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.
‘If school is the mandatory pathway for educating our children, then we need to change the curriculum.’-Yang Ping, teacher of Timur Elementary School Grade Four.
A rice huller is used for rice hulling, its history can be traced from thousands of years ago.
In 1918, during the Japanese colonial period, the tribes in the upper reaches of the Mugua River began to move to the river terraces in the middle reaches of the river, and in 1928, they became known as the Tongmen tribe. In less than a hundred years since the formation of the tribe, the tribal environment has changed with social development, and the elders of the tribe have gradually left, so their memories have slowly decayed and details have been gradually forgotten, yet the history of the family lineage from which the tribe originated is incredibly detailed.
The film, based on the concept and core idea of “tracing and finding,” and using the protagonist, Ronald ACFALLE’s dream of constructing a traditional canoe and sailing it to Taiwan as the main narrative, to unveil a period of time when the colonized Austronesian Che’lu (“Brothers” in CHamorro dialect) built and sailed canoes to the oceans, as a way to reclaim their identification with the Austronesian ancestors. This core concept also acts as a mirror to reflect on Taiwan Indigenous cultural-positioning and self-identification.