Written by Ysanne Chen, Ilin Tsai, and Shih-Hao Huang. In “Pondering the Pacific,” we conceptualise the Pacific as an oceanic highway or a contact zone. The vast ocean connects Pacific Islands. We travel from the island of Taiwan (we are reluctant to call it main(is)land) to Pongso no Tao to recover and explore this connection. When on the island, we further learn about Tao people’s connectedness to other Pacific Islanders. Upon our return, we wrote these poems to celebrate the Pacific. Along with other Pacific Islanders writers and poets, we praise the Pacific for its abundance and ability to connect people. We also join Pacific Islanders in voicing out against nuclear contamination and all forms of environmental injustice.
Pondering the Pacific: One of the Moons Version I
Written by Shih-hao Huang, Chiahua Lin, and Robinson Pinghao Liu. Employing “the Pacific” as a contact zone, this poetry collection explores the dynamic and shifting relationship between land and sea, allowing Indigenous culture and history in the trans-Pacific context to engage in spatial and historical complexity. This journey triggers memories and connects the present with the ancestral past. When seeing the constellations in the sky, one is reminded of the stories about stars. However, we were reminded that we often forget Taiwan is also a part of the Pacific. Therefore, we authored poems to represent, substantiate and celebrate the connection: the LOST connection between the Pacific Ocean and us.
Placing Relationship over the Project: Filmmaking in Oceania
Written by Cheng-Cheng Li. My filmmaking story in Oceania started with the Re/presenting Oceania course at the University of Hawai‘i. My Kumu (professor) Tarcisius Kabutaulake, who comes from the Solomon Islands, has been teaching and researching across the region for decades. His course invites me to critically engage with and discuss how the Pacific Islands have been represented in scholarly and other mediums. He brings me onto the ‘voyage’ across the ‘storyscapes’ of scholars, artists, performers, poets, and filmmakers to understand the politics of representation. This article will first discuss my filmmaking experience in Hawai‘i with the Pacific Island community. In the second section, with an increasing number of Indigenous Taiwanese wishing to connect with Oceania, I will address the interconnection story between Taiwanese Indigenous filmmakers and the Oceanic community. The theme of ‘relationship’ as ‘Priority’ will be interwoven into the stories.
A Possible Cultural-Political Alliance to Address Concurrent Struggles between Taiwan and Oceania: Music as a Means
Written by Chun Chia Tai. For many Indigenous peoples in Taiwan, music is a lively cultural medium that facilitates allying with other Austronesian peoples residing in Oceania. Such a musical way of fostering cultural diplomacy has currently been popular in Taiwan, especially after the release of the album Polynesia in 2014, emphasising the shared cultural genealogy of Austronesian under the collaboration of an Amis singer Chalaw Pasiwali and a Madagascar musician Kelima. In the same year, another project called the Small Island Big Song aimed to establish a network between Pacific Islands and Taiwan through music and film. Musicians in this project released their 2018 album Small Island Big Song and a sequential album named Our Island in 2021. Moreover, all these musical works focus on fusions of traditional folk music(s). Positive public perception reflects Taiwanese people’s rising demand for establishing a cross-Pacific Austronesian community between Taiwan and the Pacific Islands.
Indigenous/Islander Fanaticism Across the Pacific: A Perspective from Films
Written by Yawi Yukex; translated by Yi-Yu Lai. A type of Taiwanese is extremely fond of anything about the Indigenous peoples of Taiwan. They are captivated by all the totems and material cultures associated with Indigenous peoples, yet they frequently only believe what they already know about Indigenous cultures. Besides, they usually turn a deaf ear to Indigenous peoples’ enormous burdens and struggles. I call these individuals “Indigenous fanatics.” In the early 2000s, a series of Taiwanese films, such as “The Sage Hunter” (2005) and “Fishing Luck” (2005), portrayed Indigenous communities as shelters for those wishing to escape reality and contrasted cities with the communities. People believe that the expansion of civilisation causes problems, whereas mountains and forests represent the solution.
Representing Taiwan’s Pacific Connections
Written by Chuahua Lin. How are Trans-Pacific connections remembered and maintained in the literary works of the Tao people, one of the 16 officially recognised Indigenous tribes of Taiwan? In this article, I will read Syaman Rapongan and Yung-chuan Hsieh’s works, and I will discuss how they exemplified the ways in which Tao people endeavour to revitalise the navigation tradition of their people and maintain the connection to the ocean. As I argue in this article, Tao people, as well as other Pacific Islander writers, represent the centuries-old navigating traditions of their people and thus keep these Trans-Pacific connections alive.