。沒
想到這一瞧兒，就和相聲搭上了線，再也走不
了了。
擲地有聲的曲藝精粹
「相聲集錦」是劉增鍇打小聽到耳朵長繭的最
愛，十幾年下來，幾乎可以倒背如流。巧的是，
劉增鍇去的那天，漢霖就在播放這個帶子。「趙
中興大哥一句，我陪你說，沒幾天，我就跟著到
新公園撂地兒了。」第一次正式上場，說的就是
經典的段子《金批彩掛》，劉增鍇到今天都還沒
把握說好這段呢！「結果真是一個慘字兒啊！」
但是處女秀把臉都丟盡了，往後還有什麼好怯場
的呢！路就這麼開了。
「我是在藝工總隊當的兵。」祖師爺引領著劉
增鍇跟著魏龍豪、吳兆南、陳逸安等大師習藝，
1999年成為「人間國寶」吳兆南的入門弟子，追
隨著大師的腳步，一路闖蕩。「認真說起來，我
師父吳兆南其實是紈絝子弟。」1924年出生在中

Chosen by destiny 《相聲啟示錄》公演中，劉增鍇和郎祖筠演出〈卡撐人〉，
“The saying goes that for a man, the worst thing is to 是笑中帶淚的經典段子。
During the performance of 30 Years of Selected Works by Liu
choose the wrong profession. I entered my profession with- Zengkai, Liu Zengkai and Lang Zuyun did the classic routine “The
Credit Card Holder,” which makes audiences both laugh and cry.
out thinking clearly about it, and though it seems like no
time at all, I’ve been in it now for over 30 years.” Offstage,
Liu Zengkai’s expression is still playful. “My parents were
both from Shandong Province, and my grandfather took Teachers College (later National Hualien University of
me to watch Peking Opera from when I was small.” De- Education, now integrated into National Dong Hwa
spite being born in Taiwan, Liu grew up speaking Beijing University), writing a 170,000-character thesis on the
dialect, and for him to take up crosstalk as his profession development of traditional mainland Chinese perform-
seems to have been the most natural thing in the world. ing arts in Taiwan over the previous 50 years that was
“When I was young I had plenty of confidence about an important contribution to the field.
taking up my pen to write, but next to none about opening “In fact, I began to be a big fan of crosstalk when I
my mouth to talk.” Liu, who got a virtually perfect score was in middle school, but I really got into it thanks to
on his essay in the college entrance examinations, says an activity put on by the China Youth Corps.” One sum-
self-deprecatingly that his ending up in crosstalk really mer during his five years at junior college, he attended
was a quirk of fate. Nicknamed the “scholar of crosstalk,” a camp for “narrative and singing arts.” After finishing
after studying Chinese literature for three years at univer- that program, he was brought by classmates to have a
sity he finally was fortunate enough to return to what he look at the Han lin Traditional Narrative and Singing
loved the most. He earned his master’s degree from the Arts Group. Little did he realize that once he started on
Graduate Institute of Folk Literature at National Hualien the crosstalk path, there would be no walking away.
109
時，後來陸續在西門町的「蓮園書場」、「紅樓構築的境界，要靠聽眾的想像力去完整實踐。
書場」演出。「相聲一開始要先練氣，全靠口傳心授。」
吳兆南剛開始說相聲的時代，沒有「譜」可以說起相聲演員的培訓，劉增鍇興頭就大起來了。
依循，都靠他急智編寫。直到陳逸安、魏龍豪三「行話叫尺寸」，舉凡接話的速度，聲音的高
人組合，開始說多口相聲，才由吳兆南口述，陳低，語氣的急緩，表情的哀喜，感情的深淺，都
逸安、魏龍豪寫「台詞」，三人合力創作出《口有嚴苛的講究。他認為成功沒有捷徑，就是要下
吐蓮花》、《誇講究》、《黃鶴樓》等相聲經典苦功。
作品。1968年在台灣出版第一張相聲唱片，後來「說、學、逗、唱，是相聲演員的四大基本
錄製成相聲集錄音帶《相聲集錦》、《相聲選功。」相聲躋身說唱藝術，是一種綜合性的展
粹》、《相聲捕軼》、《相聲拾穗》等三百餘段演，會說、能說，是相聲演員的首要條件。很多
膾炙人口的佳作，是當時兩岸相聲史上，出版數時候還要會模仿，也就是學。除了要能上知天
量最多的第一人。文，下知地理，流利地說出各地方言和外來語，
還要能在台上隨時唱上一段戲曲名段，數來寶。
笑中有淚的幽默藝術
「所以說，相聲說得好，就沒有什麼不能演的
「師父的相聲，源於自小的陶冶，早就是生活了。」
的一部分。」吳兆南早已把相聲的13門基本功夫要逗笑觀眾，那可是一門高深的功力，也是相
融會貫通，無法切割。「我們曾經苦練段子，但聲的靈魂。最常用的就是自我調侃，再加上誇張
是怎麼說，就是覺得少了那麼一點兒味，師父隨的肢體動作，經常讓台下觀眾捧腹大笑。或是無
口說了句『火著點』，就像當頭棒喝，味道馬上傷大雅的添點諷刺，聽得懂門道的人，就不免會
就出來了。」那種融入骨子裡的功力，徒兒徒孫心一笑，產生共鳴。
們真是佩服得五體投地。「有經驗的相聲演員，只要看著台下觀眾的眼
「一般說來，所謂相聲，相是相貌，聲是聲神，就知道什麼時候該說什麼。」相聲演員在台
音，但是我認為，聲遠遠大於相。」早期用收音上舌燦蓮花，機鋒不斷，駕馭著觀眾的心緒，進
機聽相聲，沒有影像，可也能讓人著迷呢！「所入忘我的情境，靠的就是頑強的記憶力，和臨場
以相聲是有相之聲，相在聲裡。」演員用聲音所應變的機智，這是一門鐵杵磨成繡花針的工藝。
為了推動相聲，劉增鍇固定
錄製廣播節目。
To boost the popularity
of crosstalk, Liu regularly
records programs for radio.

“Zhao Zhongxing [a former actor with Hanlin] said 相聲演員在台上舌燦蓮花，機鋒不斷，駕馭著觀眾的心緒，
‘I’ll work with you,’ and a few days later I went with 笑聲不斷。
The eloquence and quick-witted ad-libbing of the crosstalk
him to a park where we did an impromptu perform- performers on stage steer the mood of the audience and cause
ceaseless laughter.
ance.” This was Liu’s first public appearance, and his
routine was the classic “Four Categories of Work,” a bit
that he has still not mastered to this day. “It was a total
disaster!” he says. But having completely embarrassed lar for a while at the Naliang evening parties and the
himself his first time out, from then on he never wor- Leyuan performance space at Yingqiao, and afterwards
ried about stage fright. And that’s the way he got going. performed at the Lianyuan and Red House performance
The cream of folk performances spaces in Ximending.
“For my military service I served in the performance In the era when Wu Zhaonan was beginning to do
troupe.” Destiny guided Liu Zeng kai to study with crosstalk, there were no scripts to follow, so everything
masters like Wei Long hao, Wu Zhao nan, and Chen depended on his quick-witted writing. It was only
Yi’an, and in 1999 he became a formal acolyte of the later, when he joined with Chen Yi’an and Wei Longhao
“living national treasure” Wu Zhaonan, making his way to do three-man crosstalk, that Wu dictated while Chen
in the world by following in his master’s footsteps. and Wei wrote down the dialogue. The three worked
In Taiwan around 1950, before the advent of tele- together to create a number of classic crosstalk works.
vision, what people most looked forward to were solo In 1968 Wu released the first ever crosstalk record in
crosstalk performances by Wu Zhaonan at the Yingqiao Taiwan, and later he made audio tapes of more than
Recreational Park on the banks of the Danshui River. 300 outstanding pieces, giving him the most crosstalk
Later Wu met Wei Long hao, and they began doing recordings of any performer on either side of the Tai-
crosstalk double acts. They became enormously popu- wan Strait.
111
（上、右圖）2014年為慶
祝吳兆南90大壽，徒子徒孫
賣力合演「步步驚喜之吳門
真煩傳」。（劉增鍇提供）
(above and facing page)
In 2014, to celebrate Wu
Zhaonan’s 90th birthday, Wu’s
apprentices and their students
worked together to perform
Surprises from the School
of Wu: How Troublesome!
(courtesy of Liu Zengkai)
（左圖）2011年吳兆南帶
著弟子劉增鍇演出「百年
相聲，起藝吧！」，期待
這項民間藝術能永續傳承。
（劉增鍇提供）
(left) In 2011, Wu Zhaonan
led his apprentice Liu Zengkai
in a performance called 100
Years of History Through
Crosstalk, hoping that this folk
art can be passed along from
generation to generation.
(courtesy of Liu Zengkai)

Laughter tinged with tears
以言醒世，拍案不驚
“My master’s crosstalk originated in his environment
「我覺得相聲不能一味守舊，必須要跟上時 from when he was small, and was a part of his life from
代潮流，才能得到共鳴。」打從1993年參與組建 very early on.” Wu had mastered the 13 basic skills of
crosstalk from a very early age, spontaneously and natur
「台北曲藝團」，擔任團長開始，劉增鍇一直有
ally as part of his daily life.
自己的想法和堅持。「觀眾笑過之後，能在心裡
“If we look at the Chinese word for crosstalk, xiang
留下些什麼？」必須用語言傳遞洞燭機先的深度
sheng, the first character, xiang, means ‘facial expression’
和關懷世事的熾熱。 while the second, sheng, means ‘voice.’ But I feel that the
2018年9月21日《相聲啟示錄》的公演，是固守 voice is far more important than the face,” Liu explains.
相聲原汁原味型態的劉增鍇，從藝30年來的檢視 In the early days, when people heard crosstalk on the ra
回顧。這些切合時代的經典段子，取材自生活， dio, there were no images, but listeners still got engrossed
或用反諷，或用自嘲，啟迪人心，餘味無窮。 in it. “Therefore crosstalk is voice with facial expression,
and facial expression within voice.” The audience must
其中《兩性辯》是1995年由「台北曲藝團」集體
rely on their imaginations to completely visualize the
創作，陸續由不同的演員詮釋「性別」的界限，
world that the actors construct with their voices.
經歷了二十多年，卻與現今多元成家議題切合。 “When you first start out in crosstalk you have to train
《好舉人》是2004年的作品，用對金錢的幻想，戳 your breathing. Everything is taught by personal instruc
破奢華高貴的泡沫。《卡撐人》是2006年劉增鍇 tion and example.” There are things that require strict
以自身和友人真實的事例，描述信用卡的亂象，讓 attention, such as the speed of response in dialogue, the
人笑中帶淚，心頭發酸。2007年編寫的《我家爸 pitch of the voice, the urgency or relaxedness of tone, the
joy or sorrow in facial expressions, or the depth of feel
爸》，用愛貓族的偏執，譏諷寵物在主人心目中
ing. Liu believes that there are no shortcuts—you simply
have to buckle down and work hard.
“Speaking, imitation, teasing, and singing are the
four basic skills of the crosstalk performer,” says Liu.
Crosstalk is an oral art form, and is a composite form of
performance. Verbal skill is the prime requirement for
being a crosstalk actor. Many skits also involve mimicry,
which is “imitation.” Besides needing allembracing gen
eral knowledge, covering everything from astronomy to
geography, and having to be able to speak all kinds of
local dialects and pronounce foreign loan words, while
on stage crosstalk performers may be called upon at any
moment to sing a famous melody, or to improvise rhyth
mic storytelling in time with a clapper. “That’s why they
say that a good crosstalk performer can perform any
thing else too.”
“Experienced crosstalk performers need only look into
the eyes of the audience and they will know what to say
and when.” Performers need a tenacious memory and
quickwitted adlibbing skills on stage to use their elo
quence to steer the mood of the audience and captivate
them. This is a craft that has to be honed over many years.
Using words to make people think
“I believe that crosstalk should not simply preserve
113
2013年吳兆南帶著弟子合演「相聲，愛你一生」，
鐵粉的愛護支持，是最快樂的回饋。（劉增鍇提供）
In 2013, Wu Zhaonan and his apprentices did a tour entitled
Crosstalk: Love for a Lifetime. The love and support of diehard
fans was their greatest reward. (courtesy of Liu Zengkai)
的地位，早已超越對父母的關懷。這些醒世的作
品，都是在嘻笑怒罵間，點出問題的癥結。
鞠躬不下台，守候長紅
「師父走了，」2018年10月14日，93高齡的
吳兆南在人生中，下台一鞠躬，永遠地離開了最
愛的相聲舞台。吳兆南的經典名句：「從前說相
聲，是為了活著；現在活著，是為了說相聲」。
3年前，高齡近90歲的吳兆南不慎在北京摔斷了
肋骨，但是仍然忍痛來台公演，堅持不穿鐵衣上
台。甚至用90度身形，「上台一鞠躬」，展現出
令人鼻酸的敬業精神。
「師父很有生意頭腦」，號稱是「蒙古烤肉」
和「吃到飽」經營方式的始祖，吳兆南在生意做
得火紅的當下，從沒忘了生命裡的最愛。1999年
起先後收了江南、侯冠群、郎祖筠、劉增鍇、劉
爾金、樊光耀等為弟子，創辦「吳兆南相聲劇藝
社」，在海內外推廣相聲藝術。曾獲頒薪傳獎、
金鼎獎、文化獎、金曲獎特別貢獻獎，被譽為
國寶級相聲藝術家。1973年舉家遷往美國，獲得
「亞洲最傑出藝人金獎」、林肯藝術中心「終生 the past, but must keep up with the times, as only
藝術成就獎」等殊榮。 then will it find resonance.” Since being involved in
the creation of the Taipei Quyituan troupe and serving
謹守本業的劉增鍇，經歷相聲的榮景，也堅
as its director since 1993, Liu Zengkai has always had
守沒落的沉寂。「相聲是幽默的藝術，它教我無
his own ideas, and things that he insists on. “When
入而不自得。」因為喜歡曲藝，迷戀相聲，甘願
the audience is done laughing, what will stay in their
做，歡喜受。「很多事兒就是要去實做。」現今 minds?” One has to use language to convey depth of
已有姬天語、艾天意、喬天藍三位弟子，輪到劉 insight and to inspire people to care passionately about
增鍇來沿襲師祖的訓戒，「先要把每個小段兒吃 what is going on in the world.
透」，叮囑徒兒們要完全了解內容，只有徹底了 The show 30 Years of Selected Works by Liu Zengkai,
解，才能有味兒。有味兒，就是相聲可長可久， performed on September 21, 2018, was a retrospective
on 30 years in crosstalk for Liu, who has held true to
讓人絕倒的精髓。
the authentic flavor and mindset of this art form. These
「師父曾說，墓誌銘上要寫下這句話：這人從
classic sketches that are still relevant today are drawn
前說過相聲，但現在說不了了。」相聲國寶告別 from life, and use sarcasm or self-mockery to commu-
人世，但是相聲的舞台是前仆後繼的接力賽，鞠 nicate thought-provoking insights that linger in the
躬不下台，守候雲開見月的長紅。 l memory.

Never leaving the stage thick and thin, has seen periods of prosperity for his
“The master has passed away.” On October 14, 2018, chosen art form as well as periods of decline. Today there
the 93-year-old Wu Zhaonan took his final bow and for are three apprentices—Peggy Ji, Ai Tianyi and Millie
ever left the crosstalk stage that he so loved. His most Qiao—at Liu’s side, and it is his turn to repeat Wu Zhao
famous remark was: “In the past I did crosstalk to live; nan’s admoni tion that “first you have to completely
today I live to do crosstalk.” absorb every small routine.” This means that they must
Starting in 1999, Wu took on a number of young completely understand the content, as only with thorough
performers as apprentices, including Hou Guan qun, understanding will their performances have flavor, which
Lang Zuyun, Liu Zengkai, Liu Erjin and Fan Guangyao, is the essential element for crosstalk to carry on into the
who would later become famous crosstalk artists them future by continuing to make people laugh.
selves. He formed the “Wu Zhao Nan Xiang Sheng & “The master once said that he wanted the epitaph on
Theater Association,” promoting the art of crosstalk at his grave to read: ‘This fellow used to do crosstalk, but
home and abroad. He won a Folk Art Heritage Award, now he can’t.’” The national treasure of crosstalk has left
a Golden Tripod Award, and a Golden Melody Awards this world, but his chosen art form is being passed on from
Special Contribution Award, and he was honored as a generation to generation, never leaving the stage, watching
“national treasure grade” crosstalk artist. for the light of a new dawn of lasting popularity. l
Liu Zengkai, who has stuck with crosstalk through (Lee Shan Wei/photos by Jimmy Lin/tr. by Phil Newell)
115
多元族群　COMMUNITIES
共築新移民新聞平台
跨國媒體合作推手——譚雲福
Building a Platform
for Immigrant News
—Transnational
Media Matchmaker
Tony Thamsir

文•郭玉平　圖•林格立　版面設計．胡如瑜在這個知識爆炸的時代，周遭的資訊在在皆
追求即時性，天氣、空氣品質或公車路線等都有
立即的動態消息，新聞媒體更是走在「即時」的
尖端。
但是，在台灣有近85萬名東南亞新移民移工因
為語言障礙，不易得知台灣及國際的即時資訊，
現為公視印尼語新聞主播的印尼華裔譚雲福，
2003年經歷全球聞之色變的SARS事件，看見在
台的東南亞人士因資訊不足而惶惶不安，甚至染
病致死的情形，隨即立定投身媒體圈的志向。
將國難悲憤化作助人之力
譚雲福18歲來台灣時，台北市區正在興建捷
運，他眼前所見一如狄更斯《雙城記》的開場
白：「這是最好的時代，也是最壞的時代。」都
市化過程的交通壅塞和環境雜亂景象，不如印尼
安靜單純，讓他一度想回鄉；畢竟在高中時期，
「留學台灣」是譚雲福生涯規畫裡從未出現過的
詞彙。原已考過托福、做好到美國或澳洲留學的
事前準備，因為母親一句話：「你有兩條路可以
走，一是去台灣唸書，二是在印尼隨便找個大學
唸就好了。」以強硬的態度要求譚雲福改到台灣
留學，也因此改變了他的人生。
I n Taiwan there are nearly 850,000 Southeast-Asian

immigrants, but language difficulties can make
it hard for them to keep up to date with domestic
and international news. Tony Tham sir, a Chinese-
Indonesian who works currently as an Indonesian-
language broadcaster on Taiwan’s Public Television
Service, saw how alarmed Southeast Asians in Tai-
wan became during the global outbreak of SARS in
2003. The lack of access to information even caused
some of them to contract SARS and die. Immediately,
it became Tan’s ambition to work in news media.
117
譚雲福在公視錄製印尼語新聞，提供每日新聞訊息給
台灣新住民。
Shown here recording an Indonesian-language broadcast at
PTS, Tony Thamsir is working to provide Taiwan’s immigrant
community with the latest news.
儘管心有遺憾，譚雲福與父母妥協，來到台灣
學習中文。由於中文是他從未學習過的語言，就讀
國立僑生大學先修班（簡稱「僑大先修班」）的第
一年，他的成績一反過去名列前茅，幾乎是慘不忍
睹，回到印尼重新思考前途，他心想：「不行，我
一定要回到台灣，我不服輸！」再經過一年的埋首
苦讀，成績突飛猛進，成為僑大先修班第一位考上今（2018）年4月開播的公視東南亞語新聞，是
國立政治大學的學生。台灣新聞媒體的大突破。過去已有中央廣播電台
然而，大學生涯卻是他最不願回首的一段時（簡稱「央廣」）及《四方報》等媒體提供東南亞
光。1998年5月，他接到母親打來的越洋電話，母語言的廣播和平面報導，但以東南亞語製播的影
親又是這句：「你要就回印尼隨便找個學校唸一唸音新聞仍相當欠缺。
吧！不然……」譚雲福聽得一頭霧水，他弟弟接過
電話說：「不要講那麼多，我現在要守護我們家唯
一的那座橋。」
原來，譚雲福位在雅加達的家受到印尼排華事
件的波及，「剛好我們家前面是河，村莊居民為了
守護住大橋，不讓暴動的人進來，已全部動員，因
為橋的那一端已被暴民燒成焦黑。」譚雲福略帶憤
愾地敘述20年前的劇變，父親白手起家的工廠也在
野火燃盡的那端，一夜之間宣告破產，此後，留在
台灣的他只能自食其力。
雖然經歷過排華事件，但他沒有因此排斥印尼
人，「我要建立好關係，我想要彌補過去華人沒有
做到的事。」譚雲福說。他在台灣藉由媒體人的身
分，長期與家鄉來的印尼移民移工互動，一方面幫
助他們獲得即時的資訊，一方面則是消弭兩國人民
之間的差異隔閡，促進改善印尼人與華人的關係。
投身媒體界的契機
根據內政部統計處的數據，台灣來自東南亞的
新移民約15萬人，移工約70萬人，如再加上新移民
第二代，總人口將近110萬人，人數眾多，正如公
視東南亞語新聞製作人蘇玲瑤所說：「我們有義務
要用他們的語言，讓他們知道在台灣每天發生的大
小事情，甚至是國際新聞。」

Turning tragedy into a helping force and he became the program’s first student to pass the en-
Before Tony Thamsir came to Taiwan at age 18, he trance exam for National Chengchi University.
had taken the TOEFL in preparation for studying in the While he was at university, his family confronted a
United States or Australia. But his parents believed that life-altering convulsion back home. In May of 1998 they
the descendants of an ethnic Chinese family ought to were victims of anti-Chinese rioting, and his father’s fac-
have at least one child with a Chinese education, so they tory, which he had built up from scratch, burned down.
twisted his arm to get him to study in Taiwan. The deci- Overnight, they were bankrupt. From that point on, Tony
sion would change his life. had to support himself in Taiwan.
With some regret, Tony acceded to his parents' wishes Although the rioting had touched him personally, it
and came to Taiwan to study Chinese. But he had never didn’t lead him to harbor prejudice against Indonesians.
learned the language at all before, and despite having “I want to build bridges,” he says. “I want to make up for
been a star student in high school, in his first year at Na- Chinese people’s historical shortcomings.” As a member of
tional Taiwan Normal University, studying in the Division the media in Taiwan, Tony has maintained long-term inter-
of Preparatory Programs for Overseas Chinese Students, actions with Indonesian immigrants and foreign laborers
he performed so abysmally that he returned to Indonesia, here, working to help them get news in a timely manner as
where he reconsidered his future. Ultimately, however, he well as to heal ethnic divisions and improve relations.
thought to himself: “This isn’t right. I can’t just quit. I’ve A chance to work in media
got to go back to Taiwan. I won’t give up!” After hitting According to the Ministry of the Interior, in Taiwan
the books hard the next year, his grades greatly improved, there are 150,000 long-term immigrants from Indonesia
(many of them women married to Taiwanese men) as well
as 700,000 Indonesian laborers on foreign worker visas.
When you add in the children of immigrants, that brings
the total to some 1.1 million. As Su Ling-yao, a Southeast-
Asian news producer at Public Television Service (PTS),
says “We have a duty to speak to them in their own lan-
guages, so that they can understand what’s going on in
Taiwan and abroad.”
The station’s Southeast-Asian-language news broad-
casts, which kicked off in April of 2018, represent a
breakthrough. Media outlets such as Radio Taiwan Inter-
national (RTI) and 4-Way Voice (a monthly magazine with
a website) had long been providing radio broadcasts and
printed news in Southeast-Asian languages, but audio-
visual news broadcasts were almost entirely lacking.
This dearth of accessible news made a particularly deep
impression on Tony during the outbreak of severe acute
respiratory syndrome (SARS) in 2003. He was working
at the Taipei City Government at the time, and at the first
possible moment he printed information about SARS in
印尼移工在台人數眾多，地方政府每年舉辦開齋節活動，
以期拉近台印兩國民眾的距離。
There are many Indonesian migrant workers in Taiwan. Every
year local governments hold activities to celebrate Eid al-Fitr (the
feast at the end of Ramadan) with the aim of bringing the peoples
of Taiwan and Indonesia closer together.
119
譚雲福分享自己大學時期取得新聞資訊的經台也好，講的幾乎都是中文啊！」譚雲福相當自
驗，他只能透過英文報紙，如《The China Post》責，衛教文宣仍然發送得太晚且不足。
（英文中國時報）、《Taipei Times》（台北時報）再加上隔年的南亞大海嘯，在台灣的報章雜誌
來瞭解台灣和國際大事，對同樣使用拉丁字母的印上，關於最大受創區印尼亞齊省的報導不多，無法
尼人來說，「比起中文，或許讀英文會快一些。」得知家鄉災情的在台印尼人無不著急如熱鍋之蟻。
譚雲福說，但大多數的人無法依樣畫葫蘆。經過SARS和南亞海嘯的衝擊，譚雲福自問：
關於資訊落差，譚雲福印象最深刻的是2003年「很多資訊就只是在我這裡，我要如何提供給幾
台灣爆發「嚴重急性呼吸道症候群」疫情（Severe 十萬印尼家鄉的人？」所以他嘗試過各種傳媒管
Acute Respiratory Syndrome，簡稱「SARS」），道，從擔任央廣印尼語節目主持人、創辦台灣首
當時任職於台北市政府的他，在第一時間把防範本印尼文雜誌《INTAI》……，以至現在擔綱公
SARS病毒的資訊寫在一張A4紙上，以中、英、視東南亞語新聞的印尼語主播，一步步擴大印尼
菲、泰、越、印尼等六種語言呈現，印製3,000份語新聞的傳播範疇。
文宣四處發送；儘管盡力趕工，在和平醫院封院
搭建台、印尼媒體合作之橋
的第三天就傳出有3位印尼看護移工染病致死的
消息。譚雲福不僅在台灣扎根，也為台灣與印尼媒體
移工的死訊使譚雲福受到很大衝擊，當台灣民搭建一座跨國合作之橋。
眾都在戴口罩、量體溫、做防範的時候，外籍移他在因緣際會下結識了印尼國家通訊社「安
民工還不知道什麼是SARS，「大家只知道和平塔拉」（A n t a r a）當時的副總編輯S a i f u l H a d i
醫院被封鎖，但不管是電視也好，報紙、廣播電 Chalid，樂善交友的譚雲福，當起Saiful來台灣私
人旅遊時的導遊，在熱情接待下，對彼此都留下
良好的印象。
公視是台灣第一個提供東南亞語新聞服務的電視台，直至2009年央廣在印尼雅加達舉辦聽友會，譚
圖中由左至右分別是泰國、印尼及越南三語頂尖媒體人。
（公共電視台提供）雲福進一步介紹央廣、台灣中央通訊社（簡稱中
Taiwan’s Public Television Service was the nation’s first TV
company to air news broadcasts in Southeast-Asian languages.
央社）與安塔拉三方的高層主管認識，是年12月
From left to right, journalists for its Thai, Indonesian and 即促成三方簽訂新聞合作交流備忘錄（MoU），
Vietnamese shows. (courtesy of PTS)
使台灣取得印尼新聞資訊的時間大幅縮減，而台
灣新聞進到印尼國境的機會也增加了。
透過媒體，各國都有機會在外交瓶頸下走出不
同的路，「媒體是政府、人民之外的第三方力量，
是一個可以制衡的力量，可以影響到每一個人對任
何一件事的看法，並且被左右。」譚雲福說。
相對的，一個簡單的事件在媒體圈反覆傳播的
過程，有可能變得煽情而嚴重。台灣曾有媒體炒作
「雇主逼穆斯林移工吃豬肉」的新聞，譚雲福擔憂
此事會再度引起印尼排華的情緒，他深入瞭解事件
的來龍去脈，其實是一場誤會，但負面新聞已在台
灣民間發酵了，成群的印尼移工在記者會中舉白布
條抗議，甚至下跪拜託雇主不要逼穆斯林吃豬肉。
為了化解訛誤新聞的影響，譚雲福採訪在台的
清真寺教長和具有影響力的印尼組織，深入報導台
灣的伊斯蘭教發展，並請兩名移工以自身經驗作

譚雲福和在台印尼移工
零距離，也成為印尼移
工心目中的輔導老師。
（譚雲福提供）
Tony Thamsir maintains
close relations with
Indonesian workers in
Taiwan, for whom he
serves as a trusted mentor.
(courtesy of Tony Thamsir)
six languages—Chinese, English, Tagalog, Thai, Vietnam- He had the chance to get to know Saiful Hadi Chalid,
ese and Indonesian—on 3000 sheets of A4 paper, which he then deputy editor-in-chief of Indonesia’s Antara News
widely distributed. Although he did everything he could Agency, when Saiful visited Taiwan. Extremely sociable,
to spread the word, news came from the Taipei City Hos- Tony enthusiastically showed Saiful around, and their
pital Heping Branch that three Indonesian caregivers had time spent together left a good impression on both.
contracted SARS and died there on the third day after the In 2009 RTI held a gathering for its listeners in Ja-
hospital was sealed off and placed under quarantine. karta, where Tony introduced top executives of RTI and
The news of the workers’ deaths hit Tony hard. When the Central News Agency to those of Antara. In Decem-
Taiwanese were wearing face masks, checking their own ber of that year, Antara signed memorandums of under-
temperatures, and taking preventive measures, foreign standing with RTI and the CNA, giving the Taiwanese
workers had not even heard about the SARS outbreak. outlets condensed versions of Indonesian news and
“Whether on television or radio or in print media, the opening new opportunities for news from Taiwan to be
news was practically all in Chinese!” Likewise, when the disseminated in Indonesia.
Indian Ocean tsunami struck the following year, Indo- Leveraging the media, various countries have been
nesians in Taiwan found it difficult to get news about able to grasp opportunities to overcome foreign re-
how the disaster had affected their homeland. lations difficulties. Conversely, a simple event that is
Consequently, Tony went on to work at various media covered repeatedly in the media can fan the flames of
outlets, from hosting Indonesian-language shows on RTI, sensationalism. There was one instance when Taiwan-
to founding INTAI, Taiwan’s first Indonesian-language ese media hyped allegations about “employers forcing
magazine, to serving currently as an Indonesian news foreign Muslim laborers to eat pork.” Tony worried that
anchor at PTS. Step by step, he has been broadening the the incident would aggravate anti-Chinese sentiments
reach of Indonesian-language news in Taiwan. among Indonesians. He made an in-depth investigation
Building bridges of the situation which showed that the reports were
Not only has Tony set down firm roots in Taiwan, he mistaken, but the apocryphal stories had come to have
has also been building bridges of cooperation between a life of their own among migrant workers in Taiwan.
Taiwan and Indonesia. To mitigate the impact of yellow journalism, Tony
121
印尼安塔拉通訊社與台灣
簽署跨國合作M o U，同
時參訪中央廣播電台。
（譚雲福提供）
Staff from the Indonesian
news service Antara visit
the offices of Radio Taiwan
International while in Taiwan
to sign memorandums
of understanding on
cooperation with Taiwanese
media organizations.
(courtesy of Tony Thamsir)
佐證，為大多數的台灣雇主澄清；這篇報導經由 Thamsir interviewed an imam as well as leaders of in-

安塔拉在印尼各大報刊登，「至少我們可以告知 fluential Indonesian organizations in Taiwan, reporting
印尼的媒體，不能再繼續刊登錯誤的訊息。」譚 in depth on the state of the Islamic community in Tai-
wan. He also invited two foreign workers to describe
雲福如釋重負地說。
their own experiences, which cleared the reputations
奉獻台灣，更創未來 of most Taiwanese employers. The report was picked
up by Antara and published in major Indonesian news-
當初譚雲福的父母考量到，作為華人後裔的
papers. “At least we could inform Indonesian media
家庭至少要有一個孩子接受中文教育，所以半 not to continue to print spurious reports,” says Tony.
強迫地讓他到台灣讀書。再加上他不服輸的性 Building a new future
情，譚雲福留在台灣，成績扶搖直上，創下各 Tony broke new ground by being appointed as a
種先例，大學未畢業就破例錄取為當時台北市 foreign adviser to the mayor of Tai pei before he had
市長的外籍顧問，直到今天仍無第二人；且現 even graduated from university, and he remains quite

famous among Southeast-Asian media personnel in
在只要談到台灣的東南亞媒體人才，他絕對是
Taiwan.
榜上有名。能成為台、印尼媒體合作的推手，
At the end of our interview, Tony mentions earnestly
對他而言，應是不曾料想到的發展。 a matter that has recently been a focus of his attention:
採訪的最後，譚雲福凝重地說出他近期不斷 The possibility of brokering a deal between TV news
思考的課題：能否根據中央社、央廣及安塔拉 broadcasters in Taiwan and Indonesia along the lines of
三方簽署M o U的方式，再進一步促成台灣和印 the agreements between Antara, RTI and the CNA. He
尼雙方電視台的新聞合作交流呢？他希望自己 hopes to bring the two nations still closer together.
“Living in Taiwan for 24 years, I’ve given half my life
能再度為兩國盡一份心。
to this country.” Tony Thamsir is committed to continu-
「我在台灣24年了，我人生的一半都奉獻給
ing to fulfill his promise to build broad bridges between
l
這個國家，這也是我對未來的承諾。」譚雲福
Taiwanese and Indonesian media.
將持續為台、印尼媒體的交流，打造一條廣闊
(Camille Kuo/photos by Jimmy Lin/
大道。 l tr. by Jonathan Barnard)

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全 球 ． 在 地 ． 人 文

中華民國108年1月 第44卷 第1期

W angye’s Boat, built at a cost of over NT$7 mil-

T aiwanese businesses began blazing a

and culture community. his students. These fond recollections high-

the public and private sectors on the venues development. l

6 封面故事 Cover Story

2 重新認識柬埔寨 1 東港迎王 52 月月好讀

島嶼行旅 Around Taiwan

藝文脈絡 Cultural Trends

8 台灣光華 Taiwan Panorama

10 台灣光華 Taiwan Panorama

12 台灣光華 Taiwan Panorama

14 台灣光華 Taiwan Panorama

16 台灣光華 Taiwan Panorama

18 台灣光華 Taiwan Panorama

20 台灣光華 Taiwan Panorama

have helped with the building of 137 crematories across

22 台灣光華 Taiwan Panorama

24 台灣光華 Taiwan Panorama

26 台灣光華 Taiwan Panorama

28 台灣光華 Taiwan Panorama

30 台灣光華 Taiwan Panorama

32 台灣光華 Taiwan Panorama

34 台灣光華 Taiwan Panorama

36 台灣光華 Taiwan Panorama

38 台灣光華 Taiwan Panorama

40 台灣光華 Taiwan Panorama

42 台灣光華 Taiwan Panorama

while also helping shoot a documentary. He began living

46 台灣光華 Taiwan Panorama

48 台灣光華 Taiwan Panorama

回到清末：聽歌 又看戲， 清 末 開 港 後，來 臺 的 文 人、豪

回家享用，免去在廚房揮汗如雨、 可能 是「酒 樓」出 現 的契 機。

覺 如 何？「 正 是 酒 樓 風 景 好，囊 任 廚師，為清朝官員個人 服務，而

一八 九 五 至 一九 一 一 年 間，隨 中所 述：「演 梨 園 三 枱，內 地 女優

著 統 治 政 權 轉 換 為 日 本，臺 灣 除 一座，藝 妓、酌 婦 侑 酒，直 燕 飲 至

臺灣人的口味與習慣。 急 著 寬 衣 解 帶，根 據 林 獻 堂 等人 肉、豆 腐與蔬 菜為主，臺 灣人 則改

只能在 酒樓「暗 著來」。 取得，但山水亭透過黑市的管道， 成 為 烽 火 城 市 中 的 一 處 清 涼 地，

「演 講」，在 酒 樓 宴 席上 臺「開 場 材，仍 能 豪 邁 地 供 應 各 式 各 樣 新 此 為家。

致 詞 」較 不 受 日 本 警 察 的 監 督 控 鮮 的「純 臺 灣 菜」，例 如 刈 包、雞 若你是假日喜 歡 逛 農夫市集的

管，因 為 日 本 政 府 以 為 臺 灣 人 只 腳 凍、炒 酸 菜 蝦 仁、煎 菜 脯 蛋、燖 「鄉 青」，或 是 流 連 於 美 術 館、音

是 在 聚 會 吃 飯。因 此，當 時 臺 灣 醬 冬瓜肉等。從產地直送 餐桌，山 樂會 的「文 青」，有機會 穿 越 古代

的 知 識 分 子，例 如 以 林 獻 堂、蔣 水 亭 不 僅 保 存、推 展 臺 灣 人 的 飲 一 回 的 話，這 個 時 期 的 山 水 亭 定

便 透 過 酒 樓 宴 席 推 廣 反 日 思 潮， 生活經 驗與情感。 體 驗 與 臺 灣 文 人 交 流 的 樂 趣。唯

樓 」，做 為 臺 灣 人 自 己 的 社 交 公 間、藝旦 現 場演 唱，但每張 桌子上 轟 炸的危 險性。

灣本地 原料的家常菜 轉化為宴 席

此，宴 席 菜 才 開 始 出 現「 臺 灣 的 宋代的「瘴 病醫 學 研討 會」 病。在 傳 統 醫 學 的 觀 念 裡，瘴 病

54 台灣光華 Taiwan Panorama

了 毒 蛇 猛 獸、蚊 蚋 蟲 虺，還 有 可 下不少文字。 院 史 語 所 的 林 富 士研 究 員 亦 有 豐

怕 的「 瘴 癘 之 氣 」，也 就 是 濕 熱 士 人 或 墨 客 提 到 瘴 氣，總 猶 富的研 究可以參 考。

得 了 瘴 病。而 瘴 病 可 能 會 讓 身 體 息 」，幾 乎 帶 有 一 種 蠻 荒 恐 怖 的 宋 代 醫 療 史 的 有 趣 之 處，就 是

忽 冷 忽 熱、嘔 吐 頭 痛，嚴 重 者 甚 氣 息。但 蘇 東 坡 即 使 來 到 他 人 眼 第 一 次 有 這 麼 多士 人和 醫 者，留

至可能 死亡。 中 的 蠻 夷 之 地，仍 然 不 改 樂 天 的 下各式各樣關於瘴病治療的意

根 據 其 他 學 者 的 研 究，瘴 病 的 個 性。當 地 人 認 為 檳 榔 可 以 解 瘴 見。當然，宋代之前可能 也有 類 似

某 些 症 狀 類 似 現 代 醫 學 中 的「 瘧 癘 之 氣，蘇 東坡便 入境 隨俗、大吃 這 樣 的 對 話，只 是 資 料 並 沒 有 完

疾 」，也 包 括 部分 的 感 冒、中 暑、 特 吃，吃 到 臉 紅 冒 汗 好 像 喝 醉 一 整 保 留 下 來，流 傳 後 世 的 文 本 幾

高 山 症 等。我 們 現 在 當 然 已 經 弄 樣，還 特 地 寫 詩 歌 詠 檳 榔：「可 療 乎 都 是 醫 書，收 錄 著 由 醫 者 掛 保

清 楚 瘧 疾 的 病 原 是 原 蟲、病 媒 是 飢懷 香自吐，能 消瘴 癘 暖 如 薰。」 證，且 經 使 用過、證 明有 效 的「驗

蚊子，但在千百年前，古人 主要 把 實在讓人 難以 將國文課本裡的唐 方」。

環 境。 聯 想在一起。 論瘴 病治療了，還 包括各種 書信、

中 國 最 早有 明 確 年 分 的 瘴 氣 記 除 了 蘇 軾 之 外，也 有 其 他 人 支 詩 詞、筆 記 作 品、史 地 采 風 等 文

間），此後的各朝各 代便開始陸 續 像 是 南 宋 羅 大 經 在《 鶴 林 玉 露 》 也 參 與 了 書 寫，留 下 許 多 珍 貴 的

有醫 者 進行研 究，將「瘴」視為 一 一 書 中 提 到：「 嶺 南 人 以 檳 榔 代 觀 點和史料。

全球．在地．人文

中華民國108年1月第44卷第1期

回到清末：聽歌又看戲，清末開港後，來臺的文人、豪

回家享用，免去在廚房揮汗如雨、可能是「酒樓」出現的契機。

覺如何？「正是酒樓風景好，囊任廚師，為清朝官員個人服務，而

一八九五至一九一一年間，隨中所述：「演梨園三枱，內地女優

著統治政權轉換為日本，臺灣除一座，藝妓、酌婦侑酒，直燕飲至

臺灣人的口味與習慣。急著寬衣解帶，根據林獻堂等人肉、豆腐與蔬菜為主，臺灣人則改

只能在酒樓「暗著來」。取得，但山水亭透過黑市的管道，成為烽火城市中的一處清涼地，

「演講」，在酒樓宴席上臺「開場材，仍能豪邁地供應各式各樣新此為家。

致詞」較不受日本警察的監督控鮮的「純臺灣菜」，例如刈包、雞若你是假日喜歡逛農夫市集的

管，因為日本政府以為臺灣人只腳凍、炒酸菜蝦仁、煎菜脯蛋、燖「鄉青」，或是流連於美術館、音

是在聚會吃飯。因此，當時臺灣醬冬瓜肉等。從產地直送餐桌，山樂會的「文青」，有機會穿越古代

的知識分子，例如以林獻堂、蔣水亭不僅保存、推展臺灣人的飲一回的話，這個時期的山水亭定

便透過酒樓宴席推廣反日思潮，生活經驗與情感。體驗與臺灣文人交流的樂趣。唯

樓」，做為臺灣人自己的社交公間、藝旦現場演唱，但每張桌子上轟炸的危險性。

灣本地原料的家常菜轉化為宴席

此，宴席菜才開始出現「臺灣的宋代的「瘴病醫學研討會」病。在傳統醫學的觀念裡，瘴病

了毒蛇猛獸、蚊蚋蟲虺，還有可下不少文字。院史語所的林富士研究員亦有豐

怕的「瘴癘之氣」，也就是濕熱士人或墨客提到瘴氣，總猶富的研究可以參考。

得了瘴病。而瘴病可能會讓身體息」，幾乎帶有一種蠻荒恐怖的宋代醫療史的有趣之處，就是

忽冷忽熱、嘔吐頭痛，嚴重者甚氣息。但蘇東坡即使來到他人眼第一次有這麼多士人和醫者，留

至可能死亡。中的蠻夷之地，仍然不改樂天的下各式各樣關於瘴病治療的意

根據其他學者的研究，瘴病的個性。當地人認為檳榔可以解瘴見。當然，宋代之前可能也有類似

某些症狀類似現代醫學中的「瘧癘之氣，蘇東坡便入境隨俗、大吃這樣的對話，只是資料並沒有完

疾」，也包括部分的感冒、中暑、特吃，吃到臉紅冒汗好像喝醉一整保留下來，流傳後世的文本幾

高山症等。我們現在當然已經弄樣，還特地寫詩歌詠檳榔：「可療乎都是醫書，收錄著由醫者掛保

清楚瘧疾的病原是原蟲、病媒是飢懷香自吐，能消瘴癘暖如薰。」證，且經使用過、證明有效的「驗

蚊子，但在千百年前，古人主要把實在讓人難以將國文課本裡的唐方」。

環境。聯想在一起。論瘴病治療了，還包括各種書信、

中國最早有明確年分的瘴氣記除了蘇軾之外，也有其他人支詩詞、筆記作品、史地采風等文

間），此後的各朝各代便開始陸續像是南宋羅大經在《鶴林玉露》也參與了書寫，留下許多珍貴的

有醫者進行研究，將「瘴」視為一一書中提到：「嶺南人以檳榔代觀點和史料。

種疾病或是致病因子，提出成因茶，且謂可以禦瘴。」他說自己宋代士人的書寫特別強調親

與治療方法，並記載在醫書中。剛到嶺南的時候，對檳榔敬謝不身見聞，這種整體文壇的風格演

到了宋代，瘴病治療的討論風敏，過了一段時間才敢稍微嘗試變，同步影響了南宋醫療敘事的

氣突然興盛了起來。許多文本雨看看，等到住了一年多，就完全吃呈現樣貌。也開始有部分士人認

後春筍般出現，除了各抒己見，甚上癮，「不可一日無此君矣。」為，醫療用藥配方應該要配合患

至會彼此對話論辯，彷彿開起了不過，也有人對檳榔嗤之以者體質和地理條件等個人差異。

「瘴病研討會」。鼻，認為吃檳榔除了不雅觀之外，發現這些關聯性和趨勢之後，

宋朝重心南移，許多士人或遭非的《嶺外代答》即寫道：「有嘲出資訊秩序的變化軌跡。比方

貶謫，或為遊歷觀光，而來到了廣人曰：『路上行人口似羊。』言說，是不是有哪些地區因為印刷

嶺南這個瘴氣的故鄉。於是，「瘴以蔞葉雜咀，終日噍飼也，曲盡術的進步，而讓醫學知識擁有更

裡，士人也加入了論述的行列。他唇；數人聚會，則朱殷遍地，實可古籍重新校勘付梓，此種官方政

們把所見所聞以個人筆記或采風厭惡。」言詞中，對於嶺南居民嚼策是否促進了民間的知識流動？

誌的形式記錄下來。例如大文豪檳榔、吐紅渣的情狀，極盡輕蔑。這些都是值得再深究的課題。

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