游牧者计划申请方案|在地新生|纱线小痴
一、自我介绍 Self-Introduction
「纱线小痴」是由两位数字游民组成的小组，在游民旅程中的同时通过传统技艺探索低消费、可循环的创作生活。成员KJ是19年回国的艺术和公共空间策展专业背景的独立策展人，曾负责北京两家当代国际画廊的媒体和策划，长沙706空间的活动共创，以及海南宁生集团旗下的多个国内景区的文化和艺术活动指导； 分别在20年和22年主导完成过身体复健和亲子旅游两个方向的初创公司从0-1的品牌策划。她从23年开始了数字游民生活方式探索，希望以更灵动和丰富的方式激活包括海南地区少数民族在内的文化边缘群体的艺术空间和创作交流。另一位95后独立插画师成员宋开阳来自河北，是视觉中国签约插画师、深圳市插画协会会员，已经出版绘本十余册，在插画及文创领域有较为丰富的商业合作经验，与多家出版社和公司保持着合作关系。开阳在四年自由职业探索之后，正式开启了数字游民的生活状态，并同时开始筹备创建自己的独立插画品牌。他与苗文化的缘分起源于大学暑期在贵州台江县的社会实践，那时内心种下的一颗苗文化种子终于在此刻开始生根发芽。
"Thread Enthusiasts" is a team consisting of two digital nomads who, during their nomadic journeys, delve into a low-consumption, sustainable creative life through traditional craftsmanship exploration. Member KJ, an independent curator with a background in art and curatorial practices in public spheres， returned to China in 2019. She has previously held roles in media and curation at two contemporary galleries in Beijing. She has also been involved in co-creating events at Changsha's 706 Space and guided cultural and artistic activities at several scenic spots under the Hainan Ningsheng Group.
In addition, she has taken the lead in branding for two startups in the fields of physical rehabilitation and family-oriented travel in 2020 and 2022, respectively, from inception to establishment.
Beginning in 2023, KJ initiated a digital nomad lifestyle exploration with the aim of dynamically and diversely activating artistic spaces and fostering creative exchanges for cultural fringe communities, including Hainan's ethnic minorities.
Another member of the team, Song Kaiyang, is a freelance illustrator born in the 1990s and hails from Hebei. He is a contracted illustrator with Visual China and a member of the Shenzhen Illustrators Association. With over ten published books, he possesses substantial experience in commercial collaborations in the fields of illustration and cultural creativity. He maintains ongoing partnerships with various publishing houses and companies. After four years of exploring freelance work, Kaiyang officially embraced the digital nomad lifestyle and simultaneously started preparations to establish his independent illustration brand.
His connection to Miao culture dates back to a social practice experience in Taijiang County, Guizhou during his university summer break. It was during this time that a seed of Miao culture was planted in his heart, and it is now beginning to sprout and take root.
二、我们想去哪里，为什么？ Where do you want to go and why?
我们列出了七个海南黎族苗族的居住地备选，分别是五指山、乐东、三亚、东方、屯昌、昌江、琼中，从中暂选了三个作为我们计划实施的起始地点，分别是琼中、五指山、三亚。如果我们的计划可以顺利进行并且筹备到更多行程资助，那么我们的游牧计划实践地将拓展到有苗族群体在世界各地居住的其他地区，比如泰国清迈或东南亚及欧美的一些地区，并得到当地苗族的反馈。
Seven possible sites in Hainan that are home to the Li and Miao ethnic groups have been identified, and these include Wuzhishan, Ledong, Sanya, Dongfang, Tunchang, Changjiang, and Qiongzhong. Initially, we chose Qiongzhong, Wuzhong, and Sanya as our starting points for our plan. If our plan proceeds smoothly, and we secure more funding for travel, we will expand our nomadic project to other regions worldwide where Miao communities reside, such as Chiang Mai in Thailand, other parts of Southeast Asia, and some regions in Europe and America, to receive feedback from the local Miao population.
我们将海南苗族地区作为游牧计划实施的起始地原因有以下几点：
We have several reasons for choosing the Miao regions of Hainan as the starting point for our nomadic project.
海南苗族的“去中心化”，与数字游民的状态和属性在某种程度上极为相似。所以在海南当地苗族的生活中，可以将他们的部分经验转化为我们自己的游民生活方式。苗族是我国少数民族中人口较多分布较广的民族之一。在全世界分布的苗族群体中，海南苗族又极其特殊，具有自己的独特性和唯一性。海南有黎族、苗族、壮族、回族等多个民族，海南苗族居住的人数为中国其他苗族聚居区域中最低，他们从内陆地区因逃避战乱，远渡琼州海峡迁徙到海南岛上，在漫长的迁徙——定居，再迁徙——定居的过程中，部分苗族人与定居当地的其它少数民族居民混居，不少生活习惯、民族习惯发生了改变。甚至，出于迁徙、辗转多次、多地的原因，一些苗族人对自己本身民族的来源产生了不一样的认知观点。[1] 海南苗族打开自己，融入当地，并且与海南其他少数民族发生了深刻链接。另一方面，海南岛以前长期孤悬海外。导致经济、社会的相对落后和文化上的相对边缘性、封闭性，得以保存丰富的民族传统和文化信息。特区建立后传统文化、现代文化、民族文化、外来文化、本土文化多元碰撞交织，构成独特的“文化特区”。由于以上特点，我们对海南的苗族产生强烈的兴趣，想要和他们建立更深入的互动。
The “decentralized” nature of the Miao community in Hainan bears a resemblance to the state and characteristics of digital nomads. Therefore, the local Miao people in Hainan's life can be incorporated into our nomadic lifestyle. The Miao are one of the ethnic minorities in China with a large and widespread population. Among the Miao communities distributed worldwide, those in Hainan are extremely unique, having their distinctiveness and uniqueness. Hainan is home to multiple ethnic groups including the Li, Miao, Zhuang, and Hui. The Miao population in Hainan is the lowest among all Miao-populated areas in China. They left the mainland and walked across the Qiongzhou Strait to escape wars and migrate to Hainan Island. The long migration and resettlement process led some Miao people to cohabitate with other minority residents, which led to changes in their living and ethnic habits. Even though some Miao people have developed different views on the origin of their ethnicity due to multiple migrations and relocations. The Miao in Hainan have become more involved in the local community and formed close ties with other minority groups in Hainan. On the other hand, Hainan Island was isolated overseas for a long time, resulting in relative economic and social backwardness and cultural marginalization and closure, preserving rich ethnic traditions and cultural information. After the establishment of the special economic zone, traditional, modern, ethnic, foreign, and local cultures collided and intertwined, forming a unique 'cultural special zone.' Due to these characteristics, we have a strong interest in the Miao of Hainan and wish to establish deeper interactions with them.在海南文昌有较为成熟的数字游民空间——serendipity。这里距离海南苗族的几个群落非常近，并且环境舒适，人文气息也较为浓厚，可以作为我们在海南实施游牧计划的落脚点、中转站和资源供给站。正如serendipity这个单词的本意，用奇妙的缘分将我们和其他数字游民伙伴链接起来，我们两人和黎族、苗族朋友也在此相遇。
In Wenchang, Hainan, there is a well-established digital nomad space named 'Serendipity. ' This place is very close to several Miao communities in Hainan, and with its comfortable environment and strong cultural atmosphere, it serves as an ideal base, transit, and resource center for implementing our nomadic project in Hainan. The word serendipity has a wonderful way of linking us and other digital nomad partners together, just as it suggests. Serendipitous circumstances have brought us, along with friends from the Li and Miao communities, together.
我们在这里结识的少数民族数字游民伙伴包括黎族的阿弟和苗族的格格，通过他们，可以与当地少数民族居民展开更加深入和自然的互动，在快速有效地找到那些散布在群族当中老手艺人的同时，减少语言沟通的障碍。另一方面，黎族、苗族是海南人口最多的少数民族，自然产生密切互动。在经济特区背景下，黎、苗两族的族际交往与以往相对封闭状态下的互动有很大的不同。这些不同主要体现于黎、苗两族交往的空间——场域。“场域”是一个具有可操作性意义、相对独立的概念，为认识族际互动提供了一个新的视角。每一个场域汇集了不同的人群，拥有不同的交往方式，互动效果各异。黎族 、苗族在不经意间置身于多元文化交流汇聚之所，自然而然地受到多元文化的影响和渗透，使本土文化在外来文化的冲击下发生变化，直接影响黎、苗两族的互动模式和发展进程。[2] 在黎、苗两族朋友的帮助下，我们不仅能够能深入了解两族互动的场域，更有助于我们能够发掘和拓展少数民族和都市大众之间的互动场域。
In Serendipity, we met digital nomads from minority groups, including Adi from the Li ethnicity and Gege from the Miao. Through them, we can engage deeply and naturally with local ethnic residents, efficiently locating skilled artisans within the community while overcoming language barriers. Moreover, the Li and Miao are the most populous minorities in Hainan, naturally interacting closely. Under the special economic zone context, their interethnic interactions significantly differ from the past's more insular state. These differences mainly manifest in the 'field' of Li-Miao interactions. 'Field' is a concept with operational significance and relative independence, offering a new perspective to understand interethnic interactions. Each field gathers different people with varied interaction modes and effects. The Li and Miao, immersed in a multicultural exchange hub, are naturally influenced and permeated by diverse cultures, leading to changes in local culture under external influences, directly affecting their interaction patterns and development. With the help of our Li and Miao friends, we can not only deeply understand the interaction fields between the two ethnicities but also explore and expand the interaction fields between minorities and urban populations.
虽然少数民族服装种类和式样繁多，但他们是以少而精的理念添置衣物，并且每件服装的使用时间很长，但相比之下都市人群的人均拥有服装数量过剩。抵抗消费主义需要引入少数民族的理念，而在都市之中激活传统手艺也需要外界丰富的时尚元素。在各民族互动紧密的海南，民族工艺和服饰出现的场域逐渐向外拓展，由少数民族之间的互动延伸为少数民族与都市群众产生的互动，并且成为外界大众对少数民族产生深入了解和认知时极为基础且重要的一点。以格格为例，我们在初次与她相识是在serendipity空间，她全身苗服穿着，首先在视觉上就与我们都市大众着装产生着强烈的对比和冲击，因而我们在此种碰撞之下能够感受到少数民族和都市群众之间的微妙关系。所以在民族工艺和服饰出现的场域之中，我们希望把更多与都市大众产生积极互动的机会提供给少数民族。在此插入小故事一则：格格某次在路上看到苗族老手艺人的几个摊位，顺手便买下喜欢的绣片。当她走到最后一个老手艺人的摊位时，那位奶奶可怜巴巴：“马上天就黑啦，要不要买点喜欢的？你在前面的摊上都买了她们的，也在我这买点吧，今天还没怎么卖出去……”最终，格格买下两件手绣小挂饰。那挂饰精美别致，开阳捧着端详半天，爱不释手，又实在感叹老手艺人的辛苦和无人发现。如果我们能在少数民族老手艺人需要的前提下，增加都市大众与他们互动的机会，那岂不是一件两全其美的事情吗？
Although ethnic minorities have a diverse range of clothing styles, they follow a 'less is more' philosophy when acquiring clothing, and each garment is used for a long time. In contrast, urban populations tend to have an excess of clothing. Resisting consumerism requires incorporating the values of ethnic minorities, and revitalizing traditional craftsmanship within urban areas necessitates the infusion of rich fashion elements from the outside world.
In Hainan, where various ethnic groups interact closely, the domains where ethnic craftsmanship and clothing appear are gradually expanding beyond interactions between different ethnic groups to interactions between ethnic minorities and urban populations. This serves as a fundamental and vital means for outsiders to gain an in-depth understanding of ethnic minorities.
For example, let's consider Gege. We first met her at the serendipity space, dressed in full Miao attire. This immediately created a strong visual contrast and impact with urban fashion, allowing us to sense the delicate relationship between ethnic minorities and urban populations. Therefore, within the domains where ethnic craftsmanship and clothing thrive, we aim to provide more opportunities for positive interactions between ethnic minorities and urban residents.
Here's a brief anecdote: On one occasion, Gege saw several stalls of Miao ethnic artisan's embroidered patches on the street. She casually bought some she liked. When she reached the last stall, an elderly artisan pleaded, 'The day is almost over; would you consider buying something you like? You've already bought from the others ahead, and I haven't sold much today...' In the end, Gege bought two hand-embroidered small ornaments. These exquisite items left Kaiyang captivated, prompting reflection on the hardship of these underestimated artisans. Wouldn't it be a win-win situation if we could increase opportunities for urban residents to interact with ethnic minority artisans when they need it?
三、我们的具体游牧计划是什么？（包含行程、主题、预算等等）What is our specific nomadic plan? (Include itinerary, themes, budget, etc.)
主题：“通过传统技艺探索低消费和可循环的创作生活”—— 1.0 版本：以海南苗族传统手艺为主体的可循环生活方式探索（Theme: "Cultivating a Sustainable and Eco-Friendly Creative Lifestyle Through Traditional Crafts" — Version 1.0: An Exploration of a Sustainable Lifestyle Centered Around Hainan Miao Traditional Crafts）
我们在海南苗族文化中探索数字游民的生活方式，深入到海南苗族群体之中，与他们共同生活，从当地苗族居民经济场域、工作场域、教育场域、宗教场域、娱乐场域、公共场域等场域的日常生活中感受他们的民族文化与生活方式。由于海南黎、苗两族的互动场域高度融合，我们也会体验黎、苗两族的互动场域并进行横向（地域）、纵向（时间）对比。全部游牧过程通过文字、摄影、短视频、中视频的形式来记录，在matters、Instagram、小红书、抖音、微博、微信公众号等平台定期更新图文和视频。
We are exploring the lifestyle of digital nomads within the Hainan Miao culture, immersing ourselves within the Hainan Miao community to live alongside them. We aim to understand their ethnic culture and way of life through their daily experiences in various domains such as the local Miao residents' economic, work, education, religious, entertainment, and public spheres.
As the interactions between the Hainan Li and Miao ethnic groups are highly integrated, we will also experience the interactions between these two groups and conduct both horizontal (geographical) and vertical (chronological) comparisons. The entire nomadic journey will be documented through text, photography, short videos, and medium-length videos. We will regularly update content on platforms such as Matters, Instagram, Xiaohongshu [RED], Douyin [TikTok], Weibo, and WeChat public accounts.在海南苗族群体产生互动的同时运用我们的专业能力将海南苗文化与低废弃（或者零废弃）理念相结合来进行创作。创作方向主要分为两类：第一类将海南苗族村民的废弃老物件通过我们与其他都市创作者进行艺术改造再利用；第二类是我们从都市大众回收废弃生活用品（旧衣物、塑料包装等），通过海南苗族手艺人来进行艺术加工改造再利用。这些作品将会返还给废旧物品的原拥有者，或者经过原拥有者同意后将作品进行展出、宣传和售卖，并且作为案例为更多客户定制废旧物品再创造的项目。这两个创作方向不仅使废旧物品重新获得生命力，还将它们再次利用到我们的生活中；并且希望以此能够促进少数民族文化与都市大众的艺术交流，成为支持偏远手艺人的生活方式，为少数民族手艺人带来就业和实现个人价值的机会；同时探索一种适用于艺术和文科背景的数字游民的电子商务方向。这些创作成果以及创作过程的记录也将会以（1）描述的相同形式及渠道发布更新，计划在形成系列作品后参加苗文化创业、废物改造、可持续发展等主题的比赛及展览，让更多人了解并加入到我们的团队合作。
While engaging with the Hainan Miao community, we intend to combine our professional expertise with the concept of low or zero waste to create art. Our creative direction can be primarily categorized into two types:
[a] Upcycling abandoned items from Hainan Miao villagers: We will collaborate with urban creators to transform and repurpose abandoned items from Hainan Miao villagers into artistic pieces.
[b] Artistic transformation of recycled urban waste: We will collect discarded urban items such as old clothing and plastic packaging and have Hainan Miao artisans artfully process and repurpose them. These creations will be returned to their original owners or, with their consent, showcased, promoted, and sold. They will also serve as case studies for customized projects to recreate discarded items.
These artworks will either be returned to the original owners of the discarded items or, with their consent, showcased, promoted, and sold. They will also serve as exemplary cases for customizing discarded items into new creations for additional clients.
These two creative approaches not only breathe new life into discarded items but also diversify their utilization. We also aspire to promote artistic exchange between ethnic minority cultures and urban communities, supporting remote artisans by offering employment opportunities and enabling them to realize their value. Simultaneously, we aim to explore an e-commerce avenue suitable for digital nomads with backgrounds in the arts and social science.
We will document these creative achievements and the process using the same formats and channels. Furthermore, after creating a series of works, we plan to participate in competitions and exhibitions related to themes such as Miao culture entrepreneurship, waste transformation, and sustainable development, inviting more individuals to learn about our work and join our collaborative efforts.
在（1）（2）顺利进行的前提下，会成功创立我们自己的品牌。建起我们的社群，举办以苗文化与低废弃为主题的线上经验分享课、线上比赛和线下工作坊、交流会、苗族手工艺体验课程等活动，与脱颖而出的优秀的创作者签约合作，同时分享我们的相关资源，让苗文化与可持续进入更多都市大众的视野。
Given the successful progression of (1) and (2), we will establish our brand. We will build our community and organize online experience-sharing sessions, and online competitions, as well as offline workshops, gatherings, and Miao cultural craft classes, all centered around the themes of Miao culture and waste reduction. We will collaborate with outstanding creators who stand out, while also sharing our relevant resources. This will enable Miao culture and sustainability to reach a broader audience's awareness.本质上我们希望这次数字游民生活方式探索是一次关于更平衡的生活方式的探索：几位组员作为社会科学，文学，艺术类学科背景的工作者将学习如何从少数族群的传统文化中汲取养料，提出有建设性的探讨方向以及发现可行且有发展前景的实践方案并完成方案。于此同时，这次探索能从以下几个方面帮我们寻找平衡：a.在消费主义盛行的都市生活和主流文化环境中收集过剩或者废弃的物件，并通过苗族手工艺为它们创造出二次生命，在都市人的物质及物欲“过剩”和少数民族的低消费，长效利用及慢工手作这两种截然不同的生活理念中找到寻找平衡； b.在web3时代的无限素材和资源里面探索适合苗族手艺人讨论和借鉴的元素，创作方式等等，寻找在维持传统手作优势与学习创新之间的平衡； c.如何借用不同平台和身份更有效，更有影响力地发布和苗族手艺人合作得到的作品成果，和宣传小组成员所赞同的这种生活方式，在深度内化和思考的精神文化产物和泛娱乐、短平快的主流宣传手段中寻找平衡；d.拥有不受限制的创作空间和充分的可支配时间的同时，建立或连接起拥有相似价值观世界观的社群，在创作产出之后能找到精准的受众支持这些产品同时扩散这种“少而精，简而实”的生活方式，寻找创作与商业中间的平衡。At its core, our aim for this digital nomad lifestyle exploration is an exploration of a more balanced way of life. Several team members, with backgrounds in social sciences, literature, and the arts, will learn how to draw inspiration from the traditional cultures of ethnic minorities. They will propose constructive directions for discussion and discover practical, viable, and promising solutions, ultimately executing these solutions. At the same time, this exploration helps us find balance in several ways:
[a] By collecting surplus or discarded items in the consumerism-driven urban life and mainstream cultural environment and giving them a second life through Miao craftsmanship, we strike a balance between the material excess and desires of urban living and the minimal consumption, long-term utility, and artisanal craftsmanship ethos of ethnic minorities.
[b] In the era of Web3, amidst a vast sea of resources, we explore elements and creative approaches suitable for Miao artisans to discuss and draw inspiration from. This helps us find a balance between preserving traditional craftsmanship and embracing innovation;
[c] We seek to balance the effective use of various platforms and identities to disseminate our collaborative work with Miao artisans, along with promoting the lifestyle endorsed by our PR team. This entails finding an equilibrium between deep cultural engagement and mainstream promotional methods characterized by entertainment and brevity.
[d] With ample creative freedom and unrestricted time at our disposal, we aim to establish or connect with communities that share similar values. This network will play a crucial role in identifying and garnering precise support for our products once they are created. Additionally, it will aid in spreading the 'less but refined, simple yet practical' lifestyle we endorse.
具体行程安排：
先在苗族手艺人集中区大量探访手艺人作坊了解他们在自己社群内推崇的前辈，大师以及当代手艺人和各种产品的亮点，制作一份有助于完成本次生活方式探索的手艺人联系名单。
在小组内部交流和讨论后确定1.0阶段要合作的手艺人，并根据每位合作手艺人专长来细化探索的方向和主题。确定后开始为期三个月的当地生活，采访记录，发起可循环设计与创造。
（以下目的地仅为暂定，根据实际情况可能增减，预算根据海南平均物价拟定）
a. 琼中行程。（时间：30天）预算：房租2000RMB 交通1000RMB 餐饮1500RMB
b. 五指山行程。（时间：30天）预算：房租1600RMB 交通800RMB 餐饮1000RMB
c. 三亚行程。（时间：30天）预算：房租2400RMB 交通1200RMB 餐饮2000RMB
d. 将（2）中描述的作品样本创作完整并归纳整理、汇总、记录、发布。（时间：15天，预算：¥ 1500）
e. 总结行程，记录经验，在serendipity数字游民空间居住、交流，以图文和中视频的形式发布在同（1）的平台。（时间：15天，预算：¥ 1500）
f. 举办线上及线下活动， 大致预算：¥ 3500（具体安排视游牧计划实施情况和资金情况而定）
g. 为游牧计划的下一步做准备（继续海南苗族群体其他地点的行程，或者国内、国外其他苗族群体居住地点的行程，具体安排视游牧计划实施情况和资金情况而定），大致预算： ¥ 2500
行程各项预算总计：22500RMB 约合3000USTD
Specific Itinerary Arrangement:
We'll start by visiting Miao artisan workshops in the artisanal hub. During these visits, we'll learn about their respected figures, masters, contemporary artisans, and noteworthy products. This information will help us compile a contact list of artisans crucial for our lifestyle exploration.
After internal discussions, we will select artisans for collaboration in the 1.0 phase. We'll tailor our exploration themes to each artisan's expertise. Then, we'll embark on a three-month local immersion, conducting interviews, documenting experiences, and initiating sustainable design projects.
(Note: Destinations are subject to change, and the budget will be based on Hainan's average living costs.)"
a. Qiongzhong itinerary. (Duration: 30 days) Budget: Rent 2000RMB, Transportation 1000RMB, Food 1500RMB
b. Wuzhishan itinerary. (Duration: 30 days) Budget: Rent 1600RMB, Transportation 800RMB, Food 1000RMB
c. Sanya itinerary. (Duration: 30 days) Budget: Rent 2400RMB, Transportation 1200RMB, Food 2000RMB
d. Finalize and document sample artworks as outlined in (2). (Timeline: 15 days, Budget: ¥ 1500)
e. Summarize the trip, document experiences, and reside in the Serendipity digital nomad space for communication. Publish content in text, images, and medium-length videos on the same platforms as in (1). (Timeline: 15 days, Budget: ¥ 1500)
f. Hosting online and offline events (specific arrangements depend on the implementation and funding of the nomadic plan). Approximately ¥ 3500
g. Preparing for the next phase of the nomadic plan (continuing with other Miao community locations in Hainan or Miao communities domestically or internationally, specific arrangements depend on the implementation and funding of the nomadic plan). Approximately ¥ 2500
Total budget for all itinerary items: 22500RMB, approximately 3000USTD
四、如果可以做到，我们希望怎样与当地建立互动？If possible, how do we wish to interact with the locals?
如果可以做到，我们希望建立一种基于利他初衷，带有公益性质的互动方式，即：传统手工艺研究+小组与当地合力共创+可持续商业模式反哺支持研究和创作。
If possible, we aim to establish a philanthropic, public-benefit interaction: traditional handicrafts study + collaborative creation with locals + a sustainable business model to support research and creation.
具体实施步骤：
可以在自己做背景调查和找人推荐之后，建立一个需要拜访并建立合作的苗族手工艺人的名字清单，将需要拜访的地点控制在3个以内（根据该地居住的手艺人数量筛选）。在每个地方我们将停留1个月，深入体验他们的生活日常和对不同手工艺技术的灵活运用。
Implementation steps:
After conducting research and receiving recommendations, we'll create a list of Miao artisans to visit and collaborate with. We'll limit visits to a maximum of three locations, each with a one-month stay to immerse in their daily lives and craftsmanship.
在为期3个月的与苗族手艺人的共同生活中，与当地的互动将通过三个途径来实现：1.通过实地采访和体验，收集当地人的消费观，价值观和他们生活方式中值得记录的要点； 2. 和当地手工艺人进行深入交流，采集他们手工艺的亮点和在时代背景下维系这项手艺遇到的难点，讨论把传统手工艺和环保再利用理念结合的可行方式；3. 在和当地手艺人逐步建立友谊和合作关系的同时，我们将根据他们的兴趣点为他们介绍时下正在活跃的世界其他地方的设计和时尚元素，探索用不同方式激活传统手艺的可能性，制作若干根据交流所得想法而构思的新设计或解决方案小样或者1.0版本。
During our three-month stay with Miao artisans, we'll connect with the local community in three main ways: 1. Conduct field interviews and experiences to gather insights into local consumption and values, and noteworthy aspects of their lifestyle; 2. Have in-depth conversations with local craftsmen to learn about the highlights and challenges of maintaining their craft in the modern context, and discuss feasible ways to combine traditional crafts with eco-friendly reuse; 3. As we establish cooperative relationships with local artisans, we will concurrently introduce them to contemporary design and fashion elements from various global contexts aligned with their interests, exploring different methods to invigorate traditional crafts, and creating new design prototypes or version 1.0 solutions based on these interactions.
我们将完成废弃衣物在民族服饰制作中的“因量制衣”实践。
“因量制衣”原本是时装产业内基于可循环理念所开展的再设计，需确定废弃衣物合理的处理方式，减少材料的不必要浪费，以达到最大程度的回收利用，并贯彻落实好废弃衣物再设计与时尚潮流趋势相结合的现代设计理念。[3] 我们在这个方案的实践中将把因量制衣的概念延伸至海南少数民族的手艺人日常工作中，借助他们的创意和技艺，给予我们从城市里收集的老旧或闲置衣物以第二次生命和更多的文化价值。
We will complete the practice of 'tailoring based on quantity' in the creation of ethnic clothing from discarded garments. This approach, originally derived from the fashion industry with a focus on sustainability, involves determining appropriate methods for handling discarded clothing, minimizing unnecessary material waste, and maximizing recycling efforts. It aligns with the modern design concept that combines discarded clothing redesign with fashion trends.
Throughout the execution of this program, we intend to expand the notion of 'tailoring based on quantity' into the daily practices of Hainan's ethnic artisans. With their creative abilities and craftsmanship, we aspire to grant a second life and additional cultural significance to old or idle clothing collected from urban sources.
另一方面，根据从因量制衣这个概念所得到的启发，我们也将可持续的关注点同时给到届时将共同生活的群体和他们所用的家俬和器具，从在地收集濒临弃置的物件，通过艺术加工和现代改造手段，给予它们新的光彩或功能，延续它们的使用寿命。
Furthermore, inspired by the concept of 'tailoring based on quantity,' we will also shift our sustainability focus to the community where we will be living and the furniture and utensils they utilize. We aim to rescue abandoned items locally, employing artistic processing and modern transformation to revitalize them, either by enhancing their aesthetics or functionality, thus prolonging their usability.
五、我们计划怎样记录整趟行程？ （包含形势与叙事角度）How do we plan to document the entire trip? (Include forms and narrative perspectives)
首先，我们将通过切换叙事主体的方式，先用文字记录下游牧计划过程中的点滴，附之以照片，参考资料做简单的介绍，视频资料将集中起来在这次计划的主要行程完成后的两个月内编辑上传，如果有条件的话，会参与其他与此主题相关的线下活动，运用；可供切换的叙事主体包括：发起人，手艺人，手艺人的家人，相关研究者等；换言之，我们将通过不同的视角更全面更详尽的展现整个计划，让观看者在理解发起者的想法的同时，也能够从不同人记录的观点和角度理解为什么这个计划值得做，计划实施时会遇到些什么挑战，以及小组如何解决并开展推广等等很多数字游民和潜在的数字游民会好奇的问题。
Firstly, we plan to switch narrative perspectives to document the nomadic project in detail. We'll record experiences in text, supplemented with photos and reference materials, with video content edited and uploaded within two months after the main itinerary. If possible, we'll participate in related offline activities. Narrative perspectives will include the initiators, artisans, their families, and researchers. This approach aims to present the project comprehensively from multiple angles, helping viewers understand the initiator's vision and the diverse views on the project's worth, challenges, solutions, and promotion strategies – aspects that both current and potential digital nomads are curious about.
其次，我们会尽量把这段时间所生产的作品在线下进行展示，可以是在几个城市集中呈现的主题展览，也可以在房车，公共汽车之类的交通工具上完成一次游牧式的移动展示，与更多不同的人群进行交流。
Secondly, we plan to display the products created during this period in offline exhibitions. These could be thematic exhibitions concentrated in several cities, or nomadic displays on vehicles like campers and buses, enabling interaction with diverse groups of people.
注释：
[1]原文摘自:唐虎. 迁徙史视域下海南苗族的身份认同[J]. 2021.
[2]原文摘自:向丽. 经济特区背景下海南黎族与苗族的互动[J]. 2013.
[3]原文摘自:王婧麑. 基于可循环理念——废弃衣物在潮牌服饰中的应用及实践[D]. 2023.
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