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北​方​的​埔​地

by 澎葉生 & 蔡宛璇

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about

本作品為
2019 北埔藝術小鎮「未來的昔日」展覽 現地創作
2019.10.19-12.15 The Upcoming Past

展出地點:姜阿新洋樓


作品介紹:

▪ 姜阿新洋樓及其周邊的歷史建築,連結了老北埔人猶存於記憶的漢人開拓史、與淺山原民族群的衝突,以及現代化規模茶葉生產企圖的一頁。《北方的埔地》為一以聲音為主要媒介的作品,內容為數段來自北埔周邊的聲景,例如:大南坑和千段崎一帶的自然環境聲響山歌、在地北管子弟班樂聲、矮靈祭典、茶葉採收和製程…等等聲響,中間交織以小段口語敘事,於洋樓的接待主廳中,緩緩撐開一個多點連結的時空。

華語口白:蔡宛璇
客語譯稿與口白:葉裁 (長居北埔的重要紀實攝影家)
錄音、剪接、混音:澎葉生
文本:澎葉生、蔡宛璇
北管樂《大團圓》起頭片段:南外社區北管子弟班
五峰鄉賽夏族矮靈祭現場錄音
山歌演唱:彭沐本

照片:來自作品現場裝置,創作者-蔡宛璇

特別感謝:陳紹忠、林怡華、陳豪毅、姜阿新洋樓、南外社區發展協會、Shai Tamir

~

段落1:冷泉、地靈、蝙蝠、礦
環境聲音來源北埔冷泉、大坪溪水、坡地環境、炭礦口的葉鼻蝠、蛙類。

段落2:茶葉與手勢
環境聲音來源:茶園手工採茶現場。山歌(彭沐本 演唱)

(段落銜接:北管樂〈蟠桃會〉,南外社區北管子弟班)

段落3:林的身世
環境聲音來源:北埔周邊及大南坑千段崎一帶淺山環境

段落4:Pashtai
環境聲音來源:五峰賽夏族矮靈祭典現場

段落5:甦醒
環境聲音來源:番婆坑一帶靜水域和草地

語言版本:華語 / 客語(海陸腔) 段落式輪播
聲音總長:30 分鐘 (五段)。兩語版各播一次為60分鐘。
播放順序 :
第一輪 段落1(華語)-段落2(客語)-段落3(華語)-段落4(客語)-段落5(華語)
第二輪 段落1(客語)-段落2(華語)-段落3(客語)-段落4(華語)-段落5(客語)

~~~

I am walking barefoot in the tea gardens. I see the roots of the tea trees which absorb the juice of the soil. Then I see orange trees, with longer roots. In an immense bowl, the amber tea infusion meet the juice dripping from the oranges, a colorful swirl in which enters a darker liquid, almost black but transparent. This is the juice from the coal mine. Workers were dying for its extraction.
Under the hills, there is a gigantic being, whose blood pulses through the tea trees, the orange trees and the mines.
I am now in the mine, closing on itself, the liquid is softly oozing. Amphibians are wading there. Bats live above and their rapid flight make the tunnel resonating.
Further, the hill has been dug dramatically, one can see its skin made of silica sand.

~

Those are tough fingers, nervous and agiles, jumping on the tea trees. Gathering non-stop, as quickly as possible.
The hands of a young boy caress the bushes, the branches. They’re evaluating the tenderness of the young leaves. The smallest three, at the tip of the sticks, are collected in the palm of the hand.
Sometimes, an old woman’s hand crumple some larger and darker leaves, freeing a strong and stimulating smell.
In an elder’s palm, dried leaves wriggle lightly.
In the empty up, the tip of a child’s finger spread out the rehydrated leaves.

~

I sneak into the forest.
Each time I get closer of a branche or a leaf, it starts moving and trembling.
There is a white dot near a fern. I come closer. It’s a snail, very pale color of white jade.
Stretching its eyes and body, its moving forward. It absorbs all the colors of the forest, like a negative black hole.
Then a damselfly is on a stick. Tiny silhouette, dark blue like velvet, oversized eyes. It seems to observe me, but I am invisible. It doesn’t dare to leave, it’s waiting to witness my passage.
A bird changing constantly its appearance. During one instant, it wears a rainbow. Suddenly it has a long tail with black and blue stripes. Then a long curved beak. Its feather are set in a permanent movement, giving to the bird the appearances of all the species which lived once in this forest.

~

Pashtai.
Shall they come ?
I float in the valley, I go back towards them.
Daytime, nighttime, I see them now.
Colorful woven fabrics, shining little bells.
I can’t hear, in dream there is no sound.
Images vanishes immediately.
Like a cave.
Or a river.
A spear.
Cries.
Chants.
Gestures for tying knots, tying blades of grass.

~~~

credits

released June 24, 2021

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Yannick Dauby / Kalerne Editions Taiwan

Sound artist and field recordist based in Taiwan. Sound designer/mixer for film. Audio documentary maker and electroacoustic music composer.
Works inspired by ethnography, amphibian conservation, stories from the forests & mountains and marine biology. Collaborates with communities and individuals in Hakka villages and Indigenous territories.
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