The Epoch of Mapalucene / 馬帕盧斯紀元 (Natasha Tontey, 娜塔莎．通蒂)

The Epoch of Mapalucene / 馬帕盧斯紀元

Director: Natasha Tontey, 娜塔莎．通蒂

Duration: 00:13:54; Aspect Ratio: 1.778:1; Hue: 52.715; Saturation: 0.085; Lightness: 0.288; Volume: 0.260; Cuts per Minute: 8.633; Words per Minute: 18.417

In the films Wa’anak Witu Watu and The Epoch of Mapalucene, Natasha Tontey refers to the cosmology of the Minahasan stone revering tradition organised according to the gift economy of Mapalus, which until colonial, patriarchal influences from the West was based on volunteerism, kinship with nature and mutual aid. Minahasans creationary myth marks a departure from heteronormativity and patriarchy, and also distinctions between human/non-human as they believe that the first human was a woman who gave birth through a stone. Today their ancient spiritual beliefs have evolved into a stone-based exchange system and are informed Christian-influenced capitalist ideas, but the mythology presents what could have been an alternative society based on reciprocity, devoid of anthropocentrism.

娜塔莎．通蒂的影片〈Wa’anak Witu Watu〉以及〈馬帕盧斯紀元〉奠基於米納哈薩受到西方殖民與父權勢力影響之前，以石頭為中心的傳統文化、馬帕盧斯的禮物經濟，以及其中自願、與自然共生與互助的模式。米納哈薩人的創世傳說與異性戀本位、父權、人類/非人類區隔的思維模式相異；他們相信世上第一個人類是女性，並且透過石頭創造了其他人類。如今，米納哈薩人的古老信仰已轉化為以石頭為基礎的交易系統，也因為基督教而收到資本主義的影響。然而，神話展現了奠基於互惠、非人類中心主義的另類未來樣貌。

A woman in worship or ritual garb is performing a dance that evokes feelings of pride and authority, and she is also holding a weapon. She reminds one of a sorcerer or shaman, but on the other hand, the dance also suggests that the deity worshipped by the shaman seems to have descended on the shaman through solemn clothing and accurate gestures. And one of the paths of this descendance is through a ritual sacrifice.
ritual dance
Spirit possession
一位身著祭祀用或儀式用服裝的女子，跳起一段使人感到榮耀的、威壓的且持有武器的舞蹈。一方面使人想到這是一位巫師或薩滿，但另一方面又使人察覺在舞蹈的過程當中，該薩滿所崇敬的神祇似乎透過莊嚴的服裝與正確的姿態，降臨到了薩滿身上。而這降臨的途徑之一，就是獻祭用的犧牲。

The speculative animation that the video opens with proposes that there might have been women warriors in Minahasan history even though there are no records of them. Women are usually prohibited from taking part in the martial dance (Kawasaran) typical to the region. The artist hypothesises that during the great wars of the 16th and the 17th century, for survival everyone would have needed to pick up a weapon and fight. She imagines a woman who wears the traditional attire of the martial dance, and is strong and empowered, dancing to a song that praises the Minahasan region.
影片開頭的動畫認為，即使沒有任何記錄，米納哈薩歷史上也可能出現過女戰士。女性通常被禁止參加該地區特有的戰鬥舞蹈（Kawasaran）。藝術家假設在 16 和 17 世紀的大戰期間，所有人都需要拿起武器戰鬥才能生存下去。她想像一個穿著傳統武術服裝、強壯有力的女人，隨著一首米納哈薩地區的讚歌跳舞。

An animated female character is dancing in a digital gardan with indigenous music that contains beats of drum, horn, mouth harp, and humming. The expression on her face looks vicious and determined. Yet, the strong beats suddenly change into a carnival song that celebrates the land of Minahasa – located in the North Sulawesi province of Indonesia, and praise for its natural scenery and rich spices. This animated female character, according to the artist Natasha Tontey, is the first goddess from Minahasa mythology named Karema. She represents the very first ancestor of the Minahasan people.
Departing from the vigorous dance of the goddess, Tontey speculates a geological epoch that encompasses the traces of mythical objects, primitive rituals, and non-human lives. As the viewing experience processes, Tontey leads the viewers through this reality-fiction mixed journey that showcases her ideas on the Mapalucene.
數位花園中一女性動畫角色隨鼓、號角、口簧琴及嗡嗡哼聲起舞，她的臉部表情兇惡且堅決，片刻間強烈節拍突然轉為慶典歌曲，頌慶印尼北蘇拉威西省的米納哈薩，且讚美這土地自然景觀和盛產香料。藝術家娜塔莎．通蒂表示此女角為米納哈薩神話中首位神祇，名為Karema，她也是米納哈薩人祖先最初的代表。
從原初女神的舞蹈出發，藝術家通蒂於此片虛構了一個具有神話物件、原始儀式，與非人物種的地質時代。伴隨著影片進展，通蒂帶領觀者穿梭虛實交錯的旅程，展現其對馬帕盧斯紀元的構想。

Oh Minahasa my birthplace
My sincere heart is proud of you
Seeing the natural beauty

Your name is well known in the archipelago
Because the crops – cloves, nutmeg, and copra
Famous in the world market

Lake Tondano and its fields
Lokon and Soputan fumes decorate the nature

In the Minahasan tradition, God is a woman, who created the first human who was a woman from stone, indicating oneness with other than human entities in nature. She imagines the warrior as embodying the power and femininity of the Goddess and carrying forward the matriarchal legacy. The social context has changed since the colonial period and the communities in the region are patriarchal and the rituals associated with the Goddess are hyper-masculine.
在米納哈薩的傳統中，神明是一個女人，並用石頭創造了第一個女人──而這代表其與自然界中的非人類個體具有合一性。在藝術家的想象中，這個女戰士有著女神的力量和陰性氣質，也傳承著母系文化。當地的社會環境自殖民時期開始發生變化，整個社群變得重男輕女，與女神相關的儀式也變得「超」男性化。

A jump cut from Karema’s dance to a bloody head of pig provides a connection between the ancient and the now. Pig is often recognized as a symbol of sharing and celebration in indigenous tribes. What followed is we see more footages about dissecting, cooking, seasoning different parts of the pig. Preparing the meats from the pig is not only an activity of collective labor but also represents an anticipation toward the coming unification in the community.
影片從Karema的舞蹈跳接至血淋淋豬頭的畫面，串連起遠古與今日。原住民部落將豬隻視為分享與慶祝的象徵，片中鏡頭接續呈現肢解、烹煮、調味豬肉的各部位，此準備過程不僅是集體勞動之行為，也是期待形成社群共同體的表徵。

We cut to a popular meat market in Minahasa. Communal cooking and eating together are an important part of the Minahasan way of life, as is game meat. This was filmed when the artist was part of an alternative school, Sekolah Mawale, where she deepened her understanding about the indigenous culture of the Minahasan communities, its cosmology, and philosophy as a collective group of people.
我們來到米納哈薩的一個熱門肉類市場。共同烹飪和一起吃飯是構成米納哈薩人生活方式的重要部分，野味也是如此。影片是藝術家在一間另類學校「Sekolah Mawale 」時期拍攝的，她在那裡更認識了米納哈薩的原住民文化、宇宙觀，以及作為一個集體的人生哲學。

folklore
sacrifice
The video montage shows food being prepared for the ritual, and each person is responsible for executing a specific step. These traditional cooking techniques have been repeated generation after generation. It feels like this traditional cuisine has come to form a civilized corporeality. Through drinking and eating, this corporeality then returns into the bodies of the people in this civilization.
在拼接的影片當中，可見為了完成儀式用的料理，人們各自忙著固有的步驟。而這些傳統的烹飪步驟又世世代代的人重複進行，宛如這些傳統的料理，構成了一個文明的肉身。這個肉身，透過飲食的途徑，回歸到了屬於該文明的人體當中。

Fred, you don’t have any flour in your house?

How long you’re going to boil this head?

This might took an hour or half an hour depends on the size

The father of Natasha Tontey's mentor at Sekolah Mawale speaks to the camera. He was hosting the meal at his house when this was being filmed. He explained what the Mapalus—the political and social system of the Minahasan people based on mutual aid—was like when he was younger.
在 Sekolah Mawale，娜塔莎．通蒂的導師的父親對著鏡頭說話。拍攝時，他正在他家招待這頓大餐。他解釋了馬帕盧斯——米納哈薩當地一種基於互助的政治和社會制度——在他年輕時的狀況。

Whether if it’s rain we have to work together

That’s why we have to prepare for hood from Woka leaf (Livistona altissima)

In the past we use Woka leaf just like raincoat

In other places in Indonesia they named it Lontar leaf

Embedded inside the scene with a ring of fire is an interview about the “woka leaf” and shows that this plant is essential for the ritual and is also a necessity in the people’s everyday lives. The ring of fire prompts associations of the Sun and the decorative flames of the deity.
Interview
在由火焰構成的環形畫面中，一段關於沃卡葉（woka leaf）的訪談被鑲嵌在當中，顯示出這種植物既作為儀式當中的必須物品，同時也是人民日常生活當中不可或缺的原料。火炎之環，讓人聯想到太陽與神祇的裝飾火焰。

In this work, Natasha Tontey relies on animation to fill in the gaps, especially when it involves the absence of women from physical spaces, rituals or history, and provide speculative accounts. The warrior is praying to the stone, seeking blessings as it is customary to do before performing the martial arts ritual karai and the Kawasaran dance, which also informs the traditional form of warfare.
在這部作品裡，娜塔莎．通蒂仰賴動畫來填補空白並加入推測性的敘述，尤其是當這個空白涉及物理空間、儀式或歷史中女性的缺席時。戰士正在向石頭祈禱，並按照慣例，在進行武術儀式 karai 和戰鬥舞蹈之前祈求祝福，而這揭露了傳統中的戰前形式。

folklore
Here we are seeing a second part of the dance performed by the deity-possessed shaman, who is showing obvious transfiguration and seems to be showing strong and unyielding willpower. The interview explains that this willpower is expressed in the ritual on stones. This prevalent steadfast will is demonstrated in the parade and ritual carried out by the people. This strong and unwavering ritual is even proven by documentary images embedded on stones.
stone
此為神祇附身的薩滿的第二段舞蹈，有著明顯的變容（transfiguration），彷彿表現出不可撓曲的強烈意志。這種意志，透過訪談中的說明，可得知是由儀式中的石頭所呈現。而人民的遊行、儀式的進行本身，都在彰顯著這種無處不見的堅硬意志。這種儀式的堅硬，甚至透過鑲嵌在岩石輪廓內的紀錄畫面來證實。

The growing awareness of reclaiming indigenous sovereignty since the 1970s has been a crucial issue to tackle in different countries. One prominent obstacle for the indigenous communities to acquire full autonomy is the governmental repressions that come within the unbreakable structures of modern national power. Putting this issue under the scope of the Austronesian context, there are more than one thousand indigenous communities inhabit here and still struggle with sustaining the core of their traditional cultures. In this regard, the way how Tontey inserts one footage of Minahasa people made a statement on the 2020 International Day of the World’s Indigenous Peoples into The Epoch of Mapalucene not only visualizes the urgent desire for the legislation of indigenous rights in Indonesia but also illustrates a potentially better future during the Mapalucene that resulted from political actions.
自1970年代以來，眾多國家已把日益增長的原住民主權意識當作重大議題處理 ;然而，對尋求完整自治權的原住民社群而言，現代國家牢不可破的權力結構以及政治壓迫是最關鍵的障礙。若由南島語族脈絡下檢視此議題，超過千個南島原住民在地社群仍舊為維護其傳統文化核心而掙扎，因此藝術家通蒂穿插米納哈薩人在2020年世界原住民族日發表之聲明於本片中，一方面具象化印尼境內對原住民權利相關法規的急迫需求，另一方面描繪政治行動則可能未帕馬盧斯紀元帶來美好的未來。

The warrior that we see in the animation sequence is inspired by the leader of the Indigenous People's Alliance, Nedine Helena Sulu who we see in the foreground here. The Indigenous People's Alliance are fighting for the Indigenous Rights Bill, which would give them rights to their own land.
我們在動畫片段中看到的戰士，其靈感來自於原住民聯盟的領導人，Nedine Helena Sulu；也就是在前景畫面裡看到的女性。原住民聯盟正在爭取原住民人權法案，好讓他們擁有傳統土地的所有權。

We are indigenous peoples of Minahasa on this International Day of the World's Indigenous Peoples 2020, we demand the state to pass the indigenous right bill if Indonesia wants to prolong its life.

We see the warrior in a trance like state, which is something that is part of Minahasan rituals
我們看到戰士處於一種類似恍惚的狀態，這是米納哈薩儀式的一部分

This sequence focuses on rituals that surround smaller stones, including those on roadsides as opposed to the main stone, Watu Pinewetengan that is related to the creation myth. On the left side we see the ritual that the leader of the Indigenous People's Alliance performs before a protest. Several of these rituals also happen alongside protests. We see members of the community beginning the protest after the ritual is over. In the background, the artist evokes the Watu Pinewetengan as the primary site for rituals. Footage from the protests led by the Minahasan people are grounded by their believes and way of life. The stones that appear later on in this sequence signify tombstones from the ancient burial site that were destroyed leaving them with no form or shape. Private ownership of the land, passing hands several times, led to disruptions to the site.
這個片段聚焦在各種與較小型石頭相關的儀式，包括路邊的石頭，而不是與創世神話相關的主石，Watu Pinewetengan。我們在左側可以看到原住民聯盟領導人在抗議活動前進行的儀式，其中一些儀式也與抗議活動同時發生。成員們則在儀式結束後開始抗議。在背景中，藝術家將 Watu Pinewetengan作為儀式的主要場所。米納哈薩人領導的抗議活動的畫面皆顯示出他們的

信仰和生活方式。此片段稍後出現的石頭，則代表來自古代墓地的墓碑；這些墓碑已被摧毀，不剩任何形狀。這塊地的所有權在多次的私人轉讓後，導致其使用權的中止。

Through the perspective of Minahasan stone is the symbol of immortality

This is from an understanding point of view that rock is hard

But stones are considered as a living beings because stones are the source of life for plants such as moss

Stone also protects

Whoever crashes themselves to the rock is absolutely fool

Here is a sequence of an interesting juxtaposition of stone animation and rural rituals. While the young man who wears the traditional indigenous garments performed the dance in the village, the digital models of stones are floating, in the meantime, overlapping within the scene. It certainly triggers some disturbing feelings from the viewers because the details of the ritual cannot be fully unfolded. However, the mixture of live footage and digital objects forms a rather diverse narrative that refers to the animist spirit in local cosmologies. Anthropologist Monica Janowski once wrote an article titled “Stones Alive! An Exploration of the Relationship between Humans and Stone in Southeast Asia” to explicate the stone-related beliefs and their reflection upon the concepts of matter, materiality, object, and things. And apparently, this belief exists beyond Southeast Asia as we can find the similarities in places such as Polynesia, Taiwan, Madagascar, Japan, New Guinea, and China. Therefore, we can see Tontey’s digitalized stones and documentation of rituals as a contribution to the greater dialogue between different regions. Taiwanese artist Liu Yu’s If Narratives Become the Great Flood which is based on the tales and myths from various Taiwanese indigenous communities could be an extensive reading on this subject.
影片接著出現一連串將石頭動畫與村落儀式並置的畫面，當身著傳統原民服飾的年輕男子於村內表演舞蹈之時，漂浮的數位石頭模型被疊加於此場景上，即使觀者會因儀式細節被局部遮擋而有些不耐，但此現場影像與數位物件之混搭構成一相對多元的敘事風格，與當地萬物有靈之宇宙觀切合。人類學家莫妮卡 ⋅雅諾夫斯基的文章〈石生！東南亞族群與石頭之關係勘探〉內，詳述石頭信仰及其反映至主體、物質、物件的概念，而我們可從波里尼西亞、台灣、日本、新幾內亞與中國各地發現相似信仰，說明此信仰在東南亞各地之外的泛靈網絡，因此藝術家通蒂的數位化石頭與儀式紀錄之作可視為跨區域的對話，而台灣藝術家劉玗根基於台灣原住民各族群傳說及神話的作品《假如敘事是一場洪水》，也可視為此議題之延伸。

We see the warrior in a trance-like state once again. The tongue is a symbol of strength and of protection from the ancestors.
我們再次看到戰士處於近似恍惚的狀態。舌頭是力量和祖先賜福的象徵。

One of the community elders that we saw earlier in this work is explaining the philosophy of Mapalus, and love for nature. We see preparations for the full moon festival. The offerings are similar no matter what the festival is, and we see similarities with the offerings made during the ceremonies that mark the start of a new year.
稍早曾在作品裡出現的一位地方長老，正在闡述馬帕盧斯的哲學和對自然的熱愛。我們看到為了滿月節而進行的準備工作。無論是什麼節日，供品都是相似的，這裡也可看到與慶祝新年開始的儀式供品有相似之處。

Another playful tactic that Tontey deploys the techniques of image editing is making the stone into a missile and launching it into the air ─here the stone-missile disappeared from the screen and left an irregular stone-shaped frame. Immediately, we see an old man show up and state that “Love is forever (for nature). If there is any love that is not forever, it is just pretending.” Then, a series of preparation for the worship ceremony followed as the bamboo cup filled with wine, the leaf-wrapped rice, and betel nut accompanied by cigarettes.
另一個把玩影像後製技術的片段，是藝術家利用剪接設計把石頭轉化為向空中發射之飛彈──石頭飛彈從畫面消失後，留下了不尋常的石型外框，同時間，我們看見框內出現一老者並聲稱「愛是永恆的（對大自然來說），只有虛偽的愛才無法持久」，後續則見一系列祭拜儀式準備過程的影像，如以竹杯盛酒、以綠葉裹飯、伴以檳榔果與香菸。

Love is forever (for nature)

If there is any love that is not forever, it is just pretending.

The Goddess responsible for creation is also capable of destruction. The floods that occurred in the area that the creation myth is related to also faced floods. The vomit is a reference to the floods.
負責創造的女神也有毀滅的能力。創世神話裡的洪水地區現在也面臨洪水，而嘔吐物則是洪水的象徵。

A peculiar being with two bodies appears like the body of a person is being born out of another body in the rear. On the other hand, it also looks like two bodes have temporarily become one during intercourse. Green, swamp-like, and algae-rich liquid is spewed out of the mouth from the body in the front. The sound effects from this liquid being disgorged are mixed with sounds of boiling water. Documentary footage is embedded inside an oval frame and shows an artistry that demands a high level of concentration to complete.
一個雙身的詭異形象，一方面猶如一個人的身體正從後方的身體分娩而出，另一方面，又像是兩具軀幹因為媾合而暫時連為一體。從前方身體的嘴中吐出的綠色汁液似乎是沼澤，且充滿豐富的藻類。在這吐出的液體的音效中，融合著水沸騰的聲音。鑲嵌在卵圓型外框中的紀錄影像，顯示出以高度的專注所完成的技藝。

Returning to the digital garden, the presence of the goddess Karema is no longer to be found. Instead, there is one abnormal body with two sets of heads and arms and covered with stone skin. It is crawling through the ground and one of the mouths is spitting out green liquid. In this uncanny scene, Tontey drew a reference on the archaic tale from the Minahasa again. Based on Tontey’s field research, the narration after the first goddess Karema is her daughter Lumimuut (the Child of the Stones) and Lumimuut’s son Toar. Yet, traditionally Toar is much more well-known to the locals. Similar to the common understanding of the Bible that the son is more appreciated than the mother. With the intentions to reverse the patriarchal structure, Tontey creates the abnormal creature that has both female and male characteristics. It represents the relationship of mother and son, and more importantly, the conceivable ambiguity toward hermaphrodite. https://so-far.online/invisible-currency/#
影片接著重回數位花園場景，神祇Karem蹤跡已無，取而代之的是一包覆著石頭皮膚，具有兩對頭首、上肢的異常軀幹，它於地面爬行著且其中一張嘴持續地吐出綠色液體。於此藝術家再次引用古老的米納哈薩傳說去刻畫此怪誕的場景，根據通蒂的田野調查文件，傳說中神祇Karem出現後，她的女兒 Lumimuut（石頭之子）與Lumimuut之子Toar隨後現身；在本地傳統信仰中 Toar更為印尼當地人所熟知，此與聖經故事中耶穌比聖母瑪莉亞更為人讚賞之現象雷同。藝術家形塑了一帶有雙性特徵的異常生物，意圖反轉父權結構，再者，此生物不僅彰顯了母子關係，更重要地是對雌雄同體的想像歧義。https://so-far.online/invisible-currency/#

We see a private ritual take place. The boy is trying to perform levitation with an amulet.
我們看到一個私人儀式正在舉行。這個男孩正試著用護身符演示懸浮之法。

The corporeal body of the shaman disappears, and a divine image flutters in the sky. The disappearance of the corporeal body perhaps insinuates the death of the mortal body. However, this death is also protected by the deity. When a funeral is carried out by people, they bury the corpse inside a tomb. When the tomb cracks, the bones sprout out from the fissures as young plants. As the documentary footage of a funeral cracks into pieces, the scene that follows shows people who are still alive. By juxtaposing the narrative of the animation and the documentary footage of reality, a mutually explanatory structure is presented.
現在薩滿的肉身消失，而神祇的形象飛舞在空中。肉身的消失，也許暗示著人體的死亡。但這死亡本身，又受到神祇的庇佑。人們進行喪禮，將屍骨埋葬於墓碑內。墓碑碎裂後，在骨頭的縫隙中竄出新生的草葉。而在葬禮的紀錄影片碎裂之後，出現的是仍然活著的人。動畫的敘事與現實的紀錄影像並列之後，可見兩者互為說明的結構。

Minahasan funerals have integrated Christian traditions and over time the rituals associated with death have become syncretic. The coffin gives away to two sequences depicting two different funeral. The clip on the left side took place in Jakarta and the right in the Minahasan region. In the cities there is more nostalgia for tradition, and especially so since the funeral we see here was held for a community leader.
基督教傳統已與米納哈桑薩的葬禮結合，並隨著時間的推移，也和死亡相關的儀式變得更緊密。棺材帶出了兩個不同葬禮的片段；左邊的片段發生在雅加達，右邊的則發生在米納哈薩地區。在城市裡，人們尤其懷念傳統，我們在此處看到為了當地領袖所舉行的葬禮更是如此。

The animated sequence reveals the precariousness of ancient cemeteries where the land is subject to ownership, and the graves are not tended to.
這段動畫揭示了古代墓地所面臨的危機，因為土地必須有所有權，但墳墓卻通常沒有。

Property developers are keen to convert the land and build over the graves.
房地產開發商熱衷於變更土地用途，並在墓地上蓋起新建築。

The blue van is transportation to the market, after which we see a clip from a funeral and related celebrations.
藍色麵包車是前往市場的交通工具，之後我們看到的是葬禮和相關的慶祝活動片段。

It is therefore intriguing to enter the ending scenes after witnessing the dance, rituals, tales, and tombs. Here is how it was revealed: after the image crumbles into pieces, the electronic pop music is raised. It quickly overwhelmed the audience with a sense of commercial cliché. Nightlife activities such as karaoke and nightclubs are collaged together while matching the beats of pop techno music. The deviation from the opening indigenous music discloses the shadow of commercial culture and capitalist leisure that are embedded in the current daily life. Yet, this is not the ideal ending for Tontey’s imagery of Mapalucene. The last clip is of a mother and a son sitting on the porch. Corns are piled in front of them. They were working on peeling the corns. Smoothly, when the clip is fading further away from the center of the screen, a scenic waterfall shows and servers as the background for the mother and son. In the meantime, one digital stone is flipping through the scene which highlights the physical stones situated on the riverside. The combinations of nature, female and male form metaphorical implications to the origin of Minahasa. Just when the boy stares into the camera and says, "hi guys" and the mothesr imitates, the playful and innocent humor is encapsulated. Perhaps, this is how the epoch of Mapalucene feels like.
再經歷了舞蹈、儀式、神話及墓碑等畫面後，我們進入了引人入勝的影片尾聲：影像開始碎片化，電子流行音樂隨之逐漸揚升，此俗套商業情境快速地淹沒觀眾感官，在電音節拍之間，各式夜晚活動如卡拉OK、夜店景象拼貼出現，藝術家藉由這些與影片開頭的原民風格殊異的影像，去揭露印尼當下日常生活中的無所不在的商業文化及資本娛樂，然而這還不是通蒂理想中馬盧斯紀元的結尾意象。當門廊上一對母子身處於堆積的玉米之中，畫面中心的他們正為玉米去皮之餘，鏡頭逐漸地拉遠，出現景色優美的瀑布背景，同時間一顆數位石頭翻滾經過畫面，突顯了河邊真實的岩石，這些自然、女性、男性元素的集合隱喻了米納哈薩的起源。正當影片中的男孩對著鏡頭說「哈囉各位」，其母親也隨之仿效，此類包裹著天真童趣的景象，或許就是馬盧斯紀元給人的感受。

The small child is helping his mother with Mapalus as they prepare for the feast, indicating continuity of traditions in a younger generation.
一個孩子正在幫助他的母親準備宴席和作為禮物的馬帕盧斯，代表傳統在年輕一代中的延續。

The stone that shows the strong will of the folklore is seen, along with endlessly flowing water that resembles the cycle of life. Set against this backdrop is a documentary footage of a child partaking in a traditional folk event. It shows an abstract continuation of civilization, which comes from people’s everyday cooking activities.
在畫面中可見展現出民俗中堅硬意志的岩石，以及川流不息的，猶如生命更迭的水流，這樣的背景，襯墊在小孩子參與傳統民俗活動的紀錄畫面之後。表現出一個文明抽象的存續，來自於人民日常生活中的烹飪活動的實踐。

Hi Guys

Watchout! they will bite you Ami

Beware!

Carefull or you will get stumbled

Ami let’s get back to work

Hi Guys!

We see an animated version of an actual human-made hill in the Minahasan region which has faces built into them, anthropomorphising the site. The hill is a symbol of peace and is a space for prayer among all religions.
我們看到的是米納哈薩地區一座人造山丘的動畫版本，這座真實存在的山丘內建置了人臉，擬人化了該處。小山是和平的象徵，是所有宗教祈禱的空間。

Let’s call each other
Let’s gather round
Let’s go to the farm instead of relaxing
Do not miss this chance and do not be absent
Everyone, let’s go work together Mapalus

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