2014- 2016 The Space of Fifty Steps 五十步的空間

2014-2016

五十步的空間The Space of Fifty Steps

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「ina我很怕你們的過去都被遺忘了」

「對啊!當我看到五顏六色的色彩的時候,我總是把那些淡淡的東西都拿去丟掉。」
「為什麼?」

「因為現在那些總是很美的東西。」

「那你現在還覺得那些五顏六色的,真的都是很漂亮的嗎?」

「不是了,因為我發現,這些都是假像,都是影子,可是真正那些過去那些我要找回來都找不回來了,因為我丟掉了。」

「因為很多人去丟,所以我現在一直不斷的在撿,也許我找不到你原來丟的樣貌,可是我一直在撿,不斷的在撿,也許可以從那些破碎裡面找到蛛絲馬跡,找到你們原來那純粹的心靈,也許已經拼不出那完整的,可是我可以感到那個過去,也試著拼出我們的現在。」

“Ina, I worry that your past would be forgotten.”

“Right! When I see colors so vivid, I always throw away those that were too light.”

“Why?”

“Because I thought the colorful ones were more beautiful.”

“Now, do you still think those colorful things are really beautiful?”

“Not any more. Because I realize these are all facades and shadows. However, what I want to retrieve from the past, those I really want, can no longer be found, because I already threw them away.”

「五十步的空間」是拉黑子‧達立夫潛心構思且籌備多時的大型創作計畫,作品涵蓋行動、文件、裝置、平面、立體雕塑等多元的呈現手法,可說是拉黑子個人二十數年創作經歷中的所思所行的總集合。「五十步的空間」一詞出自於拉黑子‧達立夫已故的父親曾在生前語重心長的一句話:「我們只剩下五十步。」對於生活腹地原就狹小的港口部落而言,五十步幾乎就等於走到浪頭上的距離,在傳統裡面這是生命等待與出發的地方,原應是一個小心以待的警戒區域,但隨著現代的發展,這一段空間被迅速擠壓著,而人們對於自然環境、傳統文化的輕忽於是也呈顯在這樣的地帶。對於身為世居於太平洋邊岸,靠著這片海洋餵養的花蓮豐濱鄉港口部落阿美族人而言,這從來不止是環境問題,他們所關注的海洋是一種涵蓋到所有生命消長平衡的永續觀念,然而傳統面對環境的本能卻在這過程中衰退著,為此拉黑子不得不以一種足以穿梭在傳統與現代間快速變換的觀看方式凝視這片海洋與此刻我們所共同面臨的現況。

如今,原住民族從海洋與山林獲取生命資源的生命方式依舊存續,然而本質早已不同,認知主體不再根著於故有的母體文化,而處於一種漂泊且撕裂的狀態,族人們共同面臨的是多重的時間壓力,改變的速度太快,包含傳統、文化、語言、宗教、價值觀、人際關係、謀生方式、教育……當改變的速度成為潛沉在所有族人內部的集體壓力,這股壓力勢必將往太平洋的風景蔓延,及至影響到所有前來遊客的普遍心理之中。創作者於是要提出的是一種轉換的觀念,傳統將這五十步的空間看成是一種山與海交換的空間,那是一個約定好的緩衝地帶,可以走過經過,但不可以占有的路徑,山與海在此交換、生命在此轉換、進退。這條路徑的精神提醒我們需要在生命中保持的彈性,五十,一半一半,男男女女在此採集食物、祭司在這裡解災去病、傳統的儀式在這裡進行,古老的靈魂在此送往迎來、神話裡詮釋了這空間裡的所有禁忌……身為善於採集的阿美族人,創作者承繼了「撿」的肢體動作但轉換了拾獲物即海岸漂流的人為廢棄物,經由最原始的撿拾動作在此交換其個人的困惑與苦悶,而後再以身體空間的轉換對思維與精神進行「縫補」,透過所拾回的物件拼湊古老的智慧,並轉換能量探向最原初的神話,以此回歸初衷,並獲取對生命意義的重新詮釋。

(本計畫獲 2014年國家文化藝術基金會「美術類-大型創作」計畫獎助)

“The Space of Fifty Steps” is a large-scale artistic project series considered and prepared by Rahic Talif for many years. Artworks included in this project are presented in various formats, including performance, documents, installation, and two and three dimensional sculptures. It’s not an exaggeration to say that this project sums up Rahic’s thoughts and activities for the past twenty years in artistic creation. The term “The Space of Fifty Steps” is inspired by what his late father told him, with a heavy heart, that “all we got is fifty steps.” For Makuta’ay tribe that had a very small space for people to live, fifty steps translate almost to the distance between the tribe and the sea. Traditionally, this particular space had been where life waited and set out for a journey, a fragile zone that needed to be treated with care. However, in the process of modernization, the space has been drastically compressed, epitomizing people’s mistreatment of natural environment and traditional culture. For the Makuta’ay tribe of Amis in Feng-bin Town, Hualien, who have been living for generations at the shore of Pacific Ocean and feeding on it, this has never simply been an environmental issue. The “ocean” they concern themselves with refers to a sustainable concept that subsumes the balance comprising the rise and fall of all lives. However, the inherited instincts with which people coexist with the environment is declining, and as a result, Rahic has to employ a perspective that allows him to rapidly going back and forth between tradition and modernity, and to look right in the eye at this ocean and the reality faced by all mankind.

Today, the indigenous people carry on their way of living by obtaining resources for living from the ocean and forest. However, in essence it has been very different from what it used to be. People with indigenous identity are no longer attached to their mother culture, but remain drifting and disrupted. What they are facing in common are “temporal” pressures, that is, the speed of change—in terms of tradition, culture, language, religion, value system, inter-person relations, career, education and so on—which is going too fast. When such a speed becomes a collective pressure sinking deeply into the tribal people, it is going to extend to the Pacific Ocean and further impact tourists in general in a spiritual way. Therefore, what Rahic suggests here is the idea of transition. Traditionally, the space of the fifty steps was considered as the one where mountain and ocean interchange, a buffer zone they agree upon, a route they can walk through but not occupy. It is where the mountain and the ocean interchange, where life transform, moving forward and backward. The spirit of this route reminds us to keep certain flexibility in life, that fifty can mean half of something. The space is where men and women collect food, the hierophant exorcises bad luck and disease, traditional rituals are carried out, and ancient spirits welcome new member while sending away old ones. The myth exemplified all the taboos in this space… As an Ami who is good at collecting things, Rahic inherited the physical action of “picking up”, while replacing what’s been picked up with disposals produced by humans. Through the most primitive action of picking up things, he transformed his own confusion and anxiety, and then, with the transformation of physical space, he “repairs” his thoughts and spirit. Through piecing together the objects he picked up, he pieces together ancient wisdom and transforms the energy to explore the most original myth, so as to return to the beginning of everything and a new interpretation of the meaning of life.

*2014年台北當代館展覽現場的吟誦混音,由數十年長期採集台灣民族音樂進行學術研究的DJ Hatfield,於《旅行》作品製作過程現場收音並操刀製作。DJ Hatfield 任職於Berklee college of music.於2014~2015受 Fulbright Taiwan基金會邀請來臺灣繼續從事相關研究工作。

The mixed chanting played on-site is produced by DJ Hatfield, who has been collecting Taiwanese tribal music for over a decade for scholarly research. The sounds were collected on the site where the artistic work “Journey” has been created. DJ Hatfield is currently a faculty at the Berklee College of Music. He was invited by Fulbright Taiwan Foundation to continue his research in Taiwan from 2014 to 2015.

展覽現場聲音創作 線上聽 / The music is available online

愛樂電台-藝術相對論,專訪「五十步的空間」展覽

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