曼特寧 cafeˊ

台灣藝術家英文簡傳（11）---詩人吳晟  Poet Wu Sheng 

 

編輯／邱斐顯  

Editior／Felicity Fei-Hsien Chiu 

 

Preface
 

Wu Sheng’s poetry is the first choice in the National Museum of Taiwan Literature’s plan for digital archives. Wu’s poetry will be presented in two sections. In the first section, Wu will give a reading on themes that focus on concerns over the land, with some musical accompaniment. In the second section, some composers will present music based on Wu’s poetry on themes of the love between parents and children.

A note about Poet Wu Sheng  

Poet Wu Sheng (Wu Sheng-Xiong 吳勝雄), born in 1944 to a farming family, lives in the rural county of Changhua in central Taiwan. After he graduated from Pingtung Agriculture College in 1971, he taught biology at Hsichou Junior High School . In addition to teaching, he also worked on the family's rice fields. His leisure time, however, was devoted to writing poetry. 

 

In 1975, Wu received the Modern Chinese Poetry Award from the Epoch Poetry Society. The Award Committee had the following to say about Wu’s work: "His poetic style is simple and real, natural and solid. He uses the rural language in a touching and sincere manner." Wu also stated, in his award speech entitled "I Would Rather Lose Myself in Simplicity and Clumsiness," that it is because he was not academically trained in literature and literary theories that his creativity has very little to do with academic forms. Instead, most of his writings, drawn from life experiences, have to do with the sincerity of the hard-working peasantry.

In the 1980s Wu was a leading nativist local poet and he remains best known for his depictions of rural Taiwan . He was invited to attend the International Writing Program at University of Iowa in 1980. 
 

Visiting the longest river in Taiwan 

 

During his four decades of writing, Wu Sheng published five volumes of poetry and six essay collections. He retired in 2000. A new collection of his poetry and some new poems were published the same year. Later, Wu and his wife embarked on a journey along Taiwan's longest river, the Chuoshui River（濁水溪）. This was a project in which Wu and his wife aimed to visit, explore, and report on the bio- and socio- conditions of the environment along the river. Their observation, Notes on the Chuoshui River , was published in 2002.

In 2007, Wu received the Wu Sanlian Literature Award (吳三連文學獎), which is one of the great honors in Taiwanese literature.

Wu's poetry is deeply enrooted in the ordinary life and work of farmers in Taiwanese villages. They evince pure love for the earth and profound social concern.

Strong Taiwanese Identity on his poetry

Wu’s poetry is not mere superficial nostalgia for the land, but serious commentary that radiated from his strong Taiwanese identity and his belief that social justice will eventually triumph. Such is his unchanging style and character since he first emerged in the field of Taiwanese poetry in the 1960s.

In addition to his poetry, Wu is also noted for his essays that delve deeply into Taiwanese village life, bringing to elucidating the contribution that farming makes to economic development, and recording various aspects of the village life and the lives of farmers. While presenting the farmers as resilient, hard-working, sturdy and tolerant, his writing highlights the common spirit of the Taiwanese people.

He recently spent an entire year not only studying the social and environmental conditions along the banks of the Chuoshui River , but also establishing himself as a paragon of Taiwanese intellectualism who puts his love for his land into actual practice.

Wu continues to write poems and essays (both literary and journalistic). He also teaches courses on creative writing in several colleges. Forever concerned with affairs of this land, Wu is keenly observant of the social movements and political reforms in Taiwan . His benches in his front yard have become a gathering place and forum for authors, artists, social reformers, occasional politicians and aspiring young writers. As for the fields where he toiled for most of his life, they are now planted with native Taiwan trees. With his fields turned into forests, he has officially become The Man Who Planted Trees.

Photo courtesy of A Good Day Records（風和日麗唱片行）

The above information is edited by Felicity Fei-Hsien CHIU（邱斐顯）, former editor of center of web and wireless news service, the Central News Agency.

台灣藝術家英文簡傳（10）---畫家謝里法  Painter Shaih Lifa
  

編輯／邱斐顯
Editior／Felicity Fei-Hsien Chiu

Preface

The lifting of Martial Law in 1987 brought a liberalized cultural-political environment that allowed artists to deal with issues of self-identity and self-fulfillment through their works. Art history studies not only help to enhance our understanding of these artworks, but also articulate the inner spirit of a culture. Shaih Lifa’s "Taiwan’s Art Movements under Japanese Occupation," which follows the structure of Wang Bair-juan's（王白淵） earlier studies, "Taiwan’s Art Movements (1955)," pulls together scattered and often unorganized pieces of historical evidence, and in doing so, provides us with a clear view of the development of Taiwan’s fine arts.

A note about Shaih Lifa

Born in 1938, Shaih Lifa was separated from his parents, as a child. This unsettling experience drove Shaih to seek solace in art; it also contributed significantly to his artistic sensitivity, and prepared him for a life-long artistic career.

Shaih Lifa lived in Paris for two years, and in New York for twenty-two years. During those years abroad, he rose to fame by publishing voluminously on artistic trends in the West as well as on art movements in Taiwan . His books include “Some Notes on Art: The Letters of Shaih Lifa”, “The Adventure of Art”, “The Art World of New York”, “Great Taiwanese Painters of the Twentieth Century”, “Reshaping the Mind of Taiwan”, “Exploring the Historical Horizons of Taiwanese Art”, and “New Taiwanese Art”.

Since returning to Taiwan , he has continued his longstanding contribution to Taiwanese art by creating a series of installation projects and publishing more books.

In 1972, Shaih Lifa first contributed an article “On Hsu Pei-hung and his art” to the supplement section of the China Times. This article was well-received in art circles in Taiwan .

His book, " Taiwan ’s Art Movements under Japanese Occupation," was then serialized in Artist Magazine after the launch of the first issue in 1975. This book is now widely regarded as a significant milestone in Taiwan ’s art history and the Nativist Movement of the 1970s.

In describing the basis on which he undertook this study, Shaih once said: “Fortunately, New York helped me to find my own historical perspective which is entirely based on the characteristics of Taiwanese fine arts. I would emphasize that it is imperative that one writes art history in the first person. In other words, when a Taiwanese author pens art history, it can be identified as ‘Taiwanese art history’ as long as it starts with ‘I’.  This is the most basic principle of all historical studies.”

Shaih Lifa has long had other interests apart from his art. With the help of friends in literary circles, he has written and published a number of books since returning to Taiwan . These include “Those Painter Friends of Mine”, “Figures unearthed in Taiwan ”, and “Notes on Our Predecessors”. Some of these books feature profiles of Shaih’s friends and colleagues in the art world, while some of them explain his observations and interpretation of historical characters, from a contemporary perspective.

Shaih explained his particular interest in historical novels thus: “Whenever I find history too unreal and difficult to engage mentally, I would seek comfort from novels because a good historical novel often makes the stories seem more real and believable than history, and significantly boosts my confidence in developing plots for my writing. When I rewrote " Taiwan ’s Art Movements under Japanese Occupation," which was first published thirty years ago, I felt strongly that many of the paragraphs were in fact written by someone else; it is only when I read it out loud that the book becomes mine.” When Shaih asked his friends to suggest the most appropriate color that represents the novel, the most popular choice turned out to be violet. Shaih therefore chose Grande Chaumière Violette for both his ‘novel’ and for the retrospective exhibition.

Shaih Lifa’s Concept of the Exhibition

“Taking a retrospective view of one’s past by means of exhibited documents is like opening a book for everyone to closely examine. ... I am not entirely sure whether or not there is anything worth noting in my life. Between what’s notable and what’s not, I realize that my life has had too many repetitions thus far. I encapsulate my life experience in the brief act of artistic creation; what you see here are my views on life.”  -- Shaih Lifa

Shaih first returned to Taiwan in 1988, six months after the 40-year period of Martial Law had been lifted. At the time, the extent of environmental pollution on the island was appalling. After he went back to the United States , he tried, but failed, to articulate through his paintings how he felt about all this. 

After two years of struggle and careful consideration, he finally decided to express his complex feelings through the use of "readymade" objects. This is how the idea of "Aesthetics of Litter" was conceived. This project, which was the main feature of an exhibition on the theme of "Garbage," uses bin bags as a symbol of the twentieth century. It sets out to explore the environmental issues that confront Taiwan in our time. By placing litter in the art museum, "Aesthetics of Litter" raises questions with regard to the status of the litter: does it remain an art object, a status it gained through the art exhibition? Or does it return to its initial character, i.e. simply garbage. By raising these questions, the piece can also be seen as posing the classical questions of conceptual art, i.e. “What is art?” “What is garbage?” “What is an art museum?”

An egg was surprisingly hatched from the bin bags after the "Aesthetics of Litter" exhibition. This, in effect, allowed the story of garbage to evolve into what Shaih called "oviparous civilization." Shaih started this project by making a collage with reproduced images of classical European paintings and then scribbled on this collage with transparent paints, before finally putting all this in an egg-shaped container. This signifies a new life cultivated in the egg, which can be seen as a symbol of the rebirth of civilization.

Shaih never thought this series would later be acclaimed as representing the peak of his painting techniques. With the simple oval shape, the prototype of four eggs marked the successful conclusion of this project.

Shaih also collected a large number of paintings by other artists, after he settled in Taiwan . As he recalled the story behind each painting, he was brought increasingly closer to these works, and came to a realization about the nature of the collection. The collection reflects his experience, disposition, fate, personality and thoughts and symbolizes a certain aspect of his life.

Therefore, he decided that the retrospective exhibition should encompass the artwork that he had so far collected, and that he would display them as a single piece of his own work. He felt that this would most appropriately summarize the artistic ideals that he had held for many years.

A note about Grande Chaumière Violette

Grande Chaumière Violette is the most complete exhibition of Shaih Lifa’s works to date. This exhibition showcases Shaih Lifa’s paintings, manuscripts, newspaper clippings and his own art collection. Part of the installation project, "A Landmark Made of Floating Lights," as well as its full-sized prints, will be displayed in the Art Corridor of National Taiwan Museum of Fine Arts. This exhibition is organized in conjunction with a conference on Shaih Lifa’s contribution to the writing of Taiwanese art history. Renowned scholars will present their research at the conference, which will explore Shaih Lifa’s thoughts and philosophy on life, as well as his views on the history of Taiwanese art.

Photo courtesy of National Taiwan Museum of Fine Arts

The above information is edited by Felicity Fei-Hsien CHIU（邱斐顯）, former editor of center of web and wireless news service, the Central News Agency.

江蓋世著《我走過的台灣路》--第四章風暴
4-7 我站在法庭上

　　一九八七年七月九日，台南市的「贖罪之旅」結束，我連夜北上。

　　七月十日，台北地檢處進行「六一二事件」第二次偵查庭。上午九點，謝長廷、洪奇昌與我三人，準時抵達台北地檢處。當天，民進黨並沒有動員全國的群眾，所以來聲援的只有一百多人。幾位民進黨的國大代表陪同我們，進入地檢處大門。偵查庭開始，我首先接受偵訊。從南部的幾趟「贖罪之旅」，我感受到台灣民間，有一股追求自由的力量，即將釋放出來，而台獨運動，更將取代原有的黨外運動，或組黨運動，而成為未來反對運動的主流。那麼，這一場國民黨掌控的司法整肅秀，我不需要再花任何精力，去跟他們做任何辯解，我只要依照甘地的精神，反抗惡法，但願意承受加在我身上的打擊，那麼，我將沒有什麼好害怕的了。

　　當我走進偵查庭，一眼看到承辦檢察官陳清碧，我已經不像上次那樣，手腳緊張，反過來，我看著他，坐在那裡，同情之心，由然而生，他也是「惡法亦法」的受害者，他坐在那裡，代表著政府，要找出我的罪證，然後，將我起訴，要求法庭將我判罪。

　　我站在他面前，沒還等他講話，我馬上拿出一張事先好的聲明唸給他聽：
　　「第一、請依叛亂罪起訴；
　　　第二、請求褫奪公權終身；
　　　第三、請求速審速決。
　　　謝謝你。
　　　以下，你所提的任何問題，
    我將不再回答。」

　　陳清碧檢察官，聽完了後，錯愕一下子，臉上馬上擠著一絲微笑，連聲說道：
　　「不要這樣子，我們還是要好好的偵查，現在，我開始問你問題，請你據實回答，第一，六月十日當天……，你是不是率領了群眾……？第二，群眾在遊行時……，你是不是……？」

　　結果，他每問我一個問題，我都搖搖頭，笑著對他說：
「我不必回答你的問題。」

　　他還是照著事先擬好的問題，一個又一個的問我，連下十三道問題，我通通搖搖頭，給予同樣的答覆：
　　「我不必回答你的問題。」

　　就這樣，檢察官很快的結束了我的偵訊。我深知，他們鎖定我們三人，又大費周章的偵查我們，照當時的情勢判斷，一定會將我們起訴，我好好的配合他們，或出賣自己的良心，為自己做不實的辯解，甚至卑躬屈膝的向他們求饒，根本無濟於事，而我腦海裡，只想到我那張「人民有主張台灣獨立的自由」的布條，如何一站又一站的飛揚下去，法律訴訟，那是律師與法官的事，由他們去吧！

　　接下來，由洪奇昌、謝長廷接受偵訊。整個偵訊，一直拖到十二點半，才偵訊完畢，開完庭後，我們三人走出庭外，站在地檢處大門前，由謝長廷手拿著麥克風，向現場的聲援民眾道聲感謝，並抨擊警方的蒐證心態。他說，六一二事件當天，有人打架，檢方應該先偵辦，到底誰是真的施暴者，然後再查查看，誰是首謀，可是，現在一開始，就把我們三人，當做首謀開始偵查，這個程序根本不對嘛！還有，當天的蒐證，花了一整天的時間，可是警方所移送來的蒐證資料錄影帶，卻只有二十分鐘，根本就是經過剪接的濃縮版，事實真象，不會遭到掩飾嗎？而且，檢察官在偵查庭上，所提出來警方證據相片，相片的圖說，提到民進黨的部分，都用「X進黨」三個字來寫，這種侮辱的字眼，顯示出警方的偏見，那麼，警方的蒐證相片，根據他們的偏見來做，又怎能夠提供事實的真象呢？

　　謝長廷說完後，我們感謝民眾前來聲援，然後，大家就各自散去。
　　我們三個人會不會遭到起訴？目前還在未定之數，而這件事情，民進黨中央已經授權謝長廷、康寧祥、姚嘉文三位中常委，組成「三人小組」，由他們去研究，一旦我們被起訴後，黨中央將如何發動群眾遊行，向國民黨當局施壓。若是民進黨中央軟弱無力，那麼，將來民進黨發動的示威遊行，誰也不敢擔綱了，只要一有衝突，不問青紅皂白，受命當總指揮的，馬上官司纏身，就像六一二事件的謝長廷、洪奇昌他們的遭遇，這樣一來，國民黨他們更會「軟土深掘」。

　　雖然上午開了偵查庭，忙了一個早上，但當天下午四點，我還是興致勃勃的，依照既定的行程，跑到台北市議會大門前，繼續「贖罪之旅」台北場的靜坐，雖然人不多，只有二十幾位關心的民眾陪著我靜坐，我還是坐得津津有味，不過中間發生了一個小插曲，在四點半左右，一個三十多歲的男子，操著台灣的口音，一個大步走來，站在我的面前，瞪著大眼，指著我的鼻尖，大聲吼道：「你是不是中國人？」

　　我坐在地上，抬頭看了他一眼，本想答道，「我當然不是中國人，我是台灣人。」但想了一想，算了，還是給他一個善意的微笑，我不想說半句話。

　　我記得聖經上面有一句話，「原諒他們，因為他們不知道他們在做什麼。」我會同情這位三十來歲的台灣男子，看到我的布條上面寫著「台灣獨立」四個字眼，腦門衝血，心頭抓狂，因為他被國民黨長期教育「我是中國人」，他不知道要去認同這塊生於斯、長於斯的台灣。對於這種認同錯亂的人，我不想去罵他，因為他有他的感情認同世界。我只想在未來，繼續的推動本土的認同運動，畢竟，生長在台灣的人民，你可以難以忘懷秋海棠，你可以經常做神州大陸夢，那是你的感情世界，我們給予尊重，但是，台灣這塊土地，是我們共同的，如果你要生長在這裡，你就要學習認同這塊土地，沒有認同，就沒有愛，不認同台灣，甚至完全否定台灣的那些人，我不知道，他們如何愛這塊土地。

　　後來，我身邊的民眾，立刻把那位男子回罵過去，站在旁邊觀看的警察，馬上過來，將那位男子半勸半推，帶離開現場。下午五點四十分左右，我們一行二十多人，手拿著標語，從中山南路一路遊行到中正紀念堂，這一次，我們人雖少，卻是在黃昏時分，公然的踩在博愛特區，可是警方不但不阻擾我們，反而沿途幫我們維持交通，讓我們順利的抵達中正紀念堂廣場，我們走到了廣場中央的升旗台，我把布條撐開，就在那台上，發表簡單的談話，同行的還有田媽媽以及洪茂坤。

　　下午六點二十分，我們就站在升旗上面，留下了一張歷史性的相片。

　　昏暗的天色，紀念堂那座龐然的宮廷式建築，隱約可見，我們幾個人站在廣場正中央的升旗台上，沒有鑼鼓喧天，沒有滿天煙火，沒有旗海飛揚，沒有黑壓壓的群眾，只有空空蕩蕩的廣場與浮面而來的晚風。

　　這個代表著國民黨的威權統治，而我們那一幅鮮明的布條，橫列升旗台上，「人民有主張台灣獨立的自由」，好像十二個金字，非常有力的鑲嵌在那座巨大的宮廷建築！

　　七月十日的第二次偵查庭之後，我把法庭的事情，拋到後腦，「贖罪之旅」繼續走下去。七月十一日，我到台北縣議會靜坐，警方依然不管我，倒是軍方的團管區司令，卻來到了現場，對我及參與靜坐的黨工朋友，吆喝來，吆喝去，而當地的派出所主管，卻站立一旁，也不吭聲，只是一旁維持交通而已。那位團管區司令，看到我遊行到台北縣政府廣場前，居然氣極敗壞的要求我們：

　　「你們要走，可以，只能走人行道，我不准你們走車道！」
　　「笑話！全世界哪有人遊行，閃到人行道邊去遊行？當然要走在馬路上，讓人家知道我們的訴求啊！」一位聲援的黨工朋友抗議道。

　　那時，正是下班的尖峰時刻，整個板橋縣政府前，可說是車水馬龍，他們不擋還好，一擋，機車、汽車擠成一團，喇叭聲、抗議聲，聲聲嘈雜。我對那位氣得鼻孔生煙的團管區司令，嚴肅的說道：

　　「要嘛，請現在下令將我逮捕！否則，我一定要走在馬路上，我們是要示威的，請你做一個選擇吧！」

　　其實，跟我們一起靜坐的，有台北縣的民進黨人士楊木萬、王淑慧等十幾位黨工，遊行的時候，尤清服務處的主任蕭貫譽，帶頭指揮，我們的總人數，不超過二十人，而他們動員的警力，至少我們的兩、三倍以上，況且，我已經表明，只要你一下令逮捕，我馬上跟著你走，我們完全不做抵抗，這來，倒苦惱了這位台北縣團管區司令，要抓呢？還是不抓呢？最後，他們讓步了，我向他們表示謝謝，然後繼續我們的遊行。

　　走到這裡，我幾乎可以確定，現在的我，雖然沒有任何公職或黨職的頭銜，但是，我所推動的台獨思想運動，及宣揚的甘地精神，使我成為一位象徵性的人物，而讓地方級的情治長官，也無法擅自作主，將我抓起來，因此，往後我更可以光明正大的，高舉旗幟，踩遍台灣的大鄉小鎮。

台灣藝術家英文簡傳（9）---畫家張萬傳 

Painter Chang Wan-Chuan（張萬傳）  



編輯／邱斐顯
Editior／Felicity Fei-Hsien Chiu

A note on Painter Chang Wan-Chuan（張萬傳）:

Chang Wan-Chuan was one of Taiwan 's important artists of the senior generation and studied Western painting in Japan . He was born in Damshui in 1909, and passed away at the venerable age of 95 in 2003.

Looking back on the creative trajectory of this artist's career, one can more clearly see the broad outline of the historical development of art in Taiwan .

The painting style of Chang Wan-Chuan

Chang, a prolific painter, often used unrestrained and heroic brush strokes to present his emotional view of the world, emphasizing an aesthetic fusing color and form and borrowing techniques from both Les Fauves and Expressionists.

His style was grand and powerful, with quick and easy brushwork that portrayed a lively spirit is his paintings. While Chang primarily painted landscapes, still lifes and figures, it is especially interesting to see the virtuosity of drawing in his quick sketches.

The affection he had for ancient houses, Western buildings and landscapes in his early period won him the honor of inclusion in the Taiwan Fine Art Exhibition and Taiwan Government Fine Art Exhibition.

Small work, great explanation.

Chang's early canvasses tended to be small due to his straitened financial circumstances at the time; however this did not detract from the beauty of these paintings. Because of his limited access to material, he often just used what was available, like wooden boards or cardboard to serve as his painting surfaces, which was indicative of the enthusiasm and dedication of the artists of his generation.

Chang relied on concrete material objects for all of his paintings, including landscapes, still lifes and figures, yet his assertive and penetrating intuition retained the special characteristics of his time.

Chang traveled all over to make his paintings －－ from Hsiamen scenery（廈門風景）, to the White Building in Damshui（淡水白樓）, to Japan and Europe. In 1975, at the age of 66, he traveled to France and Spain to expand his vision, and also to make a lasting record of the ancient historical buildings of Europe .

Loving fish, painting on the dinner table.

Because Chang loved fish, not only for their flavor but also for their variety of colors, shapes and lines, he often used them as the subjects of his paintings, and captured their vitality in his nimble and powerful painting style. Once, with his eye fixed on the dinner table, he excitedly drew on a piece of paper a vivid rendition of a fish, a moist chopstick, cigarette ash and soy sauce. He expressed his powerful passions with seascapes, the highly inflected lines of the female form, other fascinating subject matter, and especially his birthplace Damshui.

Chang Wan-Chuan's temperament comes through faithfully in his paintings, and his confident brush strokes were thoroughly informed by his vitality for life. He did not confine himself to objective realism, but rather took life itself as his example, subjectively and individually making use of the brush to reinforce the visual tension in his work.




 

He often brandished a large brush and made bounding marks with red and black paint and then added blue, green and yellow among the main brush strokes, using lush textures to convey his perceptions of the world and feelings at the moment. When sketching, his most direct method of expression, Chang used succinct, resolute lines to boldly describe forms and juxtaposed them with watercolor washes, harmonizing colors and shapes. Different subjective feelings often burst forth from Chang's brush when he was painting similar themes in different times or places. His themes repeatedly explore a passion for theatricality, transcend objective visual analysis and establish his unique creative style.

Photo courtesy of Taipei Fine Arts Museum

The above information is edited by Felicity Fei-Hsien CHIU（邱斐顯）, former editor of center of web and wireless news service, the Central News Agency.

【紅色戒嚴】導演陳麗貴：在疼惜台灣的日夜裡…… 

文／邱斐顯     本文刊載於人本教育札記2009年7月號   
圖片提供：Billy Pan    

二○○八年年底，陳麗貴以幾乎不到一個月時間完成【紅色戒嚴──陳雲林事件紀實】，這部紀錄片，成為馬政府執政後的第一部反對運動紀錄片，在本土陣營引起巨大回響，在網路上廣為流傳，被稱為「每位台灣人至少要看過一次」的影片。如果你看過這部記錄片，你也應該看看陳麗貴本人的故事。 
    

    一九九七年，陳麗貴在二二八紀念館觀看「終戰52周年紀念：台灣人的戰爭展」，發現母親前夫的名字，就在台籍日本兵的名冊裡。她出於好奇，追問母親這段歷史。二○○五年，無黨籍原住民立委高金素梅帶人在日本靖國神社抗議，要求將進了神社的祖靈撤出神社，更讓陳麗貴心生疑竇，決定前往靖國神社，徹底追查母親的身世與台灣的歷史。
 

    二○○六年，陳麗貴到了靖國神社，找呀找的，但因名字記錯，始終找不到。坐在靖國神社的台階上，看著來來往往的參拜遊客，想著母親的一生，想著戰死在南洋的一位小小的台灣人日本兵，想著台灣曲折的歷史，強烈的悲哀湧上心頭，眼淚撲簌簌的掉了下來。 
 

生在高雄的「台北人」

    陳麗貴的母親本姓陳，她的親哥哥陳海清，於一九五○年因台北市工委會案（同案較有名的政治犯是胡鑫麟，他是聞名世界的小提琴家胡乃元的父親）而入獄，被關在綠島，服刑十年。陳麗貴直到一九九○年代以後，才知道自己這段家族史。
 

    一九五一年，陳麗貴的父親因事業之故，舉家從台北的大稻埕，南遷到高雄。一九五七年，陳麗貴在高雄出生。陳麗貴回憶道：「小時候，我在學校裡都對同學說，『我是台北人』。等到長大才知道，如果以出生地而言，我應該算是『高雄』人。」後來陳麗貴到台北唸書後，反而都對同學說：「我是高雄人」。
 

    「我是媽媽的小孩，不是爸爸的小孩。」因為從小和母親比較親密，而父親又是日本教育下的傳統男人，相形之下，她與父親的關係就沒有那麼親密，對父親的家族史也不甚了解，後來她才知道，她的二伯父竟是與鄧雨賢同時代齊名的作詞家陳君玉。 
 

    從小到大，陳麗貴的求學、升學，十分順利。直到大學畢業前，她不曾質疑過國民黨的黨化教育。只有一件事除外，她就讀高雄女中時，在師長們的勸導下，許多擔任幹部的學生都加入國民黨，而擔任班代的她，因為生性孤僻，又謹記孔子在《論語》裡說的話－「君子不偏阿同黨」，因此不願加入國民黨。直到陳麗貴一九八九年留美回到台灣後，才慢慢地發現到，她的家族史，其實就是台灣歷史的縮影。她漸漸明白，過去動盪的歲月裡，在白色恐怖的陰影下，母親或許為了求生存，或是為了保護子女，而刻意不提自己家族的歷史。 

 

台灣意識的浮現

    陳麗貴讀大學時，就認識了李泳泉。李泳泉很早就有台灣意識，為了追求陳麗貴，他依照台大女生宿舍的慣例，本來要宴請全寢室的室友一起吃火鍋。不料，約定吃火鍋之前，碰巧遇上了美國與台灣斷交的國際大事（1978）。國民黨政府趁機利用媒體大肆炒作，鼓勵全民踴躍捐機報國。宿舍女同學們慷慨激昂，要李泳泉把請客的錢捐出，響應愛國運動，陳麗貴回憶說，「他心不甘情不願，幾乎是用丟擲的方式，把錢投到捐款箱去的。」 
 

    一九七九年，陳麗貴從台大外文系畢業，畢業後的第一年，陳麗貴在商界做秘書。「大概是志趣不合吧，這一年，我先後換了八個工作。」第二、三年，她到學校教書，才安定下來。這期間，因為一個要好的高中同學到美國唸完「視聽教育碩士」，帶回的視聽作品讓陳麗貴很感興趣，開始興起出國學習視聽教育的動機。一九八一年，陳麗貴與李泳泉結婚。翌年，父親過世一個月後，她和李泳泉一同前往美國奧斯汀德州大學求學。這是她生平第一次出國，而她的台灣意識，是待到異國的土地上，才得到萌芽的機會。
 

    到德州第二年，李泳泉當上台灣同學會會長。那個年代，大多數海外的留學生們，統獨意識還不明顯。陳麗貴因參與同學會與同鄉會的活動，陸續認識了芝加哥台灣民主運動支援會的林孝信、陳美霞。「他們不談統獨，只談社會公平與社會正義，這些思想對我的衝擊不小。對基督徒而言，認識耶和華，是智慧的開端；對我而言，社會主義意識的啟蒙，是智慧的開端。」陳麗貴說。



陳麗貴與李泳泉---導演夫婦

    一九八四年，陳麗貴取得美國奧斯汀德州大學視聽教育碩士，繼續在博士班就讀。一九八五年，德州大學學費跳漲三倍，陳麗貴決定放棄學業，先去就業。隨後分別在休士頓的國際日報、芝加哥的中報工作。在休士頓工作時，經由施信民與曹愛蘭的介紹，認識了主張社會主義與台獨的高成炎。 
 

    一九八六年年底，陳麗貴在中報擔任採訪記者，適逢島內黨外人士組黨成功，民進黨人士康寧祥、蘇貞昌等人組團到美國巡迴演講，陳麗貴前往採訪報導。聽到他們的精彩演說，陳麗貴說：「那是我到芝加哥後，最快樂的一天。」比起一些僑界的例行性活動，如中國大使到芝加哥拜會，或是北美事務協調會台灣辦事處的活動通知等消息，台灣第一個反對黨人士的訪美活動更具意義，更有新聞價值。她認真地採訪、攝影，洋洋灑灑寫了數千字的文稿，以為這篇文章至少應該是地方版的頭條，誰知上了編輯台後，文稿被立場傾中的主管刪到只剩不到百字。這次經驗，讓她的台灣認同開始浮現。  

以紀錄片來捍衛台灣！ 
 

    後來，陳麗貴選擇離開芝加哥，回到休士頓繼續在報社工作。這段時間，她更積極參與台灣同鄉的活動，也認識了郭正光、蔡正隆等獨盟人士。在海外讀書、工作的這幾年，陳麗貴的台灣意識，越來越清晰。一九八九年，陳麗貴和李泳泉決定回台灣貢獻所學。 
 

    「為什麼會全心投入影像工作呢？」陳麗貴表示，美國資本主義社會裡，藍領階級的勞工，平均每五年就會遭到資遣。她曾經看過一部有關勞資糾紛的紀錄片【The Real Thing】，紀錄瓜地馬拉可口可樂公司，走法律漏洞惡性關廠，失業勞工求償無門，只好群起抗爭。直到現在，她對這部紀錄片的影像記憶猶深，「紀錄片最可貴的精神，就是為弱勢者發聲。」這個理念深植在她腦海，她決定以拍紀錄片的方式，來介入台灣的社會運動。
 

    一九八九年，陳麗貴返台後，積極參與施信民教授所創立的環保聯盟，持續不斷地為環保議題與抗爭行動做影像紀錄。一九九一年，陳麗貴與李泳泉共同完成【台灣環境總體檢】系列影片。一九九四年，核四公投促進會成立時，陳麗貴不但擔任該會執行委員，幾年後，甚至接任代理召集人的職務。林義雄發起「核四公投千里苦行」行動時，陳麗貴跟著隊伍靜靜地步行，李泳泉則是扛著攝影機，將苦行過程拍攝下來。陳麗貴說：「我參與社會運動，認識許多朋友，這些人都成為我的終生好友，這是我人生最大的幸福。我的視野也因而得到提升。」



由左至右：林義雄，陳麗貴，張國龍

    
    二○○七年十二月，陳麗貴和李泳泉共同完成【捍衛台灣鄉土紀事－台灣環境保護聯盟廿年】紀錄片。這部紀錄片，不只見證台灣二十年的環保運動，也是他們夫婦投入紀錄台灣反核運動二十年的心血結晶。影片中，除了重現歷年反核運動抗爭的精彩畫面，並訪談二十多年來積極參與台灣環保運動的學者專家、青年學生與地方人士。當年的青年學生，投身反核運動，不論運動是否成功，至少這個運動，改變了一整個世代人的價值觀與生命態度，也形塑了他們對世界的夢想。
 

記錄政治．佳作連連
 

    陳麗貴的作品，除了環保、政治議題外，她也是最早拍攝女性議題的紀錄片導演之一。如：一九九四年，談民法親屬篇中女性地位的【牽手何時出頭天】；一九九六年，談兩性工作平等法的【女超人的滋味】；一九九九年，談女性典範人物的【台灣第一位女醫師蔡阿信】；二○○三年，世紀女性台灣風華系列【暗暝e月光─台灣舞蹈先驅蔡瑞月】等。陳麗貴認為：「女性地位是一個國家是否民主的重要指標！」


 

    二○○六年推出的【台灣民主化之路】，是一部九十分鐘的紀錄長片，紀錄一九九○年代以李登輝為主軸的台灣民主化歷程。陳隆志教授認為，這是「一部完全台灣觀點的台灣史紀錄片」。二○○八年【火線任務──台灣政治犯救援錄】，入圍紀錄片雙年展與金穗獎。二○○八年年底，陳麗貴以幾乎不到一個月時間完成【紅色戒嚴──陳雲林事件紀實】，這部紀錄片，成為馬政府執政後的第一部反對運動紀錄片，在本土陣營引起巨大回響，在網路上廣為流傳，被稱為「每位台灣人至少要看過一次」的影片。二○○九年，她再度在極短時間內完成【焚─紀念鄭南榕殉道二十週年】，企圖召喚反對運動原初的熱情，為台灣尋找新的出路。 
 

    過度密集的工作壓力，讓陳麗貴覺得：「每次完成一部影片，都覺得壽命又折損了好幾年。」
 

    這些年來，也因為拍記錄片的關係，陳麗貴曾任台北市女性影像學會理事長，財團法人國家電影資料館董事，海洋台灣文教基金會董事，核四公投促進會召集人，目前世新大學廣電系、實踐大學通識課程兼任講師。她感慨的說，二十一世紀，台灣紀錄片的工作環境，與二十年前已大不相同，因為更便宜的器材，更進步的技術與製作觀念，紀錄片工作吸引了更多年輕人投入。但是和其他各行各業的工作相較，它的物質回饋是相當低微的，能在此領域中一直堅持下去的人並不多，尤其是獨立紀錄片工作者。
 

    此外，台灣的影視、藝文圈中，一直存在著「去政治化」的傾向，政治議題被刻意迴避或排擠。陳麗貴所拍攝的紀錄片，可說是非主流中的非主流。二○○九年三月，陳麗貴獲頒第一屆鄭福田文化獎，獎座上刻著「以紀錄片見證台灣／以行動介入社會/彰顯藝術與文化的榮光」，為陳麗貴二十年導演生涯的堅持不懈，寫下最佳註腳。  

紀錄片【拔河─台灣的故事】

    陳麗貴從事紀錄片拍攝工作多年，與美國導演茱蒂斯．維奇歐妮（Judith Vecchione）合作的經驗，令她印象非常深刻。從一九九六年到一九九七年，美國WGBH公共電視台打算拍攝一部與台灣認同有關的紀錄片【拔河─台灣的故事】（Tug of War：The Story of Taiwan），陳麗貴獲推薦擔任該片台灣製作總協調。 
 

    一九九六年，陳麗貴開始用電子郵件與茱蒂斯連繫。每天白天她辛苦工作：蒐尋資料、翻譯、安排拍攝事宜等，晚上回來還得花兩、三小時，寫長長的工作報告，而往往工作報告傳過去不到十分分鐘，茱蒂斯更長的「工作指令」又傳了過來，又有更多的待辦事項，待釐清的問題。「雖人她人在美國，我在台灣，但是我覺得她實在法力無邊！」陳麗貴說。
 

    陳麗貴在巨大的工作壓力下，幾乎想打退堂鼓。那時候，台灣史教授吳密察、戴寶村等人，都力勸陳麗貴不要輕言放棄，因為這是台灣歷史影片能登上國際媒體的難得機會。陳麗貴得盡量發揮她的影響力，讓影片中出現真正台灣人的聲音。
 

    陳麗貴與這位比她年長的導演合作期間，學到許多東西，其中最重要的就是「鍥而不捨」的精神。有一次茱蒂斯問她：「我想從太平洋上來拍台灣，妳可以幫我租到一艘安全又便宜的船嗎？」當時搭船出海的手續十分麻煩，租船的費用也很昂貴。經過許多天的聯繫，透過種種管道的協助，總算訂到一艘符合要求標準且「物美價廉」的漁船。不過，最後卻因為英國攝影師的一句話：「攝影器材沒有防震設備，拍出來的東西恐怕不能用。」茱蒂斯終於放棄海拍的念頭。
 

    某一個陳麗貴休假的日子，茱蒂斯帶著幾個工作人員繼續拍片。美籍導演、英籍攝影師、錄音師和台籍司機比手畫腳、雞同鴨講，無法溝通。因為當天拍攝地點就在陳麗貴家附近，導演打電話到陳麗貴家求救，又碰巧陳麗貴外出，電話沒人接。導演正一籌莫展，急得跳腳時，陳麗貴突然出現在拍片現場，茱蒂斯見到救兵來到如釋重負。原來，陳麗貴利用休假時間，外出幫攝影師買底片，返家後聽到電話答錄機的留言，立刻趕到拍片現場。陳麗貴認真負責的工作態度，讓茱蒂斯非常感動，兩人在合作關係結束之後，成為保持聯繫的好友。
 

    這部紀錄片《拔河─台灣的故事》，一九九八年於美國播出後，在美國台僑界引起極大回響，這是國際上第一部以同情觀點探討台灣認同的紀錄片。 

台灣藝術家英文簡傳（8）－作曲家蕭泰然

Composer Tyzen Hsiao  

編輯／邱斐顯

Editior／Felicity Fei-Hsien Chiu

A note on Composer Tyzen Hsiao（蕭泰然）:

Tyzen Hsiao, born in Kaohsiung City in 1938, is a Taiwanese composer of the neo-Romantic school. Many of his vocal works incorporate poems written in Taiwanese, the mother tongue of the majority of the island's residents. His compositions stand as a musical manifestation of the Taiwanese literature movement that revitalized the island's literary and performing arts in the 1970s and 1980s.  

Hsiao moved from Taiwan to Atlanta in 1977 for both personal and political reasons. He kept composing while staying in the U.S. His rich tonal style has earned him an international reputation as " Taiwan 's Rachmaninov." His compositions include works for solo instruments and chamber ensembles, many works for solo voice, and large-scale pieces for orchestras and choirs with soloists. 

Hsiao's art songs are often performed in Taiwan and many have achieved popular status. " Taiwan the Formosa " is regarded by many as the island's true national anthem. 


Hsiao struck by heart attack in 1993 while composing “1947 Overture”. He overcome the illness by the confidence from the God and completed that composition.

He first returned to Taiwan in 1995. He was part of a wave of overseas Taiwanese who relocated to the island in response to the democratic reforms of the 1990s.  
 

His stroke in 2002 made him move to Los Angeles for recovery. He came back to Taiwan on April 11, 2008 for the his concert－－Hearing the Sound of Taiwan－－The Concert of collective works by Tyzen Hsiao.

Photo courtesy of Proud Wolf (Ken Chuang, 莊傳賢) and the National Taiwan Symphony Orchestra.



The above information is edited by Felicity Fei-Hsien CHIU（邱斐顯）, former editor of center of web and wireless news service, the Central News Agency.

Composer Gao Yi-Sen

編輯／邱斐顯  

Editior／Felicity Fei-Hsien Chiu  

Gao Yi-Sen (1908-1945) was an aboriginal hero named Uyongu  

Yatauyungana in the mother tongue of his Tsou tribe. He entered the Tainan Teachers College in 1924 and showed his talent in the field of both music and literature. He graduated in 1930 and then worked as a teacher and policeman at his hometown. In addition, he led the people of his tribe in the development of bamboo cultivation. He composed many songs at this time and led the people of his tribe in a performance of the "Hunting Song" in front of the president office in the Japanese colonial government. 

 
Gao served as governor of Wu Fong township in 1945 but was arrested during the 228 Incident of 1947 because his tribe occupied the Chiayi magazine and the Chiayi airport. In 1951, Gao was accused of hiding Tainan County Governor Yuen Kuo-chin who was considered a spy by the Kuomintang government. Gao was therefore arrested and executed. 

Photo courtesy of Formosa Aboriginal Song and Dance Troupe

（江蓋世，贖罪之旅）

江蓋世著《我走過的台灣路》
第四章風暴
4-6贖罪之旅（下）
 

七月九日，我下午三點十五分抵達台南市高李麗珍服務處。高李麗珍是前長老教會總會總幹事高俊 明牧師的 太太，高牧師因美麗島事件藏匿施明德，而遭國民黨逮捕下獄，而後，高李麗珍代夫出征，競選立委，不幸落敗，但原有的競選班底，依舊在台南市，維持一個高李麗珍服務處，做為台南市民進黨運動的主要據點。

 

我抵達那裡，受到黃昭凱、林宗正牧師及許多黨工的歡迎。他們服務處的一位黨工，在服務處的外面，張貼了一張大幅海報，用非常漂亮的藝術字，寫了幾個大字，「台灣民主運動的甘地－－江蓋世」，我看了那幅海報，心裡覺得怪不好意思的，因為我要學習的是甘地的精神，絕不想要亦步亦驅的模仿甘地，我只想做我自己，而不想讓別人把我比做那位世界級的偉人，因為偉人之所以成為偉人，有其時空背景，有其歷史淵源，有其個人智慧風格，有其人生哲學，雖然我知道，徹頭徹尾的非暴力，不是我這個凡夫俗子所能達到的境地，包括甘地自己也坦承，徹底的非暴力，連他自己都辦不到，何況是我呢？

 

我堅信甘地精神是對的，它能夠讓我們人民，擁有一項不流血的武器，去打倒我們想要打倒的權威，去改變我們想要改變的制度。

 

「那你為什麼要披著那件『甘地精神』綠背心，到處做秀呢？」也許有人會這樣質疑。

 

非暴力精神也好，甘地精神也好，都是抽象的概念，廣大的台灣人民，並不熟悉這個概念。如何使人民在很短的時間內，知道這個概念呢？最簡單的方法，就是把這個抽象的概念，將它變成一個具體的圖像。抽象的概念，人們一聽，掠過腦海，也不知飛到南極或北極了，但是，一旦把它變成一個具體的圖像，眼睛一看，立即發亮，啊，對了，那就是這個東西，這樣的話，就能很清楚而明確的釘入人們的腦中。所以說，他們太過捧我了，把我這個小人物，比擬做「台灣民主運動的甘地」，我聽了自己會臉紅，可是，為什麼我還是照樣穿著那件甘地精神綠背心呢？因為，透過它，可以很迅速的藉著媒體，傳播出「甘地精神」的訊息。

 

話說 七月九日 下午四點，台南市議會的那場靜坐呢？我就不再那麼孤單了。有林宗正、黃昭凱、李金億以及二十多位我叫不出姓名的台南黨工，都來參與靜坐。這場靜坐，我們是坐在台南市議會大門前的階梯，下午四點到五點半，陽光特別的強烈，我們所坐的階梯，正好陽光直曬，熱得大家汗如雨下。

 

下午五點半，我們一行三、四十人開始遊行，走在最前面的，拿著一條長布條，一位黨工，手拿著麥克風，後面跟著一輛宣傳車，林宗正牧師擔任指揮，我們從台南市議會，遊行市區，一路走回高李麗珍服務處。這一站，我幾乎看不到穿制服的警察前來阻擋，這時，我心裡這樣推測，警方在屏東攔阻我們，一度造成緊張的情勢，反而使地方的媒體大感興趣，而大幅報導，因此，他們從高雄市開始，一直到高雄縣、台南市，接連三站，採取「不理睬政策」，讓我一下子，悵然若有所失，我們採取非暴力抗爭，警方也採取非暴力「不合作運動」，對我們不理不睬，放任我們去遊行，這一點，想來也真有趣！

 

林宗正，長老教會的牧師，曾參加在加拿大的 URM 訓練。 URM 是長老教會城鄉草根訓練的組織，他在一九八八年開始，於台南縣新化縣的口碑教會，在鄭國忠牧師的協助之下，成立 URM 在台訓練的基地， 廣收社運團體的基層幹部， 一九八八年十二月三十一日 ，他所訓練出來的 URM 成員， 扯下了位於嘉義市火車站前的吳鳳銅像，徹底粉碎國民黨政權所創造的吳鳳神話，還給台灣原住民原有的尊嚴，一九八九年，他因吳鳳事件入獄八天，一九九一年開始，他持續從事「愛與非暴力」的草根訓練工作，一九九一到一九九三年，台灣反對運動所推行的大型示威，如「反軍人干政」，林宗正牧師所培訓出來的 URM 成員，往往扮演重要的組織者， 或形成一支有思想、有紀律的糾察隊伍。

 

我初次見到的林宗正，中等身材，面型削瘦，但聲音奇響無比，放眼當時的反對運動界，我還沒有聽過任何一個人，演講的聲量能夠超過林宗正的。

 

話說回頭，當我們走到台南市的民權路，林宗正牧師邊走邊演講。他特別為我們介紹，這一條民權路，是我們反對運動圈內，非常有名的「台獨街」，因為有三位從事台獨運動的名人，他們的老家，就在這條街上，第一位是，旅日台獨老前輩王育德；第二位是，國民黨政權頭號的通緝要犯，台獨聯盟主席張燦鍙；第三位是，前副總統謝東閔郵包爆炸案的主角王幸男。一九八七年那時，這三位台獨人士，王育德早已作古，張燦鍙流亡海外，而王幸男仍關在牢裡。

 

林宗正牧師介紹完民權路的台獨歷史淵源，就用他那粗獷雄厚的聲音，帶領我們高呼口號，向台獨街的三位前輩致敬：

 

「現在，咱來喊，『台灣獨立萬歲！－－』」

「台灣獨立萬歲！－－台灣獨立萬歲！－－」 

 

我們這一群人，雖然只有三、四十個人，以整個台南市的人口相比，我們只是一小撮人，可是我們一步一腳印，踩在台南古城的街道上，愈踩人愈多，愈踩愈起勁！

 

台灣藝術家英文簡傳（6）－畫家鄭自才
 

台灣藝術家英文簡傳（6）－畫家鄭自才
Painter Deh Tzu-Tsai  

編輯／邱斐顯
Editior／Felicity Fei-Hsien Chiu  

A note on Deh Tzu-Tsai 
 

Deh Tzu-Tsai, born in Tainan in 1936, gained a Bachelor’s Degree in architecture from National Cheng-Kong University of Tainan in 1959. 

 

Deh applied for a graduate program in Urban Design at Carnegie-Mellon University, Pittsburgh, Pennsylvania, U.S., in 1962 and obtained his Master’s Degree in 1964. 

 

While studying in the U.S., Deh was strongly influenced by the ideas of the 1960s liberation movements against authoritarianism in Taiwan. In 1966, he became one of the original members of United Formosans for Independence in America. He also joined the office of Marcel Breuer and Architects in New York that same year. 

 

In 1970, he became a member of the central committee and executive secretary of United Formosans for Independence . He was later implicated in an assassination attempt on Chiang Ching-Kuo, the vice premier and son of Generalissimo Chiang Kai-Shek, during a visit by the younger Chiang to New York on April 24, 1970. 

 

Chiang Kai-shek established himself as president of the Republic of China in Taiwan after he and his Nationalist troops withdrew from mainland China in 1949. But many Taiwanese regarded Chiang Kai-shek as a dictator. In the late 1960s, he moved to give more political power to his son Chiang Ching-Kuo, in disregard of some people’s objections.

 

Deh’s former brother-in-law Huang Wen-Hsiong attempted to shoot Chiang Ching-Kuo, but the assassination attempt failed and both Huang and Deh were immediately arrested by American police and incarcerated in the notorious “Tomb” by the U.S. government. 

 

In 1971, Deh fled from the U.S. to Stockholm , Sweden and where he was given political asylum by the Swedish government. In 1972, he was detained in Longholmen of Stockholm for three months amid legal proceedings for extradition to U.S., and in Bailey Prison of London for nine months before extradition from England to the U.S.   

 

He was extradited from the U.K to the U.S. in 1973 and sentenced to five years in prison for the attempted assassination of Chiang Ching-kuo. He was finally released on parole in December of 1974 and later settled in Stockholm, Sweden. 

 

Deh returned to Taiwan in 1991 after 29 years in exile, but was accused by the Kuomintang government of illegally entering his own homeland, and in 1992 was sentenced to one year in prison.

 

In 1993, Deh held his first painting exhibitions in front of a prison and at an art gallery. He also won the competition for the design of the national 228 monument, while he was still in jail. He was released from prison in November of 1993. 

 

Deh is now dedicated to being a fine artist and had held several art exhibitions in the past years. He was commissioned by the Association of National Culture to design and produce a monument to commemorate 
Taiwan ’s pioneer dancer, Tsai Jui-Yueh, for her contribution to modern dance. The monument was unveiled on March 29, 2008.

參考網址：

http://www.wretch.cc/blog/phesha0822/13406484 

江蓋世著《我走過的台灣路》
第四章風暴
4-6贖罪之旅（中）

楊金海，一九三二年生，高雄茄萣人，一九七一年，因政治案件，被判無期徒刑，綠島關了十一年，一九七六年假釋出獄，曾擔任過民進黨高雄縣黨部主委，一九八九年擔任台灣政治受難者聯誼總會會長。他是反對運動圈內，知名的老政治犯，在綠島期間，患有嚴重的胃病，所以出獄之後，他不能吃固體食物，只能喝鮮奶，後來，曾來台大醫院動過手術，才恢復正常的飲食。那天，看這位政治老前輩，一手提著鮮奶，專程趕來的情景，令我非常感動。

 

這一點，我也不想跟警方辯，因為警方並不是我們抗議的對象，既然聯誼會的幹部，他們決定要遊行，藉這個方式，突顯台獨的思想自由，我就決定用步行的方式，由縣議會一路走回聯誼會的辦公室。我們在聯誼會宣傳車的開導下，開始步行市區，警方起初沒有任何防備，當我們走到屏東市中華路的台電屏東營業處附近，警方派出一道人牆，強力堵住我們的去路。

 

看到警方擋道，許多人馬上抓狂，許炳豐甚至一度揚言要點燃汽油，跟警方人員同歸於盡，那時又有另外一位幹部陳文騰，在兵馬荒亂之中，由宣傳車上摔了下來，我對突如其來的狀況，心頭為之一慌，我的「贖罪之旅」，最多只要讓我入獄就可以了，但千萬不要因我而讓其他的朋友，因為一時的失控，而吃上不必要的官司啊！……不可以的！千萬不要拖別人下水！當我內心不斷掙扎時，幸好，會長潘立夫與屏東分局副分局長朱振良溝通，過一會兒，警方終於同意撤崗，而我們步行人馬一行四十多人，通過中華路之後，就直接返回聯誼會，我的贖罪之旅第一站，中間差一點擦槍走火，但幸好，最後還是和平收場。當天晚上，聯誼會在屏東市公園為我舉行一場演講會，會中，我首度向屏東市的民眾說明，為什麼我要千里迢迢來到屏東，來倡導台獨的思想自由。

 

這邊，值得一提的是，屏東市民和派出所主管鄭榮源，讓我印象深刻，他雖然是派出所的警官，卻長得文質彬彬，說話溫文儒雅，他在我演講會之前，表示要和我私下談一談，我原本以為他要勸我，取消晚上的演講會，不想跟他多談，但沒想到，他一開口，就對我說：

 

「我尊重你的立場，也欣賞你非暴力的原則，我並不是要阻止你，反而希望我能如何的協助你。」

當然，在那個戒嚴的時代，我真不敢相信這種話，是出自一個警官的口裡，我對他說，我不會接受你的任何協助，但非常謝謝你的心意。

 

與這位鄭警官的接觸，使我忘卻了下午遊行時，我們與警方衝突時的一點不快，這讓我更堅信，以非暴力的精神，我們能夠贏得更多的支持，甚至連奉命與我們對峙的警察，我們也可以贏得他們的友誼。

 

忙了一整天，屏東的朋友幫我安排了住宿，我好好的休息了一夜，準備第二天往北到高雄市。我有一位朋友，他叫戴雅各，是我編聯會時代的朋友，透過他熱心的協助，帶來一筆邱茂男贊助我的旅費，這下子，我一路北上的車錢就有了。邱茂男是美麗島事件的受難者，曾經入獄，幾年之後，出獄之時，受到鄉里熱烈歡迎，後來，當選為台灣省議員。

 

往後三個多禮拜，我就這樣一路由南而北，一站一站的北上，到了台北，再跑到東部的花蓮，然後，再一路北上到基隆，結束全程的「贖罪之旅」。我每天進行的模式，差不多都一樣，到一個地方，先去拜會當地的重要民進黨人士，然後透過該地的民進黨公職服務處或聯誼會，去動員民眾，來參與我的靜坐、遊行、演講。我每到一個地方，都認識很多的朋友，有很多的感觸，以下，我就針對我跑過的幾個地方，說一說讓我印象深刻的故事。

 

一九八七年七月六日，我在屏東的「贖罪之旅」第一站，街頭步行時，遭到警方強力的阻擾，可是， 七月七日 開始，我一路北上，我就正式公然的街頭遊行，每一站都走，但令我納悶的是，警方放我自由遊行，不再理我了。警察他們跑到那裡去了？為什麼不再阻擋我們呢？現在還是戒嚴啊，依戒嚴法，他們可以強力阻擾，甚至，可以將我當場逮捕啊，為什麼呢？……

 

七月八日，我到高雄縣議會進行「贖罪之旅」靜坐，高雄縣的民進黨縣議員楊雅雲以及她的爸爸楊金海、劉文福、蘇培源、吳昱輝、蘇錫輝、尤宏、陳振福等人，動員了數十人，大家頂著大太陽，頭綁綠絲巾，一起靜坐，到了五點半，我們就開始遊行鳳山市區，一路走回楊雅雲的服務處。許多過路人，看到我們這支小型的遊行隊伍，手拉布條，揮舞標語海報，在楊雅雲的帶領之下，一路高呼口號。

 

我們人雖然少，路上也看不到半個警察，可是過路人，不是投以異樣的眼光，就是站在走廊，頓足旁觀，連靠都不敢靠過來。南部午後的斜陽，照得我只能瞇著眼睛，往前邁進，但我心裡卻無比的舒暢，我們居然能夠把寫著「台灣獨立」四個字的布條，拿在手上，走在街頭，也沒人丟我們石頭，也看不到鎮暴警察的蹤影，我愈走愈覺得腳步輕盈，心情舒暢，一點也不覺得累，這時，突然聽到離我們 五十公尺 的地方，有一戶人家鳴放一長串鞭炮。

 

「多謝鳴炮，多謝鳴炮！」一位黨工，手拿著麥克風，非常高興的往那戶人家的方向大聲道謝。真是不簡單，那個時代，談到台灣獨立，一般人怕都怕死了，那戶人家居然敢鳴放鞭炮，熱烈的歡迎我們！不過，先別高興，等到我們再往前走十幾公尺一看，哇，糗大了，那是一家店面開張了，他們鳴炮致慶，而不是放鞭炮歡迎我們啦。隊伍中，大家看到那個情景，不禁發出會心的微笑……。

 

（未完待續）

江蓋世著《我走過的台灣路》
第四章風暴
4-6贖罪之旅（上）
 

七月二日的晚上，我重讀甘地傳，又激發起新的靈感來了！

一九四六年八月十二日，英國政府擋不住印度獨立運動的浪潮，不得不授權尼赫魯籌組臨時政府，但是以真納為首的回教聯盟，則拒絕接受尼赫魯的領導，不要與印度教徒為主的國大黨分道揚飆，獨立運動領導階層的分裂，導致印度各地發生嚴重的宗教暴動，印度教徒與回教徒互相殘殺。

一九四六年八月中旬，加爾各答一地，持續四天的暴動，根據統計，死亡者大約五千人，受傷者大約一萬五千人。接下來，一九四六年十月間，孟加拉省東部的諾迦利與提伯拉鄉間，到處暴發回教徒攻擊印度教徒事件。

 

當時，甘地年歲已大，健康不佳，他聽到印度各地都市與鄉村，都暴發流血衝突事件，他感到非常痛心，他決定跑到孟加拉省的諾迦利，苦口婆心的宣揚非暴力，希望彼此是兄弟的印度人民，應該捐棄宗教的仇恨，遏止以暴制暴的風氣。

 

一九四六年十一月七日到 一九四七年三月二日 ，那時，甘地已是七十七歲的老人，他進行一項「贖罪之旅」，他認為自己沒法以非暴力的精神，來拯救人民，因此才暴發了諾迦利暴動事件，所以他要長途跋涉，到暴動的災區，以救贖印度人民相互殘殺的罪過，所以才把這項行動，命名為「贖罪之旅」。

 

甘地這趟諾迦利之行，他拄著一根拐杖，光著腳丫，每天清晨四點起床，長途跋涉三、 四英哩 路，由一個村莊，走到另一個村莊，他不斷和居民談話，為他們祈禱，有時，碰到懷有敵意的村民，在他要來之前，在路上撒碎玻璃、荊棘、糞便，但甘地依然勇往直前，毫不退縮，就這樣一個村莊又一個村莊，共走了四十幾個村莊……。

 

這段長途跋涉，甘地身邊的信徒，不少人憂心忡忡，擔心他會遭到回教徒的刺殺。雖然人家這樣警告，甘地根本不予理會，他曾經語重心長的說：「假使有人殺了我，我們若把那兇手殺了，以求報復，仍然於事無補。試想，除了甘地自己，誰能殺甘地呢？誰也無法毀掉精神。」

 

看了這段章節，我的心，好像卡在鐵軌上動彈不得的列車，一下子就把障礙排除了，又轟隆轟隆的動了起來，信心十足的往前駛去。

 

既然我面對檢察官陳清碧，坦白承認自己有罪，還拜託他老兄幫我起訴，那麼，與其窩在家裡，等待法院的傳票，不如來個「贖罪之旅」，全島一週，宣揚「我有罪」，而我唯一的罪名就是「人民有主張台灣獨立的自由」，哈！這不是很棒嗎？以一反諷的手法，來突顯國民黨壓迫言論自由的荒謬。我把這個構想，跟兵介仕、蔡文旭等人商量，最後我們決定，我們巡迴全島，去各縣市的議會門前，採定時定點靜坐，也就是每天下午四點到五點三十分，靜坐在各議會的大門。

 

雖然靜坐的時間，只有一個鐘頭半，如果地方的媒體有興趣報導，那也就夠了，我們更大的重點是，一路巡迴下去，我們可以接觸到許多從來沒有見過的民進黨黨工，了解當地的風土人情，及政治、經濟、社會的實際狀況。

 

計畫擬好，我就自己著手寫「贖罪之旅」的傳單，用手寫好了，也不用什麼精美印刷，就拿去影印，直接寄給全島各地的民進黨公職服務處，以及有關的新聞記者。我的計畫如下：
 

由 一九八七年七月六日 到 八月一日 的「贖罪之旅」，分成四個階段－－
 

第一階段：屏東、高雄、台南及台北等縣市議會；

第二階段：南投、彰化、台中、雲林等縣市議會及省議會；

第三階段：桃、竹、苗等縣市議會；

第四階段：花、東等縣議會。

 

我那時候，也夠天真樂觀的，我沒有任何政治派系組織，只有幾位熱心的同志，我也沒有準備任何活動經費，只想到我有一張南下的火車票，那就夠了，住那裡，吃什麼，到那裡自然會解決，擔心那麼多幹什麼，警方會不會逮捕，那是他家的事情，反正我卡了「六一二事件」，刑法上的罪名是「聚眾妨害公務首謀」，又直接挑戰國民黨的最高台獨禁忌，伸頭是一刀，縮頭也是一刀，不如抬頭挺胸，爭取入獄前有限的時間，好好地把台灣走一趟，天底下，還有什麼比這個更痛快的「台灣之旅」呢？哈哈！

 

一九八七年七月六日，我自己一個人拎著包包，拿了一大袋宣傳布條，搭火車直下高雄市，再轉往屏東市，展開第一站的贖罪之旅。當天下午三點，我先抵達位於屏東市的「人權運動屏東聯誼會」。該會的會長潘立夫、主要幹部徐炳豐、陳文騰等人熱烈歡迎我。這個聯誼會，是屏東反對運動的重鎮，裡面的成員個個驃悍，鬥志昂揚。

 

聽他們說，屏東情治當局，為了我要來，緊張兮兮的，頻頻的找他們聯誼會的幹部溝通，希望他們不要參與我的靜坐活動，甚至還私下拜託，如果非靜坐不可，就千萬不要遊行，趕快結束，早一點讓江蓋世離開就好。我聽了這句話，心裡暗笑，真奇怪，我只是一個人，又非何方神聖，更無千軍萬馬，而且又對外講好，我堅持非暴力，只要你想逮捕，我就跟著你走，決不反抗，像我這樣一個手無寸鐵的人，他們緊張兮兮什麼呢？

 

下午四點，我在會長潘立夫及許多幹部的陪同下，依照既定的下午四點，準時抵達屏東縣議會門口，我拿出一張大幅的黃色布條，上面寫著「人民有主張台灣獨立的自由」，其中，「台灣獨立」四個字，用綠筆寫著。我把布條鋪在地上，前面再鋪張海報，上面寫著「真正的非暴力，是遭到打擊，仍然愛他。」布條和海報都鋪好了，很多熱心的朋友，拿了小石塊，壓在它的邊緣，防止大風一吹來，布條被捲走。然後，我穿上了甘地精神綠背心，頭綁上了綠絲帶，開始氣定神閒的坐了下來。我一邊坐，一邊東望望、西望望，面前站了零零落落的一百多圍觀民眾，但他們都不敢接近，潘立夫、許炳豐以及專程由高雄市趕來的楊金海等人，陪同我一起靜坐。

 

（未完待續）

台灣藝術家英文簡傳（5）－舞蹈家蔡瑞月  

（舞蹈家蔡瑞月，攝於1954年）
Choreographer Tsai Jui-Yueh  

編輯／邱斐顯
Editior／Felicity Fei-Hsien Chiu

A note on Tsai Jui-Yueh

Tsai Jui-Yueh (1921~2005), born in Tainan , was a dancer, choreographer, innovator and revolutionary. Her life and career have shown her to be a true internationalist and renaissance woman of dance.    

During WWII, Tsai went to Japan to study dance with Ishii Baku and Ishii Midori. Under the aegis of these two pioneers, Tsai was exposed to the ideas of German expressionist dancer, Mary Wigman, and to a form of dancing known as Eurhythmy, derived from the teachings of Rudolf Steiner. Tsai danced in over a thousand shows with Baku and Midori’s company in Japan , China and Indochina , assimilating, at the same time, the dances of these regions.

In January 1947 Tsai’s institute presented the Taipei Dance Season, accompanied by the prestigious Taiwan Orchestra. The orchestra’s manager, Lei Shi-Yu, was strongly attracted to Tsai and her public success, and therefore proposed to her.  

However, in mid-1949 Tsai and Lei became caught up in the civil strife, “The White Terror.” The Kuomintang (KMT) government expelled Lei and all his fellow staff members from National Taiwan University . Tsai was later arrested by KMT authorities and held at a concentration camp on Green Island . Under less than ideal circumstances, Tsai continued to teach and produce dance dramas in both Taiwanese and Chinese modern dance styles. Astutely enough, Tsai often cast the chief prison officer in the lead role. After three years, Tsai was released and once again began teaching and choreographing in Taipei.  
 

Lei Shi-Yu had been working a professor of Chinese and Western literature at the University of Jingu in Tianjin City , China , from 1951. The political climate of the time made any kind of communication between Tsai and her husband Lei impossible. In 1983, Tsai and her son, Roc, resolved to immigrate to Australian from where they could communicate with Lei and be free from the constraints imposed by the KMT regime in Taiwan . The couple was finally reunited in China in 1994. 
 

Tsai returned to Taiwan in 2001 and continued to develop her dance career, in both Taiwan and Australia . She died in Australia in 2005. Her student Ondine（蕭渥廷） Shiau took over the foundation and has helped to keep dance alive in Taiwan. 

 

A note on Rose Monument－－Tsai Jui-Yueh Dance Foundation  

Rose Monument , designed and produced by Deh Tzu-Tsai, premiered on March 29, 2008 , in memory of Taiwan ’s pioneer dancer, Tsai Jui-Yueh and her contribution to modern dance.  

 

Photo courtesy of Tsai Jui-Yueh Dance Foundation

服裝儀容比腦袋瓜重要？

我不否認，服裝儀容也是教育的一環。師長適度的要求，家長、學生想必都能接受。但是，如果師長只是為了整體美觀起見，而要求學生服裝務必全體「統一」，那就把教育的重點本末倒置了。難道，身在教育圈內的老師，不能利用這個機會教育學生，試著用包容的角度，去欣賞別人「不一樣」的地方嗎？服裝一定得全班一致才行嗎？

我不禁懷疑，在這些教育者的眼中，服裝儀容比腦袋瓜重要？