Written by Fanny Caron. Lin and Ismahasan’s academic disciplines and the career path they have chosen to highlight a change in Taiwan Indigenous studies on an international level. These choices enable them to play a part in shifting the discourse on Indigenous Peoples from “objects” of study to active “subjects” of their own (counter-) narrative, supporting their affirmation of Indigeneity and tribal sovereignty.
Written by Man-hua Chen. Taiwanese modern art burgeoned in the Japanese colonial period. After World War II, along with the change in regime in Taiwan, participation in international art exhibitions as a country became an essential cultural and diplomatic means adopted by the ROC government. The original motive behind this initiative was purely political; nevertheless, it has been a key driver for promoting the development of modern art in Taiwan.
Written by DJ Hatfield. Over the past ten years, images of Indigenous people have increased both in Taiwan and international representation. Indigenous people appear in depictions of Taiwan’s relationships to Southeast Asia and the Pacific, in promotions of Taiwan as a tourist destination, in discourses of sustainability, and images of environmental protest. In relationship to these representations of Indigenous people, Taiwanese Indigenous contemporary artists maintain an ambivalent footing, aware that current indigenous visibility rearticulates Taipei (here referring broadly to settler power) rather than displacing it.