The document outlines several indigenous tribes in Taiwan including the Atayal, Paiwan, Amis, Tawu, and Puyuma tribes. It discusses the Taiwan Hypothesis and Sundaland Model theories of how Austronesian peoples are related. It provides details on films featuring each tribe that showcase aspects of their cultures and histories, including dreams, rituals, woodcarving, and relationships with nature. Directors of indigenous films from each tribe are also listed.

1. Dr. Patricia Haseltine, Professor
Department of English
Mr. Chin Yi-Wei, Doctoral Student
Lecturer, Tamkang University

2. Outline
1. Austronesian Language Family
2. The Tribes of Taiwan
3. Atayal: film excerpt Once Upon a Time
4. Paiwan: Carver
5. Amis: film excerpts
6. Tawu (Tao)
7. Puyuma (Personal Experience)

3. How Austronesian Peoples Are
Related: Two Theories
The Taiwan Hypothesis: Dispersal from South
China and Taiwan
The Sundaland Model
The Asian landmass used to extend to Borneo
and Java, but this ancient peninsula was
submerged due to climate change 15,000 to
7,000 years ago following the last Ice Age.
Water levels rose. Many islands created.
Migrations northward into Taiwan.

4. Austronesian peoples
 Taiwan, Philippines, Malaysia, Indonesia,
Madagascar, Polynesia, and Oceania

5.  Taiwan;
 Tribal Groups
 Mountains
 East Coast
Hunting and Farming
Professional People
Artisans

6. Multiplicity of Audiences andMultiplicity of Audiences and
Semiotic InterpretantsSemiotic Interpretants
Non-Tao
Indigenous
Formosan
Austronesian

7. A THOUSAND YEARS AGO
FILM WITH SET MADE BY
VILLAGES IN SMANGUS
ATAYAL

8.  The storytelling is of a dream in
which a tribal leader was told to
move his clan to a new site.
 The tribes reenact the history of
this journey of the family, the
discovery of the new territory
where they can live.
A Thousand Years Ago

9.  Dreaming and the telling of the Dream
 House Building – cooperation
 Searching for the right place for the tribe to live
 The men who search notify the entire clan
through a message by sending a special kind of
bamboo down river
Traditional story motifs in the
film

10. Atayal Dream Telling in Film
 “I had a dream. That is a place that we have never seen.
The lands and forests of our ancestors were flattened
and covered with green round plants (the cabbages).
Bears and water deer all hidden and disappeared. The
lands were surrounded by high walls by other tribes.
What kind of dream was this? What kind of message did
the ancestors want to tell us?” (Everlasting Moments
Text, 40-41)

11. SAKALIU, WOODCARVER
(DOCUMENTARY)
PAIWAN

13. The director of the film is Mayo Bihu; the
woodcarver is all about the Paiwan woodcarver
Sakuliu and his wooden panels--carving
 What he carves are figures of the ancestors, and he tells the
interviewer that each of the panels has a tale. There is another tale
in his work, however, a tale of the colonization. This tale is told in his
carving of a snake going through many episodes of encounters with
colonizers of Taiwan, the successive settlers and missionaries to
the tribe. The snake emblem is also from a story of a snake mother
who took care of her child until a woman wanted to copy her and
stole the snake baby; she got revenge by killing humans until they
made peace with her and worshipped the snake.

14. The Continuity
of the Colonial
History:
Collapsed Story
Events in the
film, plus image
of panel
s1.wmv

15. Cultures of
Southeastern Taiwan
Taitung County
Indigenous Cultures
1.Puyuma (Beinan)
2.Amis
3.Gamalan
4.Bunun
5.Paiwan
6.Rukai
7.Tawu (Tao) Orchid Island
Settler Cultures
a. Pre-Revolutionary
Minnan
Hakka
b. Post-Revolutionary
KMT Military Culture

16. The Two-Fold Image of
Southeastern Taiwan
The indigenous peoples of Taitung and
Orchid Island have strived hard for their
rights for autonomy and have to negotiate
about
a.Ecological Degradation
b.Tourism issues (a new amusement park)
c.Nuclear waste disposal on Orchid Island

17. Interview with Sutej
Hugu, CEO of the
Tao Foundation
Feb. 2012

18. “Deep Experience” Tourism
 Sutej Hugu, tourism should go beyond mere sightseeing to “deep
experience.”
 Heritage should be a place of pilgrimage and involves honoring traditional
ceremonies and craftsmanship.
 Moreover the essential autonomy of the Tawu tribe must be maintained as
is written in a joint declaration signed on December 26th 2011 by island
representatives, including six community development associations, six
Presbyterian churches, six Catholic churches, NGOs on the island, four
village heads, the Lanyu Township council and Township Administration,
and the Tao Foundation. Such a declaration is made so that outside
developers will not take advantage of the resources of the island for
purposes which would include tourism and over-development of resources.
Such measures are important in the effort to cultivate a positive identity for
such places as Orchid Island.

19. FISHING LUCK
SPIRITS OF ORCHID ISLAND
TAO (TAWU, YAMI)

20. Orchid Island (Lanyu)

21. The Importance of
Symbols and Images of Place

23. Nature’s Beings

24.  The Eye of the Boat
 For protection when
fishing during the
season of the Flying
Fish in Late Spring

26. LOSING SEA HORIZON
FILM DIRECTED BY LAWAY
DALAY
Amis

27. The Director
 Dalay won the Golden Bell Award for Best
Directing in 2011.
 He is also an artist and an owner of the
most famous Taiwan indigenous
restaurant in Taoyuan.

28. Puyuma

29. Introduction
 The Puyuma are one of the tribal groups
of the Taiwanese aborigines, and the tribe
is located in Taitung plain.
 The name "Puyuma" means "unity" or
"concord”.
2013/04/18 Yi-Wei Evan Chin29

30.  The tribe is generally divided into the
Chihpen and Nanwang groups.
 There are two creation stories in Puyuma.
 They used to control the whole Eastern
Taiwan.
 The King of Puyuma - Penalie.

31.  Mayaw Daw: Ami, Eastern Taiwan
 Hu, Tai-lu: non-indigenous, but
accomplished documentary auteur in
Taiwan
 Lin Chien-Hsiang:
 Li Daw-Ming:
Taiwan Directors of Indigenous
Films

32. Conclusions
Importance of the Films by Indigenous
Directors:
Recording, Preserving, Reproducing Moving
Persons and Objects as representative of a
tribal group.
Other than Representation:Other than Representation:
Cultural Revitalization
Sustainability : culture within nature

33. Sources
Chang, Anna Beulah. (2012). Photos of Lanyu and Taitung.
“The Declaration on Our Common Islands: Calling for Recognition of Indigenous Authority on Pongso
No Tao.” 26. December, 2011. Tao Foundation.
Sutej Hugu. “From tribal governance and management to indigenous autonomy Arrangement on
Ponso no Tao” Ppt. Tao Foundation, nd.
Tao Foundation. 蘭嶼部落文化基金會 . Facebook site.
Tedlock, D. (1987). Questions concerning dialogical anthropology. Journal of Anthropological
Research 43, 343-344.

35. Wen-Pin Chen: Msgamil (Once Upon a
Time)-- TAYAL
Mayaw Daw -- AMI: The Last Chieftan.
Chien-Hsiang Lin: Hunting and
Rituals --TSOU
Daw-Ming Lee – Sakaliu --PAIWAN
Tai-li Hu: Voices of Orchid Island --
TAWU
Directors of Austronesian
Indigenous Films in Taiwan

36. 排灣族 :
太陽神的女兒─瑪樂芙勒 (2007/ 原緣文化藝術團 )
執行製作 / 伊絲坦娜─舞瑪兒
排灣人撒古流 (1994/ 遠流智慧藏學習科技股份有限公司 )
導演 / 李道明
末代頭目 (1999/ 遠流智慧藏學習科技股份有限公司 )
導演 / 李道明、巴瓦瓦隆‧撒古流
泰雅族 :
泰雅千年 (2007/ 鎮西堡 新光部落工作委員會、司馬庫斯部落、
吾鄉工作坊股份有限公司、光之路電影文化事業有限公司、
靜宜大學南島民族研究中心 )
導演 / 陳文彬
Filmography

37. 達悟族 :
野生蘭嶼 (2008/ 公共電視 )
編導 / 尼克‧艾普頓
達悟作家 / 夏曼‧藍波安
阿美族：
失落的海平線
編導 / 喇外‧達賴
Filmography cont.