轉場
生命場域的流轉，在斷裂記憶的姿態中，百轉千迴。想像式的鄉愁是生命之樹的起源，憑藉一脈相承，化作千絲萬縷交錯在織品中，一件衣服，穿載一個時代的重量。人生的轉場，我們隨域而生。
2024.5.13
展覽時間：2015.05.22（五）~2015.09.08（二）
參展藝術家：陳婉麗、Edric Ong
策展團隊：黃詩喬、劉頤君、周崇文、林恬瑜、洪于涵、張牡丹、彭舒榆、王曉華、戴裕
策展指導：江明親
主辦單位：國立臺北藝術大學 傳統藝術研究中心
贊助單位：中影股份有限公司
生命場域的流轉，在斷裂記憶的姿態中，百轉千迴。想像式的鄉愁是生命之樹的起源，憑藉一脈相承，化作千絲萬縷交錯在織品中，一件衣服，穿載一個時代的重量。人生的轉場，我們隨域而生。
展區以藝術家陳婉麗的作品《夢裡的故鄉》（Home in My Dream）為起點，透過父親的生命故事、家族老照片及「楊柳青年畫」圖像，以剪紙、編織與自然染組構真實又抽象的記憶。陳婉麗的第二組作品《落葉生根》（Root）取材自父親保存多年的軍毯，作品中上千張的老照片與服裝洗標，是藝術家在父親的記憶中跨越時代與地域的自我探問。
馬來西亞藝術家Edric Ong（王良民），身為第五代華人，在多民族共生的砂勞越成長，家族跨越疆界，在世界各地著根。此次展覽，藝術家帶來31件母親的傳統衣著與個人設計的服飾織品，交置呈現文化與認同的流動和混生。其作品豐富的紋樣語彙及工藝技法，多次得到聯合國卓越工藝獎的肯定。
兩位藝術家皆為設計師，皆從傳統染織工藝找到創作起源，也親身投入工藝的製作．對兩位而言，無論設計的發展碰撞或者工藝手作的精細繁複，「過程」（process）往往滿溢於視覺成果之外。「過程」代表的龐大時間，以及「閱讀」所需要的層層轉譯，反映的不僅是記憶的梳理，也是創作者在勞作中對自我、對時間與閱讀者反覆詰問的歷程。
The exhibition begins with “Home in My Dream” by the artist Wanlee Chen. This artwork represents Chen’s interpretation of her father’s childhood memories of northern China, before he migrated to Taiwan in his early adolescence. Chen collects the memory through oral records of her parents, the few family photos that exist, and through an understanding of Yangliuqing Nianhua (literally, New Year paintings), a popular interior decorative paintings in the area of her father’s hometown. A dream-like feeling is created in the process of representing these memories, which seems simultaneously real and unreal. The labor-intensive process of paper cutting, hand weaving and natural dyeing crafts reflects the artist’s own journey to be close to the dream-like ‘home town’. The core part of Chen’s second work, “Root,” derives from an old army blanket which has been carefully stored by her father for decades. The title “Root” refers to the current hometown of her family in Taiwan. Yet the thousands of old photos and care labels displayed with the army uniform leads to a feeling of self-interrogation in reconceptualizing the past and present.
The Malaysian artist Edric Ong, as a fifth generation of Chinese descent, grew up in Sarawak, one of the two states on the island of Borneo and renowned for its rich ethnic cultures. Ong’s family members crossed borders and set down roots in various corners of the world. In the exhibition Memory and Migration, Ong shows 31 sets of textiles, both old and new. The exhibition pieces show how his design has been influenced by his Chinese roots and how the indigenous cultural motifs of Sarawak are intertwined into the designs. Old family photos are displayed with the dresses, and memory threads through some of the collection pieces. He juxtaposes the old garments of his family with the new ones of his own design. This juxtaposition not only gives a glimpse into the interplay of past and present, also represents the hybridity of culture and identity. Ong’s design often shows rich patterns and craft techniques originating from various cultural backgrounds. Many of his artistic works have been recognized by the UNESCO Award of Excellence.
The two artists are both designers and derive their artistic inspiration from traditional textiles and crafts. Differentiating themselves from many designers, Chen and Ong engage in the production process themselves. For designers and artisans, the demand-oriented perspective of design and the laborious devotion of craft both are concerned mainly with the ‘process’ rather than the result. Much more than the final product of physical visual effects, the intangible ‘process of making’ of each textural detail requires tremendous ‘reading’ by spectators over layers of interpretation and time. Furthermore, the ‘process of reading’ does not merely refer to the action of ‘reading’ of spectators into the layers of personal and cultural memories, but also to the artist’s action of pondering in ‘reading’ the self, time and the relationship between self and others in the silent, meditation-like, repetitive making process.
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何處是故鄉？－藝術家創作自述
何處是故鄉？
文/陳婉麗(參展藝術家)
父親很喜歡說自己年輕時在大陸戰亂的歷險故事，常講得生動又津津有味，每次聽完，我們兄妹總說應該記錄下來拍成電影。等不及我們兄妹幫父親拍電影，去年冬天父親開始動手寫自己的故事，同時間我也開始創作父親的故事，這是一段父女倆ㄧ起紀錄人生記憶的工作夥伴關係，也是我從小到大第一次跟父親一起完成的事情，對我異常珍貴。
父親完成了三萬餘字的自傳。這些故事對父親而言，是既清晰又模糊的人生回憶與記憶；對我而言，則是既熟悉又陌生的家族歷史，雖然沒有見過爺爺奶奶，沒吃過王藍庄的胭脂米，沒住過老家的五進四合院，但血脈相連的記憶卻有著無法解釋的熟悉感。
父親的自傳被我拆解成兩組作品來敘述。 第一組作品“夢裡的故鄉”（父親定名的）談的是父親兒時在河北老家農家生活的點點滴滴，片斷的記憶主要是透過「楊柳青年畫」圖像與三件想像中爺爺奶奶的衣服，來重建父親兒時生活的意象，再以剪紙、徒手編織與自然染色的手法，來表現如夢境般的故鄉，既真實又抽象。
第二組作品“落葉生根”談的是定居臺灣後我熟悉/認識的父親，一件用父親保存多年的舊軍毯縫製成的二次大戰美式羅斯服呢軍裝，象徵父親渡海來臺時最瀟灑的榮裝，加上一千多張的照片共同編織成父親後半段的人生，以及對故鄉台灣這片土地更具真實感的認同。保存的記憶構築眾人的生命，這兩組作品不僅僅是敘述父親的故事，也是許多人的共同記憶與人生。
夢裡的故鄉
材料：棉線、羊毛、棉花、純棉不織布、布料
手織：陳婉麗、邱雅蕙
服裝製作：凌詩芬
自然染色：劉金蕉(Vika Dansikian)
染料：薯榔、九瓊、福木、馬藍、九芎、地瓜、洋蔥皮、桑葚、紅蔾
落葉生根
材料：毛呢、棉布、照片、塑膠袋 、線、羊毛
服裝製作：凌詩芬
編織：陳婉麗、邱雅蕙
蘇繡：東吳繡女李鳴蘇
線條：一根線二分之一到十六分之一
針法：斜纏針、施針、滾針、接針、散套針、亂針、施亂針、打籽針、打結針
放射針、繽紋針、虛實針、擻和針。
影像處理：陳婉麗、邱雅蕙、楊舒雅
動畫：蔡新新、劉晏余
Where is My Hometown？
by Chen Wan-Lee (Artist)Father enjoys narrating/recounting his adventures/experiences during the war in China in his younger days, often of vividly relishing description. Among the siblings, we would always said we should record down his stories and make into movies. Without waiting longer for brother and I to produce his movie, father embarked to write his own stories last winter. It was at the same time, that I began to create from father’s story. This is a relationship of father-daughter partnership work in recording the life memory, it is also, the first in my life to complete a piece of work together with father; especially precious to me.
Father completed over 30,000 words autobiography. These stories, for him, are both clear and vague recollections and memories of his life; for me, it is familiar yet unfamiliar family history. Although I have not seen my grandparents, have not eaten Wang Lan village’s rouge rice, did not live in hometown’s traditional Wǔ jìn sì hé yuàn home, but the sense of familiarity in the memory of kinship is inexplicable.
I disassembled and described father’s autobiography in a two-part work piece. The first part of work entitled “home in my dream” (named by father) speaks of father as a child in his Hebeihometown, the bits and pieces memory of farm life mainly constructed through Yáng liǔ qīng nián huà images and the three imagined pieces of grandparent’s clothes, to rebuild the image of father’s childhood; the use of paper-cutting, hand weaving and natural dyeing techniques, to show a dream-like home, both real and abstract.Second part of the work “root”, of deciduous rooting/root rooting, talks of the father that is familiar and known to me, after the settlement in Taiwan. An old army blanket/carpet/rug father has saved for years is made into World War II American style Luósī uniform, symbol of the glorious/dashing adornment of father’s when crossing to Taiwan. Added are more than a thousand photos, these together constituted the later life of father and the recognition of this land of Taiwan as hometown holds more as a reality. Saved memory build and form the lives of people, his two-part work piece is not a narrative father’s story alone, it is also many people’s collective memory and life.
Home in My Dream
Materials: cotton thread, wool, cotton, non-woven fabric of cotton, fabric
Hand-weaving: Wanlee Chen and Ya-hui Chiu
Tailoring: Shih-fen Ling
Natural dye: Vika Dansikian
Dye Materials:
Dye Root (Dioscorea Rhipogonoides Oliv.), Common Garcinia, Strobilanthes Cusia, Lagerstroemia Subcostata, Sweet Potato (Ipomoea Batatas), Onion Skin (Allium Cepa L.), Mulberry, Chenopodium FormosanumRoot
Materials: woolen fabric, cotton fabric, photographs, plastic bags, threads, wool
Tailoring: Shih-fen Ling
Knitting: Wanlee Chen and Ya-hui Chiu
Embroidery (Su Xiu): Ming-su, Li (Suzhou embroidery artist)
Image processing: Wanlee Chen, Yahui Chiu, Shuya Yang
Animation: Yen-yu Liu, Hsin-hsin Tsai
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來自先祖服飾與民族服裝的設計－藝術家創作自述
來自先祖服飾與民族服裝的設計
文/Edric Ong(參展藝術家)
身為在海外馬來西亞婆羅洲砂勞越出生的第五代華人，我一直都知道我的根源在福建，因為打從出生起我們仍然說著那兒的方言。但只有在過去的三年裡，我才真正接觸了我們王家在中國福建省廈門市白橋鎮的祖屋。這次展覽的作品，呈現了我受到華族血脈的影響，以及如何融合我的家鄉砂勞越的原住民文化圖騰，而形成我的服裝設計。
我試圖在作品中呈現出我所接受的多元影響，以及附著於其中的時空記憶。從這些服飾和織品上，可以窺見過去和現在所產生的相互影響。我的“王”姓血脈深植於許多傳統與習俗上，然而，我大部分的叔叔、阿姨和兄弟姐妹皆曾在古晉的教會學校裏接受教育，因此我們的家族具備了相當進步的思維和國際觀！
祖父王觀興仍然會穿著他的唐裝，並且在農曆新年期間接受子孫們的叩頭儀式。除了在業務上或到政府部門辦公時必須穿西裝之外，日常生活中他都穿著中式服飾。他被稱爲“峇峇”，即海峽殖民地出生的土生華人男性；而女性則稱爲“娘”，爲“娘惹的”簡稱。關於男裝系列，我參照的是我的曾祖父，王長水。在二戰以前的拉者布魯克王朝，我的曾祖父曾是砂勞越的華僑首領（華人甲必丹）。照片中的他，總是衣冠楚楚地身著白色大襟衫和褲子，或是長袍加上中式背心。
或許可以說，對我的設計產生最大影響的人，是在我生命中的女士，尤其是我的母親，陳麗瓊（音譯）。媽媽在服飾上非常多才多藝，對於顏色、料子和飾品的搭配相當出色。在學生時期，她穿的是衫褲，即盤扣上衣和裙褲。婚後，她開始穿紗龍可芭雅服－繡花薄紗棉布上衣，和蠟染紗龍下裳。在60年代時，我記得她非常着迷於印尼的現代花邊可芭雅，並開始搭配正面具有裙褶的蠟染紗龍。
媽媽後來做了一項革新性的改變，設計了具有個人風格的“紗龍可芭雅”，這之後成了她的招牌裝扮……她重新設計了印尼的紗龍可芭雅，使用相同的料子來做可芭雅上衣和紗龍下裳，將之轉換成 “套裝”。而這種風格，在她的餘生都穿著它！
我的外祖母，王玉娘（音譯），只穿她的 ‘baju’labuh’ 或也稱‘baju panjang’ (長服)。這是一件長而寬鬆的外衣，穿在蠟染紗龍之上。她來自尼亞(一個砂勞越史前尼亞洞穴附近的小鎮)，她的家族有着本地馬蘭諾人和馬來人的血統！
我的父親，王其炳（音譯）， 是讓我得以接觸砂勞越原住民文化的關鍵人物。他身爲砂勞越內陸漁業的主管，必須常常出差到砂勞越的偏遠地區，會見伊班人、比達友人和烏魯人。我記得在學校假期期間，我曾跟隨父親前往内陸，並住在伊班長屋，此外也到巴里奧高原探訪了柯拉比人(達雅族)。
我的大伯父，王其輝，是SUPP政黨 (砂勞越人民聯合黨)的創黨人，那是一個多元種族政黨。這讓我進一步接觸了許多社區領袖和人民，尤其是來自巴拉姆河的克耶人和肯雅人。肯雅人的領袖，Tama Weng和他的兒子Joseph就如同我們的家庭成員一般；而他們的親戚，Tusau Padan，一位偉大的傳統藝術家和sape傳統樂器彈奏者，也成了我們家的朋友。直至今日，Tusau Padan的藝術，尤其是“生命樹”的圖騰，仍持續影響和啓發著我。
01. 長衣(baju panjang)上衣搭配EO設計的棉質紗龍
02. 長衣(baju panjang)上衣搭配EO設計的棉質紗龍
03. 白色可芭雅上衣搭配EO設計的絲質紗龍(蘇木染色、蠟染)
04. 母親的可芭雅搭配EO設計的絲質紗龍(蘇木染色、絞纈染、蠟染)
05. 白色可芭雅和EO設計之蕨葉紋樣絲綢紗龍(藍染)
06. 伊班族傳統伊卡織品(pua kumbu) (絲質、黃藤染色)
07. 伊班族傳統伊卡織品(pua kumbu)(絲質、藍染)
08. 伊班族傳統伊卡織品(pua kumbu) (諾麗亞麻)
09. EO設計之長袍(烏木染色、Eri-silk)搭配伊班傳統紋樣背心(絲質、印染)
10. EO設計伊班傳統紋樣襯衫(自然染、印染、絲質)
11. EO設計東方風長袍(泰絲)搭配伊班傳統紋樣背心(伊卡染織、絲質)
12. 祖父王觀興之絲綢錦緞中式長袍搭配EO設計伊班傳統紋樣背心(伊卡、絲質)
13. 東方風男裝襯衫(烏木染、絲質)搭配伊班織品項鍊及伊班帽
14. EO原創男性可芭雅上衣
15. 東方風男性外套飾以Orang Ulu族樹皮紋樣(貼布)
16. 東方風男性長袍飾以Orang Ulu族樹皮紋樣(貼布繡)
17. EO設計之原住民族紋身圖樣紗龍(自然染、棉質)
18. 泰國梵文紋樣裹裙(蠟染、絲質)
19. 泰國梵文紋樣紗龍(蠟染、柞蠶絲)
20. 泰國梵文紋樣披肩(蠟染、絲質)
21. Orang Ulu族紋樣和服(藍染)
22. 生命樹紋樣和服(蘇木染)
23. 生命樹紋樣和服(吉打邦葉染)
24. 山Design from Ancestral Dress and Cultural Costume
by Edric Ong(Artist)As 5th generation Overseas born Chinese in Sarawak, Malaysian Borneo, I have always been aware of my Hockien (Fujian) roots as we still speak the dialect ever since I was born. Only in the past three years, have I made direct contact with our Ong Ancestral House in Baiqiao, Xiamen, Fujian, China.
The exhibition pieces show how I am influenced by my Chinese roots and how the indigenous cultural motifs of my home in Sarawak are intertwined into the designs that I create in my fashion.
I attempt to show the various influences and the memory that is attached to some of the collection pieces; and these outfits and textiles give a glimpse into the interplay of past and present.
My ‘ONG’ roots were very strong with many traditions and customs, and yet since most of my uncles and aunties and my siblings all went to the Anglican (Protestant) Schools in Kuching, the family was very progressive and world-minded!
Grand-father Ong Kwan Hin would still dress in his ‘mandarin’ robe and receive Chinese New Year bows (kow tow) from his sons, daughters and every one of us. He dressed Chinese style daily except when he has to have appointments in business or with the government where Western attire is expected. He was known as ‘Baba’- the term for Straits –born gentlemen; and the ladies were referred to as ‘Nya’ short for ‘Nyonya’.
For the men’s collection, I refer to my great-grandfather, Ong Tiang Swee, who was the top ranking Chinese (Kapitan China) in Sarawak during the time of the Rajah Brooke, who ruled Sarawak till the 2ndWorld War. His photos showed him always immaculately dressed in white ‘Chinese’ jacket and pants or in Chinese robe with a Chinese vest.
Grand-father Ong Kwan Hin would still dress in his ‘mandarin’ robe and receive Chinese New Year bows (kow tow) from his sons, daughters and every one of us. He dressed Chinese style daily except when he has to have appointments in business or with the government where Western attire is expected. He was known as ‘Baba’- the term for Straits –born gentlemen; and the ladies were referred to as ‘Nya’ short for ‘Nyonya’
Perhaps it can be said that the ladies in my life influenced me the most in my design especially my mother, Tan Lee Kheng. Mum is very versatile in her dress; and has great style in her choice of colour, material and accessories. As a school girl, she was dressed in the ‘sam-foo’- Chinese buttoned top with ‘culotte’ pants. After marriage, she started to wear the ‘sarong-kebaya’- the embroidered sheer voile-cotton blouse with the batik sarong wrap. In the 1960s, I remember that she was very much attracted to the Indonesian modern lace-‘kebaya’ which she started to wear with the batik sarong which was pleated in front.
Mum then made an innovative change; and designed her own style ‘sarong-kebaya’ which is her signature dress…she re-styled the Indonesian sarong-kebaya into a ‘full suit’ using the same material for the top kebaya and the bottom sarong. And this style, she wore for the rest of her life!
My maternal grandmother, Ong Guek Neo, dressed only in her ‘baju’labuh’ or also known as ‘baju panjang’ which is a long loose tunic worn over a batik sarong. She comes from Niah ( a small town near the prehistoric Niah Caves of Sarawak, and her family has native Melanau and Malay blood connections!
My father, Ong Kee Bian, is responsible for my Sarawak ethnic culture exposure. His job as Director of Inland Fisheries for Sarawak meant that he had to travel extensively to remote parts of the country and to meet Iban, Bidayuh, and Orang Ulu people. I remember tagging along with him during school holidays, and staying in Iban longhouses, and also up to the Bario Highlands to visit the Kelabits.
My eldest uncle, Ong Kee Hui, was founder of a political party SUPP ( Sarawak United People’s Party)- a multi-racial party; and this further brought me in contact with many of the community leaders and people especially the Kayan and Kenyah from the Baram River. Kenyah chief, Tama Weng and his son Joseph were like family members. Their relative, Tusau Padan, a great traditional artist and ‘sape’ musician, became our family friend, and to this day, his art esp. the ‘Tree of Life’ motif continues to influence and inspire me.
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我的策展體驗：未來．傳統實驗基地The FuturePast Lab
文/黃詩喬(策展團隊，現就讀於國立臺北藝術大學舞蹈研究所)
舞蹈研究所的二下，修畢了所有舞蹈學院的必修課，我思考著跨所選修這件事。聆聽數位同學的意見，總結主修舞蹈文化研究與評論的我們，藝管所的課程似乎是最好的選擇。選修當下，我回想與反思，重點應該是在我的熱情與愛好在哪裡啊，於是我決定選修建築與文化資產研究所的課程「工藝策展」。當然，我並非全然一無所知，上學期我擔任江明親老師的助教，她亦是此課程的開課老師，大概了解這是門理論結合實務的課程，除了瞭解傳統工藝外，我們必須親身參與策展，正確來說，這是門學習如何擔任策展人的課，我興致勃勃，非常期待。
於是我的策展之旅就由選修這門課做為起點，開始出發了。首先，策展的主辦單位是學校的「傳統藝術研究中心」，此機構於創校之初成立，2010年重新改組調整經營方向，推動了許多關於傳統工藝的田野工作、國際講座、大師工作坊等工作。今年五月，由「傳統藝術研究中心」負責管理規劃的「未來·傳統實驗基地 The FuturePast Lab」重新設計完成，改變過去北藝風時代校園文創商品的販售，重新規劃具有實驗性質的展區，以手作（Making）為核心目標，重新思考機械時代下人文價值的脈絡，足以見得「傳統藝術研究中心」求新思變的野心。
「工藝策展」的七人小組由博物館理論開始認識策展，期間我們參訪了數次同屬學院經營性質的「北師美術館」，訪談負責人藍恭旭總監及其策展團隊，希望可以借鏡觀摩「北師美術館」成功的經營模式，作為我們思考展覽架構的典範。「未來·傳統實驗基地 The FuturePast Lab」的首展由「傳統藝術研究中心」的陳婉麗主任及馬來西亞服裝設計師Edric Ong的織品展覽打開序幕，以兩位設計師的家族記憶為出發點，鋪陳展覽的故事脈絡。值得一提的是，陳婉麗老師此次的作品以父親的口述歷史為創作來源，高齡八十七歲的陳寶峰爺爺為此撰寫了三萬餘字的自傳，將童年在河北老家的趣事到跟隨國軍遷台生根的點滴，以充滿鄉愁式的情懷，娓娓道來，相當動人。
陳婉麗老師為此次展覽創作兩組作品。「夢裡的故鄉」（Home in My Dream）創作來自父親口述童年的點滴及河北地區著名的「楊柳青年畫」取材，以剪紙、編織及自然染方式，共構七個小作品。婉麗老師透過父親作為繆思，想像出自己家鄉的面貌，觀眾可以看到大鯉魚、門神、小毛驢、石板車、石磨、踩高蹺的人等豐富有趣的作品，在展場中以懸吊方式呈現。自然染的織品構成了剪紙的外型，織品的編織簍空彷彿是記憶的拼湊，這組展品呈現了婉麗老師想像裡的故鄉，那種抽象又真實的感覺。相較於第一組作品，「落葉生根」（Root）將婉麗老師帶回了現實的記憶。陳爺爺常說自己在民國三十八年來台身著美國羅斯福呢軍裝的帥氣模樣，那段軍旅生涯曾是他重要的人生風景。軍裝早已不在，婉麗老師運用陳爺爺保存多年的軍毯，量身打造了當年英姿煥發的榮裝。軍裝易讓人產生「同質化」的印象，但軍裝下的個體是獨特的，每個人都有其情感連結和生活經驗。因此在軍裝內裡的襯衫，使用了十九張輸出的影像照片，有家族的老照片、台灣麻將、「楊柳青年畫」的門神及祖父的家訓等……特別的是，婉麗老師為了讓這些輸出影像呈現出細膩的情感，將影像的織品送到江蘇做部分的蘇繡處理，用精緻手藝聞名的蘇繡，突顯影像中人事物的生動感。而軍裝下鋪陳的上千張照片以羊毛線作為牽引，張張相扣，代表台灣土地的記憶和情感。每張照片使用夾鏈袋保存且以特殊的洗標噴漆在外，象徵著記憶的保存是多元的，設計師使用「織品」保存她的記憶，觀眾也可以用自己的方式保存珍惜的事物，只要記憶中那片風景依然存在我們的心中。
另一位馬來西亞設計師Edric Ong，為出生在東馬來西亞砂勞越的第五代華人。從事了三十年的建築師事業後，跨域至服裝設計，擁有自己的設計品牌E.O. Design。此次Edric Ong帶來三十餘件作品及珍貴照片，呈現了家族記憶和文化混生的脈絡。展品由母親的可芭雅（Kebaya）開始出發，Edric Ong的服裝設計天份原來遺傳自母親，母親年輕時就自己設計服裝，對於織品材料及顏色選擇頗具天賦，婚後為自己設計出印尼繡花邊緣款式的紗籠可芭雅（Sarong-Kebaya），且終生都穿著此風格的服裝。Edric Ong的出生地砂勞越是擁有多族群共生的區域，因父親經商之故，自幼Edric Ong跟隨父親商旅，有機會認識當地的原住民族。其中伊班族Iban的傳統織品（Pua Kumbu）工藝紋樣及Orang Ulu族的生命樹圖騰，對Edic Ong影響深厚，在其作品中常見其脈絡。Edric Ong的家族來自中國福建白樵鎮，自小耳濡目染的福建話、祖父身著的唐裝及過年家族的磕頭儀式，使得Edric Ong對於自己的華人血統有著清晰的意識。此次多件作品中，可以看見設計師運用華人服裝融合了伊班族（Iban）、Orang Ulu原住民族的圖騰，充分呈現出文化交織混生的影響。除了服裝作品外，此次展覽亦有伊班族（Iban）編織藝術家同行，伊班族（Iban）的傳統織品（Pua Kumbu）以「伊卡」（ikat）紗線綁染工藝製作，透過織紋記載民族傳說故事和文化記憶，而這樣的傳統工藝也面臨逐漸失傳的狀態。因此，Edric Ong對於伊班族（Iban）傳統織品（Pua Kumbu）的推廣不遺餘力，對於Edric Ong而言，東馬砂勞越是其最終的文化認同，而傳統工藝的保存亦成為他的終生使命。
我的策展體驗跟隨兩位藝術家的家族脈絡暫時畫下了句點，在學期結束的當下，懷著滿載而歸的心情，策展的美好回憶也終將成為我人生的風景。乍看之下，我主修的舞蹈表演藝術似乎與傳統工藝沒什麼關聯，但就如同江明親老師為「未來．傳統實驗基地 The FuturePast Lab」所撰述的文字，不論工藝或表藝，都是「身體知識」。而「身體知識」的獲得，不論是工藝師或是舞蹈家，培養時間的過程漫長且需要不斷的與自我相處妥協。也正因如此，對我而言，舞蹈和傳統工藝產生了對話，在就讀舞蹈研究所的過程中，不斷地在理論中鑽研，有時難免覺得艱澀無趣。經過了撰寫策展文章的當下，我靜下心來，穿越藝術家們生命的時光隧道及文化記憶，反映在自身的學習歷程中，我從有記憶以來就學習舞蹈，這樣的「身體知識」即使在我成年後選擇了不同的專業，我心中的那塊舞蹈聖地依然存在。在研究所二年級結束的同時，我很高興以傳統工藝策展經驗作為我舞蹈旅程的逗點，就像展場中的標語「me Identity me」，看似逗趣的口號是我對於自己反覆的詰問與探索，我終將能在人生中美好的跨域經驗裡，找到完美的Identity。
全文轉載自北藝大教學與學習支援中心第91期電子報