Makotaay的藝術與行動主義，2025

漂流木、24吋電視、尺寸依場地而定

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Makotaay藝術村作品分三個軸線呈現：第一部份為六部影片的影像裝置，內容包括2011年封冰箱事件、藝術村進駐影片及藝術家作品：王昱心〈Makotaay 的陀螺〉、劉靜怡 (Raito Low)〈像石頭一樣柔軟〉及蔡佳宏〈林投果作為一種標記〉。同時，為更宏觀的描繪港口部落的土地事件與生活，第二部份加入《太陽的孩子》電影，將時序推回30年前至當代邦查生 活現場，並與影像裝置形成呼應和對照；第三部份則是從土地歷史脈絡到藝術村成立的大事紀，從中串連起土地與族人的情感，同時呈現土地抗爭現實與藝術行動所交織出的原民當代棲居地。

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Art and Activism in Makotaay, 2025

Driftwood, clay, monitors, videos

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The first features six video works documenting the creative and cultural life of Makotaay. These include Close Off Our Land Movement (2011) by Pilis Nanghaisudan, which chronicles the Pangcah people’s land rights struggle in Shitiping, and other videos capturing artist residencies, such as Raito Low’s Tanatanetek, Tsai Jia-Hong’s Hala Fruit as an Indication, and Tanivu Tapari’s ceramic of Makotaay's Spinning Top.

 

The second section centers on Wawa No Cidal, a feature film by Cheng Yu-Chieh and Lekal Sumi, which offers a broader narrative of the Pangcah community’s 30-year journey toward reclaiming their land. This work complements and contrasts the themes explored in the first category.

 

The third presents a visual timeline of key events in the land movement and the founding of the Makotaay Eco Art Village (MEAV), reflecting the community’s resilience, creativity, and enduring relationship with the land.

 

In Indigenous worldviews, land, sea, and all beings are interconnected and alive. Our ancestors taught us to protect the land as we do our own lives. MEAV is located in Shitiping, where mountains, river, and ocean meet. After decades of protest, our land was finally returned in 2020—becoming Taiwan’s first Indigenous territory to undergo resistance, co-management, and reclamation.

 

In response, the community began re-rooting itself in the land through art, sustainability, and cultural renewal. Today, MEAV hosts the Makotaay Art Festival and Mihoyo, a gathering of seafaring vessels and Austronesian cultures—vibrant spaces for creative exchange, ecological consciousness, and the revitalization of oceanic traditions.