Hi-Five Plus: Indigenous Peoples from the Plains of Beitou to the Mountains of Pingtung
Most of the graduate students of the International MA Program in Cultural and Creative Industries (IMCCI) at Taipei National University of the Arts (TNUA) are from Latin America or Southeast Asia. The colonial history at their home countries makes it more accessible for them to relate to issues concerning the environmental situations of Taiwan, the political and economic power-play between the Northern and Southern hemispheres, and the post-colonial experiences.
The USR project “Hi-Five Plus: Indigenous Peoples from the Plains of Beitou to the Mountains of Pingtung” offers a closer possibility for the international graduate students at TNUA to deal with issues such as Global South, Indigeneity, and Anthropocene: Global South questions the epistemology re-deployed on a 21st-Century’s global scale to refer to the conceptual “south” defined by knowledge production; Indigeneity emphasizes human society as a component in the ecology and touches upon how the indigenous experience may and should compensate and expand the forgotten or silenced narratives of history; Anthropocene is defined as the present geological epoch to reflect on the human destruction on the global ecology and biodiversity. With these concerns in mind, TNUA’s USR project on the one hand examines the significant “South” as proposed in the UN’s Sustainable Development Goals, while it particularly focuses on social practices related but not limited to decolonization, indigeneity, preservation of cultural diversity, cultural sustainability, and community care to broaden the social practices made possible by a university.
Futurist Wave: Contemporary Art from the Greater Sandimen
Featuring 23 Pingtung-based indigenous artists, the exhibition taking place from 17 April to 5 August at Pingtung Art Museum focuses on the development of contemporary arts in the Greater Sandimen Area (Sandimen Township, Wutai Township, Majia Township, etc.) as it attempts to provide a writing that begins with the year of 1900 to explore an artistic narrative across generations, family legacy, and history throughout the 120 years and to ultimately lead to future trend. Drawing on the human relationship with the land, nature, air, and creatures, it discusses how contemporary indigenous art can connect the ancestors’ wisdom with modern knowledge and technology to create the potential of the future.
Under the mentorship of Prof. Manray Hsu, the co-principal investigator of this USR project who is also the curator of Futurist Wave, the curatorial course demanded the IMCCI students to conduct interviews with indigenous artists, make promotional videos, and market it on social media. IMCCI student Yesenia Loayza Aquino from Peru had a research background in the weaving of Peruvian Quechua women and its social entrepreneurs, and she also learned weaving with the Paiwan artist Wu Yuling to create an artwork together for the exhibition as a gesture of friendship between indigenous women from different countries. IMCCI student Larissa Soto from Honduras used to be a journalist with an outgoing personality. When she participated in the “Tracing Your Root” program in the tribe, the newly-made Paiwan friend joked about building her a traditional slab house in exchange for her staying in Taiwan. Because of her dedication to the project, the Etan Creative Vision Art Studio (co-curator of the Futurist Wave exhibition) invited her and another IMCCI student Yip Ming Hoe from Malaysia to work in the photographic team for their new field-research project where they would have to visit indigenous communities across Taiwan to collect oral history.
TJIMUR Arts Festival
Situated in the far-away mountain tribe in Pingtung, Tjimur Dance Theatre is Taiwan’s first professional Paiwan dance company. As its TJIMUR Arts Festival celebrated the third anniversary, it welcomed the contemporary visual artist Heidi Voet from Belgium and the performance artist Anchi Lin from TNUA’s Department of New Media Art. These two artists are, recommended by the principal investigator of this USR project, Prof. I-Wen Chang, as the festival’s residential artists to present exciting experimental interdisciplinary collaboration.
At this year’s TJIMUR Arts Festival, the IMCCI international students from Thailand, Belize, Honduras, Canada, and Guatemala also served as international lecturers to lead workshops of Thai dance, Belizean paper sculpture, kites for El Día de los Muertos, and Piñatas figurines, introducing the cultural and artistic elements from Latin America, even though rarely seen in big cities, to the mountain tribe in Southern Taiwan and sharing the fun with local children and adults. Meanwhile, Thachaporn Supparatanapinyo and Warangtip Emmy Singhakarn from Thailand integrated the four-step of the standard Thai folk dance (while the traditional Paiwan dance is also four-step), a practice compulsory in Thailand’s education system for all Thai people between 6 and 18, with the two-part harmony of traditional Paiwan tunes to challenging the taboo of traditional Thai dance by experimenting with a contemporary cross-disciplinary attempt. The activities in the workshops eventually lead to a profound and inspiring cross-cultural discussion afterward on issues concerning the training of dancing body, construction of national identity, and preservation of tradition.
Apart from the abovementioned exhibition and art festival, IMCCI will also join Zurich University of the Arts in the Shared Campus project “Critical Ecologies,” as led by Prof. Yatin Lin, to visit the Eastern Taiwan-based indigenous artists and dance companies for field research which may further discuss issues related to Indigeneity and Anthropocene. IMCCI also collaborates with Hong-gah Museum (Beitou, Taipei), an important venue in Taiwan’s contemporary art scene, in the performance Foreigners in Beitou under an art-for-community project earlier this year and a book on Beitou’s Plains Indigenous Peoples and river systems, which will be published later this year.