Banosaru Annals -- Balang Story

最近幾天到了霧台鄉，和「巴索」博士一起渡過山居歲月的寧靜﹔「巴索」是加拿大籍的藝術家，在機緣的情況下娶了霧台鄉的靜玲。而他兩也給我了一ㄍ原住民的字號「巴朗」。
魯凱族巴字號的人不算多，但「巴冷」這位神話中的人物，竟然也跟我扯上關係，我魯凱族名字也稱為「巴朗」啊，真是有意思。
「巴冷」是魯凱族的一位公主，她嫁給了百步蛇這位蛇郎君，一起隱居在大鬼湖的自然界中。
認識「巴索」是有原因是的。
一次的偶然下看見霧台鄉的美麗，那時我在霧台對面的德文，正巧是細雨紛飛灑在霧台週遭的山谷中，霧台宛如一座被天工巧奪成的一座平台，幾朵七色雲彩抹紅了霧台的臉龐，背後山靈舞動著肢體，樹枝也不甘寂寞的共舞，而這時一道陽光直射著霧台部落，我心中不禁吶喊這是太陽谷之舞啊。
為了知道「巴冷」的故事，我找到了聽說外國藝術家的「巴索」，就這樣我兩竟然惺惺相惜，成了一對心中割捨不掉的知己。
「巴朗」和「巴索」的故事從此開始。 Hsu Hsu

Views from the Mountain

taiwan: mountain home

My wife is from Taiwan and she is a member of the Rukai Tribe, one of the many Indigenous Groups on that very large island. Aboriginal people in Taiwan make up a very small percentage of the total population and the Rukai are numbered at only about 10,000. Yet in recent years they have gained an unprecedented notoriety based on their unique ways of life, isolated yet beautiful mountain homeland, and their colorful arts and crafts. They represent the creativity and ingenuity that come from self-reliance.

The Rukai are located in Wutai, 1000 meters up into the very southern mountains of Taiwan, about two hours drive from the Kaohsiung airport. Visitors require a mountain pass to get into this protected area. It is here we have a home. We have built five stone houses… or perhaps cabins would be more precise… on the mountain slopes there, on the place called Banosaru.

Banosaru means ‘resting place’ and it is the site where those leaving for the lowlands would say goodbye. It is the ‘place to leave a damp cloth’ soaked in the tears of loved ones who would leave a fire burning to keep the traveler company on the long journey down the mountain. In the old days the only mode of travel was by foot. Banosaru is also the ancient site of the Shaman, a place to go to chant and sing. In the day you can see eagles flying over the valleys below and sometimes at night the moon shines so brightly it seems like day. It was said that the Shaman who once lived here could predict the weather, and the prosperity of coming seasons.

Some say that art and living are the same for the Rukai. Carved and sometimes colorful tribal images adorn stone houses and standing stones are markers of places and histories. People are hospitable to visitors.

On the mountain, at Banosaru we have built a retreat for ourselves and friends alike who are willing to immerse themselves in the ways of the mountain. It is a place especially suitable to the creative type and there is a place to stay for those who want to spend a day, a week or a month. Many people have stayed here, to fulfill their artistic, natural and cultural fantasies. There is a common kitchen, three guest houses, pure spring water and all the comforts of home with the extra bonus of a fantastic mountain view. For the adventurous, there are mountains to climb.

More than anything, we respect the history and heritage of this sacred place and we do things in a way that will not spoil the integrity of the mountain environment. Our retreat has been built almost entirely by hand. We have designed the space to be in harmony with nature, and so the houses are small and sturdy.

The best times to visit are winter (December to February) during the Chinese New Year, or summer (August 15) for the Rukai Harvest Festival. If you would like to stay at Banosaru, email me at: primalamerica@gmail.com

Check out these sites for a bit more information about the Rukai, and Wutai.
http://www.culture.tw/index.php?option=com_content&task=view&id=834&Itemid=235
http://www.gio.gov.tw/taiwan-website/gogo/goen_64.htm
http://www.maolin-nsa.gov.tw/maolin/content.php?L2_CODE=0009374&lang=en
http://eng.taiwan.net.tw/lan/Cht/attractions/scenic_spots.asp?id=2229&sid=

domo in the snow

looks like it might be snow


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the risk of modernity

these days i like to take the luxury (or the risk) of dwelling on the past.
thinking about the places i have been, the people i have been with, those who have been with me. no doubt it takes from the present, a toll. nevertheless, a consequence of age, accumulating time and experience, we write to remember.

the risk of modernity. people see it differently. development a mandatory ideology for those who have not yet outrun their resources, regret for those who can barely remember the time before.

in tourism studies, many have trouble thinking beyond the gilded edges of the 'operation', to what place tourism as a social phenomenon has in the world. there is little concern for the politics of conservation and development, the big theoretical picture of 'the base' (resources and stakeholders) and 'concerns about the base' (distribution of benefits, and sustainability) and 'threats to the base' (that rapid or over-development is not progress) -- think about Bhutan's Gross National Happiness next time the stock reports come in in red.

the vicious cycle of 'threats to the base' is cause and effect as natural and human disasters play against each other, the delicate balance of life masquerades as resilient and limitless in its abundance.

but the sign, the warning comes when nostalgia sets in. when nostalgia in its dementia -- distorted and romantic glory appears we look upon the representations and simulations of the past that might have never existed and say, "that's the way it was" !!