24/04/2026
人和神，合二而為一，加里曼丹群島遇見跳童信仰，看見自身遺失的文化🪄
Humans and gods as one: encountering tatung belief in the Kalimantan, and rediscovering a lost culture within oneself.
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葉啟俊從父親承襲了客家血統，透過藝術創作，探索客家文化在不同地區所呈現的多樣性與複雜性。
2025年初，他前往印尼西加里曼丹，適逢當地元宵「十五暝」慶典，尤以婆羅洲原住民與華人的跳童遊行聞名。「跳童」源自客家話，意思是通靈者，被視為受神明附身而能接收神諭。他們會在遊行期間穿上根據神明指示而特製的服飾，並展示超乎人體極限的能力。
繁盛的跳童文化令葉啟俊眼界大開「捨棄邏輯，擁抱感官」已被香港淡忘的華人神祇在遠方的島上，藝術家透過信仰儀式，探索當地歷史並反照自身。
A Hakka descendant from his father’s side, Yip Kai Chun explores the diversity and complexity of Hakka culture across different regions through his artistic practice. In early 2025, he traveled to West Kalimantan, Indonesia, during the local Lantern Festival celebration known as Cap Go Meh on the fifteenth day of the Lunar New Year, a festivity especially renowned for its tatung parades performed by both the Indigenous peoples of Borneo and the Chinese community.
The term tatung, derived from Hakka, refers to a spirit medium believed to be possessed by deities and able to receive divine messages. During the parade, tatung wear specially made costumes based on instructions from the gods and demonstrate abilities that appear to surpass normal human limits.
The flourishing tatung culture opened Yip Kai Chun’s eyes. Embracing the idea of “logic shut down, sensations wide open,” he encountered, on a distant island, Chinese deities whose presence has largely faded from memory in Hong Kong. Through these rituals of spirit possession and devotion, the artist explores local histories while reflecting on his own sense of cultural loss and inheritance.
🌊駐地合作夥伴About the Residency Host
Susur Galur📍印尼坤甸
透過充滿活力和研究導向的創作，重新想像記憶與地點。他們以坤甸為基地，將檔案、故事和日常生活轉化為展覽、節慶及工作坊，打造溫暖而批判性的空間，重新連結文化與集體想像。
⦚葉啟俊 𝗬𝗶𝗽 𝗞𝗮𝗶 𝗖𝗵𝘂𝗻 ⦚
《神衫》
2025
燈箱、小冊子、單頻道影片
燈箱：一組六件，180 × 106.8 × 15 cm
小冊子：一組六件，29.7 × 21 cm
錄像：15分47秒
𝑴𝒚 𝑫𝒆𝒊𝒕𝒚 𝑾𝒂𝒏𝒕𝒔 𝑴𝒆 𝒕𝒐 𝑾𝒆𝒂𝒓 𝑻𝒉𝒊𝒔
2025
Light boxes, booklets, single-channel video
Light boxes: Set of six, 180 × 106.8 × 15 cm
Booklets: Set of six, 29.7 x 21 cm
Single-channel video: 15’47"
