Is Going Green Hurting Indigenous Communities? Reflection from Participating in the United Nations Permanent Forum on Indigenous Issues 

Written by Wasiq Silan. Is going green hurting Indigenous communities? Not necessarily. However, exclusionary conservation measures create a lose-lose outcome for non-Indigenous and Indigenous communities. Indeed, Indigenous peoples’ full and substantial participation is a prerequisite to achieving a sustainable future and halting the rapid loss of global biodiversity. This is true for the Indigenous communities in Taiwan, such as in the case of the solar panel controversy on the Katratripulr Pinuyumayan (Beinan in Mandarin Chinese) people’s traditional territory. Drawing from the experience of the Sámi, my recent participation in the United Nations Permanent Forum on Indigenous Issues (UNPFII) may shed light on this issue.

Touring Indigenous music from Taiwan in Canada—the lessons of Kanatal

Written by Charlie Smith. Last September, when the band Kanatal walked onto the stage in front of the Vancouver Art Gallery, it marked a milestone. This was the culmination of the first Canadian tour by a group of Indigenous musicians from Taiwan. After performing in several Canadian cities, the four members—guitarist Masaw Ali, keyboard player Suana Emuy Cilangasay, singer Abus Tanapima, and drummer Vangacu Kalevuwan—were eager to impress a crowd that had gathered for the signature event of TAIWANfest Vancouver. 

A Dialogue between Taiwan and Canada

Written by Chee-Hann Wu. The world is filled with diverse cultures and histories, each with its unique narratives and connections. This special issue explores Taiwan and Canada’s fascinating cultural and historical ties. Despite their geographical distance, these two nations share surprising parallels that have shaped their identities and fostered mutual understanding. From immigration patterns to artistic influences, this special issue demonstrates how the cultural and historical connection between Taiwan and Canada is a testament to the power of shared experiences and the ability of diverse nations to forge meaningful bonds.   

Indigenous Storytelling in and Beyond the Classroom

Written by Yi-Yu Lai. One afternoon in 2011, Hong-sui Lim visited a Kaxabu village due to his participation in an anthropological camp. This marked his first encounter with the Kaxabu people, one of the Plain Indigenous groups inhabiting the Puli Basins in central Taiwan. Lim was astonished by the small number of Kaxabu elders who still speak their mother tongue, as it is commonly believed that Plain Indigenous peoples have been assimilated by Han Chinese culture and have lost their own languages and traditions. As a result, Lim returned to the Kaxabu communities as an undergraduate student to learn more about their endangered cultural heritage and began collaborating with the Kaxabu people. 

Beyond Maps: Indigenous 3D Mapmaking as a Path to Indigenous Resurgence

Written by Sra Manpo Ciwidian. To assert Indigenous sovereignty over our land, especially the traditional territories, the Indigenous peoples of Taiwan have employed various approaches to demonstrate our rights. Making a three-dimensional map model of Indigenous communities is the most prevalent among these approaches. Since the late 1990s, when the Kucapungane community of Rukai people produced the first Indigenous 3D map model in Taiwan, contemporary Indigenous communities in Taiwan have been developing this community-based mapping method for over three decades. 

Storytelling Behind the Overseas Taiwan Indigenous Collections: Material Cultures as a Means to Connect with International Indigenous Communities

Written by Nikal Kabalan’an (Margaret Yun-Pu Tu). Taiwan’s Indigenous artefacts were taken, bought, brought, or even got stolen and ended up miles away from the Indigenous communities where they were made by the hands of Indigenous ancestors. Some of these Taiwan Indigenous collections were already kept in a foreign museum overseas for almost a hundred years. Some of these museums are devoted to reflecting the devastating colonial history and decolonising the space by, for example, rewriting the narratives, displaying their collections in more inclusive ways, and collaborating with the cultural communities from which these cultural holdings originated. The Burke Museum of Natural History and Culture in Seattle, Washington States, United States, where I am currently leading the review and engagement plan for the Indigenous Taiwan holdings with my colleagues, is one example of decolonising the museums.

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