【台北藝術節 X 在地實驗：共想吧側記】Faivā Haka — 文化行動的藝術

✠講者：拉泰．陶莫（Latai Taumoepeau）✠

台北藝術節官方網站：https://www.tpac-taipei.org/festival-taipei

共想吧系列活動官方網站：https://www.tpac-taipei.org/event/474

《海洋島嶼礦山》

2023年台北藝術節的主題為「萬物運動」，英文名「Dancing Ecosystem」指的是舞動的生態系統，這個概念之下，各主題的創作於藝術節彼此交織，多種媒材的作品亦於這個場合中互相對話和詮釋。拉泰．陶莫（Latai Taumoepeau）於藝術節演出的《海洋島嶼礦山》是2015年的作品，經過六個月的準備和改良後，在2023年以全新的樣貌迎接台灣的觀眾。

《海洋島嶼礦山》在台北藝術中心前方的廣場演出，為時一個半小時。不論是特地來看表演的觀眾或路過的行人，都會被陶莫的舉動攫住心神：她堅持不懈地把一塊冰山，從一處搬運到另一處，表情肅穆，整場表演中握著鐵鏟的手始終不曾動搖過。可在台灣夏季的高熱之下，這個行動無疑是相當荒謬的，冰山在表演途中逐漸消融，隨著演出進行，陶莫偶爾也會將鏟子插進冰裡，脫力地靠在冰山上，下一秒又重新站起，揮動鏟子。

《海洋島嶼礦山》

《海洋島嶼礦山》

通過這一個半小時的現場表演，陶莫想傳達全球暖化、海平面上升的困境，通過在表演過程中目睹冰山的消融，觀眾彷彿親身經歷極圈的哭嚎，陶莫堅持不懈的搬運行動，是屹立不搖卻杯水車薪的環保努力，冰山在移動過程中，仍舊化為一灘灘淚水。

此次演出前一天，舉辦了「共想吧」的講座，以 文化行動的藝術為主題，討論陶莫對氣候的關懷，以及她全力投入的「faivā」表演形式，意指「以身體為主體的藝術實踐」，她的「faivā」來自她的家鄉，東加（Tonga）王國。

講座一開始，陶莫以六歲時的舞蹈表演照片起頭，照片裡的她穿著當地材料製成的傳統制服，當時演出的舞蹈動作主要是模仿其他同齡女孩的，在父母的強力支持下，她在多個機構中訓練和學習舞蹈，從她居住的村莊開始，到郊區的教堂大廳，再到夜總會和大學。這些表演練習為她日後的創作奠下基礎。

陶莫主要從事現場藝術（live art）。她的表演實踐以身體為核心，將東加的空間和時間哲學融入其中。這種融合使古典與日常的實踐交叉結合，強調太平洋地區氣候危機的影響。此外，她也積極投身急迫的環境運動和行動，期望在大洋洲引發變革。在澳洲的社會政治背景下，她對於種族、階級和女性政治的敏感性是顯而易見的，更致力於關心少數族群，這些思想都反映在她的創作中。

2007年，陶莫於美國參加了以氣候變遷為主題的論壇，遇到了來自大洋洲其他國家的藝術創作者，在一週的互動過程中，他們對NGO的行動更加熟悉，亦重新體認到氣候危機的現狀，來自肯亞和大洋洲島國的組織代表，分享了他們國家親身面臨的氣候問題。

這次參與論壇的經驗對陶莫的創作有很大的影響，她觀摩了來自各地的藝術家的作品，返回澳洲後，靈感源源不絕，她也開始與不同領域的人合作，試著創作中加入自己的宗教信仰，並以堅定的信念說服與她共事的團隊，採取對環境友善的創作方式。

｜過去作品介紹

2012年的《I-land X-isle》演出時，陶莫將自己綁在金屬框架上，懸掛在兩噸慢慢融化的冰下。水滴緩緩地落在她身上，象徵海平面上升對小型低地島國的威脅。這件作品亦質疑了旁觀者的責任，要求他們面對和思考他們在氣候變化過程中的角色。觀看《I-land X-isle》的過程中，觀眾大都受到罪惡感和無助感籠罩，可見這個演出多具有衝擊性和挑戰性，使觀者不得不重新反省自己的行為。

2018年的作品《海的縫合》（Stitching Up the Sea）與黑城藝術中心（Blacktown Art Center）合作，將焦點放在當地社群，探索大洋洲的無形文化遺產，強調受氣候危機影響的社區付出過什麼行動，及批判國家權力的失衡。陶莫用玻璃這個材質表現當地社群的韌性和脆弱性。演出中，她被一堆堆裝滿空玻璃瓶的麻袋圍繞，手握湯加槌（ike），當地收集到的玻璃廢料，構成壯觀的熠熠生輝的碎片。這件作品挖掘度假勝地的反烏托邦形象，記錄人為氣候變化引起的危險轉變和剝奪。

2020年的《最後的度假勝地》（The Last Resort）是《海的縫合》系列作之一，陶莫和其合作夥伴塔利烏・阿洛瓦（Taliu Aloua）穿著磚塊涼鞋和印有「最後的度假勝地」的破舊浴袍，進行東加的儀式。他們在演出中打碎從雪梨夜店收集來的玻璃瓶和其他廢物。陶莫表示自己試圖通過這件作品，展示氣候變化對太平洋的影響，以及對人類和海洋生物的危害。

此次於台北藝術節表演的《海洋島嶼礦山》（Ocean Island Mine）是2015年的作品，原先於雪梨歌劇院演出，亦屬於《海的縫合》的創作延伸。陶莫以早期的露天礦工作業，對照到氣候變遷的未來，她想反映的不只是澳洲的氣候，更試圖通過重現人類過去曾帶來的環境傷害，警示全球暖化危機。

2022年的《歸國》（Repatriate）是與電影導演合作的五頻道錄像作品。現場版本是在一個玻璃缸內，表演來自太平洋島國的各種舞蹈，陶莫身穿黃色的緊急救生衣，配有浮板，是場詩意的緊急求救呼喊。隨著水不斷湧入，陶莫漸漸被淹沒，也無法像開始演出時那樣靈活且優雅地舞動。整個過程試圖再現受到氣候危急的人民的困境，也引發觀眾反思，若地球再也無法支撐人類的破壞，人類該何去何從。

除藝術創作之外，陶莫也參與氣候抗議行動，例如澳洲的太平洋氣候勇士（Pacific Climate Warriors）活動。參與行動的抗議者搭在數艘獨木舟和救生艇上，試圖打斷港口中貨運船每日的行動，阻止商品的輸入輸出。在陶莫參與的活動中，警察曾介入並包圍其中一艘船，試圖阻止抗議者。令陶莫感到印象深刻的是，現場有人出言感嘆，被阻止後才覺得像是一場抗議，這件事讓她體認到，每個人對於傳遞抗議的作法天差地別，或激進、或低調，經歷這次警民互動後，她開始反思自己的作品是否要以運動的形式製作。

也因此，陶莫參與了從2016持續至2021年的《避難所》（Refuge）集體創作計畫，這個計畫聚集了跨領域的人們，包括當地居民、藝術家、科學家以及來自緊急服務領域的專家。他們想釐清，當不願想像的氣候危機成為現實時，什麼是最重要的。遇到諸如洪水、全球性流行病等天災時，事前準備的重要性被凸顯出來，個體的生存更與社區的生存密不可分，此時，社會裡的每個人能扮演什麼角色、發揮什麼作用，更成為重要的課題。《避難所》計畫希望促進人們面對災害時的態度。

陶莫在這個計畫中創作了以下幾件作品：

2017年的《Hg57》一作，反思自己居住的城市的熱島問題，以及面臨緊急氣候災害時該如何處理。2018年的現場表演《戰舞：最後的邊疆》（War Dance the Final Frontier）關注深海的生態系中，逐漸消逝的歷史悠久的礦物和各種物質。她也發起大型藝術行動，號召一群人跟隨水的足跡徒步行走，關注島國人民面臨的固體水廢料問題。

這位充滿創作動能的藝術家，不願把自己分門別類，此後也將繼續在生態藝術的領域中，耕耘僅存在於當下的感受，又回溯先祖的傳統，使她的表演實踐成為過去與未來相會的舞台。在牽一髮而動全身的地球村上，陶莫的步伐永不止息。

(trans. by GPT-4)

The theme of the 2023 Taipei Arts Festival is "Dancing Ecosystem," which refers to a dynamic ecological system. Under this concept, the various themes of the festival intertwine, and artworks in various media engage in dialogue and interpretation. Latai Taumoepeau's performance of "Ocean Island Mine," originally created in 2015, has been reimagined for the 2023 festival after six months of preparation and refinement.

"Ocean Island Mine" is performed on the plaza in front of the Taipei Arts Center and lasts for one and a half hours. Whether intentional viewers or passersby, everyone is captivated by Taumoepeau's actions: she tirelessly moves a block of ice from one place to another, maintaining a solemn expression and a firm grip on the shovel throughout the performance. Given the scorching Taiwanese summer, this action seems absurd, as the ice gradually melts during the performance. At times, Taumoepeau also inserts the shovel into the ice, leaning against the iceberg in exhaustion, only to stand up again and wield the shovel.

Through this ninety-minute live performance, Taumoepeau aims to convey the challenges of global warming and rising sea levels. As the audience witnesses the iceberg's melting during the performance, they seem to experience the cries of the polar regions firsthand. Taumoepeau's unwavering efforts to move the iceberg symbolize a persistent but modest environmental endeavor, as the ice transforms into puddles of tears during its journey.

The day before this performance, a panel discussion titled "Let's Think Together" was held, focusing on cultural activism. It delved into Taumoepeau's concerns about climate change and her dedication to the "faivā" performance form, meaning "body-centered art practice." Her "faivā" originates from her homeland, the Kingdom of Tonga.

The discussion began with a photo of Taumoepeau at the age of six during a dance performance. In the photo, she was dressed in traditional attire made from local materials, and her dance moves primarily imitated other girls her age. With strong support from her parents, she received training and dance lessons in various institutions, starting from her village, extending to church halls in the suburbs, and eventually reaching nightclubs and universities. These performance practices laid the foundation for her future work.

Taumoepeau primarily engages in live art, with the body as the core element, incorporating the spatial and temporal philosophy of Tonga. This fusion combines classical and everyday practices, emphasizing the impact of the climate crisis on the Pacific region. Furthermore, she actively participates in urgent environmental movements and actions, aiming to ignite change in Oceania. In the context of Australia's socio-political landscape, her sensitivity to issues of race, class, and women's politics is evident, and she is committed to advocating for minority groups, reflecting these thoughts in her work.

In 2007, Taumoepeau participated in a forum on climate change in the United States, where she met other artists from Oceania. During a week of interaction, they became more familiar with the actions of NGOs and reevaluated the current climate crisis. Representatives from Kenya and island nations in the Pacific shared the climate challenges their countries were facing.

This experience of participating in the forum had a significant impact on Taumoepeau's work. She observed the works of artists from various places and returned to Australia inspired. She began collaborating with individuals from different fields, trying to incorporate her religious beliefs into her work and persuading her teams to adopt environmentally friendly creative methods.

| Previous Works |

In 2012, during the performance of "I-land X-isle," Taumoepeau tied herself to a metal frame suspended beneath two tons of slowly melting ice. Water droplets fell slowly onto her, symbolizing the threat of rising sea levels to small low-lying island nations. This work also questioned the responsibility of onlookers, urging them to confront and contemplate their roles in the process of climate change. While watching "I-land X-isle," most viewers were enveloped in a sense of guilt and helplessness, highlighting the impactful and challenging nature of the performance, forcing the audience to reevaluate their actions.

In 2018, the work "Stitching Up the Sea" was a collaborative project with the Blacktown Art Center, focusing on the local community and exploring the intangible cultural heritage of Oceania. It emphasized the actions taken by communities affected by the climate crisis and critiqued the imbalance of national power. Taumoepeau used glass as a material to represent the resilience and vulnerability of the local community. During the performance, she was surrounded by sacks filled with glass bottles collected from the area, holding a Tongan hammer (ike) made from locally collected glass waste, creating a spectacular display of shimmering shards. This work uncovered the dystopian image of tourist resorts and documented the dangerous shifts and deprivations caused by human-induced climate change.

In 2020, "The Last Resort," part of the "Stitching Up the Sea" series, was a five-channel video work created in collaboration with a filmmaker. The live version was performed inside a glass tank, featuring various dances from Pacific island nations. Taumoepeau wore a yellow life jacket and floated on a board, creating a poetic call for help. As water gradually inundated the tank, she became submerged and could no longer dance as gracefully and agilely as she did at the beginning of the performance. The entire process aimed to recreate the plight of people affected by the climate crisis and prompted the audience to reflect on humanity's future when the Earth can no longer sustain its destruction.

Apart from her artistic creations, Taumoepeau also participates in climate protest movements, such as the Pacific Climate Warriors in Australia. Protesters in these actions paddle in canoes and boats, attempting to disrupt the daily operations of cargo ships in ports to prevent the import and export of goods. During one of the actions she participated in, the police intervened and surrounded one of the boats, attempting to stop the protesters. What left a deep impression on Taumoepeau was hearing someone express that they didn't feel like they were protesting until they were stopped. This made her realize that everyone has different ways of conveying their protest, some more radical, others more low-key. After experiencing this police-citizen interaction, she began to reconsider whether her own work should take the form of a movement.

As a result, Taumoepeau participated in the "Refuge" collaborative project from 2016 to 2021. This project brought together interdisciplinary individuals, including local residents, artists, scientists, and experts from emergency services, to clarify what is most important when facing the unimaginable climate crisis. The importance of preparation before disasters such as floods and global pandemics became evident, and individual survival became intertwined with community survival. At this time, the role and contributions of each person in society became a crucial issue. The "Refuge" project aimed to promote people's attitudes in the face of disasters.

In this project, Taumoepeau created the following works:

In 2017, "Hg57" reflected on the heat island issue in her hometown and how to deal with emergencies during climate crises. In 2018, the live performance "War Dance the Final Frontier" focused on the diminishing historical minerals and substances in the ecological system of the deep sea. She also initiated a large-scale art action, rallying a group of people to follow the path of water on foot, raising awareness of the solid water waste issue faced by island nations.

This artist, full of creative energy, refuses to pigeonhole herself. She will continue to cultivate the sensations that exist only in the present and trace back to ancestral traditions in the field of ecological art, creating a stage where the past and future converge. In the interconnected global village, Taumoepeau's footsteps never cease.