The biennial Pulima Art Festival (Pulima藝術節2016), a showcase for contemporary indigenous art and cultures, has moved south for its third installment after the first two were held in Taipei.
The festival, which opened on Saturday last week, runs through Feb. 5, with a multitude of dance, music and theater productions as well as art exhibitions and forums with contributions from Taiwan’s 14 Aboriginal communities, Austronesian-speaking areas and other indigenous peoples.
Organizers say the festival, the largest Aboriginal contemporary art event in the nation, is an important platform to showcase the power of Aboriginal cultural communication and to expose Aboriginal children to arts and cultural performances that are rooted in their own cultures.
Photo courtesy of Tjimur Dance Theatre
“Pulima” is a Paiwan word meaning creative or highly skilled people.
This year’s theme is “O loma no adingo,” which means “Home, where the spirit dwells.” The idea is to encourage young Aboriginals, especially artists, to have the courage to explore their own life experiences.
The festival, and the attendant Pulima Art Prize, is supported by the Indigenous Peoples Cultural Foundation, which took its initial inspiration for the event from the Edinburgh Art Festival and the Festival d’Avignon in France.
Groups that are members of the Taiwan Indigenous Performing Arts Connection, including the Pingtung County-based Tjimur Dance Theatre (蒂摩爾古薪舞集) and Taitung-based Bulareyaung Dance Company (布拉瑞揚舞團) are among those giving shows, along with the Atamira Dance Company and Black Grace from New Zealand and B2M (Bathurst to Melville), a seven-member band from the Tiwi Islands in Australia.
Tjimur and Black Grace will be performing their coproduction, 2_Gather (在一起), which premiered at the Taipei Arts Festival in September, this weekend.
The Hualien County-based Langasan Theatre (冉而山劇場), whose members are artists, farmers, blue-collar workers and academics from the Amis, Rukai and Sakizaya communities as well as Hakka and Hoklo, will present its new production, Mayaw Kakalawan (星星 — 颯旮啦旦老) for three shows at the Pier-2 Arts Center on Nov. 19 and Nov. 20
The festival events are being held around the city, at the Dadong Culture and Art Center, the Kaohsiung Experimental Theater, Pier-2 Arts Center and the Kaohsiung Museum of Fine Arts.
More information is available at the festival’s Web site (www.pulima.com.tw), though it is predominately in Mandarin.
Many people noticed the flood of pro-China propaganda across a number of venues in recent weeks that looks like a coordinated assault on US Taiwan policy. It does look like an effort intended to influence the US before the meeting between US President Donald Trump and Chinese dictator Xi Jinping (習近平) over the weekend. Jennifer Kavanagh’s piece in the New York Times in September appears to be the opening strike of the current campaign. She followed up last week in the Lowy Interpreter, blaming the US for causing the PRC to escalate in the Philippines and Taiwan, saying that as
US President Donald Trump may have hoped for an impromptu talk with his old friend Kim Jong-un during a recent trip to Asia, but analysts say the increasingly emboldened North Korean despot had few good reasons to join the photo-op. Trump sent repeated overtures to Kim during his barnstorming tour of Asia, saying he was “100 percent” open to a meeting and even bucking decades of US policy by conceding that North Korea was “sort of a nuclear power.” But Pyongyang kept mum on the invitation, instead firing off missiles and sending its foreign minister to Russia and Belarus, with whom it
The Chinese Communist Party (CCP) has a dystopian, radical and dangerous conception of itself. Few are aware of this very fundamental difference between how they view power and how the rest of the world does. Even those of us who have lived in China sometimes fall back into the trap of viewing it through the lens of the power relationships common throughout the rest of the world, instead of understanding the CCP as it conceives of itself. Broadly speaking, the concepts of the people, race, culture, civilization, nation, government and religion are separate, though often overlapping and intertwined. A government
Nov. 3 to Nov. 9 In 1925, 18-year-old Huang Chin-chuan (黃金川) penned the following words: “When will the day of women’s equal rights arrive, so that my talents won’t drift away in the eastern stream?” These were the closing lines to her poem “Female Student” (女學生), which expressed her unwillingness to be confined to traditional female roles and her desire to study and explore the world. Born to a wealthy family on Nov. 5, 1907, Huang was able to study in Japan — a rare privilege for women in her time — and even made a name for herself in the