Sin ka nadruma,
Kay paka balribalrthi,
Kay apa pelaela,
Ku ki dredreme
Sin ka nadruma, Kay paka balribalrthi,
Kay apa pelaela, Ku ki dredreme
《The Immutable Spiritual Beliefs》
Via the weaving grammar of Eleng Luluan’s bodily utterance (looks like ups and downs on the ocean surface) woven into latitude and longitude. From a birds-eye perspective, the storm circle in the satellite cloud image and the movement of the ongoing typhoon were fixed on the eye of Typhoon Koinu in 2023.
In the eye of the typhoon, there are overlapping storms and digital images, and clicking on them simultaneously. It unlocks the trans-Indigenous cultural resonance and connection with the world. Luluan’s artistic sovereignty aims to rouse an awareness of ‘curating togetherness’ by collecting dialogical inspirations and videos from various generations of Taiwanese Indigenous art practitioners and cultural workers. The artistic methodology has applied the mediums, including literature, music, poetry, and activism, whose concepts foster cultural resonance relationships through the power of sharing spirituality, the responsiveness of connected resonance, and the activation of physical practice.
The spiritual faith is deeply rooted in change and immutability. Luluan questions how we should, as humans, face the torrent of the past that is disappearing at an accelerating rate. The trauma and destruction caused by returning to the origin of Aboriginal/Indigenous history. She further asks how we confront the harmful power of globalisation issues. The future tense may co-exist in the service of change and immutability for generating resonance and locating the roots in a global space of disorder, obscurity, uncertainty, and awakening.
The reclaimed Paiwan Nation poet Ljavuras Giring (Wen Chi from the Kaljatjadran Community), Trilogy of Aborigines (San Di Ren), 1990. He provokes,
Climbing up to the top of the mountain – leaping
Going down from the mountain – rolling in
To the below mountain – prostrating forward
Giring uses bloody strokes to describe the situation of the Aborigines / Indigenous Peoples on this land across the trans-generations in the past hundred years.
The connection between the mind’s imagination, bodies, spaces, and histories and the world has flipped our vision and opened a new entrance in the pulsating resonance of souls and the connected resonance with each other. Luluan invites you to breathe smoothly and think, how could we face the huge waves from the future?
《恆久不變的信念》
藉由最古老的編織語法，織進經緯， 以一種鳥瞰的視角，將衛星雲圖裡的風暴圈和進行中的颱風動向， 定格在 2023 年 的小犬颱風眼上。
颱風眼中，交疊著風暴與數位化的影像， 點進，開啟了與世界的連結。 時間軸上，不同世代的人物訪談紀錄， 以文學、音樂、詩歌、運動、觀念來彼此分享、連結與對話， 帶來共振的關係。
信念深根於變與不變之中，
又該如何面對過去正在加速消失的洪流裡。
回到歷史原點所帶來的創傷與破壞，
又如何正面迎擊全球化議題的威力，
未來式的樣貌存在於變與不變之中。
詩人溫奇於 1990 年所作《山地人三部曲》:
山上 躍進
下山 滾進
山下 伏進
溫奇以血淋淋的筆觸描繪原住民在這塊土地上近百年來跨時代的處境，
關於思想、身體、空間、歷史的想像與世界的連結，
翻轉了我們的視野，又開啟了一個新的入口。
在靈魂脈動共振與彼此的連結中，又如何迎面來自未來的巨浪?
Paliu：A heart dedicated to our ancestors
By the moon pond and sun pond, besides the flowing river,Auvini and Eleng, guided by the profound philosophy of the Rukai.Gaze into the depths of memory, reflecting on a kingdom fading into the tides of a relentlessly changing world.In this fleeting, turbulent moment,How can they follow the wisdom of their ancestors,To illuminate a future filled with great hope?
Auvini Kadresengan
Rukai people Ｗriter / Historian / storyteller
Using words as his medium, Kadresengan weaves a tapestry of the Rukai people’s rich history, creating a literary legacy through novels, essays, poems, and songs. Through his work, he rubs the ancient myths, oral histories, and community relocation stories narrated by the Rukai elders into hearts. In 1991, He returned to Kuchapungan to rebuild "Balhiu" , the stone slab houses. Kadresengan is a vital cultural advocate, historian, and storyteller for the Rukai community, preserving their heritage for future generations.
*1 . Paliu: means ‘’look back’’ and ruminate in Rukaii language.
*2. Kuchapungan nestled at an elevation of 1,000 meters in the mountain in Southern Taiwan. In 1977, under government policy, the community relocated to Tulalkelhe, a riverside area along the Ailiao River. Their time in Tulalkelhe lasted less than 30 years. Devastated by the floods and mudslides from typhoon Herb in 1996, typhoon Sepat in 2007, and typhoon Morakot in 2008, the Kuchapungan community was forced to move again, ending the Tulalkelhe chapter in Rukai history. They were once again relocated to Rinari, a permanent housing project to accommodate multiple indigenous communities in 2010.
Messages of the Wind in Lupakatj
Why do we have winds?
This wind comes from heaven, a force of nature.
This wind gives us strength.It transforms our land, reshapes our forests.
Look at the riverbanks of our land, they've changed so much.
This wind is truly powerful.
We humans can never match the might of nature.
Where does this wind come from?
The elders say, "We don’t know."
This wind belongs to nature; it is the wind’s work.
If there were no wind,how could we labor?
How would we transform our land?
This meaning of the wind is this:We humans can not overcome it.
We heed to the message of the wind.
———————-Rukui Lasakasa
In the words of the elders, Lupakatj is the place where ferns grow in abundance.For millions of years, the message of the wind arrives, sometimes as gentle whispers, sometimes as fierce tempests.The people born and raised on this land have lived alongside with this ancient wind for countless generations.
Through the work, Eleng bonds with Lupakatj and this land.By listening to the voice of the land, experiencing the unpredictable wind, and witnessing the ever-changing rhythm of life, she immersed herself in the resilience of nature, breathing life into this creation, unfolding a dialogue with Lupakatj.
Dakanow
Dakanow, meaning Crested Serpent Eagle.
Mounting up and soaring, it calls to all that holds life.
Dakanow Pakedavay Ruluan
Paiwan and Rukai people , Ｍusician
Enlightened by the betel-nut-stained Vuvu, the indigenous community elders, Dakanow awakened to the budding consciousness of indigenous identity. He became a devoted participant in pivotal social movements, including the Indigenous People’s Recertification Movement, the Claim of Indigenous Land Movement, the Anti-Child Prostitution Movement, and the campaign to dismantle the Wu Feng statute. During the anti-dam movement, he played a key role in founding the Indigenous Soundtrack, using music as a medium to express the beliefs and aspirations of indigenous people. Indigenous Soundtrack serves as an artistic and cultural protest, challenging unjust government policies and societal norms. Through his music, Dakanow channels ancestral wisdom and narrates invaluable life experiences, creating dialogues around cultural shocks and transitions experienced by the contemporary indigenous communities, infusing songs with deep social significance.
The River Recognizes People
In the embraced of mountains and rivers
In the mother’s soothing lullaby
Ancient memories etched within
Flowing ceaselessly, singing its melodies
Awakening songs
Seredaw．tariyalgan follows after her melophile mom, harmonizing with the communityelder’s tunes,
Carving each song into her song, singing them into her life.
Seredaw．Tariyalgan Paiwan people,Ｍusician
Artist | Eleng Luluan
Installation Production | Eleng Luluan, Sulhiape Pulhitan, Rukui Lasakasag
Video interviewees | Auvini Kadresengan, Lupakatj Youth Organization, Dakanow Pakedavay Ruluan, Seredaw．Tariyalgan
Rukai Language Translation | Cegau Druluan, Drasare Kadresengan, Sasare Pakidaval, Valredevede
Paiwan Language Translation | Sasare Pakidaval, Seredaw．Tariyalgan, Valredevede
English Translation | Ｗork Description : Biung Ismahasan, Work Prayer : Ming Li-kuo, Video subtitles : Allison Lu
Provision of Reference Photos | Auvini Kadresengan, Ming Li-kuo, Dakanow Pakedavay Ruluan, Kaleskes Pakedavai, Seredaw．Tariyalgan
Photographer | Ting-Yu Lin
Cinematographer | Ting-Yu Lin , Apple Liao, Eleng Luluan
Gaffer Assistant | Yeh Nan Chou
Video Production | Collective Studio，Ting-Yu Lin
Sound Mixer | Tero Puruburubuane
Project Executor | Apple Liao
Introduction Cards Designer | Cheang Kuai-Ieng
Website Production | Cheng-Sheng Chien
Special Thanks |
Poet Lavuras Giring /Wen Chi ( Kaljatiadran Community)
Kui Druluan Talialalay
Laucu Druluan
Lavakaw Lisin Kasepelane
Nabu
G.M.A. Chief Panai
Rukui Lasakasag
Cudjuy Patjidres
Legeai Kabulu
Ripping Tariyaljan
Pukiringan Tariyaljan
Dremereman Taljiyaljan
Tang Shin
Composed Artistes In Taiwan Aborigines (C.A.I.T.A)
Akawyan Pakawyan
Abetayan Pakawyan
Lily's Garden Rusupetan
Brusan
Indigenous Peoples Cultural Development Center
To our land, our love
Sincerely appreciate our ancestors, relatives and friends
Rukai people Born 1968, Kuchapungan（Haocha） community, Pingtung County, Taiwan .Lives and works in Taimali , Taitung County.
Eleng Luluan is a Rukai artist highly regarded for her ambitious, architectural-scale installations that comment on the culture and resilience of her indigenous Taiwanese community. Her installations combine delicate weaving techniques with a dynamic spatial sensibility, utilising waste materials in new and surprising ways. For Luluan, the principles of wabacabacas — where the movement of the hand embodies thoughts, beliefs, history and culture — and the practice of interweaving voices from her community are central to building cultural resilience to sustain the community into an uncertain future.
