Tag: indigenous people

Indigenous Youth Actions in Taiwan: Connecting Our Voices to the Global Stage 

Written by Sra (Bo-Jun Chen). Taiwan’s Indigenous peoples are becoming increasingly concerned with various global issues that are also highly pertinent to our own situation in Taiwan, such as environmental, human rights, and cultural heritage issues. In recent years, for instance, Indigenous youth in Taiwan have realised the significance of language and identity revitalisation, which may assist us in combating oppression. Moreover, we have found that the insensitivity of our lands and ignorance of our history pose a far greater threat to us than the plundering of our resources and hazards to our lives. Some Indigenous youth are thus committed to overcoming obstacles influenced by colonialism and strive to bring our voices and agendas to the global stage. Through our participation on the international stage, we aspire to be heard and have more conversations about similar difficulties. 

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The Mysterious Tsou Shaman: The Guardian of Traditional Culture

Written by tanivu yasiungu and Aaron Valdis Gauss. Living high up in quiet Ali Mountain, the Tsou shamans intimately connect with the earth and the ancestral spirits. But, of course, they are also connected with the most beloved god of the Tsou tribe––Hamo. Another important role of the Tsou shamans is to preserve, perpetuate and affirm Tsou myths, thereby maintaining a connection with the ancestors. Tsou shamans believe that working with nature is the most suitable way for everyone to live. We, the Tsou people, have always believed that being simple and pure in our beliefs is the only way to maintain the closest relationships with our god Hamo.

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Displaying Indigenous People’s “Heirlooms” in Museums? Lessons from the Heirloom Exhibition of Pingtung Indigenous Peoples Museum

Written by Drangadrang Kaljuvucing. “The Family Heirlooms of Slop-Dwelling Peoples” exhibition was the fruit of a competition to discover Indigenous heirlooms that still exist in Indigenous communities. It was the Pingtung Indigenous Peoples Museum (PIM) partnering with four other Indigenous museums in Pingtung County, including Wutai Pavilion, Sandimen Pavilion, Laiyi Pavilion, and Shizi Pavilion, to conduct exhibition collection, field surveys, and promotion as part of a project with the Ministry of Culture in Taiwan. The thirteen heirlooms for the exhibition, which included clothing, accessories, paintings, weaves, wood carvings, clay pots, and other living implements, originated from seven Indigenous towns in Pingtung County, except for Chunri Township. While the exhibited pieces were grouped into three categories: “Living Etiquette,” “Decorating Life,” and “Cultural Heritage,” the exhibition highlighted the diversity and uniqueness of the heirlooms revealed by their owners through interview processes.

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At the Edge of State Control: The Creation of the “Matsu Islands”

Written by Sheng-Chang Lin. As well as creating Matsu as a region, the Cold War also tied Matsu to Taiwan. Communication had been minimal between the two before the war—Taiwan was a colony of Japan, whereas Matsu was part of Fujian—but not both regions were part of a new post-war state. Especially due to the prosperity on Taiwan Island, migration from Matsu to Taiwan has become increasingly common. Nowadays, the Bade district of Taoyuan City（桃園市八德區） and Keelung City （基隆市）are known for their large Matsu population.

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Rethinking Self-Identity and Taiwanese Indigenous Musicians’ Contemporary Presentation on Social Media

Written by GuoTing Lin (Kuing). This work uses digital ethnography to consider how Taiwanese indigenous musicians utilise Facebook as their primary official platform for audience communication. I go about this by analysing cover images, profiles, photos, and feeds on Facebook, which is used to depict the details of the texts, photos, and videos. It thus shows the self-presentation and the communication of Taiwanese indigenous musicians concerning cultural and social issues. Moreover, I argue that indigenous musicians perform their identity through online self-presentation in everyday life.

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When 50 Steps is Further than Taipei: Indigenous Contemporary Art and Temporal Orientation

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.

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