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Creating Arts in the Forest

2022/05/09 Views:273

 

Creating Arts in the Forest
Behind the Scenes of Lu Chien-Ming ’s Ecological Restoration Project at Kaohsiung Museum of Fine Arts

 

Huang Han-Yau (Nature Writer and Ecological Illustrator; Graduated with Master Degree from School of Forestry and Resource conservation, National Taiwan University)

Neiweipi and White Popinac
 
In the 1970s, the once irrigation reservoir, Neiweipi, fell out of use and became a historic site ever since, while the deserted farmland is where Kaohsiung Museum of Fine Arts is located today. Around the three-hectare-big old pond is now known as Neiweipi Ecology Park. Here, Chien-Ming LU, a lecturer at Chung Yuan Christian University, and his team have been working on ecological restoration for nearly a year. Their greatest enemy, however, is the sprawling white popinac forest.

Photo by ZHENG JING-YANG.

 

Pictures by Huang Han-Yao.

 

 

White popinac is an arbor in the legume family (Fabaceae) native to the Americas. It is of high fecundity, and its root produces mimosine, which restrains the growth of most other plants. In early years, the plant was introduced into Taiwan as firewood, and the fast-growing El Salvador cultivar was introduced in 1976 as the raw material of pulp. Yet, the domestic industry still failed to compete in international markets; white popinac was thus abandoned and later went out of control by accident, ending up as one of the most intractable invasive species in Taiwan. The surrounding area of Neiweipi was once completely occupied with white popinac, for which the museum tried to deforest with machine tools. However, new pods continued to disperse seeds, and new plants rapidly grew yet again; Lu decided on a new strategy based on his research and evaluation on this challenging issue of restoration.

 

Photo by ZHENG JING-YANG.

 

 

The Artistry of Ecological Restoration
 
The white popinac forest severely affects the renewal of indigenous plants, but some tree species are capable of overcoming the restraint and offer an opportunity of afforestation. In specific, shade-tolerant trees such as Manila champereia, orange jasmine, fragrant pittosporum, and various types of banyan saplings form the precious mesostructure of the forest. When the canopy of the white popinac is properly reduced, the abovementioned saplings can consequently gain exposure to sunlight and accelerate the growing speed. Once these tree species become the shelterwood, the growth of the white popinac would be impeded. With a gradual removal of the white popinac at this stage, an indigenous tree species dominated forest could be cultivated.
 
On open fields with abundant sunlight, on the other hand, pioneer tree species that can quickly form shade, such as India-charcoal trema, can be planted first. In the interspace, herbaceous broad-leafed plants, such as giant elephant’s ear and palm grass, can be used to enhance shading and further prevent the growth of the white popinac. According to Lu, bird’s-nest fern, which collects humus, is suitable for improving the soil fertility of the forest. For the next stage, shade-tolerant saplings are suggested to be planted on the forest floor, from which a forest with the dominant indigenous tree species can be formed.

 

The Creation of a Forest Culture
 
Afforestation is more than tree cultivation, but also facilitating the relationship between people and the forest. During the process of restoration, we can simultaneously make use of forest products. For example, the chopped white popinac wood and others can be categorized into firewood, building materials or for other carpentry related purposes, while young leaves of Manila champereia, banyan trees, and bird’s-nest fern are edible delicious wild herbs. As for the land with poor drainage around Neiweipi, Lu considers the local condition and plants umbrella sedge in still water. This can also serve as a preservation of the traditional artistry of straw mat weaving of the Amis people.

Photo by ZHENG JING-YANG.

 

 

In the Austronesian Cultural Area of Neiweipi Ecology Park, the museum grows ethnic plants of each Taiwanese Indigenous people. Lu led students and volunteers to build a labor lodging on site to serve as a space for production activities and performances. When the practice of traditional knowledge and action of ecological restoration go hand in hand, they become a part of life in this area; the result of restoration will reach beyond its ecological orientation and further turn into culture action. According to Lu, in order to develop a brand-new urban forest culture, we should not only learn from traditional wisdom but also constantly operate, practice, and amend the process. Only by doing so can we shape a new, contemporary relationship between people and land. Perhaps, the dense white popinac forest around Neiweipi is the start of an innovation.

 

Photo by ZHENG JING-YANG.

 

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