Taiwan

The Ministry of Education has urged colleges and universities to establish a Bachelor’s Degree Program for Indigenous Peoples since 2003

But as far as positioning is concerned, this is not a general department , and there is no general department with at least seven full-time professors . Some of the Bachelor’s Degree Program for Indigenous Peoples ,there is not even a full-time professors. Building higher education with indigenous people as its main focus is difficult due to the lack of resources and unfriendly system, making it difficult to construct.

In the documentary, we see that Professor Tjuku is working tirelessly to obtain different resources. She is responsible for carefully developing the course content that the Bachelor’s Degree Program for Indigenous Peoples should have, with the aim of nurturing students who are familiar with traditional culture and integrating professional disciplines. Talent at the service of Indigenous society from an Indigenous perspective.

Although the students  Taba,Azima and Kaynga grew up in the city, they are very active in finding the relationship with the mountains through courses and practice, and finally they can walk into the mountains alone. They presented and shared their understanding of the traditional pitfalls at the graduation exhibition.

The implementation of ethnic self-confidence can expect various opportunities in the future of the Bachelor’s Degree Program for Indigenous Peoples.

Hakka Ballad is the traditional medium for the Hakka to express feelings or tell history in the agricultural society. People would sing their thoughts by impromptu lyrics, which was called Sui-Keu-Loi(sing as it comes).

Mu-Zhen Xiu was born in the Hsinchu countryside in 1944. Due to his blindness, he was good at singing Hakka Ballad along with urheen since childhood, and became a famous Hakka Ballad grand master later.

Today, with the gradual loss of the language, Hakka Ballad has become a form of performance. The Hakka do not communicate with ballads anymore. The excellent skill of Sui-Keu-Loi makes Mu-Zhen Xiu seem lonely and precious.

The grand master passed away at the end of 2020, and this film records his story.

Sounds of Love and Sorrow lets the eerie sounds of the Paiwan flutes including the nose flute, which legend says imitates the call of the deadly hundred-pace snake, mix in with the recollections of tribal elders and traditional tales to present a rich background of Paiwan life in Taiwan. Tribal elders recall the days of the youth and their romances. They tell of the creation of the Paiwan people, and lament the end of tribal life, crushed by the irresistible and contradictory forces of government policies and alien cultural influences. Talking of love, both the charm and cruelty of a traditional society are revealed. For many of the Paiwan, love may be a high point of a young life – but it is also the gateway to sorrow. But in the end, it is the high spirits, the playful romances and the family spirit of the Paiwan which shine through.

This short film was shot in 2002 during Bilan du Film Ethnographic for the purpose of introducing Jean Rouch to the audience at 2003 Taiwan International Ethnographic film festival. Unexpectedly, Jean Rouch passed away in 2004. In this film Jean Rouch talked about his new marriage, his anger towards the moving of the artifacts of the Mankind Museum, his anarchistic nature, his dreams and fantasies, etc..

Flowing out from the spinning cassette tape, one after one, the melody of top tribal classics sway on the stage witnessing the golden days of Kaleskes Labaceken and Biung Isdanda as time goes by. In the whispering words of tribes, emotions are moved by the persistence of Cule.e Gaku to the old folk music. The forever-young music band of producer Tjivuluan Tulaljang sparks from the last track “Cheers”. His passion to music is tipsy but with consistency. Kacalisiyan, people from the mountainsides, sing from their truest hearts, with laughter and with tears.