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Erenlai - Nick Coulson (聶克)
Nick Coulson (聶克)

Nick Coulson (聶克)

I was born in sunny Torbay on the south western coast of England's green and pleasant lands. I'm prowling the streets, parks and ruins of Taiwan hunting for absurdities and studying the sociology of the underground. Furthermore with our nomadic arts and action space "The Hole" we attempt to challenge rigid and alienating structures.

出生於英國西南部,海邊的天堂為Torbay。目前在台灣的街上,公園,廢墟尋找世界之荒謬與世界之美,努力盡量在各方面跳脫框框。透過我們的游牧空間「洞」我們不斷地用藝術與行動來挑戰早已僵化的體制。

Monday, 01 November 2010 00:00

Festival Awards TIDF 2010

On 30th October 2010 the results of the awards for the Taiwan International Documentary Festival were released. The awards were divided into International Feature Length Competition, International Short Film Competition, Asia Vision Award and the Taiwan award. The jurors had been carefully watching the nominated films which had originally been selected from 1527 submissions received in 2010, to reduce them to the final 12 prize winners. The films were shown on the last day of the festival and will be shown at the Taipei Golden Horse Film Festival in November. The results for the 2010, 7th Taiwan International Documentary Festival Award Winnerare as follows:

International Feature Length Competition

Award

Title

Director

Grand Prize

In The Garden of Sounds

Switzerland

Nicola Bellucci

Merit Prize

Let the Wind Carry Me

Taiwan

Chiang Hsiu-chiung, Kwan Pun-leung

Merit Prize

War Don Don

Sierra Leone

Rebecca Richman Cohen

Jury’s Special Mention

The Woman with the 5 Elephants

Germany, Switzerland

Vadim Jendreyko

International Short Film Competition

Award

Title

Director

Grand Prize

Countryside 35x45

Russia

Evgeny Solomin

Merit Prize

Divine Pig

Netherlands

Hans Dortmans

Merit Prize

In Case of Loss of Pressure

Belgium

Sarah Moon Howe

 


Asia Vision Award

Award

Title

Director

Grand Prize

Passion

Mongolia

Byamba Sakhya

Merit Prize

Amin

Canada, Iran, South Korea

Shahin Parhami

Jury’s Special Mention

Iron Crows

South Korea

Bong-namPark

Taiwan Award

Award

Title

Director

Grand Prize

Hand in Hand (牽阮的手)

Yen Lan-chuan, Juang Yi-tzeng (顏蘭權、莊益增)

Special Jury Prize

Nimbus (帶水雲)

A-yao Huang (黃信堯)

Jury’s Special Mention

Avoiding Vision (是你嗎?)

Chen Yuan-chen (陳婉真)

Audience Choice Award

Award

Title

Director

Audience Choice International Award

 

I Shot My Love

Germany, Israel

Tomer Heymann

Audience Choice Taiwan Award

Let the Wind Carry Me

(乘著光影旅行)

Chiang Hsiu-chiung, Kwan Pun-leung

(姜秀瓊、關本良)

 

A fantastically immersive sensory experience and one which resonates long after it is viewed by the audience was Nicola Bellucci’s In The Garden of Sounds which won the Grand Prize for the International Feature Length Competition. This film sets itself apart from regular narrative treatments because we are allowed to enter the sensory world of both the main character and those children whom he transforms. The Merit Prize went to Taiwan’s Let the Wind Carry Me which opens up to be an inner portrait of an artist as a human being. The film displays great cinematic qualities and it seamlessly weaves itself into the life and work of one of the world’s great poetic cinematographers, Mark Lee. Director Chiang Hsiu-chiung especially brought her son up on stage when receiving the Merit Prize. Rebecca Richman Cohen’s War Don Don received the other Merit Prize for a film about a war crimes case following Sierra Leone’s civil war which displays the human tendency to judge and be self righteous with our media biased knowledge. Finally A Woman and 5 Elephants was given a jury’s special mention.

Evgeny Solomin who won the International Short Film Competition Grand Prize in 2002 for his film Katorga, won the award again this year with his film Countryside 35x45, full of unforgettable images captured in black and white. Heddy Honigman said of Countryside 35X45 that “the stories are as touching as the images we see”. The first of the two Merit Prizes was handed to Divine Pig, in which Hans Dortmans gives you all the beef (or should I say bacon?) regarding the irony of life choices, as he follows a butcher and his favourite pig…all the way to the slaughtering house. The other Merit Prize went to In Case of Loss of Pressure, where a Sarah Moon Howe who was close to breaking down, took up the camera, and filmed the struggles of her previous life as a stripper with a young boy suffering from symptomatic epilepsy. The film is a sincere response to real life difficulties.

The Grand Prize for the Asian Vision Award went to Byamba Sakhya’s Passion, an honest, touching and open film in which Sakhya gives us his vision of the present state of Mongolian cinema and its inheritance from the past. Shahin Parhami’s Amin won a Merit Prize for this film about lost origins, skilfully combining individual loneliness with the whole nation’s love of music, as it follows the fate of a dying music. Finally, director Bong-nam Park, who was one of the three foreign guests running the DOCumentary DOCtor workshop this year, received the Jury’s Special Mention for Iron Crows, whose lens displayed a silhouette of Asia in the globalizing world. Its close up observation of workers in a Bangladeshi ship destruction yard reveals the absurdity and ruthlessness of human civilization. These pieces were all charming and touching pieces of Asian cinema.

Yen Lan-chuan and Juang Yi-tseng previously won the Taiwan Award Grand Prize for their film The Last Rice Farmer (無米樂). They won it again this year with Hand in Hand (牽阮的手). Juror Wu Wenguang, an important Chinese documentarist said that this film told a moving, sad love story which was full of drama and emotional inspiration before bringing the audience to life with his clinical sense of humour. The Special Jury Award went toA-yao Huang’s Nimbus, which uses beautiful cinematography to show us the history of a Taiwanese landscape in transition. Chen Yuan-chen’s Avoiding Vision was given the Jury’s special mention.

Last but not least, in the Audience Choice Awards I Shot My Mother won the international prize and Let the Wind Carry Me the audience prize.

Article originally written with Shinie Wang for the Taiwan International Documentary Festival

Monday, 01 November 2010 00:00

Kidlat Cafe

Kidlat de Guia's father, Kidlat Tahimik (Eric de Guia) is one of the most prized Third (World) Cinema filmmakers and artists in the Phillipines. Kidlat initially tried to avoid the cliché of following in his father's footsteps - but alas Kidlat could not shake off his love of film and finally he is now making documentary, most recently for the United Nations. At TIDF 2010, I had a quick chat with him about festival bars, Taiwan, and asked him words of advice for aspiring documentarists.

 

Monday, 01 November 2010 00:00

The cinematic experience

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Media Art Centre and Doc EX!T

One area in which Taiwan competes with the best is with its powerful technology. Combining this with the aesthetic expertise, equipment and inspiration provided simply by being on site at the most prestigious Art institution in Taiwan, you could only expect a powerful, full cinematic experience - and we weren't disapointed, in fact we were taken on a journey to complete sensory inebriation by the array of lighting, experimenting and the aesthetics of the art director He Si-ying. Firstly MOFA provided a brand new space for experimental visual arts (Media Art Center) which was used this year for all the Doc EX!t experimental visual art/film performances. Put together by foreign and Taiwanese artists with so much experimentation, light and power that even the room sometimes failed to keep up with the power involved in this spectral abuse.

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Starlight Screening

As the night sky began to fall over the "festival" we were met with a breathtaking performance from A Moving Sound, their ethnic drums, lute, erhu and guitar combined with hallucinatory swirly movements sending the audience into a hazy, but comfortable trance. “Let memory be released!” And hundreds of balloons were sent screaming into the sky as the organizers and special guests each took an end of the red ribbon pulled and then proceeded to tear apart the bag that had been imprisoning these balloons. And with that the films could begin to free the fragments of memories that had been closed off to expression …

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Tuesday, 30 November 2010 00:00

"I judge a festival by the quality of its volunteers"

Peter Wintonick is an independent documentary filmmaker and a self-professed expert of documentary festivals - he spends the whole year attending them. He is one of the founders of DocAgora, an international documentary think tank and currently runs Necessary Illusions Productions. This makes it all the more heartening that while presenting the award for the best feature length documentary film, he proclaimed: "I judge a festival by the quality of it's volunteers and by that measure, this festival has been absolutely outstanding."

Volunteering is not only socially valuable also gives youths the chance to experience different walks of life or to hone their skills in their fields of interest. Furthermore, it allows them to meet and learn to deal with different types of people and situations, nurturing well-rounded persons. Here are some photos, videos and afterthoughts of volunteers at the 2010 Taiwan International Documentary Festival:

Volunteers from different places, backgrounds and ages all came together to overcome any problems. We all came to the same place, for the same event, with the same idea. It’s really moving to seeFly Fat Boy

 

volunteers_1

Peter's comments, the hard work and the and the positive effects, both on the volunteers and more generally on society that I witnessed at the Taiwan International Documentary Festival were inspiring, and thus eRenlai and the Taipei Ricci Institute (TRI) have decided to launch a new volunteering scheme. The plethora of different events, awards conferences, publications and works that our organisation churns out annually means that there are always plenty of exciting opportunities to learn some skills in the most dynamic, prestigious and creatively stimulating of organizations. We work in publishing, new media, writing, journalism, camera and soundwork, video editing, documentary film production, event organisation, academic conferences, environmental or sustainability work and the arts... Working with eRenlai and TRI you are given proximity to the top academics, feature journalists and event organisers, eRenlai even has its own in-house art directors. If you are interested in participating in eRenlai's volunteering scheme. Please This email address is being protected from spambots. You need JavaScript enabled to view it.. Telling us a bit about yourself, why you want to volunteer and what you are interested in doing.

My first experience volunteering was very special and I met many independent film directors, even if I could only glance at them passing by. I learned new things and there was free lunch. Two birds with one stoneRice

 

volunteersa

Study hard, play hard!!! ~亭汝

I’m so happy to have been a volunteer and to have met so many people. It expanded my horizons. Great festival by TIDF!!Orange

This is my second time as a TIDF volunteer. I like documentaries because they are different to normal commercial films. I’m willing to volunteer, and I’ll be a volunteer for lifeAnn Chen

I helped many people and many helped me. I hope I’m given this opportunity againKai

3 short days spent watching numerous documentaries with Markus Nornes, and hearing his profound analysis of Asian film, allowed me to see documentary from a different perspective ~ 蘇何

The way these documentaries have touched me, will stay with me throughout my life 國惠

 

 


 

Sunday, 31 October 2010 00:00

Transcending conventional reality: An interview with CCD Workstation’s Wu Wenguang

At the 2010 Taiwan International Documentary Festival, CCD Workstation, an artist space in Beijing had their own very own program. Wu Wenguang who founded the workstation was invited over to the festival as a special guest to give his judgements on the Taiwan award. In between his arrival and his humorous conducting of the audience at the awards ceremony Nick and Shinie Wang caught up with him to find out a little more about The Villager Documentary Project.

 

Nick Coulson: How did The Villager Documentary Project come about? 

Wu: It came completely by chance in 2005, when I was wondering how the villagers would use a DV camera if given the opportunity. Would they be able to make the documentary they wanted? Ten villagers came up to Beijing and after basic training; they all made a short film related to village self-governance. After this plan finished, those willing to carry on, did so. Ten became four. The films My Village 2006 and My Village 2007 were completed, without restrictions; what they wanted to film, they filmed.

 

N.C.: Were the villagers able to ‘bare their stuff’ and bare their past memories through this project? Was there any discrepancy between your initial aims and the final outcome? 

Wu: Initially, the title of the film Bare Your Stuff, was questioning whether we are able to release ourselves, to honestly confront and get rid of our doubts, to trust each other. The big problem over the past five years is that none of us trusted each other. These trivial matters made it very difficult to work together, as that requires revealing yourself, understanding and respecting others. I discovered that the problem wasn’t whether or not they could film. The facts have already proven they can film and very well. China doesn’t lack people who can make documentaries. Villagers filming documentary is more about civil consciousness.

 

Shinie Wang: You have been filming since the late 80s, have your creative or technical ideas changed since then? Your latest film Treating, documents the life of your recently deceased mother, does this indicate a change style?

Wu: The biggest change is in method. Towards the end of the 90s I changed from large professional equipment to a small DV camera. I adopted an image diary style: no topic, no materials, no plan, no budget. I just filmed what happened to be there and then edited it. For example, Bare Your Stuff was about the behind the scenes process of the Villager Documentary Project. Then, in Treating I edited over 10 years of collected images as a form self-treatment. Next I want to make a film about my father, through history and memory, a film that will deal once and for all with the relationship between my father and this family - this is also self-treatment. I won’t film societal documentaries again. I’m bigger than the Palace Museum, there are many things inside myself that I don’t understand. How can I understand others if I don’t understand myself?

 

S.W.: What documentaries are you most interested in? What are the ingredients of a good documentary?

Wu: I have different hobbies at different times. I like all sorts of documentary, but recently I prefer personal images more than recording workers, the repressed and the suffering, which used to fascinate me. How can these personal images transcend of the normal? Documentaries should not merely show the truth, but they should be able to show through things, like X-ray vision.

Zhou Xueping’s The Starving Village records the last two years of her grandmother’s life including several other old villagers; they talk about the famine fifty years back. It’s very subjective, she wanted the village she knows, not the reality of the village, yet it all comes from reality. While it leaves objectivity slightly, she creates the reality that she knows, that of a ‘starving village’, one that is dying, a ruin. This is transcending conventional reality. This is “the creation of reality”.

 

Friday, 22 October 2010 00:00

Injecting art into the veins of our youth

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How would you fit your family in a box?

Bicycle pedals coming out of the sides of the box? A tree of hanging photographs? A girl with her finger on the edge of a sharp broken mirror with her grandpa’s cigarette lit and smoking above her head? Or simply a box full of glass smashed to smithereens? These were just some of the family boxes provided by the young artists from the second season of the Gosh Foundation’s Fruit Camp.

While the organizers, major directors and officials opened the 2010 Taiwan International Documentary Festival on Friday 22 October 2010, the underlying missions of the festival had begun long before, as the organizers asked: How can the seeds of creativity and collective memory be passed onto the youth? How can these young talents be nurtured to produce marvelous works?

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The self-made Taiwanese star, Sylvia Chang tried to answer these questions when she founded the Gosh Foundation, which was intended to inspire young artists to transcend the traditional artistic spectrum and keep creating. When Sylvia, a self-taught actress, singer, playwright and director, arrived in Taichung, she immediately went on a tour of the festival's installations - including the works of the ‘Family Story vs. Video Art’ installation, which were the fruits of the second Gosh Foundation ‘Fruit Camp’.

The preliminary group of young artists had to install the quintessence of their family story in one box; meanwhile, advanced students who had excelled the previous season, the original Fruit Camp, invited you into their huge boxes/makeshift homes to play with their life-size toys and view their video art works about their childhood. They had initially been asked to bring their works to be selected and refined the year previous, with the most talented receiving one on one training from top artist in a suitable artistic field.

The results of this training were astounding. In Childhood vs Childhood, Liu Ming-chieh contrasted the childhood of his grandma with his own, for example cutting between footage of his younger brother innocently playing with a paper airplane, and that of fighter jets during the Japanese colonial period, which represented how airplanes were perceived in his grandmother’s memory. Li Pei-tzu created a formidable animation video which explored her winter melon producing ‘Squash Family’- ‘squashes’ in Taiwanese can refer to short, fat people. To research these ‘family stories’ the kids had to engage their elders with questions of their youth - inheriting and developing their memories. This is a lesson that could help all youths communicate better with their elders. Finally, Yang Hsin-he visually expresses her inner struggles of a life and memory fractured between her early years in Kaohsiung and more recently in Yilan. The young artists were enthralled by the opportunity at such a young age to display their works in Taiwan’s most prestigious art museum.

 

See Min-chieh’s Childhood vs Childhood, Pei-tzu’s Squash Family or Hsin-he's Homesick

Images by Liu Lu-chen

Tuesday, 12 October 2010 00:00

Improving the archives

In this audio file we interview Yael Hersonski, director of the groundbreaking new holocaust documentary A Film Unfinished. She talks a bit about her mission to look at wartime holocaust footage in an alternative way. Below is the transcript.

Tuesday, 12 October 2010 00:00

TIDF 2010

Last month saw the 7th biennial Taiwan International Documentary Festival held in Taichung. eRenlai was omnipresent at the festival; working in collaboration with the festival, providing festival snaps, videos and cutting-edge interviews with the best in the lonely, but precious art of documentary. The festival showed its continued prestige inviting some of the biggest names in the documentary world from North America, Europe and Asia including producers, directors, editors and cameramen whilst not turning its back on Taiwan's own documentary trade with its many workshops, lectures and the Taiwan Award. This focus will take this occasion to look at the power and importance of documentary in the contemporary world of overloaded, abused information and the flux audiovisuel and explore the festival's main theme of 'Free Memory'. This freeing of one's memory was best incorporated in He Si-ying's fantastic bubble head design, yet the festival also included the Memory Wall, a space where the public was invited to bring a picture that meant or signified a lot to them then the proceeding pictures taken, holding their pictures, joined the wall.

tahimik_kidlateRenlai caught up with the festivals special guests including some of the biggest names in documentary, both Taiwanese and foreign. But before any of these we interviewed with the festival director who gave us some background information about the projects and participants. They included the academic and founder of the Swiss Visions du Reel, Jean Perret; emotional and intuitive director amongst the most celebrated in the field of documentary, Heddy Honigmann; Beijing's biggest documentarist/curator since the Great Reform in China, Wu Wenguang who brings with him the documentaries produced for The Village Documentary Project and of course the king of Third World film, the dancing indo-genius Tahimik Kadlit. Furthermore we have podcasts with director of a very different type of holocaust movie, Yael Hersonski, Hong Kong director Yao Ching and Tahimik's son Kidlat.

Yet TIDF is more than just a showcase for international documentaries and a rubber stamp for multi-thousand dollar prizes. It is also a place for young aspiring directors, filmmakers and artists to learn from the experts. As such they incorporated 'family box' installations from talented children which had their origins in Sylvia Chang's GOSH Foundation. The three young winners of the competition from the year before were delighted to have their stunning video art works displayed in the MOFA gallery as well as being showcased on eRenlai. Please sit back and enjoy the works from Liu Min-chieh, Li Pei-tzu and Yang Hsin-he.

Finally, nothing can truly match up to the visual arts experience and equipment at Taichung's NTMOFA, so if you couldn't make it to the festival we bring you a taste of the cinematic experience you missed, whether it be the techplex media art centre, with its experimental screenings or the wondrous outdoor 'starlit screenings'. Indeed, it was on the 22nd October 2010 at 7pm when the helium filled balloons were released flying from the net that was our brain, way into the skies and as such we could begin with the release of these memories from all around the world hundreds of movies beginning with the first film Doc Taichung, a montage of 6 different films, made by six different directors especially for this year's 2010 festival.


To see the award winners please click here

 

 
Thursday, 02 September 2010 00:00

藝術,從行動開始!——印尼Perfurbance國際行為藝術節

寬容的風氣在印尼中部的大城日惹(Yogyakarta)非常興盛。譬如以宗教而言,從當地皇宮的柱子便可看出端倪。這些柱子共有黑、金、紅三種顏色,代表的是影響日惹與爪哇文化甚鉅的三大宗教——伊斯蘭教、佛教與印度教——在當地的和平共處與相互融合。此外,日惹也有許多伊斯蘭教、基督宗教與無黨無派的大學,其中有些還設立獨立的宗教對話研究機構。

 

 

寬容之城、藝術之都

 

基於這種寬容友善的傳統,加上當地在印尼前總統蘇哈托(Suharto)的獨裁政權時期(1965-98)曾被賦予某種程度的自治,相較於印尼其他地方,日惹便成為一種自由開放的象徵。這種寬容不只限於宗教自由,還包括去擁抱各種不同的文化影響與當代藝術,為原本的傳統增添深度、個性和多元性。事實上,當地最不受歡迎的便是基本教義派份子,因為他們總是強制要求公民,逼迫他們遵守那些限制日常宗教與藝術創作自由的規定。這裡的人歡迎差異性,更對此充滿興趣。

 

因此,日惹同時也是藝術家的城市,擁有風格繁複多變的建築、繪畫、塗鴉、刺青、舞蹈、偶戲與宗教遺產,吸引許多藝術家與社運工作者在此活動。只要去日惹看看當地的圍牆或橋樑,不用花上多少時間,就可以發現許多政治壁畫,和這座城市創意盎然的充沛能量。從印尼國民詩人仁達(W.S. Rendra)的時代開始,經歷蘇哈托主政時期再到今日,社運份子和藝術行動者(Artivist,註1)透過日惹及其周遭地區的藝文活動,將教育與公民反抗的思想,散播到印尼其他較為保守的村落或小鎮。

 

2006年5月27日,一場大地震為日惹帶來極大損傷,不僅造成居民相當沈重的心理衝擊,還逐步改變了當地國際行為藝術節的活動方向——這個藝術祭典的獨特性可謂享譽全球。地震後一年,有群表演藝術工作者進入災區,將自身的藝術與熱情,奉獻於當地的硬體與精神重建。

 

 

 

NickCoulson_PerfurbanceKlub02從每週小品到年度盛事

 

這群藝術工作者中,帶頭的是日惹知名畫家伊萬.威悠諾(Iwan Wijino)。他在2003年創辦「表演俱樂部」(Performance Klub),主張以藝術作為社會改革的手段。創團初始,成員每週固定舉辦「星期三行動」(Wednesday Action),邀請印尼國內外的行為藝術家共襄盛舉,推出由數個小品組成的表演。到了2005年3月,表演俱樂部依靠「星期三行動」所建立的基礎,推出每年一度的重頭戲:「Perfurbance(註2)」國際行為藝術節,分別聚焦於不同的社會、政治或人文主題,並向當地傳統藝術家致意,強調傳統藝術的重要。第一屆的Perfurbance藝術節探討激烈都市化造成的影響,第二屆側重教育商品化的討論,第三屆以心靈重建為活動重點,第四屆則關注全球暖化與環保議題。

 

在這些活動裡,表演俱樂部與其他行為藝術家一起嘗試即興團體表演,探索藝術工作者與空間和觀眾互動的可能性。此外,他們也設法讓社區參與他們討論的議題。雖然不見得每次都能成功,但仍希望這樣做能留下持續性的影響,讓自己的藝術能真正有所貢獻。

 

 

 

繼承前人精神的藝術饗宴

 

隨著環保危機逐步逼近,表演俱樂部並不乏新的創作題材。例如成員們正在進行「食物森林文化中心」(FFCC)這樣一個巨大複雜的提案,意在以各種自然方式,創造足以提供廉價有機食品的永續能源,並且讓窮苦的農業社區也能享有免費提供的種子。最終當地會建立一所免費的學校,教導並訓練民眾,讓他們以後也可以創造出與FFCC互相媲美的計畫。

 

頗富深義的是,作為計畫實施的場地,是仁達的家。他除了是偉大的詩人,也是印尼戲劇界的重要人物,更是將爪哇傳統文化引入劇場的先驅。這位因反抗蘇哈托政權而被囚禁,集社會運動者和激進藝術家於一身的勇者,曾經如此主張:「我想引進些新的東西,像是因果律……我希望大眾——尤其是日趨僵化的政客——能做分析性的思考。」而仁達的女兒瑞秋.薩拉絲瓦蒂(Rachel Saraswati)現在則在表演俱樂部擔任計畫聯絡人和藝術節祕書。對自由開放、積極投身社會議題的藝術家團體來說,仁達成了他們的守護者;像表演俱樂部這類的團體則延續了仁達以來的創作傳統,致力維護近來相對開放的自由風氣,希望能使其繼續發展。

 

 

 

NickCoulson_PerfurbanceKlub04結合當地生活的行為藝術

 

震災過後,表演俱樂部於2007年4月舉辦第三屆Perfurbance藝術節,地點在日惹班圖爾(Bantul)地區的甘布浪岡村(Gemblangan)。甘布浪岡村是前一年5月27日大地震的震央,受創也最為慘重。村中九成的建築皆毀於一旦,並造成數千人的傷亡,許多寶貴的生命就此消失。表演俱樂部從地震當天後,便開始便積極投入救援行動。在這次主題訂為「心靈重建」的藝術節中,表演俱樂部的成員也致力提升自己對村民文化的覺醒,彼此交換藝術上的意見。

 

這些藝術家不僅忙著構思表演活動,也在村中主持專題研究、討論會和工作坊。他們討論的主題十分廣泛,從急難救濟、有機農業、食品製造和另類教育,一直到政治意識型態、社會習俗、社區自助、互助和精神價值等,而且在舉辦的過程中不忘尊重和發展傳統文化。舉例來說,當這些藝術家在教導村民關於健康和營養的議題,也藉機引薦印尼傳統醫生蘇吉楊托(Sugiyanto)和他作為另類當地療法的草藥飲料。

 

 

 

賓主盡歡的難忘經驗

 

在吸引許多其他國籍的藝術家前來的同時,表演俱樂部還動員當地的農民團體,取得他們的信任和支援。在藝術節舉辦的五天期間,藝術家的演出空間包括舞台、農場、十字路口、村中的房屋以及河邊等地,其表演形式也是五花八門,用來傳達不同的意見。

 

薩拉絲瓦蒂以諷刺的手法,突顯印尼在全球化世界下的認同困境。她穿上垃圾袋,坐在浴缸中唱著印尼的國歌《偉大的印度尼西亞》(Indonesia Raya),她的同伴則在旁邊升起美國國旗。從法國來的布魯諾.梅賽(Bruno Mercet)用柔軟材質製成小型雕像,並與其互動,顯示人類如何受到小型物件的奴役。至於甘布浪岡村的村民也不甘示弱地展開許多演出,像是他們用來召喚神靈、極為色彩斑斕的傳統舞蹈,以及其他音樂表演和傳統祭典。

 

對於參與並策畫第三屆「Perfurbance」藝術節的成員來說,這活動確實彌補了表演研究上理論與實際演練的鴻溝,同時也結合藝術和現實生活的議題。從美國來的表演者揚.康納爾(Jan Cornall)如此評論這次的藝術節:「當地村落和國際性的藝術社群發現他們用的是同一種語言——精神上、心靈上的語言。這實在太美妙了!」而第一次來此表演的雷扎(Reza)也說:「村落本身就是一項行為藝術創作,觀眾和表演者之間沒有分界。」

 

在這個位於印尼心臟地帶的村落裡,有人因為心中的惡靈袪除而求去,有人則帶著新的配偶離開,但似乎所有告別此地的人都感到精神煥然一新。

 

 

 

【註釋】

 

1. 藝術行動者(Artivist)是「藝術」(art)和「行動主義者」(activist)的合成語。近來隨著反全球化和反戰運動日趨興盛,開始發展出所謂的「藝術行動主義」(Artivism),主張以藝術為手段來進行社會運動。不同於之前以政治諷刺或宣傳為目的而創作的藝術工作者,藝術行動者比較偏好參與實際行動,例如街頭塗鴉或行為藝術,來彰顯自己的理念。

 

2.「Perfurbance」一詞為performance art(表演藝術)和urban(都市)的合成語,而藝術節中許多探討的主題也確實和都市化問題密切相關。

 

 

 

想得知「表演俱樂部」與「Perfurbance」行為藝術節更多的資訊,請至下列網址:

 

http://performanceklub.blogspot.com

 

http://www.facebook.com/performanceklub

 

 

 

編譯/吳思薇

攝影/MES 56〔www.mes56.com

 

相關文章,請參閱〈印尼行為藝術節中的台灣經驗

 

本文亦見於2010年9月號《人籟論辨月刊》

 

No74_small 想知道更多精采內容,請購買本期雜誌!

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Tuesday, 27 July 2010 14:22

Transitional (in)justice

When referring specifically to the death penalty in Taiwan, one must take into account transitional justice, it has after all been transforming from one that just ...years ago experienced the cruelty and barbarity of the White Terror.

Minnanese director Cheng Wen-tang, has always concerned with issues of fairness and the struggles of the common people in Taiwan. In his recent films, such as 'tears' has decided to take on the topics of fairness, forgiveness and regret in the justice system. Here he talks briefly about transitional justice.

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Monday, 26 July 2010 22:41

Leading the long road to abolition (TAEDP)

Lin Hsinyi is the Executive Director of the Taiwan Alliance to End the Death Penalty (TAEDP). In a gradual reaction to the cases of Zhou Xun-shan, Lu Cheng and Xu Zi-chiang, TEADP was established in 2003, and has been working towards abolition ever since, as well as helping appeal death row cases and offering support to relatives of those who have received a death sentence or who have already been executed. They are currently the most active group in Taiwan regarding the cessation of the death penalty and are also members of the World Coalition Against the Death Penalty (WCADP) and the Anti Death Penalty Asia Network (ADPAN)

As a recognisable outspoken critic of the death penalty, Hsinyi often receives personal threats on her life and body, a product of the prevailing atmosphere of hate. This atmosphere of hate is something she feels is an obstacle to objective debate on the subject. Hsinyi also feels that the resumption of executions after a four year moratorium in May was a huge setback, yet, she believes progressive steps are still being made. Here she talks about why she does not favour the death penalty as a form of punishment, the obstacles to abolishing the death penalty and what can be done in the future.

Or for readers in Mainland China, watch it here

For more information on the TAEDP, watch their own introductory video, or see the English section of their website.

Wednesday, 14 July 2010 15:07

The victims, the victims and the other victims

For the past 10 years Lu Ping and Lu Jing have been fighting to overturn the guilty verdict in the Chan Chun-tzu murder case. Their brother Lu Cheng was charged with the murder, and sentenced to death. On 7 September 2000 he was executed. The family found there were huge inadequacies with the case.  They argue that Lu Cheng was a brother, a father and a human being, thus the potential that he was unjustly executed brings the whole system of justice into disrepute. Here Lu Cheng's older sister's give their voice on what they see as a latent miscarriage of justice.

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The spirit medium

From a foreigner's point of view, one of the strangest things in the case was the involvement of a sort of psychic, or from the Chinese 'spirit medium' (lingmei). While for many the use of a spiritual medium in solving a crime would beggar belief, shockingly the role of the psychic appears not to have been eradicated from use in the Taiwanese judicial system. The clerk in a law court, Pan Minjie, discussed her visions with the police regarding the murder of Chan Chun-tzu when they were without leads. The police had apparently been under huge pressure to solve the crime, or perhaps find a scapegoat. The Lu's say that they found and arrested Lu Cheng as a suspect on the grounds of the spiritual medium visions. Then after 36 hours in the police station, with many issues regarding the lack of complete interview recordings, and with reports from the family of torture and extortion, Lu Cheng signed a confession. After the sentence had been passed they never again re-investigated the psychic aspect of the case and the recordings were never released.

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