Monatliche Archive: März 2026

这一篇从云南佤族与台湾雅美族的甩发舞出发，追踪头发如何从“装饰”变成“动作器官”。佤族在火的动律中用甩发开辟空间；雅美族在海的节律里用甩发延展身体。甩发将人的边界从皮肤推向空气，使身体在山与海之间找到第三条脊柱——风的脊柱。 “Hair-Whirling Dance｜When Hair Becomes the Body” This essay traces how, in the Wa people of Yunnan and the Tao (Yami) people of Lanyu, hair transforms from ornament into a kinetic organ. The Wa use hair to carve space through a fiery upward force; the Tao extend the body outward through the tidal rhythm of the sea. In both traditions, whirling hair pushes the boundary of the body beyond the skin into the air, allowing the body to find a third spine—one carried by the wind.

花莲的庙很多。 妈祖守港，玄天上帝镇山， 王母、玉皇、城隍并存。 但我真正记得的，不是哪一尊神。 是庙口—— 戏台的灯光， 香肠的温度， 香火的烟， 水泥地上学骑脚踏车。 庙口不是景点。 是身体最早学会“和别人一起”的地方。 Hualien has many temples. Mazu by the harbor, Xuantian Shangdi in the mountains, local shrines scattered across town. Yet what I remember is not a particular deity, but the temple front — the glow of the stage lights, the warmth of grilled sausage in my hands, the sting of incense smoke, the concrete ground where I learned to ride a bicycle. The temple courtyard was not a religious concept. It was where my body first learned how to belong among others.

这是一篇从“身体力”视角重新观看妈祖绕境的文章。 我来自东部，对绕境没有成长经验，因此不是在“内部叙述”， 而是以观察者的方式，看见中南部如何用三百多公里、九天八夜， 把信仰落实为动作，把仪式落实为身体，把善意落实为日常。 文章从路径、身体、村庄与纪录片四个角度， 呈现妈祖信仰如何在现代台湾持续生成、更新、扩散与自我确认。 This essay approaches the Mazu pilgrimage from a “body-based ethnography” perspective. Growing up in eastern Taiwan, I never participated in the pilgrimage myself. Instead, I observe how central and southern Taiwan embody faith through walking, ritual movement, communal hospitality, and collective rhythm across 338 kilometers over nine days and nights. Through four lenses—path, body, village, and documentary—the piece explores how Mazu belief continues to evolve, reaffirm itself, and illuminate the communities that carry it.

这篇文章从“藕”的空，到“偶”的空壳，再到“电音节奏”让身体重新开机，追索三太子在传统与现代之间的身体转型。 藕让生命重新进入，偶让身体重新定位，电音让传统再度呼吸。 电音三太子不是对传统的离开，而是传统在当代的另一种出现方式—— 当一个少年钻进偶身，神、偶、人三层结构被重新点亮，身体在黑暗里对齐，在节奏里找到方向。 This essay traces Nezha’s transformation from lotus-root body to god-puppet body, and finally to the electrified, street-born rhythm of Taiwan’s “Electric-Tech Prince.” The emptiness of the lotus root allows life to return; the hollow shell of the puppet allows the body to reset; the electronic beat turns the god back on. Electric-Tech Prince is not a rupture from tradition but a contemporary reappearance of it— a three-layered body of god / prop / human reactivated when a young performer enters the darkness, aligns his body, and lets rhythm lead him back into the light.