*5.1. Rooting Culture in the Relocated Site*

The Zhulu tribe's association with deer serves to connect the new land to their history and to sustain Tsou culture, and so the tribe has begun deer restoration. "This place used to be a sika deer hunting ground. What we are doing now is restoration, we will be able to see sika deer in the future" (Interviewee R01, 2018). There are many sika deer-shaped artwork decorations in the tribe, and the entire tribe is full of elements relating to sika deer (field note P03, 2018). Not only does this act as a cohesive force for the eight tribes within the community after the disaster, but it also increases tourist attraction. "Let tourists spend time getting close to the deer and learning the culture of the Tsou people. Otherwise, it would be so boring just to visit the market" (Interviewee R07, 2018). Taking culture as the core of tourism can better highlight the characteristics of Zhulu, and this is the key to develop the new community in a sustainable manner (Table 3). "If you want tourism to be different from others, you need a cultural connection. We don't rear deer for the sake of rearing, but for culture reasons" (Interviewee R08, 2019).



Besides deer, the *kuba* architectural concept of Tsou culture was integrated into the design of the Zhulu tribe's permanent houses, with the roof designed as a dome. With subsidies from the central government, the outer walls of the permanent houses are decorated with the traditional Tsou totems, representing different stories from Tsou culture. "The decoration of the permanent house is a way to use our ingenuity to bring cultural images from the mountain and plant it here in the new home" (Interviewee G02, 2019). Structures symbolizing the culture of Tsou hunters, such as hunting shelters (*hufu*) and traditional homes (*Emoo*), were built in public spaces. These buildings help extend the indigenous culture from the tribes on the Ali Mountain to the newly built permanent housing

community and transform Zhulu, in its post-disaster state, into an off-site reconstructed tribe that integrates the eight tribes.

Zhulu residents commemorate their relocation into this permanent housing estate as a festival. They celebrate the "Zhulu Tribe Cultural Sharing Festival and Promotion of the Cultural Tourism Industry", or "Sharing Festival" for short, and invite government officials, legislators, indigenous tribe leaders and tribespeople every year to commemorate their experience and perpetuate their culture (field note P05, 2018). They strive to make Zhulu the "9th tribe" of the Alishan Township, using culture as the nutrient for the rebirth of the new tribe (Interviewee R02, 2018). This name, "9th tribe," represents the ancestral connection between the new settlement and the indigenous hometown, through the building up of Zhulu's social resilience with culture (Table 3). It thereby reduces the tribespeople's separation fear and anxiety induced by off-site reconstruction and migration.

However, although cultural heritage is important, culture can also include certain social taboos beyond collective life and memory. For example, the local government agencies and non-governmental organizations involved in aiding the reconstruction built the *kuba*—which most embodies the Tsou cultural image—in the Zhulu tribe, as a physical representation of Tsou culture on the new site. This move runs counter to the Tsou cultural tradition that only *hosa* can have *kuba*. "Our Tsou seniors are all very against it, how can *kuba* be built in Zhulu?" (Interviewee G04, 2019). Although the original intention of building *kuba* in the Zhulu tribe was to allow the off-site reconstructed new settlements to be more connected to the indigenous culture in various ways, culture still has its traditions (Table 3). The term *kuba*, therefore, has gradually faded away to be replaced with "pavilion."
