电子报-艺游志Blessing: Tjimur Arts Festival
教学工坊
2020-09-10
Author: Elliott Cheung 张依诺
As we were driven out of the city and the narrow streets gave way to vast vistas, I felt a sense of curiosity begin to wash over me. I had not seen such a place during the past year of my stay in Taiwan — the way the sun shone on the rocky shore, illuminated each tree on the mountain. This was the Tjimur village, of Sandimen, Pingtung County, and we were visiting as students, as participating artists in the Tjimur Arts Festival, and as guests on Paiwan land.
当我们离开市区，狭窄小巷逐渐变成辽阔山丘的同时，我的好奇心如浪潮湧上心头──这是我在台湾居住一年曾为看过的美景，太阳闪耀在水面，照亮山间的每一棵树。这就是屏东县三地门乡的蒂摩尔部落，我们以学生、客席艺术家等多重身分，踏上排湾族人的传统领域。
As part of the USR project “Hi-Five Plus: International Art Platform--Indigenous Peoples from the Plains of Beitou to the Mountains of Pingtung”, led by Prof. I-Wen Chang and under the course "Art Festival Practice”, my fellow students and I were invited into the village by the graces of Ljuzem Madjilim, a member of the tribe’s nobility and the artistic director of Tjimur Dance Theatre. We learned that among Taiwan’s Indigenous dance companies, Tjimur is relatively well-known globally for its efforts at building international linkages, presenting Paiwan culture on the world stage. In keeping with this, the slogan for this year’s Arts Festival was “My Tribe, My International”, signalling the company’s desire to bring world-class art to the people of the village.
这次参访是延续张懿文老师的教学实践研究计画「世界化艺术、舞蹈和表演」，再加上USR方案「Hi-Five Plus: 从北投平埔族群到屏东原住民的国际艺术对话」 的支持。我和同学们受蒂摩尔古薪舞集的艺术总监路之 · 玛迪霖的邀请，来到她的部落。我们得知，蒂摩尔是台湾的原住民舞团之中，致力于和国际连结，在世界舞台上呈现排湾文化。今年生活艺术节的主论述为「My Tribe, My International」，也表达了舞团希望把国际级艺术带给部落人们的意念。
Tjimur had in fact performed in my home city of Vancouver last year, at a time when I was busying myself with graduation theses and preparing for my future in Taipei. This common experience made it easy to forge an immediate connection with the dancers, who to my chagrin admonished that downtown Vancouver looks just like the Xinyi area.
其实，当我去年正忙着毕业论文，并规画来台学习的行程时，蒂摩尔舞团有去我的家乡温哥华演出，这一份对于远方地域的共同经验，让我跟舞者们有一拍即合的默契。
At the reception, Ljuzem discussed the theme for the festival, “Her Breath”. She had drawn the inspiration for this out of her own experience, as a wife, daughter, mother, woman, and intended for this festival to highlight the ways in which women see and move through the world. As such, each of the artists invited were women, who were then invited to collaborate with the dancers on an original artistic work. At one of the festival sessions, we viewed video messages from the artists who were unable to physically present due to COVID-19 restrictions. I can only imagine how rich and jam-packed the festival would have been, had I witnessed it operating at its original capacity. Yet it is nevertheless astounding that the festival showcased such breadth and diversity, from Indonesian traditional music to Japanese contemporary Butoh dance.
路之亦于开幕酒会分享了艺术节主题「她的呼吸」的理念。她的灵感从自己身为妻子、女儿、母亲、女性的经验而来，而她亦希望艺术节能够关注女性的生活经验、以及观看事物的角度。因此，本次受邀的艺术家皆为女性，她们将与舞者们一起创作全新的作品；其中一项节目，参与的艺术家因新冠肺炎疫情，无法来台，所以我们改为观赏艺术家录制的影片；我猜想，若她们能如常参与，艺术节将会如何精采缤纷。不过，从印尼传统音乐到日本的现代舞踏，现形的节目已经非常的丰富且多元。
As an assistant for the trip, I was tasked with helping my fellow students translate between English and Chinese, as well as putting together a video documentation of the week. I was humbled by the amount of preparation and effort my classmates put into delivering their workshops, the way they endeavoured to explain their culture authentically. Some of our best memories came out of doing trial runs for the workshops — making the crafts together, laughing sweetly at each other’s mishaps, and learning to trust one another through immersion in our respective cultures. This was a key takeaway and one I seek to highlight.
身为本次参访的助理，我也担任同学的中英文口译员，并同时拍摄影片纪录。我被同学们办理工作坊的认真准备而感动，他们尝试把自身文化真实的传达给观众。这次参访最美好的回忆，亦来自我们每天晚上协助彼此的工作坊：做手工艺、看着朋友做得一团糟而开怀大笑，透过学习不同文化，我们更学会互相信任，这是整个活动当中我认为最大的收获。
这次参访是延续张懿文老师的教学实践研究计画「世界化艺术、舞蹈和表演」，再加上USR方案「Hi-Five Plus: 从北投平埔族群到屏东原住民的国际艺术对话」 的支持。我和同学们受蒂摩尔古薪舞集的艺术总监路之 · 玛迪霖的邀请，来到她的部落。我们得知，蒂摩尔是台湾的原住民舞团之中，致力于和国际连结，在世界舞台上呈现排湾文化。今年生活艺术节的主论述为「My Tribe, My International」，也表达了舞团希望把国际级艺术带给部落人们的意念。
Tjimur had in fact performed in my home city of Vancouver last year, at a time when I was busying myself with graduation theses and preparing for my future in Taipei. This common experience made it easy to forge an immediate connection with the dancers, who to my chagrin admonished that downtown Vancouver looks just like the Xinyi area.
其实，当我去年正忙着毕业论文，并规画来台学习的行程时，蒂摩尔舞团有去我的家乡温哥华演出，这一份对于远方地域的共同经验，让我跟舞者们有一拍即合的默契。
At the reception, Ljuzem discussed the theme for the festival, “Her Breath”. She had drawn the inspiration for this out of her own experience, as a wife, daughter, mother, woman, and intended for this festival to highlight the ways in which women see and move through the world. As such, each of the artists invited were women, who were then invited to collaborate with the dancers on an original artistic work. At one of the festival sessions, we viewed video messages from the artists who were unable to physically present due to COVID-19 restrictions. I can only imagine how rich and jam-packed the festival would have been, had I witnessed it operating at its original capacity. Yet it is nevertheless astounding that the festival showcased such breadth and diversity, from Indonesian traditional music to Japanese contemporary Butoh dance.
路之亦于开幕酒会分享了艺术节主题「她的呼吸」的理念。她的灵感从自己身为妻子、女儿、母亲、女性的经验而来，而她亦希望艺术节能够关注女性的生活经验、以及观看事物的角度。因此，本次受邀的艺术家皆为女性，她们将与舞者们一起创作全新的作品；其中一项节目，参与的艺术家因新冠肺炎疫情，无法来台，所以我们改为观赏艺术家录制的影片；我猜想，若她们能如常参与，艺术节将会如何精采缤纷。不过，从印尼传统音乐到日本的现代舞踏，现形的节目已经非常的丰富且多元。
As an assistant for the trip, I was tasked with helping my fellow students translate between English and Chinese, as well as putting together a video documentation of the week. I was humbled by the amount of preparation and effort my classmates put into delivering their workshops, the way they endeavoured to explain their culture authentically. Some of our best memories came out of doing trial runs for the workshops — making the crafts together, laughing sweetly at each other’s mishaps, and learning to trust one another through immersion in our respective cultures. This was a key takeaway and one I seek to highlight.
身为本次参访的助理，我也担任同学的中英文口译员，并同时拍摄影片纪录。我被同学们办理工作坊的认真准备而感动，他们尝试把自身文化真实的传达给观众。这次参访最美好的回忆，亦来自我们每天晚上协助彼此的工作坊：做手工艺、看着朋友做得一团糟而开怀大笑，透过学习不同文化，我们更学会互相信任，这是整个活动当中我认为最大的收获。
Prior to this trip, the cultural terrain of Indigenous Taiwan was not one I or my classmates was particularly familiar with. We had received the occasional explanation from guest speakers, but only within the context of Han-dominated Taipei society, and the ethnoracial histories that lie beneath that. The sovereignty of Indigenous Taiwan still seemed marginalized, its rightfulness buried beneath an absence of its representation, or simply not talked about; and despite efforts at transitional justice in recent years, it seems much of Taiwanese society remains this way.
参访之前，我和同学们对台湾原住民文化几乎一无所知。虽然几位客席讲师有稍微介绍过，然而在汉族当道的台北，原民主权似乎是被边缘化，有所闻而无所见。虽然近几年台湾政府时常提到「转型正义」，但一般人似乎也不太关注。原民主权的正当性，好像被埋在无数层的历史脉络下，在其再现的缺席中，无法充分受到主流社会的重视。
However, starting from the moment we entered the village, the realities of Paiwan culture slowly became apparent to us. We were told about the way the village is organized, how the elderly in particular arise early to work and children will be admonished for sleeping late. We lived a microcosm of this daily rhythm: in our morning, we visited the only breakfast shop in the village, and then we hada full day of workshops. Social gatherings were few and far-between because of this rigorous schedule; but when they were held, they were lively occasions indeed. Jokes and laughter were exchanged, songs were sung, and drinks were duly served.
可是，我们从进到部落的那一瞬间开始，排湾文化逐渐浮现。导览时，我们了解到部落的运作方式，长辈早睡早起，而年轻人睡过头会被囉嗦。我们规律的日常的生活也彷彿是这个制度的缩小版，每天早上去部落唯一一家早餐店充电，接着跑一整天的工作坊。如此规律的行程让我们见面的时间不算多，但当同学们有机会相聚时，大家有说有笑、劲歌热舞，总是「嗨到爆」。
In those moments, it seemed like the dancers and staff we sat with, mostly members of the tribe, opened up to us, and we to them. We became absorbed in the moment, of enjoyment, of sharing together, of community. Even visitors in the community held a social role: to be entertained by their hosts, to share their own experiences, to join in when invited. And whether in on or off hours, this attitude persisted through all the activities of the festival, beginning in the songs offered by the company members at the reception. When the same songs were sung at the penultimate performance, tears came to my eyes, as I thought about how deeply I had gotten to know each of the individuals performing, how rare, how fleeting this experience was.
我觉得舞者和工作人员们（大致上都属于部落），也对跟我们敞开了心房。我们沉浸于相处的时刻，分享欢乐、共享、团结的当下。连外来者在这个空间也有自己的角色：要接受主持的招待、分享自己的经验、受邀时要踊跃参与。而无时无刻，这种精神贯彻了艺术节的活动，并且从舞者们接待我们进入部落时，献上的排湾传统歌曲开始。当他们于闭幕晚会再次表演相同歌曲，我不禁红了眼眶，想到自己和每一位舞者从陌生的状态到深入认识，是多么珍贵的一次交流经验。
参访之前，我和同学们对台湾原住民文化几乎一无所知。虽然几位客席讲师有稍微介绍过，然而在汉族当道的台北，原民主权似乎是被边缘化，有所闻而无所见。虽然近几年台湾政府时常提到「转型正义」，但一般人似乎也不太关注。原民主权的正当性，好像被埋在无数层的历史脉络下，在其再现的缺席中，无法充分受到主流社会的重视。
However, starting from the moment we entered the village, the realities of Paiwan culture slowly became apparent to us. We were told about the way the village is organized, how the elderly in particular arise early to work and children will be admonished for sleeping late. We lived a microcosm of this daily rhythm: in our morning, we visited the only breakfast shop in the village, and then we hada full day of workshops. Social gatherings were few and far-between because of this rigorous schedule; but when they were held, they were lively occasions indeed. Jokes and laughter were exchanged, songs were sung, and drinks were duly served.
可是，我们从进到部落的那一瞬间开始，排湾文化逐渐浮现。导览时，我们了解到部落的运作方式，长辈早睡早起，而年轻人睡过头会被囉嗦。我们规律的日常的生活也彷彿是这个制度的缩小版，每天早上去部落唯一一家早餐店充电，接着跑一整天的工作坊。如此规律的行程让我们见面的时间不算多，但当同学们有机会相聚时，大家有说有笑、劲歌热舞，总是「嗨到爆」。
In those moments, it seemed like the dancers and staff we sat with, mostly members of the tribe, opened up to us, and we to them. We became absorbed in the moment, of enjoyment, of sharing together, of community. Even visitors in the community held a social role: to be entertained by their hosts, to share their own experiences, to join in when invited. And whether in on or off hours, this attitude persisted through all the activities of the festival, beginning in the songs offered by the company members at the reception. When the same songs were sung at the penultimate performance, tears came to my eyes, as I thought about how deeply I had gotten to know each of the individuals performing, how rare, how fleeting this experience was.
我觉得舞者和工作人员们（大致上都属于部落），也对跟我们敞开了心房。我们沉浸于相处的时刻，分享欢乐、共享、团结的当下。连外来者在这个空间也有自己的角色：要接受主持的招待、分享自己的经验、受邀时要踊跃参与。而无时无刻，这种精神贯彻了艺术节的活动，并且从舞者们接待我们进入部落时，献上的排湾传统歌曲开始。当他们于闭幕晚会再次表演相同歌曲，我不禁红了眼眶，想到自己和每一位舞者从陌生的状态到深入认识，是多么珍贵的一次交流经验。
In the end, the weight of this festival came not in the activities themselves, though they were edifying and brought new perspectives from which to see Paiwan life. It came in the small moments, the cultivation of life together for a period of time, the deep connection to the land and to its sustenance into the future. It felt that as we were sitting together in that studio, committed to that place, the land herself was breathing into us, and we were drawn to celebrate our togetherness on this land, whether guest or host.
对我来说，这次艺术节的重点不仅仅在诸多的活动，虽然它们非常精致，也带给我了新的角度试着去了解排湾族人生活。这段时间与大地深入的连结，和与大家相处的时光，才是我最为珍惜的部分。当我们坐在排练场，大地彷彿也透过我们呼吸，给予了我们享受团聚的缘分。
I dearly miss the friends I made there, and miss the moments we shared that will never come back again. The beauty that I saw in Tjimur, of the landscapes, of the people, of life itself, is not something I will easily forget, and something I remind myself of when I touch the glass bead I made at one of the workshops (with much help from an elder). I hope to share as much as I can what I’ve experienced, and wish that others have the chance to visite in such a wonderful place.
我非常的想念我在部落交的朋友，也怀念一同相处的时刻。我在蒂摩尔所见证的美，存在于山水、人心、生命之中，是不会轻易忘记的美好。当我每次摸到在工作坊跟vuvu（长辈）一起做的琉璃珠，就会想起这段回忆。我愿分享到我所经历到的美，并期望明年有更多人能拜访这个地方。
对我来说，这次艺术节的重点不仅仅在诸多的活动，虽然它们非常精致，也带给我了新的角度试着去了解排湾族人生活。这段时间与大地深入的连结，和与大家相处的时光，才是我最为珍惜的部分。当我们坐在排练场，大地彷彿也透过我们呼吸，给予了我们享受团聚的缘分。
I dearly miss the friends I made there, and miss the moments we shared that will never come back again. The beauty that I saw in Tjimur, of the landscapes, of the people, of life itself, is not something I will easily forget, and something I remind myself of when I touch the glass bead I made at one of the workshops (with much help from an elder). I hope to share as much as I can what I’ve experienced, and wish that others have the chance to visite in such a wonderful place.
我非常的想念我在部落交的朋友，也怀念一同相处的时刻。我在蒂摩尔所见证的美，存在于山水、人心、生命之中，是不会轻易忘记的美好。当我每次摸到在工作坊跟vuvu（长辈）一起做的琉璃珠，就会想起这段回忆。我愿分享到我所经历到的美，并期望明年有更多人能拜访这个地方。