Indigenous Corporeal Presence: Bulareyaung Dance Company's LUNA and Indigenous Territorial Issues

原住民身體的存在性：布拉瑞揚舞團《路吶》與土地正義等議題

林亞婷(LIN, Yatin)

《台灣舞蹈研究》 15期 (2020/12) Pp. 135-157

https://doi.org/10.6303/TDRJ.202012_(15).0004

摘要

In January 2019, as part of the 2018 Taipei Biennial titled ＂Post - Nature: A Museum as an Ecosystem,＂ at the Taipei Museum of Fine Arts (TFAM), I attended a performance by the Bulareyaung Dance Company (BDC). They were invited by the ＂Indigenous Justice Classroom,＂ an extension of the Indigenous people's protest against traditional territorial rights on Ketagalan Boulevard outside of the Presidential Building in Taipei back in February 2017. LUNA's TFAM abbreviated outdoor version, under the surrounding of the Ketagalan protest tents, towels, and rocks hand-painted by supporters, touched audiences that attended this free event. In fact, this TFAM event was titled: ＂For Whom are We Dancing?＂ After the performance, one of the key initiators of the Ketagalan protest-indigenous singer Panai Kusui-shared her thoughts in relation to the territorial reclamation issues. Bulareyaung asked each of his dancers to answer the question: ＂For Whom do they dance?＂ All this time, documentary director Mayaw Biho, another initiator of the Ketagalan protest, was filming and broadcasting the event live through social media. Dance performances now take place for various reasons, not simply to fulfill the artistic vision of the choreographer, but also toward the greater common goal of the community. Having collaborated with international dance companies, indigenous artist Bulareyaung return to his hometown Taitung in the east coast of Taiwan in 2015 in search of his indigenous identity. LUNA is an landmark production toward his artistic journey in exploring the rich topic of body and indigeneity. Through discourses on local knowledge by anthropologist Julie Cruikshank, Jacques Derrida's concept of ontopology, as well as dance scholars Jacqueline Shea Murphy's writing on Native American dance, and Ya-ping Chen's observations of the contemporary dance scene in Taiwan, I unravel how the topos, corporeality, and indigeneity intertwine.

關鍵字

Bulareyaung Dance Company (BDC) ； LUNA ； local knowledge ； Indigeneity ； ontopology

並列摘要

2019年布拉瑞揚舞團受邀在台北市立美術館的「台北雙年展」以「後自然：美術館作為一個生態系統」為主題的「原轉小教室」演出。這是繼2017年在總統府前的凱達格蘭大道上，原住民爭取土地正義的抗爭之延續。這場在北美館戶外中庭演出的《路吶》精選版，由移自凱達格蘭大道抗爭者使用的帳篷，毛巾，或支持者手繪的石頭…等富有意義的物件所環繞，場景氛圍精心設計，令人印象深刻。這場取名為：「為誰而跳？」的演出結束時，發起「沒有人是局外人」的歌手巴奈擔任主持人，分享她觀賞表演的想法與感受。布拉也邀請舞者們一一回答他們「為誰而舞」？「為誰而演」？期間，原住民紀錄導演馬躍比吼，也是凱達格蘭示威抗爭的另一位發起者，一路進行拍攝，同步線上直播整場的演出與對話。布拉瑞揚擁有頂尖舞團的豐富經歷，此刻選擇返回台東家鄉創團，尋找自己原民身分的認同。舞團自2015年創立五年來，透過不同的作品，挖掘身體與原民性的尖銳議題。本文參考人類學家庫依珊克（Julie Cruikshank）的「在地知識」與哲學家德希達（Jacques Derrida）的「地方本體論」（ontopology），並探討對原民身體的主體性。而舞蹈學者Jacqueline Shea Murphy對美國原住民舞蹈之研究，甚至舞蹈評論者陳雅萍對台灣舞蹈的觀察，也提供筆者思考《路吶》之身體、原民性，與地方相互交織的複雜議題。

並列關鍵字

布拉瑞揚舞團 ； 《路吶》 ； 在地知識 ； 原民性 ； 地方本體論

參考文獻

Butler, Judith and Athena Athanasiou, Dispossession: The Performative in the Political. Cambridge, U.K.: Polity Press, 2013.

Cruikshank, Julie. Do Glaciers Listen? Local Knowledge, Colonial Encounters, and Social Imagination. Vancouver: University of British Columbia Press, 2005.

Derrida, Jacques. Specters of Marx, the State of the Debt, the Work of Mourning, and the New International, Trans. By Peggy Kamuf, London: Routledge, 1994.

Shea Murphy, Jacqueline. The People Have Never Stopped Dancing: Native American Modern Dance Histories. University of Minnesota Press, 2007.

Veracini, Lorenzo. Settler Colonialism: A Theoretical Overview. Palgrave Macmillan: 2010.