The Pinuyumayan are an indigenous people in Taitung County, Taiwan, with a population of no more than 15,000. Like other indigenous peoples in Taiwan, the Pinuyumayan faced severe cultural challenges from the 1950s to the 1980s. The government’s Mandarin policy and changes in the overall economic structure led to the migration of the population from their original homeland, accelerating the loss of language and the cultural break. Since the rise of native consciousness in the 1980s, indigenous peoples have begun to regard the inheritance and revival of culture as an important issue. Among them, songs, as an important symbol of cultural practice and identity, can promote the revival of annual ritual ceremonies and increase the opportunity to use the language.The revival of traditional songs of the Pinuyumayan people relies on historical recordings as the basis, referring to the early field collections. For example, recordings of Takatomo Kurosawa (recorded in 1943) and Lü Bing-chuan (recorded in 1967), as well as Lai Ling-en and To Yuan-lu in the 2000s, are important references. Recently, through the promotion of the revival plan, these precious recordings have been brought back to the Pinuyumayan villages to encourage villagers to relearn and sing them. As many senior scholars have highlighted (Lin, 1998; Sun, 2010, etc.), song education in indigenous communities can effectively build cultural cohesion and self-confidence through communal practice and performance.This study used participant observation and interview methods to record the song revival and teaching process in three Pinuyumayan villages: Kasavakan, Likavung, and Puyuma. It explored the adaptation and innovation of multiple aspects, such as teaching notations, the Pinuyumayan language writing system, newly created or modified lyrics, singing presentation, and musical interpretation. The current revival results have allowed some songs to be reintegrated into the life of the tribe and have also become the nutrients for newly created folk songs. The community's role was crucial in this process. In the future, finding a balance between innovative teaching methods, traditional oral transmission, and the indigenous people’s expectations for song practice will be a critical challenge for the revitalization of songs.