章潘三妹，來自苗栗蓬萊部落的賽夏族工藝家，師承人間國寶張憲平老師。父親以竹、藤編織生活器具，自幼耳濡目染的她對天然材質與編織工藝懷有深厚情感。1984年參加由鄉公所舉辦的竹藤編織課程，開啟她與傳統工藝的深刻連結。儘管學習過程艱辛且耗時，章潘三妹憑著對竹籐的熱愛堅持不懈，在眾多同儕中脫穎而出，持續精進技藝。

她不僅致力於技法的磨練，更積極探索如何將賽夏族文化元素融入作品之中。她曾手工製作傳統臀鈴，重現祭典「巴斯達隘」（賽夏語：paSta'ay，又稱矮靈祭）中逐漸失傳的儀式物件，以薏苡、竹管與苧麻等自然素材，復刻耆老口述記憶中的傳統樣式，為文化找回失落的形貌。她也在創作中融合賽夏族的雷女紋、龍蛇紋、芒草結等圖騰意象，發展出具當代藝術感的原民織品作品，多次榮獲國家工藝獎與編織工藝獎肯定。

章潘三妹拒絕使用塑膠等現代材料量產作品，只願忠於竹藤本色，保留其氣味與手感。她將竹藤編視為生活記憶與文化血脈的延續，即便曾擔任蓬萊村首位女性村長，仍不忘初衷，誓言卸任後全心投入傳承與創作，只為讓賽夏族的工藝智慧薪火不滅。

‘away a ta:in Sa:wan, a Saisiyat artisan from the Ponglai community in Miaoli, trained under master Hsien-Ping Chang, who was designated by the Ministry of Culture as the preserver of bamboo and rattan weaving. She grew up watching her father craft bamboo and rattan tools, developing a lifelong connection to natural materials and traditional weaving.

Her work goes beyond technique, weaving Saisiyat cultural narratives into each piece. She has recreated traditional hip bells used in the paSta’ay—or Ritual of the Short Black People—using Job’s tears, bamboo tubes, and ramie fiber, reviving ceremonial objects preserved only in elders’ memories. She also integrates motifs such as the thunder goddess, dragon and serpent patterns, and miscanthus knots, producing contemporary indigenous textiles that have earned national awards including the National Craft Award and the Weaving Craft Award.

Committed to authenticity, she avoids modern materials, preserving the natural feel and scent of bamboo and rattan. For her, weaving is both a vessel of memory and a cultural lifeline, connecting past and future generations.