*5.2. Transforming Culture to Foster Post-Disaster Livelihood*

After the Morakot typhoon disaster, the government prioritized tourism when implementing the industrial plan of the permanent housing base. The Zhulu tribe permanent housing area combines indigenous culture with an excellent geographical location, as it is en-route to the ANSA, and occupies a midpoint between urban and scenic areas. These factors, coupled with the tourism and marketing experience of some of the tribespeople, enabled the Zhulu tribe to gradually develop their tourism industry.

However, the promotion of the tourism industry requires the cooperation of many parties, including the input of resources by the government, the cohesion of the tribespeople, and the degree of acceptance of the created tourism environment among tourists. Thus, there are many challenges facing the promotion of the tourism industry. "It's not easy to be a businessman. The Tsou indigenous people ... are all hunters" (Interviewee G01, 2019). The collaboration team that cooperated with the local government to reconstruct the Zhulu estate found that some tribespeople generally have low interest in business and marketing courses. They, therefore, encounter many issues of adjustment, abandonment, disputes, and personnel turnover in the process of promoting tourism (Interviewee E02, 2019). In addition, the delay in the completion of the Zhulu cultural tourism art museum was another reason for the tribespeople's delay in promoting tourism. "After the construction stopped in the first year, some people felt that they had no choice but to return [to the indigenous tribe on the mountain] to work" (Interviewee R01, 2018). This museum was originally planned to be a space for tribespeople to carry out cultural performance activities, but until 2019, its construction was still suspended and remained unfinished. This has caused tribespeople to express negativity toward Zhulu's tourism development and to leave Zhulu in search of other jobs. "Do you think we can wait for it for so many years? Actually, we already don't have much hope in it" (Interviewee G06, 2019).

Even so, there were still some tribespeople who tried hard to encourage residents to join them in developing the tribe's cultural tourism industry on their own. Although they did not have the cultural art museum, they decorated the tribal market in the Tsou pavilion thatched cottage style instead. "Initially, tents were used. Only after four years does it gain this current appearance of the Tsou image, created with thatch. Everyone has toiled away to support it in the past two years" (Interviewee R08, 2019). They also planned the building of specialty stores to form the tribal art village in the

permanent housing area. Together with sightseeing guided tours of the tribal market and permanent housing area, the specialty stores allow visiting tourists to enter the community and have even more cultural experiences besides spending time in the market (field notes P03, P12, and P13). However, the actual operation of the tribal art village was not as smooth as originally planned. For example, many tribespeople only used the space as a parking space for their own vehicles, ignoring the common goal of the tribal art village. "After everything was built, some people haven't even put out anything, not knowing what they should do" (Interviewee R01, 2018). This phenomenon has partially weakened the harmony of the tribe, as well as the opportunity for the recovery of their post-disaster livelihood.

Even while traditional culture is used as the core of tourism development, it is difficult to avoid the impact of a capitalistic market. For example, products sold in the tribal market are mostly packaged and sold in plastic bags or lunch boxes, due to cost and convenience considerations, while natural materials presenting the traditional culture, such bamboo leaves, wood, stones, and bamboo, are seldom used. Furthermore, the tourists' imagination of the experience and culture of the indigenous people and disaster migration is inconsistent with that presented while sightseeing in the Zhulu tribe (Interviewee T03, 2018). There were even tourists who felt that they could not feel the "tribal flavor" due to the steel construction framework of the permanent houses. "A bit out of my expectations, their buildings are too modern" (Interviewee T01, 2018). Mainstream society's imagination of indigeneity remains at "primitive life," and space is still needed for mutual communication and understanding between mainstream society and the tribespeople. In particular, communication is necessary regarding their new post-disaster vitality and their attempts to integrate traditional culture and modern art.
