DATE

5/22/25

TIME

5:24 PM

LOCATION

Oakland, CA

Austronesian Culture

南岛文化

DATE

5/22/25

TIME

5:24 PM

LOCATION

Oakland, CA

Austronesian Culture

南岛文化

DATE

5/22/25

TIME

5:24 PM

LOCATION

Oakland, CA

Austronesian Culture

南岛文化

写在前面:本文由ChatGPT合作完成。


A:

约公元前5000年起,台湾最早的居民是南岛语系的原住民族,与菲律宾、马来西亚、印尼等地有文化语言上的渊源。出土的长滨文化、圆山文化等遗址表明,岛上早有渔猎与农业活动。“南岛语系”(Austronesian languages)是是世界第三大语系,仅次于尼日尔-刚果语系和汉藏语系。主要包括台湾、菲律宾、马来群岛、太平洋岛屿,甚至远至非洲东岸的马达加斯加。语言学界广泛认为台湾是南岛语系的起源地。而南岛民族,据说是人类史上最厉害的航海者之一,使用独木舟、天文导航,几千年前就横渡广阔海洋。

当时,台湾的南岛社会是部落制和首领制度,每个家族或领袖都想开辟自己的地盘,而台湾本岛地形多山、可耕地稀少。与此同时,航海可以建新村落、驯化新土地、开枝散叶,也被看作是是年轻男性“立功”的方式。在内部矛盾之下,也有族群被“放逐”或“自我流放”,另起炉灶。南岛文化里,海是连接,而不是阻隔。他们把海当家园,通过大海延续部族生命。

南岛人曾航海到菲律宾、印尼、马来群岛,也曾去米克罗西亚、美拉尼西亚、太平洋岛国,还从印尼跨越印度洋、到马达加斯加。马达加斯加语言(Malagasy)与婆罗洲语言惊人相似,是语言学证据的经典案例。他们传播了语言、文化,农业技术、航海知识,带去了芋头、香蕉、椰子、芋头、香蕉、椰子、甘蔗、粟米、山药,鸡、猪、狗。无论多远的孤岛,只要能生火种田,他们就能住下来。他们构成了今天这些国家的早期住民。




Preface: This article was co-written with the assistance of ChatGPT.


A:

Starting around 5000 BCE, the earliest known inhabitants of Taiwan were indigenous peoples belonging to the Austronesian language family, sharing linguistic and cultural roots with those in the Philippines, Malaysia, and Indonesia. Archaeological sites such as the Changbin and Yuanshan cultures indicate that fishing, hunting, and agricultural activities existed on the island long ago. The Austronesian languages constitute the third-largest language family in the world, after Niger-Congo and Sino-Tibetan. They are spoken across Taiwan, the Philippines, the Malay Archipelago, the Pacific Islands, and as far as the eastern coast of Africa, in Madagascar. Linguists widely consider Taiwan the original homeland of the Austronesian language family. The Austronesian peoples are regarded as some of the most skilled seafarers in human history—navigating vast oceans in canoes, guided by the stars, thousands of years ago.

At the time, Austronesian societies in Taiwan were organized around tribal and chieftain systems. Each clan or leader sought to claim new territory, while the island’s mountainous terrain and limited arable land made expansion difficult. Seafaring offered a way to establish new settlements, cultivate new land, and extend family lines—it was also seen as a rite of passage or a way for young men to prove themselves. In times of internal conflict, some groups were exiled or chose self-exile, setting off to start anew. In Austronesian culture, the sea was not a barrier—it was a bridge. It was home. Through the ocean, they sustained and expanded their tribal life.

Austronesian peoples sailed to the Philippines, Indonesia, and the Malay Archipelago, as well as to Micronesia, Melanesia, and the islands of the Pacific. One remarkable branch crossed the Indian Ocean from Indonesia to Madagascar. The Malagasy language spoken in Madagascar bears striking resemblance to languages found in Borneo—an iconic case study in linguistic evidence. These seafarers spread not only their languages and cultures but also agricultural and navigational knowledge. They brought taro, bananas, coconuts, sugarcane, millet, and yams—along with chickens, pigs, and dogs. No matter how remote the island, as long as they could make fire and grow crops, they could settle and thrive. They became the early inhabitants of many of today’s nations.

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。