Abstract

This film explores Taiwanese traditional shadow puppetry and examines how digital media and innovative teaching methods facilitate its adaptation to contemporary education and performance contexts. Through interviews with preservation groups, the film delves into puppet manipulation, craftsmanship, and the luogujing (Chinese percussion notation) as well as the presentation of luogu music (Chinese percussion ensemble), which is performed backstage yet serves as the rhythmic backbone of shadow puppetry.

Interweaving the narratives of master artists with the experiences of learners, the film showcases the exceptional artistry of puppeteers in skillfully manipulating figures and delivering dialogue behind the shadow screen, alongside the intricate craftsmanship of puppet-making. It underscores the vital role of luogu music in shaping the immersive storytelling experience. Through an analysis of rhythmic variations and performance practices, the film examines the interplay between oral transmission and notation-based teaching in the preservation of musical heritage, offering insights into how traditional arts can be sustained and evolved in modern society.

Director

Wang Hsing-Yu

Currently pursuing a Master's degree in Graduate Institute of Ethnomusicology at National Taiwan Normal University, Wang Hsing-Yu graduated from the Department of Chinese Music at National Taiwan University of Arts and Changhua County Changhua Arts Senior High School.

She majors in pipa under the guidance of Technical Specialist LAI, Hsiu-Chou, and previously studied with Adjunct Instructor Chen,Pei-Tzu and Adjunct Assistant Professor Cheng,Wen-Hsin professor. She has also received masterclass instruction from Zhang Yin, Wu Man, and Zhou Hong. In 2022, I held a pipa solo recital and have actively participated in various performances and competitions in recent years, receiving several awards.

During graduate school, I joined a research project on the short documentary Performing with Shadow Puppetry, guided by Professors LU, Yu-Hsiu, Associate Professor HSU, Hsin-Wen, and Executive Producer Feng, Pi-Ying. Through planning and fieldwork, I gained basic skills in filming and content development. This experience expanded my media knowledge and offered new perspectives on presenting traditional music.

Hsin Yu Chen

I am currently a graduate student in the Multimedia Division of the Graduate Institute of Ethnomusicology at National Taiwan Normal University. I earned my bachelor’s degree in Chinese music from Chinese Culture University, where I specialized in playing the Chinese flute (dizi). My academic training has provided me with a great foundation in traditional Chinese music performance and theory.

At the graduate level, my studies focus on three main areas: audio recording techniques, video documentation, and topics in ethnomusicology. I am particularly interested in how multimedia tools can be used to document, preserve, and present traditional performing arts in contemporary contexts.

In addition to technical and research-based learning, I am passionate about the broader field of ethnomusicology. I enjoy exploring diverse musical traditions and their cultural significance, and I am expected to continue deepening my understanding of both historical and modern expressions of traditional music.

Feng Pi-Ying

Received her M.A. from the Multimedia Applications Division of the Graduate Institute of Ethnomusicology at National Taiwan Normal University. She began studying the guzheng at the age of eight and has since actively participated in numerous traditional Chinese music performances, solo recitals, and teaching activities.

With extensive experience in the field of traditional music, Feng has, in recent years, integrated her expertise in media and digital technologies to contribute to various interdisciplinary projects. Her work includes the planning and implementation of digital archives, field research, and music documentary production.

In 2009, she served as a full-time video editor in the video production department of Condé Nast Taiwan. Since returning to NTNU in 2012, she has been involved in administrative and educational roles, mentoring students in the media division and serving as producer on multiple documentary short films. Her work emphasizes the intersection of traditional music and contemporary media practices, with a strong commitment to documentation and knowledge transmission.

Abstract

In the early history of Taiwan’s indigenous peoples, traditional chants and instrumental performances were primarily transmitted through oral tradition—a "heart-to-heart" pedagogy. However, with the passing of tribal elders and the outward migration of younger generations, this delicate chain of transmission has faced a critical disruption, exacerbated by a historical lack of textual and visual documentation.

Among these traditional instruments, the nose flute stands out for its unique performance technique—using nasal breath to evoke sound. While the Paiwan nose flute has gained some academic visibility, the Tsou double-pipe nose flute remains largely obscure and critically endangered.

This documentary represents a cross-disciplinary effort in ethnomusicology and organology. By integrating rigorous literature review, in-depth interviews with tribal keepers of knowledge, and on-site documentation of performances, the project seeks to preserve the fading memories of this instrument. Beyond mere recording, the film meticulously captures the physical measurements and traditional manufacturing process of the flute. By piecing together fragments of oral history and rare archival data, this work serves as a vital bridge to reconstruct the cultural narrative and "sonic soul" of the Tsou people for future generations.

Director

Chen You-Syuan

Holds an M.A. in Ethnomusicology (Multimedia Group) from National Taiwan Normal University. Originally trained as a classical composer during her undergraduate years, she later expanded her creative horizon into the realm of audio-visual art. Her work explores the intersection of sound and image, utilizing the camera as an extension of the senses to document what is seen, heard, and felt. For You-Syuan, the act of filming is an introspective journey—a process of re-examining the world and rediscovering the self.

Currently, she serves as a faculty member at a public high school, where she balances her dedication to education with her passion for artistic exploration. Her creative practice focuses on the digital preservation of intangible cultural heritage, particularly Taiwan’s indigenous musical traditions. By combining academic rigor with cinematic storytelling, she aims to provide a platform for voices and sounds that are at risk of being silenced by time.

Abstract

Suona is usually considered funeral-related or other traditional ceremonies in Taiwan, so it is often treated in a biased and unfair manner. Suona Gang (same pronunciation with “those guys” in Chinese) was founded in 2020 and became Taiwan’s first crossover suona-based band. On the premise of retaining the national characteristics of suona, they use funny and innovative elements to create a unique portrayal of Taiwan’s traditional folk music scene, and undoubtedly create a stage for their own also. This ethnomusicological film shows the team’s original intention, interaction among group members, the efforts they have made or tried for the performance, and their goal of advocating Taiwan’s folklore and culture. Through presenting part of behind-the-scenes clips, this film aims to reveal the story behind these guys, Suona Gang. Let people know what they have been doing, what was going on with them in the show. Then people may actually listen to the suona, or this kind of music in a new way, and arouse the interest or curiosity about Suona Gang and get to know Taiwanese culture.

Keywords: traditional Chinese wind instrument, suona, Taiwanese culture, crossover music, original pieces

Director

An-Jin CAI

An-Jin Cai major in suona performance and hold a Bachelor's degree in Chinese Music from Tainan National University of the Arts (TNNUA). Currently, he is pursuing a Master’s degree in the Graduate Institute of Ethnomusicology (GIEM) at National Taiwan Normal University (NTNU). Having studied and performed traditional Chinese music from an early age, he has developed a strong foundation in suona performance and a deep appreciation for its cultural and expressive dimensions. During his graduate studies, he began to explore multimedia as a medium for artistic expression, aiming to integrate sound, image, and live performance into interdisciplinary works. His current research and creative practice focus on reinterpreting traditional instruments in contemporary contexts, with the intention of expanding their expressive potential and cultural relevance in modern performance settings. 

Chia-Chi HSIEH

Chia Chi Hsieh was admitted to the Graduate Institute of Ethnomusicology (GIEM) at the National Taiwan Normal University (NTNU) with her zhongruan performance. After entering this department, she received lots of multimedia training such as: field research, audio and video recording, professional recording, history of sound recording, documentary production, etc. In addition, during her studies, she had the opportunity to come into contact with a lot of work about art administration, performance execution, and other behind-the-scenes works. Through the education in school and the experience of work, she deeply realized that performance experience, the use of multimedia materials, and the need for close communication and understanding between cross-fields are the only way to push performance activities to a higher and more influential level. Currently, her main research area is multimedia performance planning and execution. She is committed to combining her own performance experience, academic knowledge, multimedia technology, and administrative capabilities to achieve more performance activities that are well-executed at all levels and leave a deep impression on the audience and performance teams. 

Abstract

The Taiwan Mandolin Ensemble is currently the most active mandolin music group in Taiwan. Founded in 2007 by Zihan Chen, the group has now been in existence for eighteen years. Dedicated to promoting mandolin music, the ensemble has attracted members from diverse regions and music backgrounds. Through shared musical practice over time, members not only became acquainted through the mandolin but also developed deep friendships and a strong sense of belonging. As a musical community, the ensemble fosters a collective identity among its members, who in turn play a vital role in further promoting mandolin music in Taiwan. 

This study documents the rehearsal and performance processes of the Taiwan Mandolin Ensemble and, through interviews with the ensemble leader, conductors, and members, explores the development of mandolin music in Taiwan and the interpersonal connections formed through music. 

Through the concrete presentation of video, this study seeks to address the limitations of written ethnography in capturing interpersonal interactions—particularly the “dialogic” relationships that emerge during musical performance, including body language, eye contact, breathing rhythms, and spontaneous interactions. These visual details help viewers more deeply understand how music operates within a group and generates emotional meaning. 

Director

Luk Hoi Ting was born in Hong Kong and currently works in music education. She graduated from the Department of Chinese Music at the National Taiwan University of Arts and the Graduate Institute of Ethnomusicology at the National Taiwan Normal University, specializing in Zhongruan, Liuqin and Mandolin.

During her three-year master’s program, she expanded her practice from musical performance to documentary filmmaking, completing her debut film, Brought Together by the Mandolin – A Documentary of the Taiwan Mandolin Ensemble, in 2025.