山哈行纪：被遗忘的畲村
Shanha Journey: The Forgotten She Villages

作为一名在城市长大的畲族后代，我对本民族的了解曾长期停留在身份标识上。直到有机会关注到本民族的文化，才意识到民族记忆正在快速消失。我带着摄像机从广东凤凰山——畲族传说中的起源地——出发，前往福建、浙江等地的山区，寻访现存的畲族村落，记录其当前状态。

传统畲歌、畲语、编织等文化和技艺，年轻一代少有人学习。在浙江，传统的凤凰装刺绣被改良以适应现代审美，年轻一代的日常服饰已完全不同。通过无人机镜头可见，许多老式祖厝虽保存完好，但已无人长期居住，仅在年节时有人返回。

通过访谈，我发现关于迁徙的历史记忆大多已模糊或中断。八十岁以上的老人多坚持使用畲语、遵循传统；中年一代在流动中感到身份模糊；而不少年轻人则视民族身份为一种遥远的背景。

旅程终点回到凤凰山，新建的文化园里呈现着舞台化的民族表演。与此同时，在民间，也有年轻人尝试通过短视频传播畲语，或将传统工艺转化为文创产品。整部纪录片是一个寻找与观察的过程。我记录的并非一种文化的彻底终结，而是其在全球化背景下持续的变迁。当实体村落逐渐沉寂，文化或许正以新的形态，延续其生命。

As a She descendant who grew up in the city, my understanding of my own ethnic group long remained limited to an identifier on official documents. It was only when I began to explore She culture that I realized how quickly ethnic memory is disappearing.

With a camera, I set off from Fenghuang Mountain in Guangdong—the legendary origin of the She people—and traveled to mountainous areas in Fujian and Zhejiang, seeking out remaining She villages to document their current state.

Traditional She songs, the She language, weaving, and other cultural practices and skills are now seldom learned by the younger generation. In Zhejiang, traditional phoenix-pattern embroidery has been adapted to suit modern aesthetics, while the everyday clothing of young people has become entirely different. Drone footage reveals that although many old ancestral houses remain well-preserved, they are no longer permanently inhabited and are only revisited during festive seasons.

Through interviews, I found that historical memories of migration have largely become blurred or fragmented. Most elderly people over eighty still insist on using the She language and following traditions; the middle generation often feels a sense of identity ambiguity amid mobility; while many young people regard their ethnic identity as a distant background.

The journey concluded back at Fenghuang Mountain, where a newly built cultural park showcases staged ethnic performances. At the same time, among the people, some young individuals are attempting to spread the She language through short videos or transform traditional crafts into cultural creative products. This documentary is a process of searching and observing. What I recorded is not the complete end of a culture, but its ongoing transformation within the context of globalization. As physical villages gradually grow quiet, culture may continue to live on—in new forms.