Taiwan Panorama 2019 Feb

全球．在地．人文
台灣光華雜誌
中華民國108年2月第44卷第2期
中英文北美版
Vol. 44 No. 2 February 2019
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
2
Taiwan Panorama
原創動畫夢
起飛
起飛・原創動畫夢
Bringing Dreams to Life:

中華民國一〇八年二月
Taiwanese Animation
Takes Flight
台灣原創動畫下一步
LPGA台灣高爾夫球錦標賽
第四四卷第二期
阮義忠台灣故事館
台灣盃移民足球賽
建議售價
NT$150
US$5
HK$40
¥600
歌舞昇平
The Shengping Theater

圖／文‧林旻萱　版面設計‧王敬勛
份的昇平戲院在重整開
九放後保留著半世紀前復 N ow reopened, the renovated Shengping Theater
in Jiufen retains the retro ambience of half a
century ago. The nostalgic images that appear on
古氛圍，於大螢幕上播放的
一幀幀懷舊影像，引領參觀 the screen take visitors to a simpler time in the past,
的旅人進入純樸古老時光， evoking the atmosphere of Jiufen’s glory days as a
重溫過往因礦業而繁盛的歌 prosperous mining town.
舞昇平榮景。 (photo and text by Lin Min-hsuan/tr. by Phil Newell)
編人的
編者絮話語
台灣動畫新視界
文．陳亮君
中華民國108年2月1日出版（月刊）／
中華民國65年1月1日創刊
近年來台灣原創動畫屢獲國際獎項，在民精英球隊，齊聚新北市新莊田徑場，一較
出版者光華畫報雜誌社
發行人／吳釗燮
國內外皆有廣大回響，從動畫代工走到原勝負，踢出跨國聯誼與交流的新天地。
Publisher: Jaushieh Joseph WU
社長／陳銘政創，這段路程不算輕鬆，卻是所有創作能這種跨文化的包容性，也展現在一年一度
Director: Henry M.J. CHEN
總編輯／陳亮君（代理）
Editor-in-Chief (acting): Ivan CHEN 量的匯集，更是所有動畫人的夢想。的「亞太文化日」中，外交部除邀請友邦與
副總編輯／陳亮君
Deputy Editor-in-Chief: Ivan CHEN
文稿主編／曾蘭淑本期《光華》從經典動畫《魔法阿媽》開國內各縣市政府共同展示亞太藝術與文化，
Editor: Esther TSENG
文稿副主編／郭玉平
Deputy Editor: Camille KUO
始，到近年的《小貓巴克里》、《幸福路也彰顯我國與亞太國家的友好情誼；而為期
文字編輯／鄧慧純陳群芳蘇俐穎
Writers: Cathy TENG, CHEN Chun-fang, 上》，對於其創作理念與製作過程，有深 6週的「太平洋島國青年領袖培訓計畫」課
Lynn SU
版面主編／胡如瑜
Director of Layout: HU Ju-yu 入淺出的完整報導。加上產官學在這一波程，也讓來自索羅門群島、吉里巴斯、帛
美術編輯／蕭郢岑王敬勛
Art Editors: HSIAO Ying-tsen, Henry WANG
攝影組召集人／莊坤儒動畫風潮的推波助瀾下，如何為優秀的作琉等12個位於太平洋上的國家及地區的學
Photographic Coordinator: CHUANG Kung-ju
攝影組長／林格立
Photographic Director: Jimmy LIN
品與人才搭起展示舞台，以及年輕人如何員，在台灣接受培訓，展現我國培育太平洋
攝影編輯／林旻萱
Photojournalist: LIN Min-hsuan 運用動畫來說故事，值得您一探究竟。島國人才及串聯國際的積極態度。
英文編輯／陳瑩潔唐樂榕倪凱駿
* * *
English Editors: Audrey CHEN, Robert TAYLOR,
Phil NEWELL * * *
日文編輯／山口雪菜施家騏
Japanese Editors: Yukina YAMAGUCHI,
Shila SHIH 「體育」是世界性的語言，它打破了不同在宜蘭老城區的巷弄裡，有這麼一個低調
印尼文編輯／陳德銘
Indonesian Editor: Temmy WIRYAWAN
越南文編輯／武秋香
種族、文化間的藩籬，由裙襬搖搖高爾夫的空間，述說著台灣在地的故事，「阮義忠
Vietnamese Editor: VU Thu Huong
資深行政編輯／段蜀華基金會主辦的「LPGA台灣錦標賽」，有來台灣故事館」開幕迄今已滿一周年，所展出
Senior Administrative Editor: DUAN Shu-hwa
總監／鍾宜蓉自世界各地頂尖選手們的精彩表現，和現的作品都是他與台灣當代知名藝術家的攝

Marketing Director: Carianne CHUNG
業務協理／陳俊偉
Deputy Manager: CHEN Jyun-wei 場球迷的熱情支持，透過全球一百七十多影對話。2019年第一檔展覽的主題是「淡
綜合服務組長／陳淑英
Chief of General Affairs: CHEN Shu-ing
綜合服務組／李淑慧
個國家的轉播，將台灣舉辦國際賽事的能水」，讓阮義忠用鏡頭踏尋鄉村的美好，重
General Affairs: S.H. LEE
發行組／何世隆量推向國際。現人與土地的親密感，也讓我們拭目以待。
Circulation: HO Shih-lung
而在台逾數十萬的外籍工作者多半已把其他在這塊土地所發生的動人故事，如
台灣視為第二故鄉，無論是語言和生活台越法律名詞對照表的推手──陳玉水的專
習性，已逐步融合，也把原生地的運動習訪，以及《光華》攝影團隊造訪澎湖七美島
慣，根植於台灣。此屆「2018台灣盃國際所帶回的精采圖片，除了豐富您的視野，也
移民足球賽」就邀集了來自全國8支國際移溫暖您的心。 l
Taiwanese Animation’s EDITOR’S NOTE
New Ambitions
O riginal animation from Taiwan has introduced their preferred sports to Taiwan, GPN: 2008000038 ISSN1991-525X
原刊名光華 Sinorama Magazine
earned domestic and international ac where they have begun to take root. The 2018 中華民國95年1月改為台灣光華雜誌
Taiwan Panorama
claim in recent years, winning a number of Taiwan Cup International Immigrants Soccer
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questions of how to support young people A lowkey space hides within the alleys 助理：吳佳穎、葛崇高
President: K.T. YANG
in using animation to tell stories, and how to of Yilan’s old town, telling stories of Taiwan. Assistants: WU Chia-ying, Thomas KOH
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如欲轉載，請與本社資深行政聯絡。
viduals and their work. of Taiwan Story” are part of a photographic 如發現書頁有裝訂錯誤或污損事情，
請寄至本社調換。
Sport is a global language that transcends dialogue between Juan Ijong and contempor All rights reserved. Photos and articles may not
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ethnic and cultural boundaries. Taiwan re ary Taiwanese artists. Its first exhibition of
If you wish to reprint any of our articles or
photographs, please contact our senior
cently hosted the 2018 Swinging Skirts LPGA 2019 will focus on Tamsui, enabling Juan to
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Damaged or misbound copies returned to us will
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Taiwan Championship. Featuring top inter use his camera to highlight the beauty of its
national competitors and enthusiastic crowds, rural communities.
the tournament was broadcast in more than Lastly, this month we hope to further
170 countries and showed that Taiwan is cap warm your heart and delight your eyes
able of hosting top competitions. through a report on Tran Ngoc Thuy, who has
Many of Taiwan’s hundreds of thousands compiled a glossary of Taiwanese legal terms
of foreign workers consider our island their in Chinese and Vietnamese, and the brilliant
second home, and have been gradually pictures that one of our photographers cap
integrating, no matter what their native lan tured on Penghu’s Qimei Island. l
本刊物印刷油墨使用環保認證大豆油墨
guage or customs. These workers have also (Ivan Chen/tr. by Scott Williams)
目次
CONTENTS 中華民國108年2月第44卷第2期 Vol. 44 No. 2 February 2019
封面故事 Cover Story
8
6 起飛‧原創動畫夢
Taiwanese Animation Takes Flight
圖‧studio2 Animation Lab提供
8 台灣原創動畫下一步
說自己的故事到IP出口
Original Animation from Taiwan:
Telling Our Own Stories
文‧鄧慧純　圖‧莊坤儒
18 迎接動畫的晨曦
頒獎台下的努力
18
The Sun Rises on Taiwanese Animation
—Recognizing the Work Behind the
Awards
文‧陳群芳　圖‧林旻萱
30 立足台灣‧望向世界
產官學為動畫搭橋
Sketching a Future for
Animation in Taiwan
—Filmmakers Join Hands with
Government and Academia
文‧陳群芳　
圖‧國立臺北藝術大學動畫學系提供
30
40 夢想‧全面啟動
進擊的台灣動畫人
Dreams Fueled by Passion
—Working in Taiwan’s Animation Industry
文‧蘇俐穎　圖‧林格立
編者的話來自地方的明信片
Editor’s Note Postcards from Home
2 台灣動畫新視界 1 歌舞昇平 52 月月好讀

Taiwanese Animation’s New Ambitions The Shengping Theater Variety Pages
文‧陳亮君圖／文‧林旻萱賴向榮
封面說明：影像對話 Photo Essay
從2D到3D，創作者一筆一線勾勒台灣原創動畫夢。
（林旻萱攝）
Cover: Whether in 2D or 3D, animators are sketching out 56 騎行七美
the creative dreams of Taiwan’s animation industry stroke Riding Through Qimei
by stroke. (photo by Lin Min-hsuan) 圖／文‧林格立
全球視野 Global Outlook
66 英姿煥發‧裙襬搖搖
LPGA台灣高爾夫球錦標賽
The LPGA Taiwan Championship:
The Global Spotlight Shines on Local Golf
文‧曾蘭淑　圖‧林旻萱
76 為世界培育未來人才
66
太平洋島國青年領袖培訓計畫
Training Talent for the Future:
The Pacific Islands Leadership Program
文‧陳群芳　圖‧莊坤儒
86 五感體驗亞太文化
2018年亞太文化日紀實
Experiencing Asia–Pacific Culture
—2018 Asia–Pacific Culture Day
文‧黃淑姿　圖‧莊坤儒
島嶼行旅 Around Taiwan
94 回家的路上
94
On the Way Home:
Juan I-jong’s Taiwan Story House
文‧鄧慧純　圖‧莊坤儒
多元族群 Communities
106 編撰台越法典對照表
自信傳遞越南文化──陳玉水
Confidently Conveying Vietnamese
Culture: Tran Ngoc Thuy
文‧陳群芳　圖‧林旻萱
114 足智多謀‧踢別鄉愁
114
Booting Away Homesickness:
The Taiwan Cup International Immigrants
Soccer Competition
文‧李珊瑋　圖‧林旻萱
封面故事
COVER STORY
起飛‧
原創動畫夢
Taiwanese Animation
Takes Flight
6 台灣光華 Taiwan Panorama

（studio2 Animation Lab提供　courtesy of studio2 Animation Lab）
7
封面故事
COVER STORY
台灣原創動畫下一步
說自己的故事到IP出口
Original Animation
from Taiwan:
Telling Our Own
Stories
文•鄧慧純　圖•莊坤儒　
版面設計•蕭郢岑
（稻田電影工作室提供　courtesy of Rice Film）
1998年，台灣動畫界蹦出了一位面兇心
善的魔法阿媽，王小棣執導、麥人杰創造 I n 1998, Taiwan’s animation community
released a fierce-looking but warmhearted
magical grannie into the world in the form of
的醜醜又帶點古錐的阿嬤，加上文英阿姨
Grandma and Her Ghosts, a feature film that
生動入神的配音，是台灣原創動畫史上無
would leave an indelible mark on the develop-
法抹滅的身影。20年後，動畫圈繼續創作 ment of original animation in Taiwan. Now,
《小貓巴克里》、《幸福路上》，帶領大 20 years later, original works such as Barkley
家在幻想的國度遨遊。從動畫代工走到原 and On Happiness Road are taking audiences
創，這段路程不算輕鬆，卻是所有創作能 on imaginary visits to Taiwan. Our industry’s
量的匯集，是所有動畫人的夢想。 journey from third-party animator to producer
本篇《光華》請了王小棣導演、麥人杰 of original work, an industry-wide ambition,

has not been easy, but highlights how the
叔叔，一起聊聊當初創作《魔法阿媽》的
industry’s creative capabilities have begun to
甘苦；找了當初勇於跨出台灣的原金國際
come together.
CEO王世偉，分享他怎麼習得國際經紀市 For this article, we invited director Wang
場的遊戲規則，把台灣動畫出口國際。聽 Shaudi and comics artist Richard Metson to
他們說一輪，才知曉在一秒24格速率下創 chat about the challenges of bringing Grandma
作的動畫得來不易。 and Her Ghosts to fruition, and spoke to En-
gine Studios CEO Vick Wang about how he
learned the tricks of the animation export trade.

王小棣用《魔法阿媽》說一個
屬於台灣的故事。
Wang Shaudi tells a Taiwanese
story in Grandma and Her Ghosts.
黃黎明（右）為
《魔法阿媽》的
發想者。
（稻田電影工
作室提供）
The concept
for Grandma
and Her Ghosts
originated with
Huang Liming
(right). (courtesy
of Rice Film)
拍攝《魔法阿媽》的起心動念來自於王小棣的夥伴
黃黎明，她同時也是《魔法阿媽》製片兼編劇。黃黎
明的母親受兒子之託，照顧孫子，她發現小時候嚴厲
的媽媽變成阿嬤之後，對孫子百般溺愛，又觀察到祖
孫的相處關係，孩子對阿嬤萬分依賴，卻不願在父母
面前表露，看著孩子的寂寞和不懂事的可愛，讓黃黎
明創作出這個饒富感情、祖孫互動的故事，王小棣娓
娓道來故事的緣由。
《魔法阿媽》：講台灣的原創故事
王小棣和黃黎明兩人雖然熟悉電影製程，但接觸動
畫倒是頭一回，因此開啟了王小棣所說「人生痛苦指
數數一數二的階段」。王小棣向當時的新聞局申請到
1,000萬元的補助，傻傻兩個人卻到執行時才了解要依
據法規在一年內拍完一部動畫幾乎不可能。所幸，朋
友介紹了當時已經在漫畫界小有名氣的麥人杰，他曾
在國內知名動畫公司宏廣工作過，熟悉動畫流程。但
在短短8個月內要完成一部動畫，麥人杰當初的想法
是：「死定了。」拗不過王小棣的懇求，麥人杰答應
《魔法阿媽》是台灣原創動畫史上重要
的作品。（稻田電影工作室提供）加入，加上音樂人史擷詠，成為創造《魔法阿媽》奇
Grandma and Her Ghosts occupies an
important place in the history of Taiwanese
蹟的一員。
original animation. (courtesy of Rice Film) 《魔法阿媽》採好萊塢動畫的製作流程，先配好聲
音，再進行畫面繪製。原本王小棣還期待可以找到專
業的動畫導演來指導，卻覓不著人選，只好挽起袖子

The idea for Grandma and Her Ghosts originated with
Wang Shaudi’s partner Huang Liming, who went on to write
the screenplay and produce the film. Huang had watched her
once strict mother transform into a child-pampering grand-
mother while taking care of her nephew. Wang explains
that the boy’s loneliness, innocence, and dependence on his
grandmother gave rise to Huang’s emotionally rich story of
a relationship between a grandmother and grandchild.
Grandma and Her Ghosts: A Taiwanese original
While Wang and Huang knew how to make a live-action
movie, Grandma and Her Ghosts was their first experience with
animation, prompting Wang to remark, “Our ‘life difficulty
index’ entered a peak period.” Wang secured a NT$10 mil-
lion subsidy from the Government Information Office, but
the two were well into production before they realized that it
would be virtually impossible to complete the film within the
one year allotted by the law. Fortunately, a friend introduced
them to Richard Metson (Mai Renjie), an animation veteran
who had worked in a variety of roles with the well-known
Wang Film Productions. Musician Gerald Shih also became a
key part of the movie’s miraculous completion.
While Grandma and Her Ghosts didn’t win a Golden Horse,
it did win a best picture award from the 1998 Taipei Film Fes-
tival, and a Certificate of Merit for Animated Feature Films
and Videos at the 1999 Chicago International Children’s Film
Festival. It was also screened at festivals in Germany, Norway,
Canada, Israel, the Czech Republic, the UK, France, Italy, and
Japan. “They all thought it was great,” says Wang, speaking
about the feedback they received at the festivals. “Grandma
and Her Ghosts wasn’t a Hollywood-style cartoon. It was truly
original.” Unburdened by animation experience, they had
simply followed their muse and told a Taiwanese story.
Lining up the next film
“Animation industry workers were the ones who shoul-
dered the burden of our brashness and ignorance [about the
production process],” recalls Wang.
Metson, who was already a well-known comics artist,
brought a certain daring to the designs and the storyboarding,
and even became involved with the voice acting. He says he
hardly slept for eight months. “I wanted to show the world
that Taiwan could create its own original animations.”
At one point, the Korean company that was animating 《魔法阿媽》描述的祖孫互動有趣且感人。
（稻田電影工作室提供）
Grandma and Her Ghosts asked Wang to deliver 250 “key Grandma and Her Ghosts is a playful and
frames” within a week. These key frames are images that show moving look at the relationship between a
grandmother and her grandson. (courtesy of
the animators where everything in a scene needs to be at “key” Rice Film)
11
自己來，根據畫面中動作的秒數、節奏畫好「律
表」（exposure sheet），王小棣為了計算畫面的
時間，用壞了兩個碼錶才完成，足見過程之辛
苦。後期製作在台灣也覓不著合作的廠商，透過
朋友介紹韓國的動畫公司Plus One，以購買地方
版權的方式合作，才得以拍攝完成。
《魔法阿媽》雖然在金馬獎失利，但獲得1998
年台北電影節年度最佳影片、1999年美國芝加哥
兒童國際電影節動畫影片佳作獎，也受邀至德
國、挪威、加拿大、以色列、捷克、英國、法
國、義大利、日本、泰國等國際影展參展。「他
們都覺得太珍貴了，《魔法阿媽》沒有做成類好
萊塢的卡通，而是真正的原創動畫。」王小棣轉
述當時在國際影展上得到的回饋，因為兩人沒有
製作動畫的經驗，反倒讓她們沒有包袱，只是從
創意出發，說一個屬於台灣的故事，這樣而已。
創造拍下一部動畫的機會
「是動畫界的這些人把我們兩個人的無知與莽
撞接住了。」王小棣回想這段歷程。
麥人杰當時已是家喻戶曉的漫畫大師，他帶著
一股傻勁，接下人物造型、場景設計、分鏡的工
麥人杰加入《魔法阿媽》的原因，
作，同是阿嬤帶大的他，為角色注入許多情感，是要向世人證明台灣也能創造自己
的原創動畫。
也提供許多動畫專屬的趣味，連角色配音都尬上 Richard Metson chose to work on
一腳，在8個月內不眠不休，「我就是為了要向 Grandma and Her Ghosts because he
wanted to show the world that Taiwan
世人證明台灣也能創造自己的原創動畫。」麥人 could create its own original animations.
杰說。
《魔法阿媽》的後製是由韓國公司代工，當時
韓方要求王小棣一個禮拜要交出250個關鍵畫格
（key frame），在一夥人忙得天昏地暗的時候，台灣原創動畫該如何下一步？「首先你得有
是動畫界的郭景洲、王登鈺、陳偉松主動向她伸機會一直做這件事情」，麥人杰說。他舉港片為
出援手，協助構圖工作。例，香港曾是世界第二大電影出口基地，每年拍
王小棣肯定台灣動畫界已有深厚的底子，再攝的電影不計其數，他記得某位香港導演說過：
加上年輕人早就想做原創動畫，成就了《魔法阿「我們當然要開戲呀！不開戲燈光師吃什麼，茶
媽》的傳奇。台灣擁有豐沛的創作能量，麥人水吃什麼。」當你一直持續做這件事情，過程中
杰也認同，但現況是，許多動畫導演完成一部作自然就會有一些人冒出來，但「首先你要有機會
品，卻沒有下一部片的機會，台灣的動畫環境使一直做這件事情」，麥人杰語重心長地說。
許多優秀人才被迫離開產業，讓他很心痛，「你與麥人杰的想法不謀而合，原金國際的王世偉
知道要培養這樣的人才有多難嗎？」麥人杰沉痛認同國內創作型的人才豐富，但是缺乏組織整合
地反問。型的人才，究因亦是國內機會不足。他從動畫產

moments. The animators then animate all the movements Metson argues: “You first need the opportunity to do
in between. She was working around the clock to get the this work continuously.” He points out that Hong Kong
frames done when animation industry veterans Pongo used to shoot countless films each year and was once
Kuo, Fish Wang, and Chen Weisong stepped forward to the world’s number-two exporter of movies. He recalls
help, aiding her with the composition. one Hong Kong director telling him: “Of course we’re
Wang Shaudi confirms that the foundation of Taiwan’s shooting! If we weren’t, how would our lighting and craft
animation industry is deep and strong. That base, coupled services people eat?” When the work is steady, talented
with the desire of young animators to work on an original people naturally begin to emerge.
property, enabled the Grandma and Her Ghosts miracle. Met- Engine Studios’ Vick Wang shares Metson’s view,
son agrees that Taiwan has plenty of capacity to create orig- agreeing that Taiwan has an abundance of creatives, but
inal work, but adds that many directors don’t have an op- lacks people to organize and integrate the many parts
portunity to develop a second project after completing their of the production process. Wang breaks down the steps
first. He explains that Taiwan’s animation environment which go into producing an animated product: conception,
pushes many of its outstanding talents out of the industry. the assembly of a management team, budgeting, story
What’s the next step for original animation in Taiwan? development, design, production, and postproduction.
時隔多年，麥人杰投入
以未來世界為背景的
原創動畫《鐵男孩》
創作。「不做的話，
我們將在虛擬世界失去
發言權。」
（麥人杰提供）
Richard Metson has
been working on his
own futuristic animated
feature film, called Tie
Nanhai, for years. “Not
completing it would be
tantamount to giving up
our right to speak in the
virtual world.” (courtesy
of Richard Metson)
13
從製作短片到拍攝影集，
透過不斷地演練，
王世偉培訓了一批說故事
的團隊。
Vick Wang is constantly
honing his storytelling
team’s craft through work
on everything from short
films to animated series.
品的流程分析，一部動畫作品從概念成形、確定入動畫製作《鐵男孩》，變賣身家，已投入2,500
規格、組織團隊、編列預算、發展故事、美術設萬的製作費用，仍有2.5億的資金缺口，但不能罷
計、測試執行、修正、後製、輸出，一旦從市場手，還是要做，「不做的話，我們將在虛擬世界
得到回饋後，再投入新的企劃製作。好萊塢能把失去發言權。」麥人杰說。而曾在紐約動畫圈歷
動畫、故事節奏處理得如此精采，是幾千萬次流練將近十年，王世偉結束美國穩定的工作，「我
程執行所累積出來的經驗。台灣動畫欠缺演練的回來就是要創業」、「創作原創動畫的動機，就
機會，整合型人才自然不易培訓。是想要站上那個舞台，拿到發言權，闡述我們自
文化軟實力是一門需要厚積薄發的功夫，而己的文化、生活、價值觀。」王世偉說。
非短視近利的今天投資，明天收成。動畫製作又
原創動畫出口，爭取虛擬世界的發言權
不像一般的電影，沒有大明星號召、王牌導演加
持，募資不易；許多動畫人更要身兼數職，自己「台灣是個海島國家，仰賴出口與進口。在
創作、找資金、行銷，麥人杰希望政府能營造有動畫產業中，台灣的技術服務出口，與國際接軌
利動畫發展的環境，譬如以減免賦稅的方式引入了。但我們是否想過『出口』自己的故事呢？」
企業資源，讓創作者能金援無虞，創作更多厲在一場與動畫同業的分享會上，王世偉開宗明義
害的作品。王世偉則希望強化中小企業的生存能地問。
力，政府雖有信保機制，但還不夠成熟，要讓中有了原創內容，出口的遊戲怎麼玩？王世偉
小企業學習怎麼與銀行交涉、融資，單仰賴政府還記得早些年他帶著剛獲獎的短片到法國坎城
補助結案，公司的生存能力會下降。 MIPCOM（法國坎城影視節展），以為到了國外
個性剛直的麥人杰，採訪過程中不時說得慷慨參展就能揚名國際。沒想到路過攤位的人很多，
激昂，但氣憤也好，抱怨也罷，多年前他再次投但買家提出的問題簡單直入：「定價多少？」、

Studios should begin planning their next production Metson dove back into animation production a number
the moment the market provides feedback on whatever of years ago with a project titled Tie Nanhai (“Iron Boy”).
they have just released. Hollywood’s animation pipeline He has put some NT$25 million into the project, but is still
has a rhythm that grows out of its experience producing NT$250 million short of what he needs to finish it. Even
thousands of animated works. Taiwan’s industry, on the so, he hasn’t given it up, explaining, “Not completing it
other hand, hasn’t produced enough original animation to would be tantamount to giving up our right to speak in
really hone its skills, and it has therefore had a hard time the virtual world.”
developing the necessary management professionals. Vick Wang came back to Taiwan after working in
The production process for animation is different than animation in New York for nearly ten years, giving up
that for films. There are no star actors or directors, and steady work to found his own company. “I wanted to stand
it’s harder to find funding. Moreover, many people in the on this platform and claim my right to speak,” he says, “so
animation industry are compelled to fill multiple roles: cre- I could talk about our culture, our lives, and our values.”
ating the property, raising the money to produce it, and then Exporting original animation
marketing the result. Metson hopes that the government can Speaking to a gathering of animation industry profes-
help create an environment that facilitates the development sionals, Wang wondered: “Taiwan is a maritime nation
of animation in Taiwan by, for example, reducing or waiv- that relies on trade, and our animation industry exports
ing taxes to attract corporate resources and relieve creators skilled services, but have we considered exporting our
of their financial worries. Vick Wang aims to hone the sur- own stories?”
vival skills of small and medium-sized enterprises, teaching Once you have original content, the question of how to
them how to negotiate with banks and arrange loans so they play the export game arises. Wang still remembers trying
don’t have to rely entirely on government subsidies. to sell an award-winning short film at MIPCOM, a tele-
vision industry trade show held in Cannes, France. The
buyers there who dropped by his booth asked him simple,
direct questions: “How much for it?” “How are we going
to broadcast a short on TV?” “Are you going to develop
it into a movie?” “What’s the film’s budget?” But Wang
hadn’t given such issues much thought, and was caught
flatfooted.
After spending some time licking his wounds, he re-
entered the fray. He attended the next MIPCOM with a
model from MuMuHug, which at that time was still just a
貼滿整面牆的分鏡、手稿，動畫製作從來
不是一件容易的事。
The images covering this wall hint at just how
much effort goes into producing an animated
work.
以《吉娃斯愛科學》為例，3D動畫從
模型→貼圖→燈光合成的示意圖。
（原金國際Engine Studios提供）
An image from Go Go Giwas that
composites models, colors, textures,
lighting elements, and a background.
(courtesy of Engine Studios)
15
以「動畫」為「志業」
的王世偉，努力出口
台灣自己的故事。
For Vick Wang, animation
is a vocation. He is
dedicated to exporting
Taiwanese stories.
「短片怎麼在電視上播映？」、「要發展成電影展觀摩片，也入圍韓國富川國際動畫影展商業競
嗎？」「電影預算多少？」沒有思考太多的王世賽片，並為第51屆金鐘獎最佳動畫節目獎得主。
偉，險些招架不住。以「動畫」為「志業」的王世偉，用「職人」
之後，王世偉再重振旗鼓赴戰場，他帶著製的精神經營團隊，公司能接的專案可以很多元，
作的《姆姆抱抱（MuMuHug）》雛型出發，準面對工作的To be or not to be，判定的準則是心中
備好先前買家提問的解答，卻還是在會場坐冷板的原創動畫願景，他帶領團隊歷練各式的跨界合
凳，「這個地方這個遊戲規則到底怎麼玩？」王作案，磨練團隊的技術，心中有個更大的夢想正
世偉幾乎喪志的想。因此他假扮成買家，逐個攤在孵化中，預計兩年後完成的3D動畫長片《妖怪
位去探問，聽取其他的參展廠商如何介紹他們的森林》，希望讓台灣原創動畫站上國際舞台，驚
產品、如何提問、如何定價；他也決定不等外來豔發光。
的投資，自己投入資金創作，先有作品產出，才第55屆金馬獎，台灣出品的《幸福路上》拿
有後續的IP（Intellectual Property）經濟。下了久違了的最佳動畫長片。麥人杰語重心長地
後來《姆姆抱抱（MuMuHug）》節目發行授權說：「我們好不容易有一部《幸福路上》了，但
全世界八十多國家，成功出口台灣的原創動畫，能不能不要只有一部，能不能讓所有想拍動畫的
不僅訓練了一批說故事的團隊，也讓原金國際導演都有下一部作品的機會。」政府、企業、社
持續在原創動畫的路上走得穩健。與清華大學合會能否成為動畫導演有力的支援，讓他們持續為
作，結合原住民文化與科普知識的《吉娃斯愛科台灣說故事，如此一來，台灣動畫才有機會持續
學》影集，2016年獲選為美國芝加哥國際兒童影往幸福路上前進。 l

pitch for a television series, and prepared answers to the culture with science education, was screened at the 2016
questions buyers had asked him the previous time, yet Chicago International Children’s Film Festival and in com-
struck out once again. Wondering how on earth he was petition at the Bucheon International Animation Festival.
supposed to play this game, Wang was on the verge of giv- For Vick Wang, animation is a vocation. That, in turn,
ing up. Instead, he chose to impersonate a buyer and made has enabled him to manage his team with an eye to craft,
the rounds of other booths asking questions, while also to lead them on a variety of cooperative, multidisciplinary
noting what other exhibitors asked and how they set prices. projects to hone their skills, and to take on a diverse range
His investigations led him to abandon his quest for external of animation projects based on his interest in the creator’s
financing, put his own capital into producing the show, and “vision.” Wang expects to complete LAQI, a 3D animated
then deal with the IP economy to sell the finished product. feature film that he hopes will propel Taiwanese original
The completed MuMuHug has since been licensed for animation into the international spotlight, in two years.
broadcast in more than 80 nations around the world, its On Happiness Road’s 2018 Golden Horse for Best
production helping train several storytelling teams, and Animated Feature Film was the local animation indus-
its export providing Engine Studios with stability as it try’s first in a long time. As an emotional Metson put it: “It
continued its work with original animation. One of these, a took a great deal to produce On Happiness Road, but can
show called Go Go Giwas that mixes Taiwanese Aboriginal we ensure that it isn’t just a one-off? Can we make sure
that all the directors who want to produce animation
have an opportunity to make follow-ups?” Can govern-
ment, industry, and society support animation directors
so that they can continue to tell Taiwanese stories? If they
原金國際製作的原創3D動畫長片《妖怪森林》即將在兩年後 do, Taiwanese animation can continue its journey down
問世。（原金國際Engine Studios提供）
Engine Studios expects to release LAQI, its 3D animated feature its own happiness road. l
film, in two years. (courtesy of Engine Studios)
(Cathy Teng/Chuang Kung-ju/tr. by Scott Williams)
17
封面故事
COVER STORY
迎接動畫的晨曦
頒獎台下的努力
The Sun Rises on
Taiwanese Animation
—Recognizing the Work
Behind the Awards
文‧陳群芳　圖‧林旻萱　
版面設計‧蕭郢岑
（金馬獎執委會提供　courtesy of Golden Horse Awards Executive Committee）
1998年《魔法阿嬤》入圍金馬獎最佳動畫片，此後台灣動畫幾乎
在金馬獎裡銷聲匿跡，直到2017年導演邱立偉以《小貓巴克里》入
圍最佳動畫長片，鼓舞了士氣。沉寂的時光，動畫創作者以各自的
方式積累能量，如今他們將用動畫訴說一個個充滿想像的故事。
T aiwan’s animation community was riding high in 1998, thrilled with

the nomination of Grandma and Her Ghosts for that year’s Golden
Horse Award for Best Animation Feature. Little did the local industry know
that it would then be largely overlooked by the Golden Horses for the fol-
（studio2 Animation Lab提供　
lowing 19 years, before again receiving a nomination in the same category
courtesy of studio2 Animation Lab）
for Chiu Li Wei’s Barkley in 2017. Local animators spent the interim quietly
honing their skills and using them to tell their own imaginative stories.

（studio2 Animation Lab提供　courtesy of studio2 Animation Lab）
19
2018年第55屆金馬獎甫於台北落幕，
最佳動畫長片由導演宋欣穎的《幸福路
上》獲獎。這部台灣原創動畫已在國際
獲獎無數，2018東京動畫大賞首獎、德
國斯圖加特動畫影展最佳動畫長片等橫
掃全球各大影展，究竟是什麼樣的故事
有如此魅力？
引起國際共鳴的台灣動畫
「我是林淑琪，1975年4月5日在台灣
出生，在幸福路上長大，後來到了美國
讀書，找到了工作，結了婚，然後現在
⋯⋯」，這是電影《幸福路上》主角小
琪的開場白，沒有華麗夢幻的名字，反
倒像個親切的鄰家女孩，宋欣穎透過女
主角的生命軌跡，爬梳台灣三十多年的
歷史與時代變遷。
曾經，宋欣穎覺得自己的生活經歷平
凡無奇，但在美國攻讀電影時，老師告
訴大家：好的故事來自於自身。於是她
回望自己的原鄉：家住新莊幸福路，有
條臭臭髒髒的大水溝，曾是震驚全國綁
架案棄屍的地點⋯⋯，這些她口中的小宋欣穎以《幸福路上》獲得2018東京動畫大賞首獎。
事，在外國同學眼中竟成了有趣的好故（幸福路映畫社有限公司提供）
Sung Hsin-ying’s On Happiness Road won the Grand
事，並鼓勵她將劇本完成。 Prize at the 2018 Tokyo Anime Awards. (courtesy of On
Happiness Road Productions)
這讓宋欣穎以不同的觀點看待自己
與伴她長大的這塊土地：校園的禁說台
語制度、野百合運動、解嚴⋯⋯，全被
她放進劇本裡。宋欣穎與小琪都有位原
住民外婆，但小琪的外婆是她的心靈導
辛苦地走在幸福路上
師，而宋欣穎對外婆卻很不熟悉，甚至從小就與
主流社會價值觀一同歧視會吃檳榔的女性。長大本想拍劇情片，但考量動畫更能呈現現實與回憶
後她逐漸理解那些關於族群、性別的議題，但外穿梭的想像，完全沒做過動畫的宋欣穎一頭栽了進
婆已不在人世，於是像是彌補自己的缺憾般，給去。找不到資金，整個團隊沒有人做過動畫長片，
了小琪一個疼她懂她的外婆。在眾人不看好的情況下，宋欣穎關關難過關關過。
作品裡蘊含了宋欣穎對身邊事物及台灣這塊土過程中，有人建議她參考美國皮克斯或日本新
地的情感投射，讓電影生動而立體。小琪看似過海誠的動畫製作流程，但資金與市場截然不同，不
著所謂人生勝利組的生活，但內心卻仍有著不上見得適合台灣。宋欣穎曾在廣播節目中分享，若有
不下的失落；而追尋幸福這個人生大哉問，讓外更多成功案例來支撐，就能找到對的模式，她想告
國觀眾也能共鳴。訴投資方及觀眾，台灣的動畫電影是有機會的。

At the 2018 Golden Horse Awards in Taipei, director as a spiritual guide, Sung didn’t know hers well, and
Sung Hsin-ying’s On Happiness Road came away with as a child internalized mainstream society’s prejudice
the Best Animation Feature Award. This Taiwanese against women who chewed betel nut. By the time Sung
original also earned the Grand Prize at the 2018 Tokyo had grown up and come to understand issues invol-
Anime Awards and the prize for Best Feature-length ving gender and ethnicity, her grandmother had passed
Animated Film at the 2018 Stuttgart International Festi- away. Sung’s decision to give Chi an Aboriginal grand-
val of Animated Film. What made the story so special? mother who loves and understands her in the film was
International acclaim a means of addressing her own regrets.
“My name is Chi. I was born in Taiwan on 5 April Sung put heart and soul into her film, which helps
1975 and grew up on Happiness Road. I later went bring it to life and give it emotional depth. While her
to America to study, found a job, got married, and protagonist looks like a success, she nonetheless feels
now….” In the preamble to On Happiness Road, the stuck. By addressing one of life’s big questions—the
prot agon ist, Chi, sounds like the girl next door. Dir- search for happiness—the film resonated with inter-
ector Sung Hsin-ying uses the character’s life trajectory national audiences.
to comb through three decades of Taiwanese history A difficult journey
and social change. Sung, an animation novice, chose to dive into the
When Sung was a film student in the US, one of her medium because she recognized that it makes it relat-
teachers used to tell the class: good stories are personal. ively easy to move between reality and memory. In the
This prompted Sung to reevaluate herself and the process of making her film, she was forced to overcome
land that she had grown up with. She ended up putting
all of it into her script, from the prohibition against
speaking Taiwanese in school to the Wild Lily student
《幸福路上》主角小琪從美國回到故鄉，尋找生命
movement and the lifting of martial law. Both Sung and 依歸的答案。（幸福路映畫社有限公司提供）
her protagonist have a Taiwanese Aboriginal maternal Chi, the protagonist of On Happiness Road, returns to
her hometown from the US looking for answers to life’s
grandmother, but where the film’s grandmother acts questions. (courtesy of On Happiness Road Productions)
21
村藝術家；嘗試當了幾年老師，但心中仍
走出台灣動畫的生存之道
對創作念念不忘。「熱愛在想的時候很美
台灣動畫在金馬影展缺席12年後，終於有了邱立偉好，做的時候很辛苦，這種痛併快樂著的
導演的《小貓巴克里》。動畫創作這條路，邱立偉已反差中。」邱立偉知道他一輩子離不開動
走了二十多年。畫創作了。
研究所畢業後，邱立偉曾參加經濟部的計畫被派過去台灣動畫產業以代工為主，但邱立
赴好萊塢擔任高級3D動畫研究員；也在紐約當駐偉沒有選擇相對容易且熟悉的道路，而是
以創作直接面對觀眾。邱立偉成立s t u d i o2
兔子創意股份有限公司，邊做邊摸索，第
一部作品與編劇郝廣才合作，將林良的散
邱立偉熱愛動畫動起來的樣子，因為有了時間性，讓創作充滿
無限可能。
文作品《小太陽》改編成動畫影集。「要
Chiu Li Wei’s passion for animation and the timeliness of his topics 賣給誰？去哪賣？」這些邱立偉一無所
imbue his work with boundless possibilities.
知，他笑說這是創作人的浪漫，以為某一
刻會有人青睞來敲門。如何參加版權交易
展、研發階段怎麼計價、版權合約的撰擬
等，這些都是邱立偉進到產業才慢慢了解
版權市場的遊戲規則。
《小太陽》獲得金鐘獎肯定，在東南亞也
有不錯的銷售成績；但講述亞洲家庭的故事
題材卻打不進歐美市場。於是邱立偉調整方
向，將文化往後放，角色往前推，創作全新
的動畫影集《小貓巴克里》。
城市貓咪巴克里，意外來到鄉村，與純
樸居民發展出一連串真摯動人的故事。不同
於坊間卡通探討友情、親情等較為平實的題
材，邱立偉將城鄉差距、環境保護等議題都
設計進故事裡。例如〈迷路的熊〉單元，黑
熊因為棲地被破壞，只好下山向人類要食
物，最後村民合力幫牠蓋了新家。情節有
趣，充滿正面力量，讓《小貓巴克里》成功
擄獲國內外觀眾的心，至今版權已販售超過
三十個國家。
在《小貓巴克里》後，2014年邱立偉推
出動畫影集《少年觀測站》，以全球暖化
議題為核心，故事的主人翁小男孩傑米，
因為爸爸的氣象研究而展開一場跨國的冒
險之旅。劇中人物除了來自台灣，還有美
國、法國的科學家，「透過企劃的調整，
思考如何與海外市場產生連結。」邱立偉
表示。

（左圖）觀測站少年以暖化
議題為主軸，讓台灣男孩
傑米與其他國家的科學家展
開一趟冒險旅程。（studio2
A n i m a t i o n L a b提供）
In Weather Boy, a show
centered around the issue of
global warming, a Taiwanese
boy named Jimmy and
scientists from other nations
have adventures around the
world. (courtesy of studio2
Animation Lab)
仔細品味邱立偉的每部作品，都有他和團隊在動畫產業摸索
奮鬥的軌跡。
Chiu Li Wei and his team’s animations show the trajectory of
their search for a means to survive in the industry.
challenge after challenge, including being unable to

secure adequate funding, and managing a team entirely
lacking experience in feature-length animation.
While working on the film, someone recommended
that she take a look at Pixar Animation Studios’ or
Japanese animator Makoto Shinkai’s production program, a term as an artist-in-residence in New York,
cess. But she had doubts about whether their methods and several years as a teacher. “[Original animation] is
would be applicable to Taiwan given the differences in lovely to think about, but grueling to make. There’s a
the markets and her relative lack of funding. In a radio marked contrast between the joy of one and the pain of
interview, Sung stated that the creation of greater num- the other.” But Chiu knows he’ll never stop animating.
bers of successful Taiwanese feature animations would Chiu established studio2 Animation Lab to feel his
help our industry develop its own production model, way into the business while also doing work. The stu-
and that she wanted investors and audiences to know dio’s first project was an adaptation of Lin Liang’s Little
that Taiwanese animated features could succeed. Sun essay collection, which it made into an animated se-
Finding a way to survive ries in cooperation with screenwriter Hao Kuang-tsai. It
After 12 years without a Golden Horse nomination, was only after entering the business side of the industry
Taiwanese animation finally returned to the awards that Chiu began to understand the rights market: how
with Chiu Li Wei’s Barkley. to participate in rights fairs, how to value products in
Chiu has been working on original animated proper- the development stage, and how to draft rights-related
ties for more than 20 years, but his working life has contracts.
also included a stint in Hollywood as a 3D-animation The Little Sun won a Golden Bell award and sold well
researcher under a Ministry of Economic Affairs pro- in Southeast Asia, but this story of an Asian family was
23
需要許許多多技術人員的努力，才能成就一部精彩的動畫。
Producing high-quality animation takes hard work from a lot of skilled people.
邱立偉觀察美國動畫電影大多以角色驅動，
創造當代華語動畫明星
當電影結束，角色會被記住，繼續活在觀眾心
有了動畫影集的積累，邱立偉帶領團隊推出動畫中。且綜觀華語動畫，角色明星寥寥可數，
長片。電影製作成本高，一次失敗就可能讓團隊「我們這代人應該要填補這個空缺。」電影版
解散，所以目標市場必須非常明確。邱立偉認為，《小貓巴克里》延續影集的高人氣，獲得美國
用合拍片來擴大市場，對其他國家而言是很平常的獨立電影獎動畫類卓越獎、荷蘭阿姆斯特丹影
事，而台灣影視作品最適合的市場就是語言共通的展最佳動畫獎等的肯定。巴克里不僅代言商
中國大陸，於是《小貓巴克里》電影版便與其合製。品、推出手機貼圖，還擔任活動大使，成功讓
身為藝術創作者，邱立偉希望將台灣文化放進角色活出自己的生命。
作品，但必須考量市場接受度。於是他將台灣文化有了巴克里的成功，邱立偉與團隊目前正全力
變成動畫角色生活的場域，在電影裡，台灣的街投入下一個作品《八戒》的研發。邱立偉表示，
景、花圈、小吃攤全成了背景，台灣觀眾很自然地內容產業像是個團隊，每種類型都有任務：漫畫
就會感到親切，而國際的觀眾也不會覺得違和。可以和讀者建立親密感，影集介紹角色的日常生
除了將電影當成是動畫裡的大聯盟來挑戰，推活，遊戲產生互動，電影則是讓觀眾一同展開冒
出《小貓巴克里》其實有更大的願望，「試著建險旅程。因此《八戒》的設計在前期就已做了各
立當代華語動畫的樣貌。」邱立偉說自己小時候種類型的全面規劃。邱立偉以經紀公司當比喻，
是看著卡通長大，希望將來的觀眾也能在他的作希望設計出有個性的角色，讓八戒從小模特兒逐
品得到陪伴。步變成大明星。

unable to break into the American and European mar- the Amsterdam Film Festival. More than just an ambas-
kets. Chiu therefore changed direction on the Barkley the sador for Taiwanese animation, Barkley has taken on a
Cat TV series, pushing culture to the background and life of his own.
characters to the foreground. Following Barkley’s success, Chiu and his team have
Barkley is a city cat who unexpectedly finds himself thrown themselves into the development of their next
in a rural area, where his interactions with the country project, Pigsy, the protagonist of which they hope to
folk give rise to a series of heartwarming stories. The turn into a major star.
show’s plots touch on issues such as the differences
between city and countryside, and environmental pro-
tection. For example, an episode called “Lost Bear”
introduces a bear whose home has been destroyed, and
who must therefore venture out of the mountains to
ask people for food. In the end, the villagers help the
bear build a new home. Interesting plots and positive 邱立偉的下一部作品《八戒》，以西遊記為靈感，加入許多
未來世界的想像，故事情節將如何發展，令人期待。
messages have enabled Barkley the Cat to win over audi- （studio2 Animation Lab提供）
ences at home and abroad. In fact, the show has already Chiu Li Wei’s next work, Pigsy, is inspired by Journey to the West
with elements from the future. (courtesy of studio2 Animation Lab)
been licensed in more than 30 countries.
In 2014, Chiu followed up on Barkley the Cat with
Weather Boy, a show centered around the issue of
global warming. The show’s protagonist is Jimmy, a
boy whose father’s weather research takes the pair of
them on international adventures. The series features
other characters from Taiwan, as well as scientists from
the US and France. “We made adjustments during the
show’s development, thinking about how to forge con-
nections to foreign markets,” says Chiu.
Creating animation stars
With a couple of animated series under his belt, Chiu
then led his team on the production of an animated
film, a Barkley movie, called simply Barkley.
Chiu used Taiwan as the cultural setting in which his
characters live, incorporating Taiwanese street scenes,
flower markets and food stalls into backgrounds that
feel familiar to Taiwanese audiences without seeming
odd to international viewers.
But he had a larger goal in releasing Barkley: “I
wanted to create a look for contemporary Chinese-
language animation.” Chiu says that he grew up watch-
ing cartoons, and hopes that future audiences will grow
up watching his works.
He notes that most of America’s animated films are
character driven, but that Chinese-language animation
has very few star characters. “Our generation needs to
address this lack.” The Barkley movie has built on the
series’ popularity and earned a best animation award at
25
動畫工作室裡，每個角落都有動畫
工作者奮力追逐夢想的身影。
People working to bring a vision to life
fill every corner of an animation studio.
個想法與同盟分享，「台灣建巨大機器人幹嘛？
熱血拼湊夢想
攻打外星人啊！假如外星人採取階段性的攻擊策
有別於邱立偉的逐步規劃，動畫電影《重甲機略，那第一波會優先攻擊武力強大的國家，排
神》則是「乾坤一擊創意股份有限公司」執行長名世界前二十的台灣不是主要目標，於是存活下
黃瀛洲與一群年輕人的初試啼聲之作。這部台灣來，成為世界的救世主⋯⋯⋯」成員們煞有其事
第一部巨大機器人科幻動畫的萌芽，要從十多年地討論著巨大機器人的故事。
前說起。沒想到十多年後，黃瀛洲讓這個故事成真了。
物理學年會的會議現場，台上正介紹貴重的「同盟累積許多故事，重甲機神巨大有存在感，
研究器材：同步輻射先進光源、高磁場超導磁鐵能讓觀眾印象深刻，於是挑中了它。」黃瀛洲表
⋯⋯，這些一般人聽了昏頭的複雜儀器，台下兩示，長期在校園教學演講，他觀察到台灣教育普
位物理學教授卻將其想像成一個由精密儀器組合遍缺乏美學與科學。抱著「耕植台灣的科學與美
而成的巨大機器人。同時也是黃瀛洲召集成立的學教育的想法」，才是製作《重甲機神》最根本
動漫推廣團體「傻呼嚕同盟」成員的他們，將這的原因。

The pursuit of a dream
The animated film Baryon is the first effort from
One Punch Creativity CEO Jo-jo Hwang and his young
team, but the film’s origins go back more than a decade.
When someone speaks from the stage at an annual
physics conference about a valuable piece of research
equipment, most ordinary people find themselves over-
whelmed by the complexity of the talk. But two physics
professors in the audience of one particular talk instead
began imagining a giant robot assembled from preci-
sion components. “Why on Earth would Taiwan build
a giant robot? To attack aliens! Suppose aliens invaded
the Earth in stages. Their first wave would target the
nations with the strongest militaries. Taiwan wouldn’t
be a major target, and would therefore survive and be-
come the world’s savior….” The two batted their story
idea back and forth with mock seriousness.
But in a surprising turn of events, Hwang brought
their story to life a dozen-odd years later.
Once Hwang had a rough script, he brought in Mo
Monster (Chi Tun-chih) to direct the film and bring his
words to life.
Baryon lands
They originally planned 26 episodes, but after a
year and a half of production, had only one episode
complete. Given the slow pace at which they were
progressing, they were concerned about having 黃瀛洲（左）與紀敦智（右）攜手打造台灣第一部巨大機器人
enough financing to complete the minimum of 13 動畫電影《重甲機神》。
Jo-jo Hwang (left) and Mo Monster (right) have collaborated on the
episodes they would need to sell the show over- production of Baryon, Taiwan’s first animated film about a giant robot.
seas. With TV also ceasing to be the primary plat-
form through which audiences consume animation,
《重甲機神》以日式風格
為定調，但故事背景與
角色設定等細節，仍充滿
台灣精神。（乾坤一擊創
意股份有限公司提供）
While Baryon is done
in a Japanese style, its
characters and background
reveal a Taiwanese spirit.
(courtesy of One Punch
Creativity)
27
有了劇本的初步想法後，黃瀛洲找上從事動畫供的回饋，都刺激團隊思考要如何取得平衡。
工作的紀敦智來擔任導演，將他的文字想像化為考量海外市場的商業性，黃瀛洲一開始就以日
真實的圖像。式風格為《重甲機神》定調，但他沒有忘記自己身
為台灣人，除了故事舞台設定在台灣外海，也把北
重甲機神降臨
海岸的女王頭、擁有世界級精密工業的台中市街
「每一次的計畫都是走一步算一步，都要做廓製作成背景。關於劇中的手機，黃瀛洲堅持以
完才知道下一步能走到哪。」紀敦智說。原本規國產品牌的造型來設計，就連上班族準備綠色乖
畫製作26集的電視企畫，製作一年半才完成第一乖就能讓工作順利的民間傳說也放進動畫裡。
集，至少要有13集才能在海外販售，換算需將近電影裡的主要場景在海底城市，仔細研究它的
17年才能完成；加上電視已不是觀眾看卡通的主地理座標，其實就位在釣魚台。虛構的海底都市
要平台，無法提供較好的版權費用。經過審慎考由各國共治，電影裡設計了台灣、美國、日本、
量，黃瀛洲認為《重甲機神》的畫面優於台灣的印度、韓國、新加坡等不同國家的角色，大家齊
電視動畫，「所以很自不量力的跨了很大一步，聚在海底城市為地球的存亡而努力，讓這部日式
決定改做電影。」黃瀛洲笑說。風格的台灣動畫，充滿國際色彩。
從影集轉換成電影，黃瀛洲一直在思考《重《重甲機神》製作已近五年，現正依據試映
甲機神》的敘事方式，動畫與電影的敘事方式不會的建議重新調整，預計今（2019）年上映。長
同，電影中適度留白，讓觀眾不講自明的敘事手期以來，台灣動畫電影的製作團隊都是一部完成
法，搬到動畫裡卻顯得情節不夠緊湊；多條故事後，很難有下一部，黃瀛洲認為那些製作過程的
線並行的方式在電影裡常見，但在動畫作品裡就經驗累積，一定能讓下一部作品更好，希望有機
容易被觀眾認為角色情節跳來跳去讓人摸不著頭會讓觀眾看到重甲機神的後續，看見他們拚盡全
緒⋯⋯，諸如此類在北中南3場試映會後觀眾提力呈現的精彩作品。 l

Hwang came to the conclusion that the medium cellphones used in the film to look like those produced
wouldn’t provide them with high enough licensing fees by a Taiwanese brand, and on having office workers in
to cover their costs. Since he also felt that Baryon looked the film enjoy a particular Taiwanese snack.
better than the typical Taiwanese television cartoon, he The film’s key scenes take place in an undersea city
made the decision to turn it into a movie instead. located by the Diaoyutai Islands. Characters from Taiwan,
In consideration of the commercialization of the the US, Japan and other nations gather there to work to-
overseas market, Hwang decided to go with a Japanese gether to save the world, giving this Japanese-styled Tai-
style for Baryon, while also honoring his own Taiwanese wanese animation an international flavor. Baryon is slated
heritage. The story takes place off Taiwan’s coast, and its for release in 2019.
backgrounds include Taichung City, with its world-class For many years, animation production teams in Tai-
precision manufacturing, and the Queen’s Head rock for- wan have struggled to get backing for new projects once
mation at Yeliu. Hwang even insisted on designing the they’ve completed their current ones. Hwang believes
that the production experience that teams accumulate
working on a project enables them to do an even better
job on the next. He is hoping that positive audience re-
actions to Baryon will lead to his team having an oppor-
乾坤一擊團隊以最精簡的人力與資源，拚出一部熱血的動畫 tunity to show them something even more thrilling. l
電影《重甲機神》。（乾坤一擊創意股份有限公司提供）
The One Punch Creativity team produced Baryon with limited (Chen Chun-fang/photos by Lin Min-hsuan/
personnel and on a shoestring budget. (courtesy of One Punch tr. by Scott Williams)
Creativity)
29
封面故事
COVER STORY
立足台灣．望向世界
產官學為動畫搭橋
Sketching a Future for
Animation in Taiwan
—Filmmakers Join Hands
with Government and
Academia
文•陳群芳　圖•國立臺北藝術大學動畫學系提供　
版面設計•蕭郢岑
每年入秋，台灣動畫圈就開始蠢蠢欲動，
台中國際動畫影展、台灣動畫盃、關渡國際 E ach autumn, Taiwan’s animation world comes
alive. With the Taichung International Ani-
mation Festival, the Taiwan Anicup competition,
動畫節相繼登場，為優秀的作品與人才搭建
and the Kuandu International Animation Festival,
展示舞台，也給觀眾全新的動畫視野；另一
it is a time for outstanding animation to shine.
方面文化部透過各式的支持計畫，希望成為 Meanwhile the Ministry of Culture provides vari-
創作者最有力的後盾。在多方的耕耘下，台 ous avenues of support for creators. Through these
灣動畫產業逐漸開枝散葉。 efforts, Taiwanese animation has begun to bloom.

林旻萱攝 photo by Lin Min-hsuan
31
台灣動畫盃名為比賽，
實則促成國際交流，
激盪火花。（台灣動
畫盃主辦方提供）
Taiwan Anicup is
more than just a
competition. It also
promotes international
exchange in animation,
creating fireworks in the
process. (courtesy of
Taiwan Anicup)
秋日午後，板橋台灣藝術大學電影院裡傳來觀
眾熱烈的掌聲，隨即聽見創作者分享作品理念，
除了中文竟也有日語，入內一看，原來是台灣動
畫盃的比賽現場。
台日動畫輪番上陣
由台灣隊與日本隊各準備5支動畫短片，每部作
品放映結束後，觀眾有5秒的時間以掌聲評分；接
著，另一隊則在看完對手影片後決定以哪部作品迎
戰。每一局放映後，會先請兩隊分享創作理念，接
著由評審現場舉起螢光棒投票，藍色代表台灣，台日兩隊的作品放映後，評審直接舉起螢光棒評選，勝負
立判，緊張又刺激。（台灣動畫盃主辦方提供）
紅色代表日本。以評審票數和觀眾掌聲評比來判
After each round of screening of short films from the Taiwanese
定分數，比賽結果立刻知曉，場面緊張又有趣。 and Japanese teams, the judges raise their glowsticks to indicate
their votes. With the competition judged so immediately, the
對現場觀眾而言，不只是種獨特的觀影經驗， atmosphere is tense and exciting. (courtesy of Taiwan Anicup)
更可以看到許多題材有趣、手法新穎且具實驗性
的動畫作品。像是本屆台灣隊的參賽作品之一
《小羊貝禮》，講述一隻在人類世界找工作的小
羊，如何在求職過程中表現自己的不凡。對日本國內徵件，台灣少有人知。而一手推動這
短短4分鐘的影片，觀眾笑聲不斷。優秀的貝樣有趣盛事的，是台灣未來影像發展協會會長林
禮因為是隻羊而受到不平的對待，一度心灰意冷瑋倫。旅居日本多年的他，2012年受日本京都政
地跑去吃草，最後卻因為發現癌症藥物的關鍵序府主導的京都數位內容產業聯合Kyoto CMEX的委
列而獲得諾貝爾獎。故事雖然虛構，但既好笑又託，協助舉辦CG動漫大賽的首次跨國PK賽。
勵志，贏得整場熱烈的掌聲。原本是只有日本與丹麥兩國的比賽，林瑋倫
這樣有趣的動畫盃PK賽，源自於日本，1989年居中牽線，找了5支台灣原創的動畫短片共同參
起已有30年歷史的動畫競賽CG 動漫大賽，由於只與，為台灣動畫盃揭開序幕。2014年林瑋倫見時

On an autumn afternoon, the Taiwan Anicup com Taiwan Future Films Development Association (TFFDA).
petition begins at the National Taiwan University of Arts Lin spent several years living in Japan, and in 2012 he
cinema in Banqiao, New Taipei City. was invited by Kyoto CMEX (an industry–academia–
Taiwan and Japan take turns public collaboration for the digital content industry led
The Taiwanese and Japanese teams have each pre by the Kyoto City Government) to help organize Kyoto
pared five short animated films, and after each one is CMEX’s first international CG animation contest.
screened the audience is given five seconds to give their Originally only entrants from Japan and Denmark
judgment in the form of applause. Next, the opposing were to take part, but with Lin’s assistance, five original
team chooses which of its films it wants to put up against Taiwanese shorts were also included, marking the start
the one that was just shown. After each round, the teams of what would become Taiwan Anicup.
are invited to share their creative concepts, and then the In 2014, Lin felt the time was right to make his move.
judges vote with glowsticks, blue for Taiwan or red for With authorization from Project Team DoGA (the com
Japan. Between the judges’ votes and the audience ap petition’s Japanese organizers), and a judging panel that
plause, the results of the competition are quickly deter included Tetsuya Nakatake, a producer on the anime
mined amid a tense, fascinating atmosphere. Attack on Titan, and Yu taka Ka mada of Project Team
For the audience, it is not only a unique viewing DoGA, Lin launched the inaugural Taiwan Anicup.
experience, but also a chance to witness a number of Taking Taiwanese animation global
interesting, innovative, and experimental works of While it may look like just a competition, Taiwan
animation. Ani cup is really about the exchange of ideas. Past
The headtohead Anicup finds its origins in Japan, judging panels have included animation directors from
where it has been going since 1989, pitting CG animated Japan and even a character designer from Pixar, and
works from across Japan against each other. However, in addition to the competition, there are also talks and
with the competing works drawn exclusively from Ja chances to share experience. All of this aims to help fos
pan, the competition was little known in Taiwan. The ter international cooperation.
man behind bringing this fascinating format to Taiwan’s In 2016, Lin worked with the Tokyo International
shores is Weikalossu Lin (Lin Weilun), chairman of the Film Festival and the Taiwan Cultural Center in Tokyo
選手們熱烈地討論
要以哪支動畫迎戰。
（台灣動畫盃主辦方
提供）
Contestants discuss
fervently which of their
own side’s animated
shorts to pit against
each of their opponents’
films. (courtesy of
Taiwan Anicup)
33
問起林瑋倫為何想做台灣動畫盃，他笑笑地
說：「沒有人想做的事我來做。」動畫曾經是林
瑋倫的夢想，可是日本的專門學校學費昂貴，只
好改念構想設計，但他從未忘卻對動畫的熱愛。
除了回台舉辦台灣動畫盃，2016年開始林瑋倫也
與日本東京國際電影節、台灣駐日的文化中心合
作，在東京國際電影節舉辦「東京台灣未來電影
週」。將包含動畫在內的台灣原創影像帶到海外放
映，並邀請台灣導演至日本分享，促進雙方交流。
林瑋倫認為，相較於長片的資源充足，短片創
作多是單打獨鬥。不論是影像或動畫，林瑋倫希
望增加短片創作者的能見度，只要投稿到台灣未
來影像發展協會的聯合徵件系統，就等於投遞了
與協會結盟的三十多個影展單位的參加機會，大
幅節省創作者處理報名程序的時間，「希望以軍
隊全包式、有效率地將台灣作品送往國際。台灣
優秀的創作能量不能止步於大學畢業，應該讓世
界多看看台灣。」
誕生在關渡平原的國際影展
台灣未來影像發展協會將台灣的動畫作品帶向
國際；關渡國際動畫節則在台灣為全球的創作者
熱愛動畫的林瑋倫，一股傻勁成立台灣未來影像發展協會，
為創作者搭橋。（林旻萱攝）
搭建展示的舞台。
Weikalossu Lin, a lover of animation, set up the Taiwan Future 由臺北藝術大學動畫學系主辦的關渡國際動畫
Films Development Association to bring creators together.
(photo by Lin Min-hsuan) 節，自2011年起已經舉辦8屆，徵求來自世界各
地的動畫作品。隨著名聲遠播，徵件數量逐年攀
升，本屆（2018）收到來自89個國家，超過2,200
部的作品報名，「儼然已是世界知名的國際動畫
機成熟，在取得日本CG動漫大賽主辦單位授權，節。」影展總監暨臺北藝術大學動畫學系主任史
趁著協助台北電腦工會舉辦「台北國際數位內容明輝表示。
交流會」的機會，邀請日本動畫《進擊的巨人》經過系上老師們無數次的討論與交叉評選，最
製片中武哲也與CG動漫大賽創辦人鐮田優來台擔後選出83部競賽作品及54部觀摩片，並在動畫節
任評審，促成第一屆的台灣動畫盃。期間放映。其中有不少已獲得國際獎項的作品，
例如甫獲得安錫動畫影展評審獎，克羅埃西亞導
將台灣動畫送往國際
演Veljko Popovic的《Cyclists》，讓觀眾在台灣就
雖名為競賽，但意在促成台灣動畫創作者與國能一睹國際優秀作品的風采。
際交流。攤開歷屆評審名單，有日本動畫導演、做動畫要創角色，史明輝也將這概念放入關渡
製片、美國皮克斯動畫角色設計師等，並舉辦講國際動畫節，取關渡的英文KuanDu諧音為Kuan
座，分享他們動畫製作與發行的經驗，希望藉此 Dog，以關渡狗作為動畫節的形象，設計主視覺與
促成國際合作的機會。周邊布置，並在第三屆開始頒發關渡狗動畫獎項。

史明輝始終對台灣動畫
懷抱希望，持續創作，
努力不懈地培養人才。
（林旻萱攝）
Jack Shih has high
hopes for the Taiwanese
animation world,
continually creating and
working to cultivate new
talent. (photo by Lin Min-
hsuan)
（左圖）為期8天的關渡國際動畫節，講座、
論壇、精彩作品，輪番登場。
The eight-day Kuandu International Animation
Festival includes talks, forums, and screenings of
wonderful works.
tional University of the Arts, has been held annually

since 2011, with the number of entrants growing each
time. 2018 saw over 2,200 entries come in from 89 coun
tries. “Evidently it’s become a worldrenowned inter
to organize the “Taiwan Future Short Films Week in To national animation festival,” says festival director Jack
kyo.” With original Taiwanese animated shorts included Shih, who chairs the animation department at TNUA.
on the schedule, it was a chance to bring Taiwanese After numerous discussions among the department
animation to an overseas audience. faculty, in the end 83 films were chosen to compete for
Weikalossu Lin hopes to help boost the visibility awards and a further 54 were chosen to screen out of
of Taiwan’s short film creators, and by inputting their competition.
information into the TFFDA’s joint entry system, these Animation obviously needs characters, and to serve
creators are able to have their works submitted to over 30 as the mascot of the KDIAF, Shih designed KuanDog.
different festivals. This is a huge time-saver for the cre Not only does KuanDog adorn materials about the fest
ators. “My goal is to effectively and efficiently dispatch ival, he has also, since the third festival, served as the
Taiwanese works internationally,” says Lin. “The creative model for the awards handed out.
energies of Taiwanese creators can’t be left to languish Many films that go on to earn Academy Award
after the end of college. We need the world to see what nominations have won awards at KDIAF, leading Shih
they can do!” to jokingly call them “Oscar ’s advance guard.” The
An international film festival on the Guandu Plain Chi lean animated short film Bear Story, for example,
The Kuandu International Animation Festival (KDIAF), won the Academy Award for Best Animated Short Film
organized by the Animation Department at Taipei Na in 2016. Two years earlier, director Gabriel Osorio had
35
關渡國際動畫節
找來國外講師
舉辦工作坊，
分享偶動畫的
製作。
The Kuandu
International
Animation Festival
brings international
speakers to Taiwan
to hold workshops
and share
their animated
productions.
關渡國際動畫節放映的作品不僅有量更有質，煌的成績；但不會因此不用培育下一代，如果因
許多影片在入圍奧斯卡前，都曾在台灣獲得關渡為景氣不好、狀況不好所以停止培育，將來動畫
狗動畫獎，因而被史明輝笑稱是奧斯卡的前哨電影風氣起來，要去哪裡找人才？」
站。例如以《Bear Story》獲得2016年奧斯卡金像兒童動畫營便是動畫節衍伸的深耕教育，由系
獎最佳動畫短片的智利導演Gabriel Osorio，他在上師生帶著從影展裡精選的動畫短片到偏鄉國中
2014年獲得的關渡狗動畫獎是第一座獎，之後陸小播映，並舉辦動畫工作坊。史明輝認為，「台
續在其他國際影展獲獎，最後得到奧斯卡。2016 灣的孩子從小看的動畫多來自美國和日本，高中
年Gabriel Osorio受邀在關渡國際動畫節演講時表大學的動漫社團也都是日式，但其他國家也有很
示，「就像是回娘家，意義非凡。」好的實驗型創作，不應侷限在某些類型。」
透過辦展讓世界看見台灣，也讓觀眾放眼國讓孩子欣賞來自各國的原創動畫，了解黏土、
際。動畫節除了放映徵件作品，還有數個國際影剪紙、手繪等都可以是動畫的媒材，從小給他們
展單元，邀請國際策展人安排精采節目，像是本動畫的興趣和觀念，「動畫是甚麼？怎麼做？動
屆的「英國動畫獎」單元就精選了最新發布的英畫的多元性與國際性，廣度有多廣。對我們而言
國動畫獎得獎與入圍作品；「捷克國際動畫影就像是一顆種子，會不會長不知道，但孩子已經
展」、「波蘭O！PLA動畫節」也都放映了與國收到這份禮物，剩下就看老天怎麼帶了。」史明
際展會同步的精彩作品。輝表示。
撒播動畫種子文化部的多面向協助
「內需觀眾少，動畫的籌備期長、拍攝期更一部動畫的問世，在前期故事構想、角色美術
長，但投資人希望一年就回本，使得動畫電影的設定等企劃階段，需經過無數次的討論構思，完成
投資風氣不興。」本身也是動畫導演的史明輝道故事雛型才有機會進入製作階段，投入大量人力成
出在台灣從事動畫創作的艱難。即使如此，他仍就一部優秀作品。面對動畫產業的技術密集與高製
從未想過放棄。「台灣動畫40年來也許沒有很輝作成本，「部裡有個很重要的思維就是投融資和獎

won the Best Animated Short Film award for the same has never occurred to him. “If we just stop developing
film at KDIAF, going on to win similar awards at vari- talent because the economy isn’t good or conditions
ous international festivals between then and the Acad- look bad, then where are we going to find that talent
emy Awards. Invited back to speak at the 2016 KDIAF, when things pick up?”
Osorio commented on how much it meant to him and Animation camps for children are one way of setting
said that it felt like coming home. down educational roots for the form. Led by students
In addition to screening submitted films, the festival and faculty from TNUA, children from rural elementary
also works with international curators to organize a and junior high schools have the chance to participate
variety of spectacular themed sections. The most recent in workshops and watch a selection of shorts from
festival, for example, included a section focused on the the KDIAF. “The animated works that Taiwanese kids
British Animation Awards, featuring a number of nom watch mostly come from America and Japan,” says
inees and winners from the 2018 awards. Shih. “The animation clubs in senior high schools and
Sowing the seeds of animation universities overwhelmingly focus on Japanesestyle
“There’s not a lot of domestic demand for animated works too, but we shouldn’t limit ourselves to just those
films, and it takes a long time to prepare them and even kinds of things. Other countries also produce great
longer to shoot them. And with investors usually look- experimental animation!”
ing for returns within a year, animated films don’t look Exposing children to original animation from around
like a good investment to them.” This is one of the big the world, and to forms from claymation and paper
challenges facing Taiwanese animation, says Shih, him- cutout animation to handdrawn cartoons, is one way
self a director of animated cinema. Even so, giving up to help them develop an appreciation for and interest in
animation. “We see it as like planting seeds,” says Shih.
“We don’t know if they’ll necessarily grow, but we’ve
given the kids this gift, and now we just have to see
what happens.”
A helping hand from the Ministry of Culture
The birth of an animated film involves many discus-
sions and much brainstorming in the planning phase,
only entering the production stage once a basic storyline
has been developed. From there, a massive amount of
manpower needs to be invested in creating an outstand-
ing film. Faced with the technologyintensive nature and
high production costs of the animation industry, “the
ministry considers it very important that we have a two
track approach, offering help both through investment
and financing, and through grants and subsidies. Grants
alone will not drive the creation of a real industry,” says
Deputy Minister of Culture Ting Hsiaoching.
In the past, subsidies for animation mostly focused
on production, but a strong story and good writing are
the real keys to drawing in audiences. With this in mind,
in 2018 the Ministry of Culture launched a “forward
looking development plan” of its own for the animation,
媒材、風格、主題不拘，動畫創作充滿無限可能。
Animation, with fewer restrictions on medium, style, and comics, and gaming industries. By investing resources at
theme, is a world of limitless creative possibilities. the preproduction stage, the ministry aims to help sup-
port creators in preparing betterquality work.
37
補助要雙軌，純粹靠補助沒有辦法催生產業。」文
化部次長丁曉菁說。
過往動畫的補助多集中在影片的製作，但故事的
豐厚、文本的紮實卻是影響作品能否吸引觀眾的重
要關鍵，於是文化部在2018年啟動前瞻計畫來扶植
ACG（動畫、漫畫、遊戲）產業。在動畫製作的前
期就導入資源，支持創作者把企畫案的質量做好。
另一方面，丁曉菁也鼓勵創作者學習與銀行打
交道。相較於台灣對內容產業補助的多元，其他
國家的補助其實很少。她以日本動畫創作者新海
誠為例，前幾年他的作品《你的名字》在全球賣
座，但一般人鮮少知道的是，新海誠這一路走了
16年才終於被大家看見。
這麼多年來新海誠只拿過日本政府500萬日幣的
補助，資金主要來源都是他的社長拿他的案子跟銀
行交涉借錢，等作品完成後再將市場上回收的資金
償還銀行，而且每次都剛好打平。因為有借有還，
慢慢累積新海誠的信用額度，讓他能持續有資金從丁曉菁樂觀看待台灣動畫，讓政府部門成為支持創作者前進
的後盾。（莊坤儒攝）
事創作，他的才華經不懈地努力終於被世人看見。 Ting Hsiao-ching is full of optimism for the development of
animation in Taiwan and has helped the government become a
在台灣，這種無形資產鑑價的制度還很罕見， valued source of backing for creators. (photo by Chuang Kung-ju)
需要大家開始累積成為正向循環。去（2018）年
文化部「文化內容產業投融資專業協力辦公室」
就協助創作者首次以委製合約，成功向銀行取得
周轉資金。過往銀行覺得合約沒有價值，但在內為讓台灣的動畫作品能連結國際，除了將動
容產業裡委製合約就是完工保證，銀行只要協助畫角色集結參加國際展會外，文化部也積極建立
前期的資金周轉，待作品完成後，合約方就會撥內容產業的品牌識別度，簡而言之就是讓國際看
款，是一定可以拿到錢的。見具有台灣味的作品。文化部與科技部合作建立
「台灣數位模型庫」，將現存如台北101、淡水
產業當主力，政府作後盾
紅毛城等代表景點，或已消失的中華商場、菊元
政府的輔助機制有時就像是兩面刃，美意是希百貨等充滿歷史的建物，以數位科技建置3D模
望協助創作更多優秀的作品，但當創作者只依賴型，提供創作者說故事的場域，彷若虛擬的影視
政府補助時，勢必會被市場淘汰。如何讓作品達基地，大幅降低田野調查的時間與成本。以此創
到國際品質，再善用政府提供的輔導機制，才是作的作品裡延伸出的空間美學、視覺美學都將成
長遠的基礎。為台灣品牌的文化特色。「我們到處點火、到處
林瑋倫也以自身參與日本內容產業活動辦理的經設置各式各樣的補助計畫，讓動畫產業能夠多面
驗分享：日本舉辦大型活動是由政府號召產業組成向的孵化和發展。」丁曉菁樂觀地說。
執行單位，資金大多由民間企業支持，僅少部分政台灣不乏優秀的動畫作品，除了需要舞台，更
府補助。因為每分錢得來不易，所以會謹慎運用，需要國內觀眾支持。這些點滴的累積，提供創作
盡力把活動辦好。一來避免官商勾結的詬病，二者養分，也開拓觀眾的視野，有作品有市場，台
來敦促產業茁壯，才能對產業發展有實質影響。灣動畫才能走得更長更遠。 l

At the same time, Ting also encourages creators to learn to him secure, which had to be repaid from earnings
deal with banks. Compared with most other countries, Tai- after each work was completed. He barely broke
wan offers an unusually large range of government grants to even each time. All of this borrowing and repay-
the content industry. Take a look at Japan. A couple of years ment helped Shinkai gradually build his credit
ago animator Makoto Shinkai broke out with the box-office score, which ensured he could continue to secure
hit Your Name, but few among the general public realize that funds for his work.
this came only after his having toiled in the industry for In 2018, the Ministry of Culture’s Office of Pro-
some 16 years. fessional Assistance in Cultural Investment and
Throughout that whole time, Shinkai received a total of Financing began helping creators successfully
only ¥5 million in grants from the Japanese government. His obtain working capital from banks through a com-
main source of funding was bank loans that his boss helped missioning contract system. In the past, banks felt
that contracts with creators had little value, but in
the content creation industry, such contracts func-
tion as guarantees of completion. If banks can pro-
經過多年努力，踩在動畫紙和燈箱上的關渡狗動畫獎座，
vide assistance with working capital in the early
在國際影展中打響名聲。（林旻萱攝） stages, then once the film is finished they will get
The KuanDog Prize, featuring the eponymous dog atop a
stack of cels and a lightbox, has after many years of effort
their money back.
become well known among international film festival awards. Business in the front, government in the back
(photo by Lin Min-hsuan)
Government grants can be a double-edged
sword, though. While they come with the good
intention to help creators do better work, if cre-
ators become overly reliant on them, then they will
almost surely find themselves left behind by the
market. The issues that need to be addressed to lay
the foundation for long-term success are how to
create world-class films and how to make the best
use of government support mechanisms.
To help actively establish brand recognition for
Taiwan’s content industry, the Ministry of Cul-
ture has worked with the Ministry of Science and
Technology to create the “Taiwan Digital Asset
Library.” The library includes digital 3D models of
landmarks like Taipei 101 and historical sites like
the now-demolished Zhonghua Market. These are
provided to creators to help them set out virtual
shooting locations, greatly reducing the cost in both
time and money of scouting and studying locations.
These assets will help create a distinctively Taiwan-
ese brand of spatial, visual, and cultural aesthetic.
Excellent animation needs a platform to be seen
and an audience to support it. Only with both
good films and a good market can Taiwanese ani-
mation look forward to a bright future. l
(Chen Chun-fang/photos courtesy of the Department
of Animation, TNUA/tr. by Geof Aberhart)
39
封面故事
COVER STORY
夢想‧全面啟動
進擊的台灣動畫人
Dreams Fueled （Us Studio提供　courtesy of Us Studio）
by Passion
—Working in Taiwan’s
Animation Industry
《全面啟動》電影裡，飾演盜夢神偷的李奧納多，光
憑著想像，就可以建構出以假亂真的虛擬時空；有一群
文‧蘇俐穎　圖‧林格立　
版面設計‧蕭郢岑人，為了成為現實世界中的造夢者，他們以熱情作燃料，
催動夢想的引擎。
I n the film Inception, a thief played by Leonardo DiCaprio

is able to create false worlds that look remarkably real by
using nothing more than his imagination. Similarly, there is
a group of people in Taiwan who are using passion as fuel to
generate dreams.
（Us Studio提供　courtesy of Us Studio）

41
「能轉行的，就趕快轉行吧！」畢業自銘傳大時因應開發出各式各樣的周邊產品，日本的動畫
學數位媒體設計學系，進入業界工作才5年的前產業早已發展出綿密且完整的產業鏈。產業精緻
輩，在返校演講上一席驚人發言，台下的大一新的專業度與完善的晉升制度，更是吸引許多人留
鮮人雖然懵懵懂懂，心裡仍泛起陣陣的不安。下來的主因。
前輩的忠告，真是其來有自。發軔甚早的台灣為了進入日本業界，多數人的第一步是整個砍
動畫產業，早在九○年代曾經風光一時，一度成掉重練，以學生身分進入動畫專門學校就讀，在
為全世界動畫的加工中心，但這樣的榮景，就像學之餘，一邊積極尋找日後就職的機會。
許多製造業的際遇，由於薪資上漲，廉價人力的白羅株式會社社長張紹偉也是如此。從崑山科
優勢不再，隨著產業外移，早已今非昔比。技大學視覺傳達設計系畢業的他，由於畢業後求
罕有知名的原創作品、缺乏資金投入⋯⋯台職之路並不順遂，索性赴日朝動畫方面深造，一
灣動畫產業正面臨諸多困境，因此，就算許多學留就是8年。
生，出於對動畫的憧憬進入相關系所就讀，一旦「台灣人重視經驗值，但日本人重視年輕人
畢業，眼前卻是嚴峻的現實。的培養。」張紹偉觀察道。由於動畫風格多元，
好比武打、體育、女性角色等，每家公司各有所
海外見聞錄I：日本
長，他說：「台灣公司大多希望有經驗、即戰力
勞力密集，步步晉升
的人才；但日本公司卻希望新人從零開始培育，
導演李安曾說，身為海島國家的子民，台灣人畢竟每間公司的風格不一，日後，新人才可以長
應該主動走出去，積極與世界交流。出於文化、成符合公司需要的形狀。」
地緣上的親近性，動畫王國的日本，成為海外發但動畫工作相當辛苦，留不留得住，還是一
展的首選。大考驗。同樣從動畫專門學校畢業，在M u k u o
「資源豐富、相關展覽多」是許多旅日動畫人 Studio擔任背景動畫師的林鴻生分享：「在專門
對日本的評價。動畫、漫畫與遊戲相互衍生，同學校就讀時，前輩們都說工作非常非常辛苦，待
原創動畫製程繁瑣，
除了製作時間相當長，
成本甚至可能遠超
真人實拍電影。
The technical
procedures needed
to create an original
animated film
are complex and
time-consuming.
Production costs can
far exceed those of a
live-action film.

“If you can change tracks, then change tracks as 日系動畫以2D見長，影響台灣動畫人甚深。（林鴻生提供）
quick as you can!” So spoke a graduate of Ming Chuan Japan excels at 2D animation, and its industry has had a major
impact on Taiwan’s. (courtesy of Lin Hung-sheng)
Univer sity’s digital media design program with five
years of work experience in a speech he made back at
his alma mater. His warning fostered a sense of anxiety
among the newly arrived freshmen in the audience.
But there’s something to the old-timer’s advice. of animation, and it represents the top choice among
It is all too common for Taiwan’s animators to con- Taiwanese animators for overseas careers in the field.
ceive of innovative works only to end up with insuffi- “Full of rich resources and with many related exhibi-
cient funding to bring those works to life…. Taiwan’s tions” is the general assessment of the Taiwanese ani-
animation industry is facing hard times. Consequently, mators who have gone to work in Japan. Manga, anima-
even though many students want to work in animation tion and gaming are interrelated fields there, and they
and related fields, they face grim employment prospects have given birth to all manner of peripheral products
when they graduate. and merchandise. Consequently, the animation indus-
Overseas Diary I: Japan try in Japan has tight, well developed and complete
Hard work, step-by-step advancement chains of production. The high level of professionalism
Director Ang Lee once said: Taiwanese, being peo- and comprehensive systems of promotion character-
ple from a small island, need to take the initiative to istic of the Japanese animation industry are even bigger
leave it and engage with the world. Both culturally and reasons why many Taiwanese animators move there for
geographically close to Taiwan, Japan is a kingdom extended stays.
43
加州藝術學院與產業
互動緊密，學生時常
有機會親炙名家風采。
（沈安琪提供）
The California Institute
of the Arts has strong
connections to the
animation industry,
and its students have
frequent opportunities
to come in close contact
with masters in the field.
(courtesy of Shen Anchi)
遇也不是很好，學生們都只是聽聽而已，直到進
海外見聞錄II：美國
入業界工作才知道。」
培育原創故事導演
每周上班6天，每日工時平均12小時，是基本
常態，加上案子常得跟時間競速，熬夜趕件的情一隻羊費盡千辛萬苦進入醫學院就讀，憑藉著
況時有可聞，有些公司甚至另外設置供員工補眠孜孜矻矻的努力，想在人類社會中掙出一片天，
的寢室。卻在求職過程中，只是因著身分不同，歷經萬般
再加上起薪不高，薪資多以基本薪資，加上刁難⋯⋯。
每個月完成的張數，按張數抽成來計算，研修階這是在「台中國際動畫影展」、「南方影
段（類似台灣的試用期）甚至沒有薪水，種種原展」、「台灣動畫盃」相繼上映的動畫短片《小
因，造成新人的流動率非常高。羊貝禮》（Barry）的劇情。角色造型討喜、節奏
林鴻生補充：「10個案子裡，可能有7個都不簡潔明朗，舉重若輕的敘事手法，不僅讓許多在
是自己喜歡的風格，尤其新人時期，案子通常由海外奮鬥的人掀起共感的漣漪，也在無形中洩漏
前輩分配，但只要是工作，就沒有『不會畫』的了導演的背景。
理由。」他接著說，「在我的公司，未滿10年都放眼望去，台灣動畫相關科系不少，但由於時
還算是新人！」常涵蓋遊戲、多媒體動畫等範疇，且偏向教導軟
只不過，走過初期的陣痛，對於專業的尊重，體操作的技術，但對於原創動畫中核心的電影敘
不問資歷、只論實力的風氣，以及完整的晉升制事技巧，卻少有著墨，但偏偏「故事」，才是動
度，仍讓不少人決定留日發展。畫吸引人的關鍵。
張紹偉一路從動畫師、動畫檢查、原畫師慢慢為了這樣的理由，從台北藝術大學動畫系畢業
地往上晉升，兩年前在《甲鐵城的卡巴內里》擔的沈安琪，畢業以後再以新鮮人身分，進入美國
任動畫監督。加州藝術學院（CalArts）角色動畫學系就讀。
「對動畫有興趣的，就趕緊來吧！」他向台灣「故事要讓觀眾看得懂，角色要討喜。」沈
的年輕人熱情喊話。安琪一語道盡校內課程的宗旨。身在影視產業重

In the field it’s quite normal to work 12 hours a day,
six days a week. Plus, you often end up working on
tight deadlines, so you might have to pull all-nighters.
Some studios even have dormitories where workers can
catch a few winks.
And starting salaries aren’t high. Typically, there is a
basic wage, which is supplemented depending on how
many projects one works on. Sometimes, in the case of
internships and probationary hires, there is no salary
whatsoever. For all kinds of reasons, animation studios
there have extremely high rates of personnel turnover.
But once you get past the initial growing pains, the
旅日邁向第8年，林鴻生經手過《七龍珠超》、《怪醫黑傑克》 professional respect you get isn’t based on your years
等知名作品。（林鴻生提供）
Coming up on eight years in Japan, Lin Hung-sheng has worked
on the job but rather on the actual work you can do.
on Dragon Ball Super, Black Jack and other well-known animated And there is a comprehensive system of career advance-
series and films. (courtesy of Lin Hung-sheng)
ment, so that quite a few people decide to stay in Japan
and pursue their careers there.
To enter the Japanese industry, many people start

from scratch, enrolling at a professional animators’
school. In addition to the education, they also can make
connections for future employment. Chang Shao-wei,
who is head of the animation studio Poirot, took this
route.
“Taiwanese emphasize the value of experience, but
the Japanese emphasize the cultivation of youth,” says
Chang. Because there are so many styles of animation
there—ranging from martial arts, to sports, to stories
based around female leads—each animation studio has
its own specialties. He notes: “Companies in Taiwan
hope to get experienced, battle-tested talent; whereas
Japanese firms hope to get newcomers that they can
mold entirely to suit their purposes. That ultimately re- 工時長、起薪低，想從事動畫工作，熱情才是永保初心的
sults in each studio having its own style. The new talent 秘訣。（張紹偉提供）
With long hours and low pay, animation work is suited only to
will turn into the kind of animators the company needs.” those with a true passion for it. (courtesy of Chang Shao-wei)
But animating isn’t easy, and many find the working
conditions too challenging to stay on. Lin Hung-sheng,
who graduated from a professional animators’ school
and who does background animation work for Mukuo Overseas Diary II: America
Studio, recalls: “While studying at animators’ school, Cultivating directors with original stories
those ahead of me all said that the work was very hard A goat toils to enter medical school and excel there. Af-
and the pay poor. But it would go in one ear and out the ter graduating, it wants to work hard and establish a place
other. When we graduated, we learned just how true for itself in human society. But as it looks for employment,
those reports were.” it faces innumerable obstacles because it is different.
45
鎮、創意人才大本營的加州，學校便是由迪士尼人類（好比動物），甚至是物件的視角來講述故
創辦，可想而知，與業界的互動相當緊密，除了事。」、「完全沒有框架，隨心所欲！」大夥兒一
不乏知名藝術家擔任師資，親自指導學生，還提陣七嘴八舌。
供到動畫公司實習的機會。而這些優勢，也被順理成章地運用在他們的畢
由於強調培育動畫導演，這裡的學生每年的重業製作《漂》（Gone with the World）之中。
頭戲，便是不假他人之手，一人獨立完成一部短故事選擇以器物（玻璃瓶）作為媒介，串接起
片，一年級90秒、二年級2分半、三年級4分鐘、不同的動物（烏鴉、北極熊與海龜）的視角，6
四年級7分鐘⋯⋯《小羊貝禮》也由此誕生。分鐘的短片（包含2個系列）、5個場景（懸崖、
尚未正式踏入業界的沈安琪，跟許多留學生一工廠、城市、洞穴、冰山）與8個角色（5隻烏
樣，在圓夢之餘，難免嚮往國外的工作環境，但由鴉、2隻北極熊、1隻海龜）；相較起一般學生的
於身為國際人士，卻難免有時徬徨，恰如影片中的畢製，多以2個場景、3∼4個角色為上限，龐大
疑問，「會不會再怎樣努力，也得不到好結果？」的編制與許多繁複且陌生的設定（好比鳥類與北
年輕無畏，耀演國際
雖然台灣動畫因著2017年《小貓巴克里》入圍
金馬獎，2018年《幸福路上》獲最佳動畫
長片而重新受到關注，不過對於長年猶如
死水的產業界來說，這樣的喜訊只是一陣
漣漪，談不上翻轉。
即便如此，銘傳大學數位媒體設計系楊
琪均、張鈞楷、呂欣、郭家澤、葉依玲、
吳文杰等6名應屆畢業
生，沒被前輩的話嚇著，
在一同完成畢製作品以沈安琪以《小羊
貝禮》講述國際
後，進一步決定成立動畫人士在海外奮鬥
工作室Us Studio（貳拾工的甘苦。
（沈安琪提供）
作室），持續逐夢。 Shen Anchi’s
Barry describes
「小時候爸媽就給我們 the hardships
experienced by
看迪士尼出品的錄影帶， those studying
overseas. (courtesy
這是初次接觸動畫的契 of Shen Anchi)
機，也藉此看見更多元的
世界；加上喜歡畫畫，到
高中的時候，自然而然就有想試試看的念
頭。」楊琪均說。
談起共享的童年回憶，大夥兒精神一
振，對於從小就嫻熟經典動畫作品的他
們，動畫的迷人之處不可勝數。
「可以做到真人實拍電影沒辦法做到
的事情。」、「可以做出一個沒有人想
像得到的架空世界。」、「可以使用非

Such is the plot of Barry, an animated short that was fact that these stories are actually the key to these films’
screened at the Taichung International Animation Festi ability to draw people in.
val, the South Taiwan Film Festival, and Taiwan Anicup. That is why Shen Anchi, after graduating with a de
The characters are appealing, and the story’s rhythm is gree in animation from Taipei National University of the
simple and clear, with humorous narrative techniques Arts, entered the bachelor of fine arts program in charac
that belie its serious themes. Although rooted in the dir ter animation at the California Institute of the Arts.
ector’s own background and history, the film struck a “The stories have to be understandable to audiences,
chord with many people overseas. and the characters have to be likable.” Shen thus sums
There are quite a few college and university depart up the program’s creative ethos. Located in California, at
ments in Taiwan connected to animation. Because they the center of the film industry, where creative personnel
typically focus on gaming and multimedia, they tend to abound, CalArts was founded by Walt Disney. It’s no
offer instruction in the use of software. But there is little wonder that the school has tight ties with the industry.
emphasis placed on the narrative techniques that are at Apart from the many famous artists on the faculty who
the core of creating original animated films, despite the personally instruct students, students also have abundant
opportunities for internships with animation studios.
Because the program emphasizes the cultivation of
因為被《料理鼠王》的故事打動，啟發沈安琪勇於追尋動 directors of animated films, every year the students
畫夢。（沈安琪提供）
Shen Anchi decided to pursue a career in animation in part because
there individually create shorts for their major project.
of her love for the animated film Ratatouille. (courtesy of Shen Anchi) Thus was the birth of Barry.
Not yet embarked on her pro
fessional career, Shen, like many
overseas students, can’t help but
feel a bit overcome by uncertainty.
Her doubts aren’t unlike those
raised by her film: “Maybe no mat
ter how hard I work, I still won’t
be able to attain a good result.”
Young and fearless
Although Taiwan’s animated
films attracted renewed attention
after Barkley was nominated for a
Golden Horse in 2017 and On Hap-
piness Road won the Golden Horse
for Best Animated Feature in 2018,
as far as Taiwan’s longmoribund
animation industry was concerned,
this happy news was merely a
brief respite. It did not herald an
industrywide turnaround.
Even so, six graduating stu
dents in the Department of Digital
Media Design at Ming Chuan
University—Yang Chichun, Chang Chunkai, Lu Hsin,
Kuo Chiatse, Yeh Yiling and Wu Wenjie—were un
deterred by the grim career prospects described by senior
47
動畫包容性強，故事可以天馬行空，《漂》以動物的際遇傳遞生態
環保議題。（Us Studio提供）
Animation is an all-embracing medium that supports bold and imaginative
storylines. Gone with the World uses stories about animals to convey an
environmental message. (courtesy of Us Studio)
極熊的骨架架構，海流與冰山崩裂的特效等），性，為他量身打造造型；可以讓他哭，也讓他笑。」
讓學校老師一度認為他們無法完成。呂欣說：「就像生出自己的小孩，讓他了活起
但他們不僅完成了，更初生之犢不畏虎地投件來！」
參賽，就此奪下多個國際動畫影展的獎項，包括專攻場景設定的葉依玲說：「從小就常被電影
洛杉磯Festigious國際電影節、柏林Sunlight國際場景裡的色調、氛圍吸引，因此特別喜歡場景空
電影節給予肯定，聖地牙哥國際兒童影展甚至頒間感，也喜歡觀察微小的東西。」
給「最佳評審團獎」的殊榮。主要負責特效的郭家澤說：「雖然特效需要不
斷地利用電腦調整數值，一開始會覺得很生硬，
有熱情，自然有出路
但一經過算圖，就立刻可以看到效果，特別有成
由於程序繁複，動畫製作的時間動輒數年，就感！」
曠日廢時。U s S tudio的基地，就藏在圓山花博年輕有夢最美，但光憑夢想，真的可以有飯
公園鄰近，一幢不起眼的商辦大樓的地下室裡吃？U s S tudio證實了這點。因為對於動畫的熱
頭，在這個路上行人難以察覺的隱密空間，好情，他們吸引到投資人，願意支持他們投入下一
似與世隔絕，讓他們不問現世殘酷，只管專注部原創作品。
孵育夢想。固然大環境一時半刻無法改變，但趁著年輕，
我問他們，在這樣慢工出細活的過程，最大的又何妨就此奮力一搏？先求盡力，不問成果。畢
樂趣是什麼？竟，每多一部好作品，也就為台灣動畫產業多點
擅長角色設定的楊琪均說：「可以賦予角色個燃了希望的生機。 l

workers in the field. After working together on a gradu- But finish it they did, and then they showed even
ation project, they jointly founded the animation firm Us more youthful hubris by submitting the film to various
Studio, where they have continued to pursue their dreams. international competitions, where it won several prizes,
“You can create stuff that wouldn’t be possible shoot- including the Grand Jury Prize at the 2018 San Diego
ing live action.” “You can create another world beyond International Kids’ Film Festival.
people’s wildest imaginings!” “You can use non-humans Where there’s a will, there’s a way
(such as animals), or even tell stories from the perspect- Because they are so difficult to make, animated films
ive of inanimate objects.” “There are no limits. You can do may take many years to finish. Us Studio is located near
whatever your heart and mind desire!” The members of Taipei Expo Park in the basement of an unremarkable
Us Studio thus enthuse about their chosen art. office building. Passersby would never guess what was
And these advantages were on full display in Gone inside. The work space really seems sealed off from the
with the World, the animated short that was their gradu- world—a place where these animators can focus on real-
ation project. izing their dreams removed from worldly concerns.
Six minutes long, with five scenes and eight characters, When people are young, they have beautiful dreams,
the story uses a glass bottle to link together the perspect- but can these dreams put food on the table? Us Studio
ives of different animals. Compared to most graduation has answered this question in the affirmative—because
projects, the film was ambitiously complex and required the founders’ passion for animation has attracted invest-
the students to master unfamiliar techniques. The team’s ors who are willing to support their next original work.
advisor worried they wouldn’t be able to finish it. Although one can’t instantly change the broader
environment, there’s no harm in trying when you are
young. Give it your best shot and don’t be too con-
cerned about the results. Ultimately, each good new
Us Studio團隊立足台灣，勇於追尋動畫夢。
work sparks hope for Taiwan’s animation industry. l
The founders of Taiwan’s Us Studio are boldly pursuing their (Lynn Su/photos by Jimmy Lin/tr. by Jonathan Barnard)
dreams as animators.
49
我感
謝《
這片光華
土地》，
Th 上許
ank 因為
hav you
, Ta
許多多這道
e sh i 光，
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r
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我從北しての美 ear
s.
朱哲くれ
ますしい瞬
光著輝/
閱著腳ㄚ Jull
《光子到 ian
Ch 。間
為華華》踩著 u, N
麗的，異國 ewT
因為土地 aip
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akes capt ough
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ll isa
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/ Ell
isa
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, No
rway
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我在
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擁有 40年
《國的歲
法，家地月裡
以及理雜特別
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As s
om
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富》內涵華》
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a v
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我的『フ』誌に』の内華』を al
記憶ォー匹敵
在美中有チュし、文容は『ナ楽し
み
好的一片ン』誌章は『ショに読
年代《光に匹タイナル
更有裡除華》敵しム』誌ジオ
著「，因ますグラ
Taiw 光華了美好為。、レイ
an P 」的輝的記アウ
mem anora
ma h 煌。憶，（美
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but wn m I get my
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ととい時』の世
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（台
北徐』があ思い
志蓮りま
/ Xu
Zhil
す。
ia n, T
aipei）
我喜閱《
光華》，
閱讀台灣因為它讓
的風土民我透過其
情與歷史他語言來
I love Tai 風采。
wan Panor
Taiwanesa because am
e it lets me
trends, cu
stoms, an read abo
外国語で d history ut
台湾の風 in other
langu
とができ土や民俗 ages.
る『光華』、歴史な
が大好きどを読む
です。こ
（桃園
廖文安/
Daniel Li
ao, Taoy
uan）
感謝您陪同
感謝您陪同《光華》四十年之久
的故事旅行，這些發自內心的真
《光華》四十年之久的故事旅行，
誠書寫，是《光華》勇敢邁向新
這些發自內心的真誠書寫，是《光
興階段的鼓舞與激勵，在光陰韶
華》勇敢邁向新興階段的鼓舞與激
華與世代變遷裡，我們繼續一起
勵，在光陰韶華與世代變遷裡，我
迎風前行……
們繼續一起迎風前行。
Thank you for accompanying us on

Taiwan Panorama ’s 40-year journalistic
odyssey. The heartfelt letters we have
received have encouraged us to be bold
in launching the magazine onto the next
leg of its journey, and we look forward
to traveling with you for years to come....
40年にわたる『光華』の物語ととも
に歩んでくださり、ありがとうござ
います。ここに寄せられた皆様の言
葉は、これから新しい時代に向けて
歩もうとする『光華』の大きな力に
なるものです。時代が変わっていく
中、これからも一緒に前進していき
たいと考えています。
請利
請利用
用雜雜誌
誌所所附
附訂訂閱
閱單單或
或信信用
用卡卡專
專用用單
單訂訂閱
閱。。
To subscribe, please use the form in the back of the magazine.
To subscribe, please use the form in the back of the magazine.
お申込みには、本誌についている専用お申込書をご利用ください。
お申込みには、本誌についている専用お申込書をご利用ください。
廣告
印度──
人種、宗教、語言大熔爐，
好讀
天堂和地獄的交界 ◎ 賴向榮
鷹嘴豆煮熟了可以當沙拉配料，或鷹嘴豆和茄子、南
瓜的料理；另外他們有奶製品及乳酪的使用，以及在
調味上多使用香料及咖哩，這些都是他們素菜的特
色。至於主食方面，除了米飯之外，也用各種的餅伴
隨著咖哩等醬汁配合蔬菜，是他們的傳統吃法。
印度有十三多億人口，即將在這式的建築，從十七世紀開始就是
幾年超過中國大陸成為世界人口王國的首都。印度雖然很多的寶
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，
最多的國家；除了人口多，它也有物現在都在英國的博物館，但是

超過二十種不同的語言和許多不二十世紀時印度獨立後重建過，
同的民族、宗教，是個人種、宗教、每年八月十五日，印度總理便會
語言的熔爐。雖然近年來經濟上在這兒的大門向全國演講，象徵
突飛猛進，但是印度在我們的媒獨立的一個重要儀式。紅堡晚上
體報導印象裡，還是以乞丐、小孩紅城的燈光秀和城內的市場，更
的盼望眼神，占了很大的印象，還是觀光客必來參拜的地方，它的
有衛生條件不良，吃完食物拉肚子建築師也是和建築阿格拉城泰姬
的可怕和近年來屢屢發生婦女不瑪哈陵同樣的一位，這兩座伊斯
安全的問題，成為很多人的顧忌。蘭的建築作品顯示了回教在那個
天堂與地獄並存的國度年代的輝煌歲月。
到過印度幾次，北部的新德里在德里留下的最大印象是，我
是政治經濟的中心。三十年前第這個單槍匹馬的年輕小伙子到德
一次到印度時，對於完全不同的里的第一天，因為好奇及照相，隨
人種、文化、建築，充滿了新奇；德身攜帶的包包不見了；那時在新的
里宏偉的紅堡是伊斯蘭混合波斯五星飯店A s h o k 參加世界神經學
會的歡迎晚宴，我還是個小住院生產地，這樣也或許可以解決龐
醫生，到處照相，包包放在座位上大的人口醫療藥費仰賴進口太貴
就不見了。年輕的我錯過了一線生的問題，這個產業倒是印度值得驕
機，因為有個神祕的印度人來問傲的地方。
我：「先生你是否丟了東西？」我沒爭取，才有生存的空間
有理他，當時應該靜下來跟他談判和印度的朋友一直都沒有很良
而且付錢了事，就不需要後來大費好的關係，或許是受到之前碰到
周章去報警，辦證件奔波好幾天。的印度國際友人勇於爭取利益、
尤其是，當時東西丟了愣在會場，不斷的要求許多好處有關。到了印
想到其他的衣物都鎖在飯店的行度看到這麼多的人，許多的人是在
李箱裡，鎖被偷走了怎麼辦？只好掙扎的求生存，感受到他們不得
在會場帶了把牛排刀回旅館，費了不為自己的生活打算的一種氛圍，
書名：跟著無國界醫師走進
一個多鐘頭才把鎖鋸開，終於可對於他們的行為似乎有點釋懷；世界廚房
以洗澡換下一天的驚魂，養足精神因為我們的訓練自小比較少個人作者：賴向榮
定價：420元
去應付證件機票等遺失的後續。主義，也比較多的溫良恭儉讓，頁數：248頁
印象也很深刻的是，印度有雄反而會覺得太多的要求是一個不出版：木果文創有限公司
偉的建築、豪華的旅館、特殊的美適當的行為。後來遇到印度朋友
食，卻掩不住處處可見的乞丐與 V i n o d，他是個謙虛的長者，關懷
睡在廊下的人們。雖然城市興起並且很幫助印度癲癇的朋友；我到
與現代化，種姓制度的影響力在印度參與他們的改善歧視計畫，也
印度還是相當的可怕；印度有四看到了學校老師的癲癇教育，他們經濟中心，也是除了好萊塢之外的
大種姓，婆羅門（祭司、教師）、剎認真的為改變社會歧視而努力。另一個世界電影中心──寶萊塢，
帝利（士兵、統治者）、吠舍（普通印度的法律相當奇特，他們在目前已是世界產量最大的地方。寶
工作者、商人、農人、工匠）、首陀一九五七年的法律條文有規定，若萊塢電影中常見歌舞穿插，是它的
羅（奴隸），以及四種姓之外，被是身有癲癇而結婚的話，這個婚特色；但是近幾年寶萊塢電影內
稱為不可接觸者的賤民——達利特姻是無效的。V i n o d告訴我，他們容也力求革新，出現了許多兼具藝
（出生後永不得翻身；看到這些可為了這個法律，必須結合相當多人術性、原創性、娛樂性的佳作。前
憐的人們，真是替他們難過）。的力量，改變國家的立法，一直到幾年在台灣上映的《三個傻瓜》就
印度因為是英國殖民的關係，一九九九年，這個婚姻法才正式的是以戲謔方式批判大學教育，描
英文成為了印度語之外的官方語除去，讓身體已受苦的癲癇朋友述一群貧窮但充滿創新的小孩的
言，因為語言的關係，帶動了很多正式脫離另外一種的社會歧視。故事 ……之後成為最賣座的寶萊
軟體及服務業的代工，許多外國公龐大的送便當機制，塢電影。
司將資料送到印度經過服務代工真是神奇！說到在印度的時候，曾發生不
轉回去原來的國家。製藥方面，印往南部走，孟買與北部的德里少新鮮事。在孟買的機埸，就曾發
度目前也是世界上最大的學名藥是完全不同的感覺；孟買是印度的現一個很古色古香的便當盒，很像
53
我們早期的台鐵圓便當，但是它有飯或餅，一層是咖哩或不同的醬聞，也做了一道便當料理讓大家分
三層，和台鐵便當盒只有一層或兩料，另一層則是蔬菜或肉類，在辦享印度的家庭味道。當天做的是
層不同。看了一下說明，發現這是公室就像家中，菜沾咖哩放在餅咖羊腩，咖哩的炒法是以傳統咖
一個相當有趣的制度下的產品，於中或飯上食用。哩的方式，先將切碎的洋蔥炒成金
是買了一個留念，直到碰到孟買的吃素人口世上最多，黃色再炒蒜末及薑末，待香味四
朋友，也實際了解這便當的運作，最愛鷹嘴豆溢後加入這混了九十九種香料的
才發現真是神奇！在孟買逛香料店也很有趣！發咖哩粉，加入炒香後再加羊骨湯燉
他們告訴我這個系統叫d a b - 現有一種香料號稱混合了九十九羊腩約兩小時。在準備上桌前須
b a w a l a；d a b b a 是便當，而種香料，當時便買回台灣，準備做先煮好米飯，當天烤了綠色和黃色
d a b b a w a l a是送便當的人。在孟一次孟買的便當料理。後來，在一的櫛瓜和新鮮的菇當蔬菜，這樣併
買，有許多的上班族喜歡吃家中次的餐會上，我介紹了在孟買的見在一起就是典型的孟買便當菜了。
的熱食，不像我們常常在辦公室叫
外食及便當，但是如何將家中的熱
（木果文創提供）
食送到辦公室呢？d a b b a w a l a系
統於是生成了。據說這個系統已經
超過一百五十年了，目前 d a b b a -
w a l a有五千到六千人，每天運送便
當在二十到二十五萬份之間，一個
家庭每個月負擔一百出頭台幣。
他們的運作是這樣的，每個家
庭早上十點把便當煮好放在門口，
這時A會到門口收集，用最快的時
間送達附近的車站，由 B收集各路
來的便當並分類交給C帶上公車、
火車，到某站放下，這時由 D 送到
辦公室門口，家人就在中午有家
裡現做的便當吃了；吃完以後放在
辦公室門口，一點以後依反方向
送回家，四點左右這便當盒就又回
到家門口。這個系統據說完美的
運行，幾乎沒有送錯便當，連哈佛
大學的商學院也特別來做過研究，
國家地理頻道也有錄影播出。
至於為什麼有三層？理由大概
是印度人吃東西的習慣，一層是米

印度泡芙
*材料：50克麥粉（Semolina）、 50克中筋麵粉、水、炸油。
* 泡芙皮作法：先將麥粉和中筋麵粉篩好，慢慢加水攪拌成為麵糰，用手揉勻，放 1 5分
鐘。以上材料可做50份，取一小份擀成薄小圓盤，放在濕的巾子上，蓋好醒30分鐘左右，
熱油到攝氏150度左右，中火加熱，放下擀好小圓，炸成金黃色，它會膨起來成為球狀。
*餡料的作法：馬鈴薯蒸好壓碎成小丁，印度雙花扁豆（H o r s e G r a m）泡過後在滾水煮
軟，加鹽、紅辣椒粉、茴香粉，另準備香菜葉。
*醬料的作法：2顆芒果、2杯薄荷葉、1茶匙薑末、2茶匙綠辣椒末、4 杯水、1匙加拉姆瑪
沙拉（Garam Masala）、1/4匙阿魏（Asafoetida）、4根丁香煎香磨粉、2匙茴香粉、2
匙辣椒粉、鹽、1匙檸檬汁。將芒果加水煮之後去皮及果核，放冷取出打碎，加其他的香
料打成汁。
*吃法：將泡芙打個小洞，加入饀料，淋入醬汁，配香菜葉吃。在小攤子上看
印度人這樣吃真覺得特別，手續多而且又有湯汁；若不是在當地訓練
好腸胃，真有點無福消受之感，但試試這脆餅夾著這樣豐富的味道，
會覺得路邊攤也太神奇了。
（木果文創提供）
但是值得注意的是肉類的選擇，較大，常見的是鷹嘴豆泥、鷹嘴豆烤，但Naan通常在烤箱烤。
在印度大部分人是不吃牛的，多數泥煎餅。鷹嘴豆煮熟了可以當沙拉另外，走在印度的街頭上，到處
以羊肉或雞肉為主，豬肉也是相當配料，或鷹嘴豆和茄子、南瓜的料都可見推著車的小販，擺著不同的
的少。理；另外他們有奶製品及乳酪的使食物，有榨甘蔗汁的，幾塊錢就有
印度在宗教上雖有多種宗教的用，以及在調味上多使用香料及咖一杯，在炎熱的街上喝上一杯，不
融合，但是最多的人是信印度教，哩，這些都是他們素菜的特色。至失是消暑的方式；更多的攤位是擺
印度教徒除了拜黃牛為神，不吃於主食方面，除了米飯之外，也用炸物的，有炸蔬菜餅或印度咖哩
牛肉之外，素食的人口也是相當的各種的餅伴隨著咖哩等醬汁配合餃等等。有一種辣的印度泡芙又
多。印度占世界上吃素最多的人蔬菜，是他們的傳統吃法。稱Pa n i P u r i（帕尼普里脆餅），小
口，素食的樣式和種類與我們有餅方面最常用的是N a a n（饢）販盛了一大袋預做好的泡芙殼，客
相當大的不同，我們在豆類以黃和Roti（羅提），通常印度Roti用的人買時先加豆子和馬鈴薯泥再加
豆為主，並有許多種黃豆的製品像是全麥麵粉，不加酵母，而 N a a n 進芒果辣椒薄菏醬汁，和我們一般
豆腐、豆包、豆皮之類；他們黃豆用中筋麵粉且有加酵母，吃起來口的泡芙有絕大的不同，而且充滿了
的使用較少，反而是鷹嘴豆的使用感不同；另外R o t i可以用一般煎鍋果香、香料、辣椒，十分爽口。
55
影像對話　PHOTO ESSAY
澎湖
騎行七美
Riding Through Qimei
圖／文‧林格立　版面設計‧胡如瑜
從馬公搭乘交通船暫停望安，約二小時後
來到澎湖最南端的七美島。在島上最便捷的 I f you take the ferry from Magong, with a brief
stop at Wang’an Island it takes about two
hours to get to the southernmost island of the
旅遊方式就是騎機車環島，大部分遊客來七
Penghu archipelago: Qimei. The most convenient
美都是參加跳島遊行程，停留時間有限，二
way to travel around the island is by motorcycle.
個小時就要把七美玩一圈。所以上午可以看 Most of the tourists who come to Qimei are on
到上百輛機車在島上呼嘯而過，前往各個景 an island-hopping itinerary, and they have only a
點，午後整個島則又歸於寧靜。 limited amount of time there: They have to try to
海浪一波又一波拍打著玄武岩斷崖， enjoy all the island has to offer in just two hours.
「雙心石滬」見證愛情永固，「小台灣」 That’s why you can see around 100 motor scoot-
ers whizzing by in the mornings, heading towards
海蝕平台，不用想像力一眼就看出是台灣地
various scenic spots, while the whole island re-
圖的翻版。七美小而美值得您多花點時間細
turns to a state of tranquility in the afternoons.
細品味。 l
Waves slap against the basalt cliffs, the “Twin
Hearts” stone fish trap testifies to eternal love,
and in “Little Taiwan,” a platform formed by sea
erosion, even those without imagination can see
a replica of a map of Taiwan. Small but beautiful,
Qimei is a place worth spending time on. l
(photos and text by Jimmy Lin/tr. by Phil Newell)
57
澎湖
59
澎湖
61
澎湖

澎湖
65
全球視野　GLOBAL OUTLOOK
英姿煥發 The LPGA Taiwan

Championship:
裙襬搖搖 The Global Spotlight
LPGA Shines on Local Golf
台灣高爾夫球錦標賽
文•曾蘭淑　圖•林旻萱　版面設計．胡如瑜
美國籍的高爾夫好手奈莉．科達（N e l l y
Korda）2015年參加由裙襬搖搖高爾夫基金會贊 I n 2015 the American golfer Nelly Korda garnered
her first career win as a junior at the Yani Tseng
Invitational, sponsored by the Swinging Skirts Golf
助、美國青少年高球協會舉辦的「曾雅妮邀請
Foundation and the American Junior Golf Associ
賽」，贏得她生涯首座青少年冠軍。3年後，20
ation. Three years later she participated in the LPGA
歲的她又在裙襬搖搖主辦的2018年LPGA台灣錦
Taiwan, earning her first career tour victory there.
標賽，拿到個人LPGA生涯的首座金盃，她說： “Both my champion ship wins were connected to
「我生涯2次的冠軍都與裙襬搖搖基金會有關， Swinging Skirts,” she noted. “I’ll forever remember
我也會永遠記住台灣這美好的地方。」 this beautiful place Taiwan.”
台灣球迷在球員
揮桿時屏氣凝神，
專注看球，也展現
最佳球迷風範
When the golfers
swung their clubs,
Taiwan’s fans
gave them their
undivided attention,
both following the
flight of the ball and
showing proper
gallery etiquette.

奈莉．科達以超水準的
球技，一圓L P G A生涯
的首座冠軍夢。
Nelly Korda showed off
elite golfing skills to win
her first LPGA title.
67
風和日麗，秋陽高照，浪漫桃紅、活力靛紫的
漸層亮麗拱門，矗立在桃園大溪球場入口處，
歡迎所有來參加2018裙襬搖搖美國女子職業高
爾夫球巡迴賽（ LPGA）台灣錦標賽（以下簡稱
「LPGA台灣錦標賽」）的球員與球迷們。
這場2018年10月25日在大溪高爾夫球場開
打的球賽，一連4天的賽事共吸引了超過五萬
六千位球迷進場觀看，打破台灣入場觀眾觀看
高爾夫球賽的紀錄。球迷的熱情與支持，頂尖
選手精彩絕倫的表現，透過全球一百七十多個
國家的轉播，將台灣舉辦高爾夫球賽的能量推
向國際。
老天爺溫情相挺
裙襬搖搖基金會會長王政松，長期推廣台灣
說起這場賽事，至今仍令人回味無窮。首先是
高爾夫運動與賽事，在國際發光。高手雲集、陣容堅強，81位參賽選手中，世界
Johnson Wang, chairman of the Swinging Skirts
Golf Foundation, has long been promoting golf and 排名前10名有5位參加；若是世界排名前20名的
golf tournaments in Taiwan. His efforts have earned
international acclaim. 話，則有11位參賽，競逐220萬美元的總獎金。
再來是天氣，裙襬搖搖高爾夫基金會（以下 Under clear autumn skies, the romantic colorful arch
簡稱「裙襬搖搖基金會）自2011年開始冠名主辦 at the entrance to the Ta Shee Golf and Country Club in
Taoyuan’s Daxi District welcomed competitors and fans
LPGA賽事，每年總是有風雨來攪局，還曾有颱風
at the Swinging Skirts LPGA Taiwan Championship.
外圍環流來湊熱鬧。這次比賽第一次連續4天好天
Broadcast in 170 countries, the event attracted more
氣，連老天爺都賞臉，造就了史無前例的盛況。
than 56,000 fans over four days at Ta Shee, setting a new
尤其是比賽最後一天，擁進了3萬2,496名觀 record for spectators at a golf tournament in Taiwan.
眾，創下台灣高球賽單回合觀賽人數新高紀 The fans’ passion and support and the outstanding
錄。更有許多遠從中南部來的觀眾，是第二次 performances of top competitors made the international
踏入桃園大溪球場。第一次是1999年約翰走路 community take note of Taiwan’s golfing prowess.
菁英賽，首創觀賽人數的紀錄，最後一天約一 Blessed with good weather
The tournament left people with happy memories
萬多名球迷爭看球王老虎伍茲的風采。
for several reasons. First and foremost was the strong
當時的鴻禧大溪球場（現為大溪球場）為了
field of top golfers. Competing for US$2.2 million, the
舉辦約翰走路菁英賽，特別委託國際設計師 tournament’s 81 competitors included five ranked in
Robert Trent Jones Jr.改造設計，使得大溪球場 the world’s top ten and 11 in the top 20.
目前是台灣唯一獲歐巡賽、澳巡賽與亞巡賽3大 Next was the weather: From 2011, when Swinging
國際賽事單位認證的球場。 Skirts first began sponsoring this LPGA event, rainy
對打球的球友與球迷來說，大溪球場綠草如 and windy weather accompanied the tournament
seven years in a row. One year, the outer edge of
茵、遠山疊翠，順著山麓地形打造的中、東區
桃園大溪球場綠草如茵、風景怡人。
The beautiful green surroundings at the
Ta Shee Golf and Country Club.
（左圖）韓國姜海智在
第一回合時名列第2。
(left) Korean Haeji Kang
was in second place
after the first round of
the tournament.
（右圖）台灣選手徐
薇淩最後一回合結束
時闖入領先組，讓台灣
球迷為之一振，是台
灣最佳成績的選手。
(right) Taiwan’s own
Hsu Wei-ling stormed
into the leader’s group
for the last round, giving
Taiwanese fans a thrill.
She was Taiwan’s top
performer.
有「天才少女」之稱的高寶璟，因其親和力與美麗爽朗的
笑容，擄獲球迷的心。
(left) Lydia Ko, a former teenage prodigy, has won fans over with
her warmth and bright smile.
（左下圖）日本籍的畑岡奈紗拿過2018年LPGA賽事兩次冠軍。
(below left) The Japanese star Nasa Hataoka has won two LPGA
tournaments in 2018.
（右下圖）台灣一姐盧曉晴近年在日本女子職業高球賽
（JLPGA）打出亮眼成績，是球迷關注的強將。
(below) Teresa Lu, Taiwan’s “first sister of golf,” has enjoyed a
brilliant career in Japan on the JLPGA. She was one of the stars
who attracted the most attention at the Ta Shee tournament.

兩個9洞球場，球道寬廣，湖泊水塘映照著起 a typhoon even brushed by Taiwan. This was the first
伏的山巒，風景怡人，還有白鷺鷥與小白球共 year the weather was good on all four days. It was a
historically unprecedented instance of God smiling on
飛；但對參加比賽的選手來說，沿途沙坑、池
the tournament.
塘佈滿障礙；陡坡、長草區也處處是挑戰。沒
In particular, on the last day of the competition, the
有精準的判斷，揮桿可能落入沙坑；沒有足夠
32,496 in attendance established a new record for spec-
膽識，攻上果嶺，小白球可能被前方的水池吞 tators at a golf tournament in Taiwan. For many who
噬，每洞都有陷阱，每桿都有機關。 traveled from central and southern Taiwan, it was the
而令球迷津津樂道的，是此次台灣選手徐薇 second time they had visited Ta Shee. The first time was
淩在第3合回結束時闖入領先組，讓台灣球迷為 when they came to see Tiger Woods compete at the John-
之一振。尤其是徐薇淩第一天時，在第6洞抓下 nie Walker Classic in 1999, which set the previous record
for crowds at a golf tournament in Taiwan, when some
難得的老鷹，擊出這麼長距離的好球，迎來球
10,000 fans showed up on the last day of that event.
迷熱烈的掌聲。第三天時，她在右側有沙坑、
左側有水障的第16洞落水遭罰1桿，隨後以20
呎的神奇推桿保住標準桿，守住領先。不禁振
臂喝采的徐薇淩，也贏得現場球迷如雷的加油
聲，這個推桿也成為她續保領先位置的關鍵。
徐薇淩最後與高寶璟（Ly d i a K o）並列第六
名，但面對全場觀眾熱烈加油及難得出賽的體
驗，她說：「雖然2018年的表現仍有起伏，但
能夠在自己的家鄉看到這麼多球迷進場支持，
心裡真的很開心。雖沒有拿下冠軍，但整體而
言還是很滿意自己的表現，而且這次寶貴的經
驗將對我往後的球賽有很大的幫助！」
奈莉．柯達：把台灣放在心上
球迷看球自備道具，追星也追球。
最後第4回合與徐薇淩以領先組同組競桿的奈 Fans came well equipped to follow both the stars and the
balls they hit.
莉．科達，感受到滿場地主球迷為徐薇淩加油
的龐大壓力。但奈莉．科達先在果嶺右前方有
個險惡大水池的第4洞抓博蒂追平；在標準桿5
桿的第6洞，第2桿就將小白球送上果嶺，再以
When Taiwan’s own Hsu Wei-ling stormed onto the
一個長推獵鷹成功之後，戰績開始獨走，保持 leaderboard after her Round 3 performance, fans were
領先，並拿到此屆冠軍。 delighted. On the first day of the tournament, she had
被球迷封為「長腿正妹」的奈莉．科達在 garnered a passionate ovation when she eagled the long
2016年轉入職業，2017年才正式加入LPGA，歷 and difficult sixth hole of the course. On the third day, she
經42場巡迴賽的征戰，此次以低於標準桿13桿 got penalized one stroke when she hit water on the 16th
hole, which has a sand trap on the right and a water obs-
的275桿總桿數，在台灣奪得個人生涯的L P G A
tacle on the left. Immediately afterward, she sank a miracu-
首座冠軍，拿到33萬美金的獎金。
lous 20-meter putt to make par and protect her position on
在奪得金盃之後，奈莉．科達與已拿過5 the leaderboard. That brought both a fist pump from Hsu
座L P G A冠軍的姐姐傑西卡．科達（J e s s i c a and earthshaking applause from the gallery.
K o r d a），成為L P G A歷史上，繼瑞典的索 Hsu ended up finishing tied with Lydia Ko for sixth,
倫斯坦（Sörenstam）及泰國的茱塔努岡 but the warmth and encouragement Hsu got from the
71
球迷穿著應援服飾與
裝飾，支持喜愛的球員，
非常醒目。
Fans wore eye-catching
clothing and accessories
to show support for their
favorite competitors.
（Jutanugarn）姊妹花之後，第三對在LPGA巡迴二的布魯克．韓德森（Brooke M. Henderson）

賽奪冠的姊妹。等人，親眼看到平時只能在電視上看到的名
奈莉．科達在奪冠後的記者會上笑中帶淚地將，便覺得值回票價。
說：「其實我在2015年打業餘賽時，就曾經在美尤其是LPGA巡迴賽競爭十分激烈，總計2018
國參加由裙襬搖搖所贊助的『AJGA曾雅妮邀請年與LPGA相關的33場賽事，就產生了26位不同
賽』拿到冠軍。這次又在台灣的裙襬搖搖賽事中的冠軍者，球場上人才輩出、競爭激烈，只有
拿下職業生涯首冠，生平的二次冠軍都與裙襬搖泰國的莫瑞雅．茱塔努岡（Moriya Jutanugarn）
搖基金會有關。」她提到：「非常喜歡台灣的食與朴城炫拿到3次冠軍寶座；加拿大的布魯克．
物，尤其是珍珠奶茶，曾雅妮幾天前才請我喝了韓德森與日本籍的畑岡奈紗（Nasa Hataoka）拿
一杯，台灣會一直留在我的心中。」到2次冠軍，顯示長江後浪推前浪，前屆冠軍球
台灣球迷也讓奈莉．科達留下了深刻的印象，后縱使打得精采，又有高手在下屆後來居上、
她說：「當徐薇淩打出好球的時候，觀眾們的加取而代之。
油吶喊聲，讓我覺得是不是老虎伍茲回到球場但對球迷來說，不會輕易放過追星、拿簽名
來打球了？」她在賽後分享如何克服滿場地主的機會。世界球后、外型中性帥氣的朴城炫賽後
球迷為台灣選手加油的壓力：「我一直對我自替不少粉絲簽名，展現球后的親和力。更有南韓
己說，是我的就是我的，不要衝過頭，自己穩粉絲包團來台為她加油，球迷穿著應援服飾與裝
住、平常心。」飾，包包上也貼著「朴城炫」貼紙，非常醒目。
還有受台灣球迷喜歡的韓裔紐西蘭前球后、
球迷熱情追星
有「天才少女」之稱的高寶璟，她與裙襬搖搖
除了徐薇淩與奈莉．柯達，球迷能夠親自有不解之緣。她曾在2013年裙襬搖搖在台灣舉
在球場上追星，包括世界排名第一的朴城炫辦的世界名人賽拿到冠軍，又連續在2014∼
（Sung Hyun Park）、世界排名第三的前世界球 2015年裙襬搖搖舉辦的舊金山LPGA菁英賽中雙
后柳簫然（So Yeon Ryu）、LPGA獎金排名第連霸。球迷們對高寶璟的球技如數家珍，每擊

spectators was precious to her. “Although my perform- Shooting for the stars
ance was inconsistent in 2018,” she says, “being able to Apart from Hsu and Korda, the stars that golf fans
see so much support from fans when competing in my could follow on the course included Sung Hyun Park
homeland was truly gratifying.” and So Yeon Ryu, ranked No. 1 and No. 3 globally, as
Nelly Korda: Taiwan in her heart well as Brooke M. Henderson, who was then ranked
Nelly Korda battled with Hsu in the same group second for LPGA earnings. To be able to see big names
during the fourth round and felt the pressure from the that one could usually only see on TV was well worth
tremendous support spectators were giving Hsu. But the price of admission.
Korda was able to birdie on the fourth hole, which fea- Competition on the LPGA tour is particularly fierce.
tures a dangerous water hazard to the front right side of The 33 LPGA-sanctioned tournaments in 2018 yielded 26
the green. That pulled her even with Hsu. Then on the different champions. With such a crowded field of com-
par-five sixth hole, she was able to get to the green on petitive golfers only Sung Hyun Park and Thailand’s
her second stroke and once again hit a long putt for an Moriya Jutanugarn were able to win three titles. And
eagle. At that point, she pulled ahead for good. only Henderson, who is from Canada, and Japan’s Nasa
Dubbed the “long-legged hottie” by golf fans in Hata oka were able to win two championships each.
Taiwan, Korda turned pro in 2016 before formally join- That is a demonstration of the women’s tour’s depth:
ing the LPGA in 2017. She has played in 42 LPGA tour
events. With a 13-under-par 275, Korda won her first
LPGA victory in Taiwan, earning US$330,000.
“I like the food,” said Korda about her days in Tai- 賽事最後一天，擁進了三萬多名觀眾，創下台灣高球賽
單回合觀賽人數新高紀錄。
wan. “Yani actually got me boba tea on Wednesday, so
More than 30,000 fans came to watch the last day of the
that made me very happy.” tournament, setting a Taiwan record.
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出一好球，即報以熱情的掌聲，高寶璟也回以最球技與心理素質，培養更寬廣的國際視野，也能
美麗的笑容。為職業生涯的發展提供更多的刺激與動力。
「我與裙襬搖搖的比賽及所有參與這些比賽自從裙襬搖搖基金會2011年爭取到主辦
的觀眾們，有種難以言喻的特殊情誼，我轉職業「LPGA高球邀請賽」，當年即由曾雅妮奪冠，
的第一個冠軍就是在裙襬搖搖所贊助的比賽中拿掀起了台灣對高爾夫運動的熱情。2014∼2016
到。而且這裡的食物與球迷都太棒了，我熱愛在年到美國舊金山舉辦3年「裙襬搖搖L P G A菁英
這裡參加比賽。」高寶璟說。賽」，是第一次有華人在美國舉辦高爾夫球賽，
然而身為地主球迷，每當台灣選手一有精采不僅讓台灣在舉辦女子高爾夫球賽上打響名號，
的推桿、抓下博蒂，球迷無不報以熱情掌聲與歡也成功地做了體育外交。
呼。不論是台灣一姐盧曉晴、微笑天后曾雅妮、裙襬搖搖基金會累積多年主辦賽事的經驗，從
旅日球員蔡佩穎，或是新生代球員盧昕妤、侯羽選手的住宿、伙食到球場的規畫，樣樣不馬虎，
薔，還有本土好手黃靖、年紀最小的業餘選手吳 2018年賽事志工人數更是大陣仗，破紀錄達到
佳晏等，均在球迷追星的名單之中。 400人。「感謝中國信託商業銀行、長榮航空等
贊助商及所有協力廠商，創造出讓選手印象深刻
提升國際能見度
的比賽，特別的是最後一天超過三萬名球迷，走
此次81名參賽選手中，除了62名是LPGA頂尖好進球場的加油與熱情，顯示台灣高爾夫運動的能
手外，主辦單位有權推薦15位台灣女子職業高爾量。」裙襬搖搖基金會會長暨中華民國高爾夫協
夫協會（TLPGA）的台灣選手，以及4位贊助商會理事長王政松信心十足地說：「我們的目標就
邀請的選手參賽，讓台灣本土的業餘選手，可以要將賽事推向最高境界，向國際展現台灣獨一無
透過參加國際賽事，有機會觀摩世界頂尖球員的二的耀眼光芒。」
尤其是LPGA賽事在一百七十多個國家直播與
轉播，讓台灣的選手有機會在世界各地展現球
賽事超過四百位志工參與，提供球迷最好的
技；參賽的頂尖球員透過Twitter、Instagram，
觀賽服務。（裙襬搖搖基金會提供）號召球迷，進而宣揚台灣。透過LPGA台灣錦標

More than 400 volunteers served the public at the 2018
tournament. (courtesy of Swinging Skirts) 賽，讓世界看見台灣。

cheers and applause—whether for Taiwan’s “first sister
of golf” Teresa Lu, the “smile queen” Yani Tseng, cur-
rent Japan-resident Tsai Pei-ying, up-and-coming stars
Vivian Hou and Lu Hsin-yu, or even Wu Chia-yen, an
amateur who was Taiwan’s youngest competitor. All
were on the lists of stars to follow.
In addition to 62 LPGA pros, the field of 81 com-
petitors also included 15 selected by the Taiwan Ladies
Professional Golf Association, as well as four invited
by corporate sponsors. The opportunity to participate
in this international competition provided local com-
petitors with a chance to observe the golfing skills and
psychological make-up of top global players. It helped
to broaden their horizons.
Raising international visibility
When the Swinging Skirts Golf Foundation first won
the right to host an LPGA invitational in 2011 and Yani
Tseng won that first tournament, it ignited a passion
for golf in Taiwan. From 2014 to 2016, the foundation
went to the United States to hold the Swinging Skirts
LPGA Classic in Daly City, California, outside of San
Francisco. It was the first professional golf tournament
organized by ethnic Chinese in the United States. The
sponsorship of that tournament put Taiwan on the map
獲得冠軍的奈莉．科達接受球員倒香檳洗禮助賀。
for women’s golf and also represented a successful ex-
Fellow golfers showered Nelly Korda with champagne to celebrate ample of “sports diplomacy.”
her victory.
“Many thanks to CTBC Bank, EVA Air and other
sponsors and cooperating businesses for helping us
hold an event that left a deep impression on those com-
peting,” said Johnson Wang, chairman of the Swinging
However well the queens of the links are playing at the Skirts Golf Foundation and the Golf Association of the
moment, there are many strong competitors just below Republic of China. “In particular, the more than 30,000
them who are aiming to knock them off their thrones. fans that came out for the last day—and the passionate
But the fans weren’t going to forgo opportunities to support they offered players—demonstrated the power
chase the stars and get autographs. World champion of golf in Taiwan. Our goal is to push the tournament
Park, who has an attractive androgynous look, proved to the highest level, spotlighting the unique charms of
to be a friendly star by signing quite a few signatures Taiwan.”
after her rounds. With the LPGA tournament broadcast in more than
Lydia Ko, a Korean New Zealander who is a former 170 nations, Taiwan’s golfers had an opportunity to
teenage prodigy, is another favorite among Taiwan’s demonstrate their prowess in the global arena. The top
fans, who can recite her strengths as if enumerating competitors at the events, through their tweets and
family treasures. Each time she made a good shot, the Insta gram messages to their fans, helped to promote
crowds would erupt with applause, and Ko would re- Taiwan. The Swinging Skirts LPGA Taiwan Champion-
ward them with a bright smile. ship has showcased Taiwan to the world. l
And whenever a Taiwanese golfer sunk a tough (Esther Tseng/photos by Lin Minhsuan/
putt or made a birdie, the local fans would break out in tr. by Jonathan Barnard)
75
為世界
培育未來人才
太平洋島國青年領袖培訓計畫
Training Talent for the Future:
The Pacific Islands Leadership Program
文•陳群芳　圖•莊坤儒　版面設計•王敬勛
海洋孕育生命，滋養了位於太平洋上的台
在台灣與國際串聯
灣與其他島國。我們共享海洋的資源，也一同
面對島國共通的困境，如氣候變遷、海平面上面對島國共通的問題，美國一直在尋找能一
升等都威脅著島國的未來。透過「太平洋島國起提出解方的夥伴。於是由美國國務院倡議，
青年領袖培訓計畫」為未來培育人才，是給下 2012年美國夏威夷東西中心與台灣外交部外交
一代最好的禮物。學院簽署備忘錄，共同合作舉辦2013年到2017
年為期5年的「太平洋島國青年領袖培訓計
去（2018）年秋天，我國外交部迎接了來自畫」。5年良好的合作經驗，培訓出122位島國
包括索羅門群島、吉里巴斯、帛琉、吐瓦魯、人才，雙方在2017年培訓計畫的結訓典禮上續
馬紹爾群島、諾魯等12個位於太平洋上的國家簽第二期計畫，2018年已是第6屆。
及地區共22位學員，進行為期6週的「太平洋此培訓計畫從太平洋島國中徵選各領域的青
島國青年領袖培訓計畫」課程。年菁英，學員需具備一定的學經歷，甚至需要
L ocated in the Pacific Ocean, Taiwan shares
that ocean’s precious marine resources
with other island nations, as well as facing the
in Taiwan to take part in the six-week Pacific Is-
lands Leadership Program with Taiwan (PILP).
Connecting with the world
shared threat of climate change and rising sea At the suggestion of the US Congress, the
levels. Through the Pacific Islands Leadership Hawaii-based East–West Center signed a memor-
Program, Taiwan is working to train a new co- andum of understanding with Taiwan in 2012 to
hort of leaders for this future, giving a precious jointly run the PILP between 2013 and 2017. Over
gift to the next generation. the course of those five years, the program trained
some 122 fellows from various Pacific nations. At
In the autumn of 2018, Taiwan’s Ministry of the closing ceremony for the 2017 program, the
Foreign Affairs welcomed a group of 22 leadership two sides renewed the agreement for a second
fellows from 12 Pacific nations, including the Solo- round, with “Generation 6” scheduled for 2018.
mon Islands, Kiribati, Palau and Tuvalu. They were The training program is divided into two
77
台灣推動性別平等與婦女權益的成果，
在國際上有目共睹，值得我們感到驕傲。
Taiwan’s achievements in gender equality and women’s
rights have attracted attention on the global stage and
are something the Taiwanese people can be proud of.
服務單位推薦，繳交學習計畫，以確定具有強烈目甚至領先許多國家，台灣在婦女權益與性別平
的參訓動機與決心。由夏威夷東西中心進行第一等推動上的成果便是一例。
階段篩選，再與我國外交部討論及面試後，能夠如果以聯合國開發計畫署所創編的性別不平
脫穎而出的學員，都是各國各領域的一時之選。等指數GII （Gender Inequality Index）為衡量標
培訓課程分為兩階段，第一階段在夏威夷東西準，2015年台灣的性別平等排名為亞洲第1、全
中心，強調領袖職能與團隊默契的培養。第二階球第9。有超過九成的女性受過高等教育，女性
段則將訓練場所移至台灣。的勞動參與率在2016年達到50.8％。
台灣由外交部外交學院主辦，培訓課程以聯合外交學院安排學員前往由婦女權益促進發展基
國永續發展目標（Sustainable Development Goals, 金會委辦的台灣國家婦女館參訪。館方介紹了台
SDGs）及島國所關注的議題為主，涵蓋氣候變灣在性別平權上的耕耘，說明制定「性別工作平
遷、環保、綠能、文化傳承、經濟發展、原住民等法」、「性侵害犯罪防治法」等法條的契機，
等各式內容。 2007年台灣簽署《消除對婦女一切形式歧視公
雖然台灣並非聯合國會員國，但聯合國所提約》（簡稱CEDAW），並在2011年內化為國內
出的17項永續發展目標，例如消除各地一切形式的施行法。副執行長黃鈴翔也和學員們分享，雖
的貧窮；消除飢餓，達成糧食安全，改善營養及然台灣官方在國際上的處境敏感，但是透過民間
促進永續農業；實現性別平等，並賦予婦女權力百花齊放的婦女團體積極參與國際會議，分享台
等，一直是台灣官方及民間努力的方向。有些項灣在性別平權的成果與經驗，結交許多盟友為台

phases, the first of which is undertaken at the East–West In 2015, Taiwan would have ranked first in Asia and
Center in Hawaii and focuses on leadership skills and ninth in the world in terms of equality by the standards
team building. The second phase sees the participants of the UN Development Programme’s Gender Inequal-
move over to Taiwan. ity Index (GII). As part of the PILP program, the IDIA
Hosted by the Institute of Diplomacy and Inter- arranged for the fellows to visit the Taiwan Women’s
national Affairs (IDIA) under the Ministry of Foreign Center, run by the Foundation for Women’s Rights
Affairs, the program deals with issues around the Promotion and Development.
United Nations Sustainable Development Goals (SDGs) The center gave the fellows a rundown on legislation
and other issues relevant to island nations. Their work such as the Act of Gender Equality in Employment and
covers climate change, environmental protection, green the Sexual Assault Crime Prevention Act, explaining how
energy, cultural preservation, and more. after Taiwan signed the Convention on the Elimination
While Taiwan may not be a member of the United of All Forms of Discrimination against Women (CEDAW)
Nations, the country has nonetheless taken a great inter- in 2007, the country then worked to internalize it as law
est in the SDGs, which cover areas from the elimina- by 2011. Vice-director Sunny Huang also shared that
tion of poverty and hunger to achieving food security, despite Taiwan’s sensitive position in the international
improving nutrition, and promoting sustainable agri- space, all manner of women’s groups nonetheless take
culture. On some goals Taiwan has even outpaced many active part in international conferences, sharing Taiwan’s
actual UN members, such as in the areas of women’s achievements and experiences in gender equality and
rights and gender equality. convincing many to speak up for Taiwan.
79
透過太平洋島國青年領袖培訓計畫，台灣與島國夥伴加許多實地參訪的課程，加深學員的印象。例如
攜手朝聯合國永續發展目標前進。
Through the Pacific Islands Leadership Program, Taiwan 先安排農委會說明台灣的農漁業政策，再前往參
and its Pacific partners have come together to work
toward fulfilling the UN Sustainable Development Goals. 觀水產試驗所、農業改良場了解研究成果，最後
再到民間的養殖場和有機農場，讓學員與第一線
的人員面對面接觸對談，「從發問的踴躍、問題
的深度，看得出他們真的有吸收。」本屆班主任
灣發聲，而婦女權益促進發展基金會則從中扮演外交學院秦日新大使表示。
這些婦女團體與國際的橋梁。考量島國與台灣都常受天災的威脅，培訓課程
來自巴布亞紐幾內亞的Sarah Kaut-Nasengom是巴安排參觀中央災害應變中心、國家災害防救科技
紐國家研究院研究員，專研性別議題。她表示台灣中心、921地震教育園區及消防署訓練中心，了解
在性別政策推動上遇到的挑戰和巴紐相似，讓她對台灣如何應變災後的處理，讓學員們觀察消防員
台灣的性別議題非常感興趣，所以她和基金會人員如何訓練水災或捷運、隧道等大型災害的處理。
交換名片，希望回國後能保持聯繫，獲得更多台灣 6週的課程學員們幾乎跑遍全台，有在高雄駁
在婦權議題上的資訊。二特區觀看藝術創作，也前往基隆望海巷潮境海
灣資源保育區認識台灣的海洋資源保育。能源問
整個台灣都是培訓場域
題也是許多島國所關切，部分島國偏僻地區甚至
自2018年起，太平洋島國青年領袖培訓計畫第沒有公共的電力系統，只能仰賴私人的發電機，
二階段在台時間從4週增為6週，外交學院於是增甚至是白天有日光可照明，夜晚沒電就是漆黑一

Sarah Kaut-Nasengom, a research project officer 為期6周的培訓課程，學員走訪台灣各地，親身了解台灣
在環保、醫療、文化等各面向的努力。
from Papua New Guinea’s National Research Institute, During the six-week PILP, participants visited destinations
is a specialist in gender issues. The challenges Taiwan across Taiwan, learning about Taiwan’s efforts in areas
including environmental protection, medical care, and culture.
has faced in promoting gender equality, she says, have
been similar to those faced by PNG, so she has shared
contact information with foundation personnel in the
hope of staying in touch after she heads home and get-
ting more information on women’s issues in Taiwan.
All Taiwan their classroom
Starting in 2018, the second, Taiwan-based phase of
the PILP has grown from four weeks to six, with the
IDIA adding a number of field trips. Among these was
a visit to the Council of Agriculture, where the fellows
were introduced to Taiwan’s agricultural and fisheries
policy. From there, they headed to the Fisheries Research
Institute and an agricultural improvement station to see
the results of these organizations’ research. Finally, they
visited private organic farms and aquaculture operations
to meet face to face with people on the front lines. “We
could really see how absorbed in it all they were by their
enthusiasm and the in-depth nature of their questions,”
says the group leader, Ambassador Victor J. Chin.
Over the course of their six weeks, the fellows trav-
eled practically the length and breadth of Taiwan, from
checking out art at Kao hsiung’s Pier-2 Art Center to
learning about Taiwan’s conservation of marine re-
sources at the National Museum of Marine Science &
Technology in Keelung. Energy problems are another
issue of concern to many island countries, and the PILP
not only included seminars on the green energy indus-
try in Taiwan, but also visits to related companies in
Taoyuan.
With fast fashion so popular in contemporary society,
we are seeing a consequent exacerbation of problems
of overconsumption and resource wastage. Charles Y.
Huang, chairman of the Taiwan Sugar Corporation,
was invited to give a talk, sharing with the fellows his
experience with the concept of the circular economy. As
an example, Huang discussed jeans rental stores that can
81
片的情況。培訓課程除了請來講師談台灣綠有全部的東西？』」來自吐瓦魯的學員Melissa
能科技產業，也前往桃園參訪能源公司，台 Ako表示。
灣在太陽能產品上的開發也深受學員青睞，
開拓視野，培養未來人才
有款兼具手電筒及USB充電功能的太陽能收
音機，就吸引許多學員買回母國使用。台灣有超過九萬個以上的非政府組織
面對當今社會流行的快時尚，延伸出過度（NGO），領域多元，涵蓋教育、醫療、環
消費與資源浪費的問題。台糖董事長黃育徵受境、農業等。他們的腳步遍及全球，將台灣
邀講課，和學員們分享循環經濟的理念。一般的經驗與技術散播到每個需要的角落。過去
人常見的資源生產、消費、丟棄的線性經濟模幾屆外交學院都是安排參訪各個NGO或邀請
式，如何透過科技將資源循環再用，讓自然單一機構前來演講。本屆嘗試改以NGO論壇
資源永續，黃育徵舉例，歐洲已有牛仔褲租借的方式進行，在外交部NGO國際事務會居間
店，消費者只要租借就能達到穿著牛仔褲的目聯繫下，邀請羅慧夫顱顏基金會、慈濟基金
的，不需要真的擁有。而且當牛仔褲破舊損壞
無法穿著時，透過紡織技術將舊牛仔褲處理成
紗線，再將重獲新生的紗線製成牛仔褲或丹寧
台糖董事長黃育徵在課程裡分享
布，再回到服飾店內供客人租借，成為循環經循環經濟的概念，令許多學員印象深刻。
Charles Y. Huang, chair of Taiwan Sugar, shared with
濟的具體實踐。「這個概念讓我思考，也想帶 the PILP fellows the concept of the circular economy,
making quite an impression on many of them.
回家和年輕世代分享，『我們是否真的需要擁

be found in Europe, where consumers can have jeans to 每個訓練課程學員們都聚精會神仔細聆聽，
並把握機會踴躍提問。
wear without having to buy them. When the jeans are The PILP fellows listened carefully and made the most of
worn out and unwearable, textile technology can process opportunities to ask questions.
them into yarn from which new denim can be made,

creating new jeans that can then be rented by new cus-
tomers—a concrete realization of the idea of the circular
economy. “I will go back, I will try and implement laws
and implement policies… that will encourage education Wild Bird Federation, the Tse-Xin Organic Agriculture
at a young age, encourage them to have that mindset Foundation, and the Taipei Zoological Foundation.
that they do not need to own things, they just need to Jade Cruz, of Palau, shares that prior to coming to
possess things,” says Tuvaluan fellow Melissa Ako. Taiwan, she had never thought about getting involved
Expanding horizons and training talent with agriculture. Through the PILP, though, she has
Taiwan is home to over 90,000 non-governmental gained an understanding of the development of organic
organizations, covering areas as diverse as education, agriculture in Taiwan and seen how the country is
the environment, medicine, and agriculture. This year’s working to protect the environment. Now she hopes to
NGO Forum, a first for the program, saw the PILP fel- take that knowledge back to Palau and begin focusing
lows exposed to the experience and enthusiasm of six of on agricultural and food safety issues there.
these, namely the Noordhoff Craniofacial Foundation, Philippe Lemonnier, a leadership education teaching
the Tzu Chi Foundation, Vision YouthAction, the Chinese assistant from the East–West Center, accompanied the
83
來自不同國家、領域的青年們齊聚台灣，共同為島國的困境尋求解方。
Young people from a variety of different countries and specializations gathered
in Taiwan to jointly seek solutions for the challenges facing many island nations.
會、願景青年行動網協會、中華民國野鳥協會、與幫助。夏威夷東西中心派赴來台的隨團助教
慈心有機農業發展基金會及動物園保育基金會6 Philippe Lemonnier就提到，許多學員來台灣打開
個NGO組織，與學員分享他們的經驗與熱情。了眼界，他們知道自己可以做的更多、更不一樣
大部分的學員都對台灣在國際上的醫療援助、，在台灣的經驗協助他們回國後取得碩士、博士
人道關懷不陌生，但他們並不知道台灣在有機農學位，有些人因而創業或是成立NGO，他們都是
業、環境保護、動物保育這些方面，也有蓬勃發因為來過台灣而開始有所行動。
展的NGO組織。來自帛琉的Jade Cruz就分享道，東西中心教育處助理計畫員Lori Concepcion也
她來台灣之前從沒想過要參與農業，但在培訓課分享：「有位參與第四屆太平洋島國青年培訓計
程裡了解台灣有機農業的發展，還有對環境保護畫的學員，回國後實際在自己的社區進行一個
所做的努力，讓她想將有機農業的訊息帶回家協助女性的計畫。」將他在台灣所學化為實質
鄉，並開始關注農業、食品安全的議題。影響力。
不同於一般培訓計畫，多強調個人能力的提曾是第二屆學員的Philippe，就是因為參加太
升，太平洋島國青年領袖培訓計畫強調的是能為平洋島國青年領袖培訓計畫而有了不一樣的人
自己的城市、國家、民族甚至是世界帶來成長生。原本是律師的他，在台灣4週的課程更開拓

group to Taiwan. Coming here has opened the eyes of
many of the fellows, he says, showing them that they
can do more and do things differently. Their experience
in Taiwan will inform their postgraduate studies in
their home countries, and many of them will go on to
start companies or NGOs of their own, all because they
came to Taiwan.
Lori Concepcion, also of the East–West Center, shares
that “one of the Generation 4 PILP fellows actually
started a project to help women in their home com-
munity after they went back to their country.” In such
ways, the fellows are able to take what they learn in
Taiwan and make a real difference.
Lemonnier, himself a Generation 2 fellow, says his
希望島國青年們將台灣的溫暖人情及各面向的成果， life changed through his participation in the PILP.
帶回故鄉發揮影響力，許下一代更好的未來。
Hopefully, these Pacific youths will take back home with
Originally a lawyer, his four weeks in Taiwan opened
them both a taste of Taiwanese hospitality and lessons his eyes to new possibilities. After returning to French
from Taiwan’s achievements that will help them create a
better future for the next generation. Polynesia he launched TEDxPapeete, bringing exciting
speeches to his home city. He has also set up an enter-
prise named Pacific Ventury, using classes and work-
shops to help companies and individuals find their true
了他的視野。回國後他建立了TED×Papeete平 passions, boost their leader ship skills, tap into their
potential, and prepare for the challenges of the future.
台，為家鄉帶來許多振奮人心的演講。現在他
Vice President Chen Chien-jen also personally met
還創業成立「Pacific Ventury」，透過各種課程
with this year’s fellows, saying, “Through cooperation,
規劃及工作坊，幫助企業或個人找到生活的熱 we can come together to address the pressing chal-
情，提升領導力與潛能發展，做好迎接未來挑 lenges of the times, like climate change, sustainable
戰的準備。 development, environmental protection, and clean en-
誠如副總統陳建仁在接見本屆學員時所提， ergy. To truly meet these challenges, we need to train
「透過合作，共同面對氣候變遷、永續發展、環 outstanding leaders…. Only with leaders ready for the
future will we be able to strike a balance between local
境保護及潔淨能源等當今最為迫切的挑戰，我們
values and the needs of modern society.” We hope that
就是要培養傑出的領袖，以因應這些挑戰。⋯⋯
with vision and wisdom, these leaders of the future will
唯有未來的領袖，才能在本土價值和現代社會的
lead the peoples of the Pacific, and of the world, toward
需求之間取得平衡。」期望他們有更高的視野與 a brighter future.
智慧，帶領太平洋的居民甚至是地球上的人們， (Chen Chun-fang/photos by Chuang Kung-ju/
走向更美好的生活。 tr. by Geof Aberhart)
85

五感體驗亞太文化
2018年亞太文化日紀實
Experiencing Asia–Pacific Culture
—2018 Asia–Pacific Culture Day
文‧黃淑姿圖‧莊坤儒　版面設計．胡如瑜
現場體驗諾魯語教學，也特製
雙語貼紙供民眾索取。
After learning some words of
Nauruan at the Asia–Pacific
Culture Day, visitors received a
specially made bilingual sticker.
「Eko Eado！」是諾魯（Nauru）語中激勵人
心的話語，意指永不放棄，既是危難中的警示， “E ko eado!” This motivational expression from
the Nauruan language means “never give
up.” It may be used as a warning in calamitous situ-
也是自我期許的正向精神。2018年10月27日、28
ations, or in a positive sense as an expectation of
日連續兩天，在台北火車站一樓大廳舉辦的亞太
oneself. Asia–Pacific Culture Day, held on October
文化日，由台灣外交部領頭，與18個駐台機構、 27 and 28 of 2018 in the concourse of Tai pei Rail-
7個台灣新南向政策目標國締結姐妹市或友好城 way Station, was organized by the ROC Ministry
市的縣市政府，以「心手相連，藝氣風發」為主 of Foreign Affairs in coordination with 18 foreign
題，兩天中吸引超過十萬人次參與。 embassies and representative offices in Taiwan, and
the local governments of seven Taiwanese cities and
counties that have sister city or friendship agree-
（左圖）印尼傳統蠟染服飾，不同紋路、色彩代表不同
ments with localities in the partner countries of
意涵。圖為峇里島傳統服飾。 Taiwan’s New Southbound Policy. With a theme of
The different patterns and colors of traditional Indonesian batik
clothing express different meanings. The photo shows traditional
“Together Sparkling in Asia–Pacific,” the event at-
Balinese attire. tracted over 100,000 visitors in two days.
87
吉里巴斯「Te Mwaie」傳統舞蹈表演，
舞者手臂向外伸展如鳥兒展翅。
In the Te Mwaie traditional dance of
Kiribati, dancers extend their arms
outward like birds spreading their wings.
亞太文化日的開幕表演由台灣家將街舞──鐵
四帝舞團獨具台灣特色的《藝氣風發》舞作，點
燃亞太文化日的火力，隨後上台表演的吉里巴斯
傳統舞蹈「Te Mwaie」，以及印尼的峇里島巴龍
舞、馬來舞，韓國Hanayeon樂團演奏傳統樂器，
和吐瓦魯駐華學生會帶來費特樂（fatele）、斯
瓦（siva）兩種舞蹈表演等，創造熱鬧的表演效
果，吸引人群圍觀，讓人在短短兩天內飽覽亞太
諸國的藝術文化。
色彩鮮明的南太平洋島國
來自南太平洋的邦交國諾魯（Nauru），雖未
上台表演，但在現場特別設計「鸚鵡學舌」語太文化日，現場展示索羅門群島特展的椰子油、
言遊戲，讓民眾現場接受指導，只要能正確念椰子乾等產品，訊問度高，可望未來能透過物產
出諾魯語中的再見（tarawong）、謝謝（Tubwa 貿易，加強兩國交流。
kor）、我愛你（nga ebonw）等日常用語，就可
文化與商貿雙軌並行
獲贈一張雙語貼紙，作為紀念。諾魯語的發音方
式與台灣慣用的台語、國語不同，總要練習多次南太平洋邦交國之外，東南亞各國也是亞太文
才能發出正確的音，年輕的老師教學認真且溫化日的重頭戲。馬來西亞對外貿易發展局駐台辦
柔，一點也沒有不耐煩。事處以馬來西亞官方在台貿易推廣單位的身分，
巴布亞紐幾內亞則是本屆亞太文化日中燦爛奪每年邀請在台開設的道地馬來西亞餐廳，擔任味
目的亮點，以Hagen山的節慶彩繪為主題，十多覺大使，以美食讓民眾記住馬來西亞的滋味。
位在台留學生，加上駐台官員與眷屬全體出動， 2017年主打馬來西亞歌手艾成開的餐廳艾叻
無論大人或嬰兒，每個人臉上都用鮮豔油墨畫上沙，2018年則邀請台北公館著名馬來西亞餐廳池
彩繪，襯得黝黑的皮膚閃閃發光，讓人忍不住好先生，讓民眾可以100元的體驗價，吃到道地的
奇地靠近，想要近距離多看幾眼。現場沖泡當地馬來清真認證美食。用味覺傳遞文化，不但效果
特產的咖啡，吸引許多民眾試喝。直接，也讓民眾記憶深刻，更能促進商機。
咖啡、貝殼與椰子等天然熱帶物產，是許多亞被人群包圍的印度攤位，現場除了提供印度
太國家的共同特產，如吉里巴斯、吐瓦魯、巴布旅遊地圖、展售印度著名美妝品牌產品，還邀請
亞紐幾內亞等國，也都在現場展示用貝殼、草編 Ravinder Singh、Samir Mehndiratte兩位在台從事
製成的手工藝品，如項鍊、提籃與地毯等。「今博士後研究的高材生，憑藉對自身文化的熱情，
年參加亞太文化日非常成功！」索羅門群島大使現場示範如何遵循錫克教傳統，綁出漂亮的頭
館行政助理Maricar Salvnga表示，很高興參加亞巾。群眾圍觀看 Ravinder Singh穩妥地整治長達十

The opening performance at Asia-Pacific Culture Day Association in Taiwan—the fatele and the siva. The per-
was a uniquely Taiwanese dance work by T.S.D. Dance formances were very exciting, attracting people to crowd
Crew, which set an energetic tone for the event. It was fol- around the stage, and allowing them to feast their eyes on
lowed by the traditional Te Mwaie dance of the Republic of the art and culture of numerous countries in only two days.
Kiribati; Barong dance from Bali, Indonesia, as well as the Colorful South Pacific island countries
Indonesian Penabalan (Tabal) dance; a performance on tra- Although Nauru, a diplomatic partner of Taiwan in
ditional instruments by Korea’s Hanayeon musical group; the South Pacific, did not put on a performance, they did
and two types of dance performed by the Tuvalu Students set up a “parroting” language game at the venue. Peo-
ple received on-the-spot instruction, and if they could
correctly pronounce commonly used terms like tarawong
(“goodbye”), tubwa kor (“thank you”), and nga ebonw (“I
love you”), they would receive a bilingual sticker to com-
memorate the event. The pronunciation of Nauruan is dif-
ferent from that of the Taiwanese and Mandarin normally
熱情好客的吉里巴斯人，歡迎遠道而來訪客的方式之一，
是為他們戴上手工編織的貝殼項鍊。
One of the ways that the hospitable people of Kiribati welcome
guests from afar is to place handmade shell necklaces around
their necks.
89
多公尺長的棉布，一圈又一圈，有條不紊地圍繞「讓我們不斷的清醒及記得從汶萊到台灣的希
在民眾頭上，纏成緊實圓錐狀的頭巾，著實讓人望及目標／為了達到我們的一百萬個夢想／的確
大開眼界。排隊等著纏頭巾的民眾一個接一個，是真的很累／但是一切必須從這裡開始」，摘
文化交流的任務自然又輕鬆地達標。錄自印尼籍作者Yohanes Arif Wibowo《我們的
東北亞國家如韓國、日本與南半球的澳洲，也奮鬥》片段，這是台北市勞動力重建運用處製
在亞太文化日行列中。如日本有沖繩、靜岡駐台作的文學作品摘錄書籤，來自歷年移工文學獎
辦事處，擺攤展示當地特色物產，現場更以「和的得獎作品，放置在台北市政府的攤位上，供
服風」延續往年的京都風味，邀請民眾現場著裝民眾自由索取，為亞太文化日帶來濃濃的文學
體驗和服，並有猜謎遊戲、太鼓表演。氣息。
與亞太國家的工藝、美食、商貿特展不同，
台灣城市也精彩
與會的台灣城市，各自挑選出能與亞太文化呼
這幾年外交部更邀請台灣幾個與亞太國家有應的主題。比如，台北市政府將歷年移工文學
緊密連結的城市，如新北市、台南市與桃園市獎作品精精選成冊，特製成婚紗照般的大開本
等，以台灣新南向政策目標締結姐妹市或友好尺寸，方便現場翻閱。
城市的身分，加入亞太文化日的文化交流行新北市文化局主題更是特別，以「行動博物
列，並在現場擺設攤位，讓更多人感受台灣的館」為號召，在亞太文化日表演舞台旁，吸引
文化力。著親子們前往。行動博物館是新北市文化局策
印度手繪圖騰使用天然染料，畫出神祕氣息濃厚的圖案，
大受女性歡迎。
Mehndi, a form of body art practiced in India and elsewhere, uses
natural henna coloring to draw patterns on the hands and other
parts of the body. The motifs often have a deeply mystical air and
are very popular with women.
副總統陳建仁在外交部次長徐斯儉與各國駐台使節陪同下，
參觀各國攤位。圖為菲律賓音樂演奏。
Vice President Chen Chien-jen, accompanied by Deputy Minister of
Foreign Affairs Hsu Szu-chien and members of the foreign diplomatic
corps in Taipei, visited the booths of participating countries. The
photo shows a musical performance from the Philippines.

spoken in Taiwan, so people had to practice numerous
times to produce the correct sounds. The instruction pro-
vided by the young teachers was earnest and kind, and
they never got impatient or frustrated.
Papua New Guinea provided one of the most dazzling
highlights of this year’s culture day. Using the painted-on
designs of the Mt. Hagen Cultural Show as the theme,
more than ten Papua New Guinean students studying in
Taiwan, as well as officials stationed in Taiwan and their
families—adults and infants alike—all painted their faces
with colorful greasepaint. The contrast with their dark
skin brought out the brilliance of the colors, arousing peo-
ple’s curiosity to approach for an up-close look.
駐台外交人員眷屬，畫上搶眼彩繪與服飾，
Several Asia–Pacific countries including Kiribati, Tu- 這是巴布亞紐幾內亞傳統節慶歌舞表演中不
valu, and Papua New Guinea displayed natural tropical 可或缺的元素。
A family member of a diplomat from Papua New
products such as coffee, seashells, and coconut as their Guinea in eye-catchingly colorful face paint and
“special local products.” All of them displayed handi- attire. These are indispensable elements in song
and dance performances at traditional festivals
crafts made from shells or woven from grass, such as in that country.
necklaces, baskets, and rugs.
Two tracks: Culture and business

Besides Taiwan’s diplomatic partners in the South
Pacific, Southeast-Asian countries also provided many
highlights on Asia–Pacific Culture Day. The Taiwan
office of the Malaysia External Trade Development Cor-
pora tion ( MATRADE Taipei), the official Malaysian
organization for trade promotion in Taiwan, each year
has invited authentic Malaysian restaurants in Taiwan
to act as gustatory ambassadors, giving visitors memor-
ies of the flavors of Malaysia.
The Indian booth, surrounded by visitors, gave out
travel maps of India, and also sold well-known Indian
brands of cosmetics products. They also invited two
Indian scientists doing postdoctoral research in Tai-
wan, Ravinder Singh and Samir Mehndiratte, to act as
ambassadors for their culture by demonstrating how to
wind turbans in accordance with Sikh religious tradi-
tions. People gathered round to watch as turn by turn,
Ravinder Singh steadily and methodically wound a
strip of cotton cloth more than ten meters long around
the head of a visitor, to create a firm conical turban. It
was a real eye-opener for those looking on.
Taiwan cities also shine
For the past few years the Ministry of Foreign Af-
fairs (MOFA) has also invited several cities with close
91
印尼團隊上台表演峇里島巴龍舞、馬來舞，舞者們華麗的服飾，帶給觀眾強烈視覺享受。
The gorgeous clothing worn by dancers from Indonesia, who performed the Balinese Barong as well as
the Penabalan (Tabal) dance, made for a powerful visual experience.
劃、讓博物館主動走出去的計畫。不同博物館筆袋等，現場氣氛炒得火熱，不只外國遊客頻
挑選特色主題，設計成體驗模組，由一台行動頻矚目，更吸引許多台灣民眾踴躍參與。
車裝載，全台走透透。第一天由十三行博物館
由內而外的文化流動
打頭陣，透過立體陶罐拼圖，讓兒童動手拼起
碎片，體驗文物修復，連大人也玩得樂此不近十五年來，除了經貿往來，台灣陸續展開與
疲。第二天由鶯歌陶瓷博物館輪值，特製的馬亞太國家的文化交流，如宜蘭傳藝中心自2003年
賽克拼貼，讓孩子們愛不釋手。新北市文化局開幕至今，每年從國外邀請亞太各國的藝術家與
辦事員更提到，如果偏鄉圖書館、小學有此需研究者，來台從事學術與文化交流，區域更從亞
求，可直接與新北市文化局聯絡，邀約博物館太擴及到東北亞、北亞與全球。
行動車開到現場，讓更多孩子們有機會接觸博與由外而內的亞太傳統藝術節不同，外交部舉
物館級的文物。辦的亞太文化日，是由內而外推動文化交流，自
重視城市交流的台南市，連續三年參與亞太 2012年開始，每年在夏、秋之際舉辦，駐台機構視
文化日，年年精心打造不同主題，從2016年赤為一大盛會，召集在台官員、眷屬跟留學生，集體
崁樓、2017年林百貨，到2018年以安平樹屋動員，上台表演歌曲、舞蹈，或在現場擺設攤位，
為題，運用裝置藝術打造立體樹屋。現場配備提供道地家鄉味的美食、手工藝品，展售特色物產
英文組、日文組的導遊老師，多語介紹台南歷等，讓民眾用眼睛、耳朵聽、用舌頭品嚐，從五感
史、文化與旅遊景點。接連兩天下午舉辦有獎體驗亞太國家的豐富文化。文化交流並非單方輸
徵答抽獎活動，答對台南特色題目，贈送鄭成出，也不是被動接收訊息，透過當下參與活動的互
功點心麵、台南旅遊主題尪仔標或虱目魚造型動，更能體驗亞太文化的精彩與豐富。 l

ties to Asia–Pacific countries, such as New Taipei City, also an activity on both afternoons in which people could
Tainan, and Taoyuan, to join in the cultural exchanges get prizes for correctly answering questions about special
of Asia–Pacific Culture Day. MOFA has invited these features of Tainan. They could win such things as Cheng
cities, which have sister city or friendship agreements Gong potato chips, Tainan-themed wangzaibiao (round
with cities in partner countries for Taiwan’s New South- printed cards similar to those used in the milk caps game),
bound Policy, to set up booths at the event to let more and pencil cases in the shape of milkfish. There was great
people appreciate Taiwan’s cultural power. excitement at the scene, attracting not only large numbers
There is a passage in the book Our Struggle by the of foreign tourists, but many Taiwanese as well.
Indonesian writer Yohanes Arif Wibowo that reads: “Let Cultural outreach
us continually be aware of and remember our hopes and In the last 15 years, besides economic and trade inter-
goals wherever we are, from Brunei to Taiwan / In actions, Taiwan has been gradually expanding cultural
order to achieve our myriad dreams / It is cer- exchanges with Asia–Pacific countries. For
tainly very arduous / But everything must example, since its founding the National
start from here.” This quotation comes Center for Traditional Culture, located
from a collection of bookmarks, com- in Yilan County, has held the Asia–
piled by the Taipei City Foreign and Pacific Traditional Arts Festival an-
Disabled Labor Office, featuring nually. The area covered by this cul-
selections drawn from works that tural exchange event has expanded
have won the Taiwan Literature from the Asia–Pacific region to
Award for Migrants over the years. include Northeast Asia, North Asia,
The bookmarks were available free and, in 2018, the international com-
of charge at the booth of the Taipei City munity as a whole.
Government, adding a rich literary tone to But while the Asia–Pacific Traditional
Asia–Pacific Culture Day. Arts Festival brings in artists
The theme adopted by 邦交國索羅門群島展示手工木雕，旁為我國旗與象徵藍天與 and performers from outside
the New Taipei City Cul- 海洋（藍）、太陽（黃）與綠地（綠）的索國國旗。 Taiwan, MOFA’s Asia–Pa-
The photo shows wood carvings from the Solomon Islands, along
tural Affairs Department with the ROC and Solomon national flags. The colors of the Solomon cific Culture Day draws on
flag symbolize water and sky (blue), the sun (yellow), the land (green),
was even more unique. They the talents of people already
and the country’s original five (now six) provinces (white stars).
used the slogan “mobile located here. Held in late
museums” to attract families summer or early autumn
to their booth next to the main stage. Activities on the first every year since 2012, it is seen as a major event by foreign
day were led by the Shihsanhang Museum of Archeology. embassies and representative offices in Taiwan. It mobi-
They allowed children to reassemble broken pottery to lizes officials posted to Taiwan, their families, and overseas
get a feel for cultural restoration work, and even adults students studying in Taiwan, to sing or dance on stage or
joined in the fun. The second day it was the turn of the to set up booths selling authentic cuisine from back home,
Yingge Ceramics Museum, which entertained children handicrafts and local specialties. These activities give visi-
enormously with its specially made mosaic puzzles. tors a chance to experience the rich cultures of Asia–Pacific
Tainan, which greatly values exchanges with other countries using all of the five senses, including vision,
cities, appeared at Asia–Pacific Culture Day for the third hearing, and taste. Cultural exchange is by no means a one-
year running. Each year it has taken an important historic way process of exporting culture outward, nor is it passive
building in Tainan as its theme, from the Chikan Tower acceptance of outside cultural information. Rather, interac-
in 2016 and the Hayashi Department Store in 2017 to the tion provided by in-the-moment participation in activities
Anping Tree House in 2018 (with a model of the house is an even better way for people to experience the splendor
as installation art). The city’s booth introduced Tainan’s and richness of Asia–Pacific cultures. l
history, culture, and major tourist attractions in several (Sanya Huang/photos by Chuang Kung-ju/
languages including English and Japanese. There was tr. by Phil Newell)
93
島嶼行旅　AROUND TAIWAN
On the Way Home:

Juan I-jong’s Taiwan Story House

回家的路上
19歲離家後，阮義忠的足跡踏遍台灣各地，也
觸及世界各偏遠角落，但他鮮少回家。卻在2017年
宜蘭美術館「回．家──阮義忠影像回顧展」的機
緣，促成了他回家的路。2018年元旦，「阮義忠台
灣故事館」開幕，遊子在外地多年的漂泊，最終落
腳在家鄉，用這方空間繼續訴說台灣的故事。
總是戴頂帽子，衣著簡便，臉上掛著微笑的自
信，已近不逾矩之年的阮義忠，自在與隨興之外，
再多一分淡然。多年前，他戒了菸，也推掉不必要
的應酬，咖啡、黑膠仍是生活必需，當然還要透過
鏡頭賞玩光影，阮義忠的生活簡單有質感，但不隨
便，一如踏入以他命名的「阮義忠台灣故事館」給
人的感覺。
A fter leaving home at 19, Juan I-jong left his foot-

prints across Taiwan as well in remote corners of
the globe, but he rarely returned to his roots. In 2017, Yi-
lan Museum of Art’s “On the Way Home: A Retrospect-
ive Exhibition of Juan I-jong’s Photography” inspired
him to commence his journey home. The inauguration
of “Juan I-jong’s Gallery of Taiwan Story,” on January
文 •
1, 2018 marked the day that the longtime world wan-

derer finally planted his feet again in his hometown in
鄧慧純
order to use this space to recount tales of Taiwan.

　
圖 •
Wearing his customary hat and a smile, Juan is nearing

莊坤儒版面設計 •
70—the age at which the Confucian Analects say one can

“follow one’s heart without overstepping the mark”—and
he does appear at ease and spontaneous. Many years ago
　
he quit smoking and began declining unnecessary social

engagements. Coffee and LPs are still necessities, as is
playing with light and shadow via a camera lens. His life
王敬勛
is simple but not casual, and this is just the kind of feeling
you get when you enter the gallery that bears his name.
95
變成台灣故事館。」阮義忠跟市長江聰淵說，促
回家的路上
成了雙方的合作。2018年元旦，以阮義忠為名的
位在宜蘭市中山路巷弄內的「阮義忠台灣故事台灣故事館正式開幕，用照片說故事，讓故事傳
館」，兩層樓的紅磚屋，地點並不顯眼，但只要真情。
看到外牆懸掛數張巨幅人像照片，就知道故事館
人文紀實的實踐者
到了。
照片乍看有點面熟，仔細端詳才認出，啊！是「人與人」、「人與土地」的情感關聯是阮
黃春明赤裸著上身、點菸的肖像照，明暗的光線義忠攝影恆久的主題，多年來，他的鏡頭記錄了
營造出若有所思的氛圍。台灣農業社會的最後一瞥，當時人與人互信，人
啊！是雲門舞集創辦人林懷民，健美青春的身與環境和諧共處，他的景框捕捉了孩童無邪的笑
體，青澀但專注的眼神，投入舞蹈中。
啊！是戴著粗框眼鏡，打扮樸素的楊麗花，展
現她親民的一面。
這幾位在台灣社會響叮噹的人物，阮義忠在故事館2樓滿滿一片牆，陳列阮義忠的攝影集，
四十多年前記錄他們年輕的身影，成為對那段時光還有他長年筆耕不輟的著作。（鄧慧純攝）
No wall space to spare: Juan I-jong’s photos, and publications
美好的追憶，也是阮義忠台灣故事館的創設宗旨。 from years of writing, on the second floor. (photo by Cathy Teng)
故事館原址是戰後縣府高階主管的宿舍，當
初寄居此地的多是福州人，在地人又稱為「福州
巷」，阮義忠台灣故事館館長劉美華解釋道。但
隨著行政機關遷移，宿舍區日漸荒廢，也成為治
安的死角。2015年，宜蘭市市長江聰淵上任後，
爭取到經費，將周邊環境改善，再挑其中三間修
繕整理。
2017年阮義忠應宜蘭美術館之邀，返鄉舉辦
「回‧家──阮義忠影像回顧展」。因有地緣之
親，他特地翻箱倒櫃地挑出沒有發表過的宜蘭影
像，以「回家的路上」為主題，美術館一樓展廳
掛滿七○∼八○年代宜蘭的影像。鄉親們反應熱
烈，許多人挨著相片，細細尋找相片中是否有熟
識的親人，「還真有人找到，還買了作品。」阮
義忠說。
回顧展成功且圓滿地落幕了，阮義忠想：作品
回來了，那人呢？於是他向館方表示，「如果有
合適的地方，我可以把工作室搬回來。」這句話
幾經耳傳，到了劉美華的耳裡，她立刻想到已經
修整好的福州巷宿舍。
阮義忠看了空間十分滿意，但僅當作工作室有
點可惜，「把整排（宿舍）都給我，我可以把它

On the way home His robust, youthful body and guileless yet focused gaze are entirely de-
Located in Yilan City in an alley off voted to his dance steps.
Zhongshan Road, the red-brick story Some 40 years ago Juan captured images of these personalities, whose
house is hardly conspicuous, but as names now resonate throughout Taiwanese society. These photos do not
soon as you see a few large portrait simply represent glorious recollections of that era; their display is also
photos hanging on the outside wall the raison d’être for his gallery.
of the two-story building, then you The site formerly housed residences for high-level officials of the
know you’ve arrived at the site. post-war county government, explains gallery director Liu Mei-hua. But
One photo looks a bit familiar, following the relocation of administrative agencies, the complex gradu-
and upon closer examination it ally deteriorated. In 2015, after Yilan City’s mayor Chiang Tsung-yuan
comes to me—this is Taiwanese took office, he moved to improve the surroundings and slated three of
author Hwang Chun-ming! His the original buildings for refurbishment.
torso is unclothed, and he’s lighting In 2017, Yilan Museum of Art invited Juan to return to his hometown
a pipe. The interplay of light and and hold a retrospective exhibition. Given his ties to the place, he rum-
shadow create a thought-provoking maged through his possessions in hopes of locating shots of Yilan never
ambience. seen by the public. Themed “On the Way Home,” the exhibition was
Oh, and that’s Lin Hwai-min, the filled with images of Yilan during the 1970s and 80s.
founder of Cloud Gate Dance Theater. When the curtain came down on the well-received retrospective, Juan
兩層樓的紅磚屋，阮義忠台灣
故事館外觀古樸，很有台灣味。
With its quaint façade, the two-
story red-brick photo gallery has
an authentic Taiwanese feel to it.
97
顏，長者對生活的接受與看淡，一景一物在黑白的方寸間，一張張灣各個角落，深入民間日常，
都有故事，一張張載滿溫情。拍攝了大量動人且珍貴的生
出身宜蘭頭城的木匠之家，阮義忠曾表示兒時家境困苦，讓他成活顯影。《人與土地》、《北
長過程一心想的就是逃離故鄉。19歲時，大學聯考失利，他到台北埔》、《有名人物無名氏》、
謀生。在拿起相機前，阮義忠拿的是畫筆，在《幼獅文藝》擔任編《正方形的鄉愁》等族繁不及
輯，幫小說畫插畫、設計封面。退伍後，經過黃春明及高信疆的介備載的攝影集，收錄他一步一
紹，到《漢聲》雜誌擔任美術編輯，此時也是他拿起相機的契機。腳印的認真軌跡。1999年，
1975年擔任《家庭月刊》的攝影，阮義忠在此期間揹著相機走進台遭逢921大地震，昔日他走訪
過的鄉鎮土地被撕裂，民眾的
心靈亦受創。他再次揹起相
機，隨著慈濟的腳步，穿梭在
災區，一路記錄重建的歷程，
再一次感受到大地的力量與人
的韌性，作品集結成《尋找希
望的種子》、《期待希望的新
芽》。
這些著作陳列在故事館的
2樓，滿滿一片牆，不僅攝影
集，阮義忠長年筆耕不輟《當
代攝影大師》、《攝影美學七
問》、《一日一世界：阮義
忠的微博生活》、《隨師行
腳：看見證嚴法師的慈悲與
智慧》、《讀人讀景》，也
展現攝影師影像外的才情。
1992年，他創辦的《攝影家
Photographers International》中
英文雙語國際雜誌也在其中，
這是啟蒙兩岸攝影人的重要期
刊，透過對西方攝影豐富的引
介與國內攝影界接軌，打開世
界攝影文化的大門。
〈人與土地──靈魂的肖像〉1980。
（阮義忠提供）
“Portrait of a Soul” (1980), from Man and
Land. (courtesy of Juan I-jong)

made it known to the museum management that “if there 阮義忠的鏡頭記錄台灣最美的風土人情。
is a suitable place, I’m willing to relocate my atelier here.” 〈人與土地──旭海〉1986。（阮義忠提供）
Juan’s camera lens has documented Taiwan’s
Passed on by several people, those words eventually most distinctive ways of life. “Xuhai Plain” (1986),
from Man and Land. (courtesy of Juan I-jong)
reached the ears of Liu Mei-hua, who immediately thought
of the newly renovated buildings in “Fuzhou Lane,”as
the alley is known locally, it having once been inhabited
mainly by people from Fuzhou on the Chinese mainland.
After examining it firsthand, Juan was very pleased flee his hometown. When he failed the islandwide uni-
with the space. “If you give me the whole row of versity entrance exam, he went to Taipei to earn a living.
houses,” he said to Mayor Chiang, “I can turn them into Before picking up a camera, Juan wielded an artist’s brush
a gallery telling tales of Taiwan.” This kickstarted their to illustrate novels and short stories for Youth Literary
collaboration. Monthly. After compulsory military service, he served as
Specializing in still-life reportage an art editor for ECHO magazine, where he had a chance
Person-to-person emotional connections, and those be- to put his camera to use. As photographer for Families
tween people and the land, are constant themes of Juan’s from 1975, Juan carried his camera into all corners of Tai-
photography. Over the years, his lens has documented the wan and shot large numbers of moving and precious im-
last glimpses of Taiwan’s agricultural society, one scene ages of people’s everyday lives. In 1999, in the wake of the
and one object at a time in black and white. Each photo September 21 Jiji Earthquake, he found that the towns and
has a story to tell, each shot is full of affection. villages he had once visited had been ripped apart and
Born the son of a carpenter in Yilan County’s Toucheng residents traumatized. Following in the footsteps of volun-
Township, in the past Juan has said that his childhood teers from the Tzu Chi Foundation, a Buddhist NGO,
was an impoverished one, a fact that made him want to he recorded the reconstruction process, and once again
99
書櫃旁的玻璃櫥櫃，展示著阮義忠一路走故事館第一檔展覽，阮義忠（左）邀請同鄉黃春明（右）
進行攝影的對話。（黃春明提供）
來使用過的相機，從在《漢聲》學攝影時的 For the gallery’s first exhibition, Juan I-jong (left) invited
Taiwanese author Hwang Chun-ming (right) to join him in a
Nikkormat；在《家庭月刊》時期，陪他走遍台 photographic dialogue. (courtesy of Hwang Chun-ming)
灣的Nikon F2機身和24mm、50mm、105mm三
顆鏡頭；第一部萊卡相機3a，他用這台相機拍下
年輕的林懷民；拍下《正方形的鄉愁》使用的
120系統相機；在921地震後，為災區重建做紀錄義忠一直珍藏著當年從黃春明那兒拿來的三卷
的Nikon F50等，數十年來，阮義忠用鏡頭記錄底片，藉著這次機會，他親自進暗房把底片沖洗
踏尋鄉村美好，重現人與土地親密感。出來，攝影主題關於漁民、農民與原住民，這是
黃春明筆下關心的市井小民；阮義忠就把自己當
影像對話說台灣
年拍攝台灣著名人物剛冒出頭時的年輕容顏──
阮義忠台灣故事館的第一檔展覽是他和黃春明「有名人物無名氏」主題，如陳映真、鳳飛飛、
的聯展──「黃春明《三卷底片》＆阮義忠《有漢寶德等照片，與之對話。
名人物無名氏》」。兩人同是宜蘭同鄉，卻是在第二檔展覽是阮義忠與蔣勳對話──蔣勳《池上
台北相識。黃春明以作家出名，但拍照也極出日記》＆阮義忠《花東縱走》。2014年秋，蔣勳在
色，阮義忠與黃春明關於攝影的對話，曾被整池上駐鄉創作，《池上日記》是他心情的記錄，他
理成阮義忠的《攝影美學七問》書中的一篇，阮也用手機拍下他眼中的池上，如山水畫一般的大埤

當年黃春明交給阮義忠的底片印樣，
從中可窺見他對市井小民的關懷。
（黃春明提供）
From the negatives that Hwang Chun-
ming gifted Juan I-jong years ago,
Hwang’s compassion for the man on the
street is evident. (courtesy of Hwang
Chun-ming)
upon when trekking island-wide

for Families; his first Leica IIIa, with
which he photographed the young
Lin Hwai-min; and others such as
the Nikon F50 that he used to docu-
ment reconstruction after the 921
Earthquake. For decades, Juan used
a camera lens to record his quest for
rural beauty and to reveal the intim-
acy of people with the land.
Narrating Taiwan
The first exhibition at the gal-
lery was a joint event between Juan
and Hwang Chun-ming. Although
the two are Yilan County natives,
they first met in Taipei. The latter
is renowned as an author, but his
photo graphy is also outstanding.
Juan has long treasured three rolls
of film gifted him by Hwang some
experienced Nature’s power and humankind’s resilience. His photos appear years ago, and given this opportun-
in the collections Searching for Seeds of Hope and Awaiting Hope’s New Buds. ity, he entered the dark room and
These works are displayed on the gallery’s second floor. But his ongoing developed the negatives personally.
authorship of published works such as Contemporary Master Photographers, A The theme of the photos is fisher-
Day in the World: Juan I-jong’s Microblog 1 and A Master in Motion: Witness to men, farmers and indigenous peo-
Dharma Master Cheng Yen’s Compassion and Wisdom conveys that his talents ples, the three kinds of working-class
are not restricted to photography. Another example is the influential bilingual people that Hwang writes about.
magazine Photographers International, which he founded in 1992, and which To initiate a dialogue with Hwang’s
has inspired photographers on both sides of the Taiwan Strait by introducing photos, Juan selected some of his
abundant works of professionals in the West, and helping domestic photo- own early photos of Taiwanese not-
graphers connect with trends in the world at large. ables such as author Chen Yingzhen,
The glass cabinet next to the bookcase shows the various cameras that Juan songstress Fong Feifei and architect
employed as his career progressed: the Nikkormat, when he was a novice at Han Pao-teh, from his collection The
ECHO magazine; the Nikon F2 and trio of lenses (24, 50 and 105 mm) he called Known and the Unknown.
101
阮義忠的攝影作品
（左，宜蘭市公所
提供）與李乾朗的
手繪創作〈霧峰林
家戲台〉（右，李
乾朗提供）在故事
館中同時訴說台中
霧峰林家的過往。
Opera stage at the
Lin Family Mansion
in Wufeng: The
juxtaposition of
Juan I-jong’s photos
(courtesy of Yilan City
Office) and Li Chien-
lang’s handpainted
version (facing page,
courtesy of Li Chien-
lang) suggests the
mansion’s rich history.
池、青嫩的秧苗、已結穗澄黃的稻田。以地點為看李義弘的照片多為戶外的黑白照，他便挑選自
關聯，阮義忠也翻出他1979年在花東縱走的黑白照己室內彩色的生活照，紅通透的番茄在陽光下的
片，花蓮豐濱鄉靜浦的海邊、花東海岸的釣客、蔗光影，陶偶立在窗邊襯著戶外的山景，或是拍下
田裡的小孩，還有退伍的老兵與小孩。簡單但擺設別有趣味的早餐，每幅照片旁邊附上
第三檔展覽是建築的對話──李乾朗《古蹟圖 140字以內的小文，是他在新浪微博的日記。一
影》＆阮義忠《霧峰萊園》。李乾朗是國內古建日一世界，信手拈來，都是藝術，都是美。
築研究的專家，他的眼能透視建築內部構造，台
永續的故事館
北龍山寺、霧峰林家、彰化永靖餘三館都成為他
筆下的手繪藝術；阮義忠則取他1977年造訪台中阮義忠細數每一檔展覽的由來，在他腦中已
霧峰林家的寫真，此地多數毀於921地震，雖已重經想好長遠的規劃，而且「我太勤快了」，阮
建，但原汁原味的庭院深深只能在相片中追憶。義忠笑著說，「我以前拍的照片，展10年都沒
第四檔邀請水墨畫家李義弘合作──李義弘問題。」
《寫真又寫意》＆阮義忠《一日一世界》。李 2019年第一檔展覽的關鍵字是「淡水」。1872
義弘的黑白照片或是樹林、或是岩石、或是海年，將一生奉獻給台灣的馬偕博士自淡水港口登
岸、或是沙地，都傳遞著一份山水寫意；阮義忠陸，開始在台灣行醫傳教；而遭蒙政治受難的畫

The second exhibition was a dialogue between Juan were all captured in his hand-drawn art, which features
and painter, poet and author Jiang Xun. In the autumn “cutaway” views. For this dialogue, Juan selected photos
of 2014, Jiang became an artist-in-residence in southeast of the Lin Family’s Lai Garden that he executed during a
Taiwan’s Chishang Township, and Chishang Diary is a 1977 visit. Many buildings in the area were destroyed in
record of his moods. He used his mobile to photograph the 921 Earthquake, and although they were rebuilt, the
the landscapes he visited, such as picturesque Dapo Lake, flavor of the original compound, with its many court-
tender green rice seedlings, and the golden paddies be- yards, is now only to be found in photographs.
fore harvest. For his part Juan dug out some of the black- The fourth exhibition grew out of an invitation for
and-white photos he took on his 1979 treks throughout cooperation with Lee I-hung, who practices traditional
eastern Taiwan, featuring scenes from Hualien’s Fengbin Chinese ink-and-wash painting. His black-and-white
Township, including the seaside at Jingpu, children in photos, of woods, rocks or seaside, all convey an air of
sugarcane fields, and kids together with retired veterans. freehand landscape painting. For his part, Juan chose
The third exhibition was a dialogue on architecture. indoor color photographs featuring bright red toma-
Taiwan’s Li Chien-lang is an expert in the study of ancient toes illuminated by sunlight, pottery placed next to a
Chinese architecture. His eyes can “deconstruct” the inter- window and set off by the mountain forest outside, or
ior structure of buildings, and Taipei’s Longshan Temple, a simple breakfast that has been laid out symmetrically.
the opera stage at the Lin Family Mansion in Taichung’s Each is a microcosm of the world, and in Juan’s deft
Wufeng District, and Yusan Hall in Changhua’s Yongjing hands, everything is art, everything is beautiful.
103
家陳澄波，1930年代中期，他曾頻繁地造訪淡初期的壓箱作品，將尋機會搭配林懷民今年退休
水，留下許多記錄淡水的風景畫；阮義忠昔日拍的時機，一起規劃展出。
攝的七○年代淡水小鎮，如今已今非昔比，他從故事館開幕一年多來，因著阮義忠在各地的名
箱底挖出照片，讓大眾回想淡水原初的模樣，這聲，留言本上有來自馬來西亞、菲律賓、中國大
是一檔三方對話的展覽，藉此讓社會記憶這些曾陸、韓國、泰國等地訪客簽名，曾有來自甘肅的
對台灣作出貢獻的人。學生，利用來台灣交換學生的機會，多次造訪故
對於故事館的未來，阮義忠已經想得很長遠，事館，只為了與阮義忠見上一面。劉美華表示，
故事館的永續也是他念茲在茲的。故事館不僅是宜蘭的觀光景點，宜蘭在地的教學
故事館的第二空間主要作為暗房使用，讓攝單位也常使用故事館的空間，作為美學、生活的
影學生能來此體驗暗房，延續暗房沖洗照片的傳機會教育。而且活化閒置空間，市公所自發性的
統。但透過空間設計，也能變身為小展廳、教室努力也讓故事館成為公務人員標竿學習的案例。
或是閱覽室，這回馬偕相關的文件展就安排在第志工沈美華總會親切地邀請每一位走進故事館的
二空間展出。他還透露，還有很多雲門舞集創立民眾，一起討論攝影，分享心得；志工張晶華分
享，許多離家多年的宜蘭人來到這空間，凝視著
相片，總會勾起他們兒時的記憶。
故事館開幕屆一周年，也成為回顧台灣「風
以對話的形式，阮義忠邀請許多創作者，以
不同形式、跨越時間的尺度，在空間互動，景」重要的歷史窗口。在台灣北部的美麗後山
說台灣的故事。（宜蘭市公所提供） ──宜蘭，老城區的巷弄裡，有這麼一方低調的
In the form of a dialogue, Juan I-jong has invited
many artists to interact in the exhibition space 空間說著台灣的故事，是宜蘭之傲，也是台灣
l
and tell their tales of Taiwan in various media and
across time. (courtesy of Yilan City Office) 之幸。

阮義忠在外地多年的漂泊，最終落腳在家鄉， public of Tamsui’s former appearance. This is a three-
用這方空間繼續訴說台灣的故事。
The wanderer comes home: After many years away, Juan I-jong
way conversation that aims to remind society of those
has returned to his roots in order to continue telling Taiwan’s who once made a contribution to Taiwan.
saga in this unique space.
Since the gallery’s opening more than a year ago,
thanks to Juan’s overseas reputation the guestbook bears
the signatures of visitors from places such as Malaysia,
Thailand, the Philippines, mainland China and South
Ever-refreshed story house Korea. Schools use fieldtrips to the gallery as opportuni
Juan can cite in detail the thinking behind each exhibi- ties for education in aesthetics and in life, says Liu Mei-
tion, and in his mind he already has long-term plans. “I hua. Volunteer Shen Meihua invites each visitor to dis-
am too hardworking,” he says with a smile. “Based on cuss the photography and share their impressions with
my cache of previous photos, displaying ten years’ worth others. Zhang Jing hua, another volunteer, notes that
of exhibitions wouldn’t pose any difficulties.” For the upon entering, many Yilan-born people who have been
first show in 2019, the “keyword” will be Tamsui, where away for many years gaze intently at the photos, which
George Leslie Mackay began his work as doctor and often evoke their childhood memories.
Presbyterian missionary in 1872. Painter Chen Cheng-po As the gallery celebrates its first anniversary, in the
frequently visited Tamsui in the mid-1930s, and left be- old district of Yi lan there is now a low-profile space
hind many landscapes featuring local scenery. Of course, where many a tale of Taiwan is recounted. It is the pride
the little town captured in Juan’s photos of Tamsui from of Yilan and the good fortune of Taiwan. l
the 1970s can’t compare with today’s city. The photos (Cathy Teng/photos by Chuang Kung-ju/
he dug out from the bottom of his boxes will remind the tr. by Bruce Humes)
105
多元族群　COMMUNITIES

編撰台越法典對照表自信傳遞越南文化
Confidently Conveying Vietnamese Culture:
文•陳群芳　圖•林旻萱　版面設計•王敬勛
8年前，為了一圓學中文的夢想，陳玉水從越
南來台留學，也在這裡遇到真命天子，求學、工 T ran Ngoc Thuy came from Vietnam to study in
Taiwan, where she realized her dream of learn-
ing Chinese and also met her Prince Charming, as
作、結婚、生子，台灣從他鄉變故鄉。為增加兩
Taiwan transformed from a foreign land into her
國民眾彼此的認識，陳玉水擔任通譯、當老師、
homeland. In order to increase mutual understanding
主持廣播節目、開餐廳。在忙碌的生活中她還編 between Taiwanese and Vietnamese, Ngoc Thuy has
寫《臺灣─越南重要法律名詞對照表》，希望幫 worked as an interpreter and teacher, hosted a radio
助新住民姐妹認識自身的權益。文化使者，是她 show, and run a restaurant. Amidst this very busy
多元身分的最佳註解。 life she has still found time to compile a Vietnamese
glossary of Taiwanese legal terms, to help immigrant
sisters from Vietnam to understand their rights. The
best single term to summarize her many diverse roles
would be “cultural emissary.”
陳玉水（右2）來台留學築夢，
探索世界。（陳玉水提供）
Tran Ngoc Thuy (second right) came
to Taiwan to study and realize her
dreams, and to see more of the
world. (courtesy of Tran Ngoc Thuy)
107
陳玉水來自越南同奈省，從小接觸台灣的戲劇難忘，暗自決定即使沒有報酬，也希望有機會能
與歌曲，對她而言，中文字就像空氣般自然的存到移民署當志工。
在，也引起她對中文的興趣。於是陳玉水自國中大二時陳玉水再次前往移民署辦理證件，現
開始就利用課餘時間補習中文，基本的聽說讀寫場剛好有個狀況，她主動幫忙翻譯，移民署的專
都難不倒她，學校畢業後在越南教中文，教學一員看到陳玉水的熱心，便邀請她來擔任志工，發
段時間後，有感於自己的不足，因而有了出國進揮專長。陳玉水利用課餘時間參加通譯課程，協
修的念頭。助新住民姐妹的翻譯工作，擔任通譯至今已近四
在越南，進修通常分成兩種，家境富裕的就到年，看到許多新住民姐妹在遇到法律問題時的無
歐美留學，另一種則是留在越南深造，較少會去助，心中便想為她們做點什麼，因而有了《臺灣
鄰近的亞洲國家念書。當陳玉水向親友提出要到 ─越南重要法律名詞對照表》的誕生。
台灣念書的想法時，當地對於台灣的觀念仍停留起初陳玉水只是整理在通譯課程裡學到的單
在跨國婚姻，覺得去台灣留學很新鮮。加上已經字，因為有興趣，生活中也會特別留意法律相關
嫁到台灣20年的大姐，常常跟陳玉水說起台灣環的新聞，遇到不懂的單字她便記錄下來，尋找中
境很好，鼓勵她來。雖然對台灣不是很了解，抱文的意思。翻閱法律名詞的中文解釋，雖是簡單
著年輕就要多出去走走、看看世界的想法，沒出的文字，但語句常常是拗口又複雜，就連台灣
過國的她鼓起勇氣隻身飛到台灣，就讀臺灣師範民眾也不一定看得懂，何況是不諳中文的新住民
大學應用華語文學系。們。於是陳玉水花了很多時間了解這些法律名詞
的意義與效力，經過自己消化吸收後，將原有的
在他鄉幫助家鄉姐妹
中文解釋整理成一看就懂的詞句，再寫下越南文
撫平陳玉水初到台灣忐忑心情的人，是她前往翻譯與說明。陳玉水一字一句仔細地琢磨，希望
移民署辦理證件時，協助她填寫資料的越南籍志以越南的語法寫出讓不管是初到或久住台灣的姐
工。「移民署是外國人來到台灣一定要去辦證件妹們都能理解的「法律名詞對照表」。遇到兩國
的地方，剛到台灣，前往辦理證件時，一位漂亮法律不相同之處或是越南沒有相關的法條，陳玉
的越南姐姐從櫃台走出來協助我。」志工的親切水還特地回越南諮詢律師，以期能提供更精確的
熱情，能用家鄉話談天，那份感動令陳玉水至今解釋。
《臺灣─越南重要法律名詞對照表》不僅有紙本，掃描QR code即可連上
移民署網站的電子書，陳玉水希望將資訊與更多人分享。
Besides the printed version of the Taiwan–Vietnam Glossary of Major Legal Terms,
there is also an e-book that you can link to on the National Immigration Agency
website. Ngoc Thuy hopes that she can share the book with even more people.

Tran Ngoc Thuy (also known as Yvonne Chen) comes 透過廣播節目，讓大眾認識在台灣認真打拚的各國新住民。
Through her radio program, Ngoc Thuy gives listeners a chance
from Dong Nai Province in Vietnam. From a young age to get to know immigrants from many lands who are working hard
she came into contact with Taiwanese television dramas to make their way in Taiwan.
and songs, which sparked her interest in the Chinese lan-

guage. Starting in middle school she used her free time to
study Chinese, and after graduating from university she Helping her expatriate sisters
became a teacher of Chinese. After teaching for a period The people who most helped calm Ngoc Thuy’s
of time, she recognized her own shortcomings, and from anxietywhenshefirstgottoTaiwanweretheVietnam-
there got the idea to go abroad for advanced study. esevolunteerswhohelpedherfilloutformswhenshe
When Tran Ngoc Thuy first proposed the idea of went to the National Immigration Agency to handle the
going to study in Taiwan to her family and friends, the paperwork for her residence permit. The friendly and
idea that most local people had of Taiwan was limited helpful attitude of these volunteers and the fact that she
to transnational marriages, and to them the notion of could speak freely with them in her native tongue left
going there to study seemed very novel. But her eldest Ngoc Thuy with an unforgettable feeling of gratitude,
sister, who had married into a Taiwanese family 20 years and she hoped that she herself would one day have the
previously, often told Ngoc Thuy that the quality of life opportunity to work as a volunteer at the NIA.
in Taiwan was good, and encouraged her to come. Al- Ngoc Thuy used her free time to attend classes in
though she didn’t understand very much about Taiwan interpretation, and she has now worked as a volunteer
and had never been abroad before, Ngoc Thuy embraced interpreter at the NIA for nearly four years. Seeing how
the concept that one should see more of the world while helpless many of her immigrant sisters were when en-
young and took a plane by herself to Taiwan to study in countering legal problems, she wanted to do something
the Department of Applied Chinese Language and Cul- to help them, and so it was that she came to compile her
ture at National Taiwan Normal University. Taiwan–Vietnam Glossary of Major Legal Terms.
109
原本只是希望將這些資料印製成單張，放置面對這樣的抱怨，陳玉水都會提醒姐妹，並非全
在移民署供民眾取閱，後來順利申請到移民署的部的台灣人都是這樣，也鼓勵姐妹要有足夠的自信
「新住民及其子女築夢計畫」，陳玉水便將整理來和別人對談。欣賞來自於了解，陳玉水認為，很
的內容集結成冊，印製成《臺灣─越南重要法律多時候是因為彼此不瞭解，才造成誤會。舉例來
名詞對照表》。陳玉水表示，對照表印製完成說，在越南，雙手環抱胸前是禮貌，代表我把自
後，同樣擔任通譯的越南姐妹跟她分享，說這個己收起來，把這個空間讓給你，是一種尊重對方
對照表對自己的幫助很大，曾經在翻譯時找不到的行為；但同樣的動作，對台灣人而言卻是不想
越南文更好的說法，卻在陳玉水的對照表裡得到說話，沒有親切感，充滿防衛性的動作。若能明
了解答。白兩種文化之間的差異，「原來他這樣是表示對
陳玉水以自身經驗鼓勵其他國籍的新住民，編我的尊重啊！」反而能增進彼此的認識。
寫屬於他們國家的法律參考資料，如今已經有他不只台灣人對越南文化不認識，越南人對台
國的姐妹開始著手整理。陳玉水樂見台灣的新住灣的風土民情也很陌生。為此，陳玉水認為更
民能有更多的資源，就像陳玉水在對照表的前言應該發揮自己背景的優勢，成為增進兩國文化
裡寫著：「法律之前人人平等，但在這之前，得認識的橋梁。陳玉水因緣際會參加新住民廣播
先有資訊上的平等。」人才培訓班，學習廣播節目製作、剪輯與主
持。本想創臉書粉絲專頁來介紹越南文化的陳
欣賞來自於了解
玉水，發現透過廣播節目不只能增加大眾對越
在台灣已經生活超過七年的陳玉水，偶爾會遇南文化的認識，藉由不同國家來賓的訪談，也
到新住民姐妹前來訴苦，說自己被台灣人看不起。開拓了陳玉水的視野。

At first Ngoc Thuy was merely collating words that Thuy specially returned to Vietnam to consult a lawyer
she had learned in interpreting class. Because she had an in hopes of providing more accurate explanations.
interest in law, she would pay special attention to law- After she successfully applied for participation in
related news reports, and when she encountered a term the NIA’s “Dream Weaving Project for New Immi-
she didn’t understand she would note it down and search grants and Their Children,” she turned the content she
for the Chinese meaning. Thumbing through Chinese had gathered into a booklet, which was printed as the
explana tions of legal terms, she found that while the Taiwan–Vietnam Glossary of Major Legal Terms.
words were simple, the sentences were often awkward Tran Ngoc Thuy encourages immigrants of other
and complex. Even people from Taiwan could not neces- nationalities to produce legal reference materials for
sarily understand the text, much less immigrants who people from their own countries, and today there are
were not well versed in Chinese. Consequently Ngoc already sisters from other lands who have begun com-
Thuy put a lot of time into understanding the meaning piling terms. Ngoc Thuy is happy to see immigrants to
and effect of these legal terms, rewriting the original Taiwan have more resources, because, as she wrote in
Chinese-language explanations into sentences that could the foreword to her glossary, “Everyone is equal before
be understood at first glance, and then adding a trans- thelaw,butfirsttheremustbeequalityofinformation.”
lation and explanation in Vietnamese. She hoped to Appreciation comes from understanding
produce a glossary of legal terms that all her sisters from Appreciation comes from understanding, Ngoc Thuy
Vietnam could understand, whether they had just arrived believes, and people often jump to the wrong con-
in Taiwan or had lived here for a long time. As she en- clusions when they don’t understand each other. For
countereddifferencesbetweenthelawsofthetwocoun- example, in Vietnam folding your arms means “I will
tries, or laws which had no Vietnamese counterpart, Ngoc restrain myself, and leave this space to you”; it is a sign
of respect for the other person. However, to Taiwanese
the same gesture means “I don’t want to talk,” and is
considered a very defensive posture. If we can under-
陳玉水以美食、演講、教學等方式，分享越南
文化，搭起台越友誼的橋梁。（陳玉水提供） standthedifferencesbetweenthetwocultures,wewill
Ngoc Thuy uses a variety of methods, including be able to increase mutual understanding and respect.
cuisine, lectures, and teaching, to share Vietnamese
culture and build a bridge of friendship between Ngoc Thuy believes that she should take advantage
Taiwan and Vietnam. (courtesy of Tran Ngoc Thuy)
of her background to become a bridge for understand-
ing between the cultures of the two countries. By chance
she got an opportunity to attend a training course for
immigrant talent for radio, where she learned about the
production, editing, and hosting of radio programs.
Ngoc Thuy and Daisy Dai, who comes from Chengdu
in mainland China’s Sichuan Province, host a radio pro-
gram on National Education Radio entitled Xingfu Bei
Taiwan (“Happy Northern Taiwan”). They invite people
from various lands living in Taiwan to share the culture
of their mother country and their personal stories. Ngoc
Thuy states: “The guests we invite for the program are
not necessarily big shots with great abilities, but they
are invariably people who have worked hard to manage
their own lives. Even if the person is doing something
as simple as caring for their family well, our interviews
can encourage more people to follow their example, or
understandthattheguestsareputtinggreateffortinto
their lives in Taiwan.”
111
以越南家常菜入菜單，例如苦瓜包
肉湯，青苦瓜包裹著絞肉、冬粉、
木耳，加入越南胡椒燉煮成湯，是
越南過年才會出現的手工菜，象徵
苦盡甘來。
Ngoc Thuy’s restaurant has
downhome Vietnamese dishes on
the menu. One example is soup with
stuffed bitter melon. Green bitter
melon is stuffed with minced meat,
mung bean noodles, and wood ears
fungus, then flavored with Vietnamese
pepper and cooked into a soup. In
Vietnam the dish is served only at
New Year, and symbolizes “leaving
bitterness [hard times] behind.”
陳玉水與來自四川成都的代延玉，共同主持國帶有雨後朦朧的氛圍；另一幅則是越南胡志明市
立教育廣播電台的節目「幸福北台灣」，邀請在的代表性地標「濱城市場」，法國殖民時期留下
台灣生活的各國人士，分享他們的母國文化與自的百年建築、身穿奧黛（越南國服）頭戴斗笠的
身的故事。陳玉水表示，「節目請的來賓不見得女子，還有象徵南越過年氣氛的黃梅花，全被畫
是很厲害的大人物，但一定是努力經營自己生活家捕捉在作品裡，洋溢著越南過年的喜氣。
的人，即使只是把家庭照顧好這麼單純的事情，環顧店內，處處都有陳玉水的布置巧思，越
也可以鼓勵更多人學習或是了解來賓認真在台灣南會安古城的手作燈籠，繽紛亮眼為餐廳點綴增
生活的一面。」希望不管是台灣聽眾或是新住民色；彩繪的越南斗笠、家鄉盛產的紅毛丹、家戶
姐妹，都能在節目中得到正面的力量。過年必備的梅花與桃花，則是南越北越不同的風
情。新住民姐妹進到店內備感親切，台灣客人則
台灣也有越南味
能置身在異國文化的氛圍裡。
傳承自媽媽的好手藝，陳玉水燒得一手好菜，如今仍在臺灣師範大學課程與教學研究所就讀
在新住民的團體裡頗有名聲。大學時和姐姐在師的陳玉水，是學生、老師、妻子、媽媽、通譯、
大附近租了個小攤位賣便當，每到午餐時間，志工、廣播節目主持人⋯⋯，在這些多重身份
100個便當開賣沒多久就全數售完，一段時間的下，陳玉水仍堅持每天整理一到兩個法律名詞，
經營後，她們倆興起了開餐廳的念頭。因為她相信「就算這個行動只是每天一點點，慢
籌備一年，去年4月姐妹倆在台北萬大路上開慢累積也總比沒行動好。」
了「越好吃」越南餐廳。不同於民眾對越南小吃好奇問起陳玉水如何在忙碌生活中讓自己游刃
店的印象，餐廳整潔舒適，充滿濃濃越南風情。有餘，她笑笑地說：「越匆忙的人越會安排運用
店內以紅磚瓦圖樣的壁紙為基底，牆上掛著陳玉時間。」看著陳玉水在餐廳裡忙進忙出的身影，
水從越南訂製的油畫。一幅是舊時越南的景色，臉上始終帶著笑容，自信而亮眼。 l

The taste of Vietnam in Taiwan 「越好吃」餐廳充滿越南風情，等待民眾前來細細品味。
The “Yue Hao Chi” restaurant is redolent with Vietnamese style,
Last April Ngoc Thuy and her sister opened a Viet- just waiting for the public to come in and have a taste.
namese restaurant called “Yue Hao Chi” on Wanda Road
in Taipei. Unlike the impression many people have of
small Vietnamese eateries, “Yue Hao Chi” is clean and southern and northern Vietnam. Immigrant customers
comfortable, and strongly Vietnamese in style. On the feel right at home, while Taiwanese patrons can surround
walls, which are papered with a red brick pattern, are oil themselves with the exotic atmosphere of a foreign land.
paintings that Ngoc Thuy commissioned from Vietnam. Tran Ngoc Thuy, who is today still studying in the
One shows a scene of Vietnam in olden times, with a hazi- Graduate Institute of Curriculum and Instruction at Na-
ness suggestive of damp air after rain. The other shows tional Taiwan Normal University, is student, teacher, wife,
the Ben Thanh market, a century-old landmark in Ho Chi mother, interpreter, volunteer, radio program host….
Minh City. The painter packed into the work the market Despite these many roles, Ngoc Thuy still persists in com-
building from the French colonial era, women wearing ao piling one or two legal terms per day, because she believes,
dai (Vietnamese national dress) and conical farmers’ hats, “Even if I only do a little bit every day, slowly accumu-
and the hoang mai flowers (Ochna integerrima) that sym- lating terms is still better than doing nothing at all.”
bolize the atmosphere of new year in southern Vietnam. When asked how she finds the time for all her activ-
Ngoc Thuy’s thoughtful approach appears everywhere ities, Ngoc Thuy laughs and says, “The busier a person
in the restaurant’s decor, which includes stunning hand- is, the better they are able to manage their time.” Watch-
made lanterns from the historic city of Hoi An. Color- ing Ngoc Thuy as she moves industriously around the
fully painted conical farmers’ hats, the rambutan trees restaurant, her face always bears a smile, and her eyes are
that flourish in her native land, and the hoang mai and brightwithself-confidence. l
peach blossoms that every household must have for the (Chen Chun-fang/photos by Lin Min-hsuan/
NewYear holiday show differences in customs between tr. by Phil Newell)
113
多元族群　COMMUNITIES

足智多謀．踢別鄉愁
Booting Away Homesickness:
The Taiwan Cup International
Immigrants Soccer Competition
文•李珊瑋　圖•林旻萱　版面設計．胡如瑜
足球是一項結合智能與體力的團隊運 S occer is a team sport that demands not only

physical prowess, but intelligence, cooperation,
and selflessness. Training to meet the sport’s
動，講究合作與服從。在嚴苛的規範中，
stringent standards helps develop disciplined
培育出謹守紀律，無私支援的人格特質。
individuals who unselfishly support others. The
「2018台灣盃國際移民足球賽」邀集來自 2018 Taiwan Cup International Immigrants Soccer
全國的8支國際移民精英球隊，齊聚新北市 Competition featured eight outstanding teams from
新莊田徑場，一較勝負。 around Taiwan facing off at the Xinzhuang Sports
Field in New Taipei City for the championship.
115
球場上的專注勇猛，球場下的親和友善，呈裡，滿溢著歡樂的氣息。印尼、越南、泰國的家
現長期訓練的成果。離鄉背井的鬱卒苦悶和孤寂鄉小吃，飄揚著誘人的香氣，引人食指大動。
無助，在球隊同鄉的撫慰和定期操練過程中，全這場賽事，跨越藍、白領的界線，足球就是共
然釋放。在台逾70萬的外籍工作人員，多半把台同的語言。沒有你死我活的拚鬥，只有惺惺相惜
灣視為第二故鄉，無論是語言和生活習性，已然的觀摩競技，在和諧友善的氛圍下，踢出跨國聯
逐步融合，也把原生地的運動習慣，根植台灣，誼的天地。
孕育一股新興賽事的澎湃風潮。「台灣外籍工作者發展協會」繼2015年第二
次舉辦「台灣盃」足球賽。理事長徐瑞希欣慰地
搭一座運動交流平台
感謝各方的協助支持，才能讓每一場賽事順利進
早上八點，日頭高照，街道上比肩呼嘯的車行。「我就是希望搭建一個彼此交流的平台，讓
輛，像是過江之鯽，擾得人心浮氣躁。穿越紅綠這些來台的外籍工作者，可以有一個發揮所愛的
燈，幾個轉折，一片開闊的碧綠，毫無保留地舞台。」
展臂迎賓，瞬間把空氣裡的廢濁和噪音，吸納滌徐瑞希是虔誠基督徒，用奉獻的心面對資金和
淨。視野通透了，心境也頓然舒坦平和。這裡是人力的考驗，唯一的目的，是期望借由運動扭轉
新北市新莊田徑場，一場國際來台工作者的足球外界對國際移工的刻板印象。「其實他們並不是
賽，正以「台灣盃」為名，角逐冠軍。沒有能力，協會只是站在協助的立場，鼓勵他們
國際等級的優質人工草皮上，一群穿著亮彩自立自強。」
球衣的外籍移工、專業人士，精準地把球高高踢「2018台灣盃國際移民足球賽」共有8支精選
起，揮汗如雨地奔跑追逐。守門員沉穩地站在球的隊伍參賽，分別由印尼、越南、泰國的藍領移
門下，壓低腰身，雙臂高舉，如鷹的眼神犀利地工，和歐亞的白領族群，相互交叉對抗。這些來
凝視著球的動向。球場外一字排開的紅色帳篷自不同國度的外籍移民，除了部分用英語交談，
中文反而是他們共通的語言，無形間拓展了台灣
的國民外交。
足球是一項結合智能與體力的團隊運動，融入生活的足球運動
講究合作與服從。泰國隊比賽時，會雙手合十，
相互問好，是彼此尊重的禮儀。「足球在我們越南幾乎是全民運動，『義安』
A team sport that stresses cooperation and selflessness,
soccer also requires both mental and physical aptitude. 又踢得特別好。」這次參賽的3支越南隊，隊員
When Thai teams meet, players raise their hands in a friendly
wai, a prayer-like greeting that shows mutual respect. 大都來自義安省。剛取得新北市2018移民足球賽

2018台灣盃國際移民足球賽中，每一隊都有獨特的技巧，藉由賽事彼此交流，不斷進步。
Every team playing in the 2018 Taiwan Cup International Immigrants Soccer Competition had its own
strengths, honed by competition.
The majority of Taiwan’s more than 700,000 inter- A medium for sharing
national immigrants view the island as their second As we look on, teams of workers from abroad com-
home. As they integrate into Taiwanese society, they pete at New Tai pei City’s Xin zhuang Sports Field,
are also introducing favorite sports from their home- seeking to be crowned champions of the Taiwan Cup
lands to Taiwan, creating burgeoning popularity for International Immigrants Soccer Competition.
new athletic competitions. The athletes, a mix of foreign laborers and profes-
sionals, pound up and down the length of the soccer
pitch’s international-grade artificial turf in their brightly
colored uniforms, the sweat pouring off of them. A row
of red frame tents lined up outside the bounds of the
pitch brims with joy and energy, as the scents of Indo-
nesian, Vietnamese and Thai snacks waft through the
air, stirring appetites.
The competitors are white- and blue-collar workers of
various nationalities, for whom soccer serves as a com-
mon language. Friendly rivalries rather than cutthroat
competitions, the matches are played in a harmonious
atmosphere and with a sense of international fellowship
that allows players to appreciate one another’s skills.
The Global Workers’ Organization, Taiwan (GWO),
which organizes the Taiwan Cup, held the first in 2015.
117
縱使全神貫注，謹慎攻防，勝負仍在一瞬間。獲得台中市2018移工足球賽冠軍的「台中Family
Matches can be decided in a mere heartbeat even
when teams play conscientiously and with total No. 1」成立6年，由十多人發展到近七十人，成員
concentration.
甚至遠達台南。皮膚黝黑，雙眼烱烱有神的隊長
吳春貴說，「平均每個月都會辦一次比賽，也會
亞軍的「新北新莊隊」成立8年，19歲來台，溫支援其他友隊。」清晨就由台中搭車北上，第一
文儒雅的領隊曲公勇說，「我們每隔一個星期六次在人工草皮上踢球，大家掩不住興奮的神情。
的晚上都會練習。」隊員二十多人都是同鄉，固「運動後，我們會一起吃飯，也會舉行慶生會。」
定又頻繁的聚會，讓思鄉的愁緒來不及發酵就消離鄉背井的苦悶，因為有了歸屬感而拋諸腦後。
散。激烈的運動更把生活中的困擾，隨著汗水代
台灣是我的第二故鄉
謝清除。
「因為在義安生活很苦，我們越南有句話，如「印尼在台足球大聯盟」一整年在全台灣各地
果在義安可以活下來，去那裡都沒問題。」新北舉行聯賽。「聯盟有近50個隊伍，每隊平均有30
市2018移民足球賽冠軍，用義安的車牌「CHOA 人。」不但擁有教練，還有專業的裁判、球評，
37」作為隊名「新北宜安隊」。他們自信地說，組織力非常強大。2018冠軍隊領隊沙多，早已把
「義安是我。」雖然身形不高、骨架不大，但在台灣視為第二故鄉，可以用流暢的國語交談，
溫順的外表下，是那種深植在骨子裡的堅毅剛「我愛台灣，喜歡台灣的一切。」具有裁判資格
強，把以小搏大的團隊精神發揮的淋漓盡致，讓的沙多，在這場賽事中忙進忙出。高中畢業就來
球隊在賽事中發光發熱。台工作，行囊裡永遠有雙球鞋。

The 2018 Cup was the second. GWO director Karen Hsu is grateful
for the help that GWO has received with the event, and says that that
support is what enables it to run so smoothly. “I hope that the com-
petition becomes a platform for exchange, one that provides foreign
workers in Taiwan with a means to show their love for the game.”
A total of eight outstanding teams made up of blue-collar work-
ers from Indonesia, Vietnam and Thailand, and white-collar workers
from Europe and Asia, vied for this year’s title. While some of these
workers spoke English, Mandarin was the language they all shared,
a side effect of which was to expand Taiwan’s “people’s diplomacy.”
A sport for life
Xinzhuang FC, a Vietnamese workers team established eight years
ago, recently finished second in the 2018 New Taipei City Migrant
Workers Soccer Competition (MWSC). The team’s 20-plus members
are all from the same area of Vietnam, and gather regularly and often
to help keep homesickness at bay. Team captain Khuc Cong Dung
來自印尼的沙多，早已把台灣視為第二故鄉，
可以用流暢的國語交談。
says, “We practice every other Saturday evening.” Avid athletes, the
Saptono, the captain of Putera Indonesia FC, players sweat out any sadness or upsets on the soccer pitch. And, as
speaks fluent Mandarin and views Taiwan as his
adopted home. with the other two Vietnamese teams, most of them are from Nghe
An Province. Khuc explains, “Nearly everyone in Vietnam plays soc-
cer, and people from Nghe An play especially well.”
離鄉背井的鬱卒苦悶和孤寂無助，在球隊同鄉
的撫慰中，全然釋放。 Choa 37, the 2018 New Taipei MWSC champions, took their team
The support of teammates from your own name from Nghe An’s vehicle license plates. Players confidently
hometown helps relieve the homesickness and
loneliness of living abroad. state, “We are Nghe An.” Neither tall nor heavily built, the seemingly
119
中華足球協會理事
長邱義仁（左）熱
忱的為球員們加油
打氣。
Chiou I-jen (left),
president of the
Chinese Taipei
Football Association,
offers enthusiastic
encouragement to
players.
「我們平均每個月舉辦一次比賽。」平時都帶立青隊幾乎每個星期都有賽事，「我們沒有
隊員在元智大學練球的沙多，最苦惱的是很多隊特定的練習時間，而是讓隊員在比賽中，不斷修
伍都沒有固定的練習和比賽場地。中華足球協會正。」這種訓練策略，激發出求生的本能。讓習
理事長邱義仁說，「場地確實不足，這是要去努於雙手合十，傳達謙恭的泰國隊，卻在球場上表
力推動的方向。」先要建置展演的舞台，才能帶現出驍勇驃悍的戰鬥力。「我們訓練隊員在任何
動全民參與。位置都能全力發揮。」駐隊教練在每次賽事中都
依照比賽規則來管理成員是聯盟的特色，「黃仔細觀摩。「因為每一隊都有獨特的技巧，藉由
牌罰300元，紅牌罰500元。」為了養成大家自律賽事彼此交流，才能不斷進步。」
的習慣，即使是練習，也一樣處罰。「我們也會「我們很多是來台求學的學生。」膚色繽紛的
約束隊員的生活紀律，建立球隊的形象。」穿著台灣企業聯賽外國人球隊代表「皇家蔚藍足球隊」
統一的球衣，無論走到那裡，每一個人都愛護著和台北超級聯賽代表隊「台北田徑足球隊」，
團隊的榮譽。個個活潑開朗，隊員們用熱情的舞蹈，營造嘉年
華會的歡樂氣息。以正規訓練、勤勉練習著稱的
在地支持，以賽養技
皇家蔚藍隊，眾望所歸地在這次賽事中奪冠。
北、中、南都有泰國足球隊，這次賽事中，就
成就他人，快樂自己
有高雄市2018移工足球賽冠軍「高雄大發隊」，
和獲得新北市2018移民足球賽季軍，成立18年的天色逐漸昏暗，球場四週卻光亮如晝，冠亞軍
「桃園立青隊」參賽。立青隊用東家公司名稱作賽事正在進行。宏碁集團創辦人施振榮先生支持
為球隊名號，是感恩，也是驕傲。一直有老闆撐的智林體育台，義務協助直播。中華電信公司也
腰，讓他們沒有後顧之憂的快樂踢球。領隊施泰鑫配合在現場拉了一條寬頻線路，提供轉播使用，
說，「一開始只有不到20人，現在有五十多人。」並在MOD平台、官網、粉絲團、中華電信Line官
用行動支持足球的東家，深深贏得移工的心。方帳號等進行宣傳。

meek appearance of the team’s members hides grit and Liching competes nearly every weekend. “We
determination that go bone deep. Their brilliance and don’t have set practice times. Instead, team members
team spirit enable them to shine in competition. constantly improve their play through matches.” The
Founded six years ago with roughly a dozen mem- training strategy has developed their survival instincts,
bers, Family No. 1, the 2018 Taichung MWSC champions, and has turned the modest and polite Thai team into
have since grown to more than 70 players, who reside as ferocious competitors. “We train team members to give
far afield as Tainan. Team captain Ngo Xuan Quy says, their all, no matter what position they play.”
“We average about one match per month, and support Many members of the Royal Blues FC, the Taiwan
other teams with which we’re friendly.” The sense of be- Football Premier League’s foreign-players team, and the
longing the players feel helps them push the frustrations Taipei Athletics FC, which represents the Taipei Premier
of living away from home to the back of their minds. League, came to Taiwan as students. Players for both
Taiwan is my second home
The Taiwan Indonesia Soccer League organizes
matches around Taiwan all year long. The league is well
由來台工作和求學的外籍人士組成的球隊，
organized, with its own coaches, professional referees, 隊員個個活潑開朗。
This team of foreign workers and students is
and judges. Saptono, captain of 2018 league champions animated and cheerful.
Putera Indonesia FC, speaks fluent Mandarin and views
Taiwan as his adopted home. “I love Taiwan,” he says.
“Everything about it.”
Saptono says that his team usually plays one match
per month, adding that the most difficult part of arrang-
ing them is that many teams lack a set pitch for practices
and games. Chiou I-jen, president of the Chinese Taipei
Football Association, explains, “There just aren’t enough
pitches. It’s something we need to work on.” The associ-
ation’s first step has been to establish an exhibition plat-
form aimed at increasing public participation.
Part of the league’s role is ensuring that members
follow match rules. “Yellow cards result in a NT$300
fine. Red cards cost NT$500.” To accustom everyone to
playing by the rules, the fines apply to practices as well
as matches. “We also place restrictions on team members’
private lives to help build and maintain a proper team im-
age.” When wearing the team uniform, team members are
expected to protect their team’s honor wherever they go.
Local support
There are Thai teams in northern, central, and south-
ern Taiwan. This year’s national competition included
two Thai teams: Tafa FC, the 2018 Kaohsiung Migrant
Workers Soccer Competition champion, and Liching FC,
a club which has existed for 18 years and which finished
third in the 2018 New Taipei MWSC. Liching is grateful
and proud to use its employer’s name as the team name.
The continuous support of the company’s owner has en-
abled the team to enjoy its time playing the game without
having to worry about other issues.
121
足球是跨越藍、白領
界線的共同語言。
Soccer is a language
shared by both blue- and
white-collar workers.
邱義仁靜靜地站在球場邊，專注地觀看 teams are lively and cheerful, but it is the Royal Blues, known
賽事，難掩對足球的熱愛。「足球是一項迷 for their regular and diligent practice, who are the favorites to
win the 2018 Taiwan Cup.
人的運動，那種成就感，無法言喻，一定要
Enjoying the success of others
親身體驗。」曾是足球校隊，半世紀以來堅
As night falls, the pitch is lit up like a painting and the cham-
持定期練球的邱義仁，再次回鍋接掌理事
pionship match gets underway.
長，用行動支持足球運動。他主張國家聯賽 Chiou stands quietly on the sidelines, watching the match
制度應該比照國際訓練常態，讓選手每星期 intently and wearing his love of the sport on his sleeve. “Soccer
都有機會上場比賽。無論是防守佈局，進攻 is such a wonderful sport. There’s no describing the sense of
節奏，都需要累積默契，才能零失誤。相互 achievement it delivers. You have to experience it for yourself.”
間彼此呼應，各司其職，自然勝券在握。 He believes Taiwan’s leagues should adopt international train-
ing practices, which give players an opportunity to compete
告別的尾聲，就是相逢的序曲。「我們
every week. Defensive formations and attacking rhythms both
要準備下一場賽事。」不在意一時的輸贏，
require players to have a feel for one another. Teams succeed
而是不斷地提升實力。「能來參加八強賽 when players work together while taking care of their individual
事，就是最大的榮譽。」抱著寶寶的越籍配 responsibilities.
偶，愉悅地為上台領獎的先生拍照。每一個 The farewells conclude with overtures to future gatherings. “We
真誠的笑容，刻劃出共同的心聲。 have to get ready for our next match!” No one dwells on who
球場燈熄，只剩下月光照耀。新北市 won or lost this time. Instead, they work ceaselessly to improve.
A delighted Karen Hsu says that seeing the sweaty players
政府體育處輔導員康志偉率領的十數位志
and their happy smiles makes her feel that promoting these
工，忙碌了一整天，脫下工作背心。徐瑞
kinds of events truly is a worthwhile way to encourage comity
希笑著說，看著揮汗如雨的選手，滿足和
and friendship. “When you succeed in making other people
諧的笑容，真的覺得這是一條值得推廣的 happy, you can’t help but be even happier yourself.” l
友善關懷大道，「成就別人的幸福，自己 (Lee Shan Wei/photos by Lin Min-hsuan/
就會更快樂。」 l tr. by Scott Williams)

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全 球 ． 在 地 ． 人 文

中華民國108年2月 第44卷 第2期

Bringing Dreams to Life:

The Shengping Theater

總 監 ／ 鍾宜蓉 自世界各地頂尖選手們的精彩表現，和現 的作品都是他與台灣當代知名藝術家的攝

封面故事 Cover Story

2 台灣動畫新視界 1 歌舞昇平 52 月月好讀

全球視野 Global Outlook

島嶼行旅 Around Taiwan

6 台灣光華 Taiwan Panorama

（稻田電影工作室提供 courtesy of Rice Film）

本篇《光華》請了王小棣導演、麥人杰 of original work, an industry-wide ambition,

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

（金馬獎執委會提供 courtesy of Golden Horse Awards Executive Committee）

T aiwan’s animation community was riding high in 1998, thrilled with

18 台灣光華 Taiwan Panorama

20 台灣光華 Taiwan Panorama

22 台灣光華 Taiwan Panorama

challenge after challenge, including being unable to

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

tional University of the Arts, has been held annually

36 台灣光華 Taiwan Panorama

38 台灣光華 Taiwan Panorama

I n the ﬁlm Inception, a thief played by Leonardo DiCaprio

（Us Studio提供 courtesy of Us Studio）

（Us Studio提供 courtesy of Us Studio）

40 台灣光華 Taiwan Panorama

42 台灣光華 Taiwan Panorama

44 台灣光華 Taiwan Panorama

To enter the Japanese industry, many people start

46 台灣光華 Taiwan Panorama

48 台灣光華 Taiwan Panorama

Thank you for accompanying us on

最 多 的 國 家；除了人 口多，它 也 有 物 現 在 都 在 英 國 的 博 物 館，但 是

就不見了。年 輕的我錯過了一 線 生 的問題，這個產業倒是印度值得驕

李 箱 裡，鎖被偷走了怎 麼 辦？只 好 掙 扎 的 求 生 存，感 受 到 他 們 不 得

偉的建築、豪華的旅館、特 殊的美 適 當 的 行 為。後 來 遇 到 印 度 朋 友

印 度 還 是 相 當 的 可 怕；印 度 有 四 看到了學校老師的癲癇教育，他們 經濟中心，也是除了好萊塢之外的

大種姓，婆羅門（祭司、教師）、剎 認真的為改變社會歧視而努力。 另一個世界電影中心──寶萊塢，

帝利（士兵、統治者）、吠舍（普通 印 度 的 法 律 相 當 奇 特，他 們 在 目前已是世界產量最大的地方。寶

工作 者、商 人、農 人、工 匠）、首 陀 一九五七年的法律條文有規定，若 萊塢電影中常見歌舞穿插，是它的

羅（ 奴 隸），以 及 四 種 姓 之 外，被 是 身 有 癲 癇 而 結 婚 的 話，這 個 婚 特 色；但 是 近 幾 年 寶 萊 塢 電 影 內

稱為不可接觸者的賤民——達利特 姻是無效的。V i n o d告訴我，他們 容也力求革新，出現了許多兼具藝

（出生後永不得翻身；看到這些可 為了這個法律，必須 結合相當多人 術 性、原 創 性、娛 樂 性 的 佳 作。前

憐的人們，真是替他們難過）。 的力量，改 變國家的立 法，一直到 幾年在台灣上映的《三個傻瓜》就

英 文 成 為了印 度 語 之 外 的 官 方 語 除 去，讓 身 體 已 受 苦 的 癲 癇 朋 友 述一群貧窮但充滿創新的小孩的

言，因 為 語言 的 關 係，帶 動了很多 正式脫離另外一種的社會歧視。 故 事 ……之後 成 為 最 賣 座 的 寶 萊

軟體及服務業的代工，許多外國公 龐大的送便當機制， 塢電影。

轉回去 原來的國家。製 藥 方面，印 往 南 部 走，孟 買 與 北 部 的 德 里 少 新鮮事。在孟 買的機埸，就曾發

三層，和台鐵便當盒只有一層或兩 料，另一層則是 蔬 菜或肉類，在辦 享 印 度 的 家 庭 味 道。當 天 做 的 是

層 不 同。看了一下 說 明，發 現 這 是 公 室 就 像 家 中，菜 沾 咖 哩 放 在 餅 咖 羊 腩，咖 哩 的 炒 法 是 以 傳 統 咖

一個相當有趣的制度下的產品，於 中或飯上食用。 哩的方式，先將切碎的洋蔥炒成金

是買了一個留念，直到碰到孟買的 吃素人口世上最多， 黃 色 再 炒 蒜 末 及 薑 末，待 香 味 四

朋友，也實際了解這便當的運作， 最愛鷹嘴豆 溢 後 加 入 這 混 了九十九 種 香 料 的

才發現真是神奇！ 在 孟 買 逛 香 料 店 也 很 有 趣！發 咖哩粉，加入炒香後再加羊骨湯燉

全球．在地．人文

中華民國108年2月第44卷第2期

總監／鍾宜蓉自世界各地頂尖選手們的精彩表現，和現的作品都是他與台灣當代知名藝術家的攝

（稻田電影工作室提供　courtesy of Rice Film）

（金馬獎執委會提供　courtesy of Golden Horse Awards Executive Committee）

（Us Studio提供　courtesy of Us Studio）

（Us Studio提供　courtesy of Us Studio）

最多的國家；除了人口多，它也有物現在都在英國的博物館，但是

就不見了。年輕的我錯過了一線生的問題，這個產業倒是印度值得驕

李箱裡，鎖被偷走了怎麼辦？只好掙扎的求生存，感受到他們不得

偉的建築、豪華的旅館、特殊的美適當的行為。後來遇到印度朋友

印度還是相當的可怕；印度有四看到了學校老師的癲癇教育，他們經濟中心，也是除了好萊塢之外的

大種姓，婆羅門（祭司、教師）、剎認真的為改變社會歧視而努力。另一個世界電影中心──寶萊塢，

帝利（士兵、統治者）、吠舍（普通印度的法律相當奇特，他們在目前已是世界產量最大的地方。寶

工作者、商人、農人、工匠）、首陀一九五七年的法律條文有規定，若萊塢電影中常見歌舞穿插，是它的

羅（奴隸），以及四種姓之外，被是身有癲癇而結婚的話，這個婚特色；但是近幾年寶萊塢電影內

稱為不可接觸者的賤民——達利特姻是無效的。V i n o d告訴我，他們容也力求革新，出現了許多兼具藝

（出生後永不得翻身；看到這些可為了這個法律，必須結合相當多人術性、原創性、娛樂性的佳作。前

憐的人們，真是替他們難過）。的力量，改變國家的立法，一直到幾年在台灣上映的《三個傻瓜》就

英文成為了印度語之外的官方語除去，讓身體已受苦的癲癇朋友述一群貧窮但充滿創新的小孩的

言，因為語言的關係，帶動了很多正式脫離另外一種的社會歧視。故事 ……之後成為最賣座的寶萊

軟體及服務業的代工，許多外國公龐大的送便當機制，塢電影。

轉回去原來的國家。製藥方面，印往南部走，孟買與北部的德里少新鮮事。在孟買的機埸，就曾發

三層，和台鐵便當盒只有一層或兩料，另一層則是蔬菜或肉類，在辦享印度的家庭味道。當天做的是

層不同。看了一下說明，發現這是公室就像家中，菜沾咖哩放在餅咖羊腩，咖哩的炒法是以傳統咖

一個相當有趣的制度下的產品，於中或飯上食用。哩的方式，先將切碎的洋蔥炒成金

是買了一個留念，直到碰到孟買的吃素人口世上最多，黃色再炒蒜末及薑末，待香味四

朋友，也實際了解這便當的運作，最愛鷹嘴豆溢後加入這混了九十九種香料的

才發現真是神奇！在孟買逛香料店也很有趣！發咖哩粉，加入炒香後再加羊骨湯燉

他們告訴我這個系統叫d a b - 現有一種香料號稱混合了九十九羊腩約兩小時。在準備上桌前須

b a w a l a；d a b b a 是便當，而種香料，當時便買回台灣，準備做先煮好米飯，當天烤了綠色和黃色

d a b b a w a l a是送便當的人。在孟一次孟買的便當料理。後來，在一的櫛瓜和新鮮的菇當蔬菜，這樣併

買，有許多的上班族喜歡吃家中次的餐會上，我介紹了在孟買的見在一起就是典型的孟買便當菜了。

這時A會到門口收集，用最快的時

* 泡芙皮作法：先將麥粉和中筋麵粉篩好，慢慢加水攪拌成為麵糰，用手揉勻，放 1 5分

匙辣椒粉、鹽、1匙檸檬汁。將芒果加水煮之後去皮及果核，放冷取出打碎，加其他的香

但是值得注意的是肉類的選擇，較大，常見的是鷹嘴豆泥、鷹嘴豆烤，但Naan通常在烤箱烤。

在印度大部分人是不吃牛的，多數泥煎餅。鷹嘴豆煮熟了可以當沙拉另外，走在印度的街頭上，到處

以羊肉或雞肉為主，豬肉也是相當配料，或鷹嘴豆和茄子、南瓜的料都可見推著車的小販，擺著不同的

的少。理；另外他們有奶製品及乳酪的使食物，有榨甘蔗汁的，幾塊錢就有

印度在宗教上雖有多種宗教的用，以及在調味上多使用香料及咖一杯，在炎熱的街上喝上一杯，不

融合，但是最多的人是信印度教，哩，這些都是他們素菜的特色。至失是消暑的方式；更多的攤位是擺

印度教徒除了拜黃牛為神，不吃於主食方面，除了米飯之外，也用炸物的，有炸蔬菜餅或印度咖哩

牛肉之外，素食的人口也是相當的各種的餅伴隨著咖哩等醬汁配合餃等等。有一種辣的印度泡芙又

多。印度占世界上吃素最多的人蔬菜，是他們的傳統吃法。稱Pa n i P u r i（帕尼普里脆餅），小

口，素食的樣式和種類與我們有餅方面最常用的是N a a n（饢）販盛了一大袋預做好的泡芙殼，客

相當大的不同，我們在豆類以黃和Roti（羅提），通常印度Roti用的人買時先加豆子和馬鈴薯泥再加

豆為主，並有許多種黃豆的製品像是全麥麵粉，不加酵母，而 N a a n 進芒果辣椒薄菏醬汁，和我們一般

豆腐、豆包、豆皮之類；他們黃豆用中筋麵粉且有加酵母，吃起來口的泡芙有絕大的不同，而且充滿了

的使用較少，反而是鷹嘴豆的使用感不同；另外R o t i可以用一般煎鍋果香、香料、辣椒，十分爽口。

（Jutanugarn）姊妹花之後，第三對在LPGA巡迴二的布魯克．韓德森（Brooke M. Henderson）

畫說成語平裝 Paperback US$11 本

當西方遇見東方──國際漢學與漢學家平裝 Paperback US$11 本

中國草藥故事平裝 Paperback US$11 本