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自2009至2011年，蔡宛璇和澎葉生到新竹縣的四個在地社群共同探索藝術進入社區的可能性。其中，與北埔鄉的南坑村(客家社區)、五峰鄉的桃山國小(泰雅族群)有較為深入的共同工作經驗。

 

《拾藝南坑》第一年透過系列小型活動、工作坊，並為村內最後一塊手工耕種稻田留下「割稻日慶典」的影像紀錄和當地子弟的北管樂錄音；第二年選定百年歷史古道「消失中的千段崎」作為核心議題，透過對真實場域的想像和建構，啟動社區的凝聚力和自主動能。

 

《聽見桃山》則與桃山國小合作，藉由發音遊戲、口簧琴工作坊和木琴隊來挖掘泰雅音樂的特質，同時也帶學生觀察和模擬動物聲音來呈現和周遭自然環境的連結，並串聯社區青年、耆老進行歌謠錄音、獵徑解說和口述傳說採集。

 

整個計劃最後完成《聽見桃山》專輯，作為刺激孩子認識自身傳統文化以及各種聲音可能性的開端。

 

 

Between 2009 and 2011, Wanshuen Tsai and Yannick Dauby went to four villages in Hsinchu County to explore the possibility of introducing art to communities. During their trips, they had some impressive experiences when working with Nankeng village in Beipu (a Hakka community) and Taoshan Elementary School (in an Atayal aboriginal community) in Wufong.

 

In the first year of “Recollecting Nankeng”, Tsai and Dauby held a series of activities and workshops. They also filmed the “Rice Harvest Celebration” and recorded Beiguan concerts by local performers. The second year they chose a historical mountain trail as their main theme: Disappearing Qianduanqi. By imagining and constructing real space, they activated the cohesion and energy within the community.

 

“Listen to the Atayal in Taoshan” is a project in collaboration with Taoshan Elementary School. Through vocal practices, a jaw harp workshop, and a xylophone band, students explored the features of Atayal music. They were also taken to observe and imitate animal sounds to understand their bonds with the natural environment. In addition, the project gathered teenagers and the elderly to record folksongs, hunting trail guides, and their oral history.

 

At the end of the project they produced an album, “Listen to the Atayal in Taoshan”, encouraging children to learn about their traditional culture and initiate all kinds of possible voices.

拾藝南坑（Recollecting Nankeng）

聽見桃山（Listen To The Atayal In Taoshan）

澎葉生＋蔡宛璇

Yannick Dauby+Wanshuen Tsai

澎葉生 Yannick Dauby

 

專業活動簡介聲音藝術工作者，他的創作和研究約始於1996年在法國學習的具象音樂。從音樂開始並延展極廣：即興演出，電子原音音樂(electroacoustique)編曲，以及人類音樂學。

 

1998年開始田野錄音工作，在大自然、都會和工業環境中進行錄音，成為他聲音紀錄片及編曲的素材，或與其它聲音媒介對話，時而與影像創作結合。

 

作品發表形式如：即興演出、聆聽活動、出版或聲響裝置。其創作主軸為對於聽覺經驗的實驗和探索，並十分著迷於民族學與自然科學。作品常參與國際活動，亦常與聲音藝術家、現代舞（2007年開始與台灣驫舞劇場合作）及視覺藝術家合作。

 

近幾年來持續在台灣各地進行田野錄音與發表，未來幾年計畫透過藝術活動、聲音紀錄及教學行動持續在這個島嶼中探索。

 

 

His sound practice was initiated around 1996, studying tape music (musique concrète in French) : discovery of the physicality of the magnetic tape, vertigo-inducing analog synthesis and acousmatic pleasures.

 

However, it's outdoor that things really started. He began working with field recording since 1998, during a travel in a distant country, capturing fragments of environments, urban situations, animal signals and unusual acoustic phenomenas. T

 

hose are his favorite materials, sometimes published like they are as phonographies, or providing some montage elements for some audio documentaries or musical compositions. On stage, he improvises mainly with recorded sounds, modular synthesizer and computer. Regular collaborations with other sound artists, contemporary dance (since 2007, produces soundtracks for Horse Dance Company in Taiwan) or in association with visual artists (such as the creations about landscape with Wan-Shuen Tsai).

 

Experimenting the perception of acoustic spaces with sound installations. His active discography includes personal compositions, documentations of performances, and selected phonographies. Fascinated by ethnology and natural sciences, he often wanders into these domains in collaboration with naturalists or during community-based projects in Taiwan in Hakka or aborigine villages.

 

Plans for the next years include more exploration sessions of the island through artistic activities and sound documentation as well as teaching 

蔡宛璇 Wan-Shuen Tsai

 

澎湖成長, 旅法數年, 現居台北地區。

 

創作媒介從裝置、圖像、錄像和詩文著手，她的裝置作品經常具暫時性，並與所存在的空間構成一特殊關係。而她的錄像創作受實驗電影啓發, 呈現開放性的敘事空間或將風景轉變為內在活動的的折射。著有個人詩文詩集「潮  汐」、「陌生的持有」 (2013)。

 

2004年與聲音藝術工作者Yannick Dauby 開始合作〈拾景人〉系列創作計劃，陸續於台北、法國、愛沙尼亞駐村, 透過展覽、出版、錄像或小型演出等形式發表的駐地影音創作。

 

近幾年也開展除藝術領域周邊的創作空間，如：社群與藝術的交會、與不同藝術人文領域的人或團體合作, 2008年與Yannick Dauby共同成立回看工作室, 主要聚焦在聲音藝術推廣 、聲音作品出版、社群藝術等項目的策劃與實踐 。

 

 

Wan-Shuen Tsai grew up in the archipelago of Penghu, Taiwan. Studied and lived in France during several years and nowadays settled in the region of Taipei.

 

Her artwork is shared between mixed-media installation, drawing, video and poetry. Her installations are ephemeral and constitutes a specific relationship to the physical space and architecture. Her image creation suggests an opening of narration and transforms a landscape into a mental space.

 

In parallel of her personal projects, she collaborates since 2004 with sound artist Yannick Dauby under the group name Shijingren, focusing on audio-visual works about landscape. This project has been invited by artist residencies in France, Taiwan and Estonia. In 2008, founded Atelier Hui-Kan developping activities related to pedagogy, publication and communities (www.hui-kan.com). In 2006, she published a collection of her poems and she’s currently preparing the second one.

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