TICA 台北原住民當代藝術中心 誠美社會企業

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2016.08.09

TICA JOURNAL

Interview: Lahok Oding

Interview: Lahok Oding

Interview: Lahok Oding Introduces Pangcah Harvest Festival and Her Creative Process
Written by Eugenia P.G. 2016.08.09 

On usual days, Lahok spends all day at OEOE (Open Eyebrow, Open Eye) studio working. Even after her exhibition at TICA, she doesn't stop unless to eat or sleep.

"My life is painting right now, from 10AM til around 11PM".

However, for a couple of days, the devoted artist took a short break to attend two important commitments in Hualien. One of them was "Art Pakongko" (Art tells stories): an event in which she participated for the second time.

After "Art Pakongko", it was still hard to contact her as she was so busy with other festivities and ceremonies for the Pangcah Harvest Festival in Makota’ay which takes place from July 20 to July 25th. Members of the tribe come back from other cities all over Taiwan and they all reunite to express their gratitude to the ancestral spirit.

"During this important occasion, my attitude would be more solemn and careful. We greet, feast and send the spirit back. We sing and dance but everything is done in a reverential way."

Around midnight on the first day of the festivities, the Pangcah greet their ancestors' spirit. A group of men aged 29 to 30 run to the mountains with a flaring torch. Later, they come back running as they hear the other men dancing when the ceremony starts. On the 21st and 23rd, activities that are part of the festival range from vibrant dances to sports competitions.

"Apart from sports competitions, only the tribe's men dance" Lahok says.
On the next day it's women's turn to dance as they invite the spirit to return to the mountain.

In the last day, women also take charge in organizing shows and casual talks that maintain relationships in the tribe except passing down their traditions and customs.

Even though going back to the tribe and forming part of the festivities is something she deeply respects, her artwork doesn't use aboriginal elements that much, she admits. "I sometimes incorporate it into the title or I make it about life in the tribe."

Her aboriginal identity is not something she wants to add directly into her artwork.

"It is true, it might be a method to know more about my identity, but it is not my set intention to do so", she says.

"We always put a tag for aboriginal artists and expect them to present something representative of their culture. I want my art to speak for itself." And this is exactly what we see in her most recent work.

"The books I read, the music I listen to, the people I meet from urban tribes and the contact I have with them all inspire me." Everything around her becomes an ingredient for her art. That is the story about Lahok, hence Told the Stories.

Lahok attended nursing school but always had an interest in drawing. I ask if microscopic images where ever a source of inspiration for her use of visuals. "If they did it was in a level in which I was not aware." she replies. One of her influences is the Russian 20th century artist, Wassily Kandinsky. Kandinsky, one of the pioneers of abstract modern painting conveyed musical construction by using evocative colors and shapes. Lahok presents this kind of biomorphic visual style.

"I usually start by sketching, just using a pen without really thinking about the outcome." Her creative process runs on a subconscious level, letting the piece be whatever it wants until its time to proceed on canvas. "Once I've chosen a color to represent a feeling, I just let go."

Lahok's exhibition Told the Stories will be open at TICA art gallery until August 13,2016.

 
Interview: Lahok Oding曾秉芳訪談:阿美族豐年祭與其創作歷程
文:Eugenia P.G. 2016.08.09 

「每天大約從早上10點到晚上11點,我現在的生活就是畫畫。」
這是曾秉芳的日常,她的一天往往都是在她位於公館的工作室「張眉張眼」裡度過,即使現在在台北原住民當代藝術中心有一檔個展在進行中,她除了吃飯睡覺外仍積極的沉浸在創作中。
然而這陣子她暫時離開了她在台北的工作室,到花蓮參與兩個重要的活動;一個是第二屆的「藝術Pakongko(藝術說故事)」,另一部份則是她的故鄉花蓮港口村在7月20日到25日的豐年祭。也因此需要一些時間才有辦法與秉芳進行訪談。
在整個7月前三週忙完「藝術Pakongko」之後,秉芳便全心投入港口村的豐年祭,關於豐年祭,族人為了表達對祖靈的感謝,他們會從各地返回部落,參與部落的豐年祭。
「在這個重要的場合,我會秉持著嚴肅與謹慎的態度。整個流程是迎靈、宴靈以及最後的送靈;我們參與,有人領唱、有人答唱,然後跳舞,整個過程情緒是沉重而感激的,所以我們必須以恭敬的態度參與在其中。」
整個豐年祭的第一天(7/20)午夜,阿美族人會去迎接他們的祖靈;剛開始時會由一群大約29到30歲左右的男性青年拿著火把到山上去,當部落裡的青年開始進行迎靈儀式的時後,在山上的他們聽到舞蹈與歌聲便會拿著火把跑回部落,並參與舞蹈。這是一開始迎靈的部份。接著在21日到23日的這段時間,活動含括著激情的舞蹈以及男性的運動競技。
「這段時間除了運動競技,宴靈的舞蹈只有部落的男性可以參加」
在隔天,則換部落的女性跳舞送靈。在最後一天,部落裡的女性也會安排一些餘興節目,在豐年祭傳承部落傳統與習俗之外,也藉此聯繫部落族人之間的情感。
即使秉芳帶著尊敬的態度回歸部落並參與部落祭儀,但這並未反映在她的創作中,她沒有因此使用大量的原住民元素。儘管如此,她仍表示這些元素以及部落對她的潛移默化會出現在她的作品名稱以及她的生活中。秉芳不想把自己對於原住民身分認同的因素直接放入作品中,她提到,「創作的確是一種幫助我身分認同的方法,但這並不是我創作的主要目標。」
「我們通常會對原住民藝術家貼標籤,並期待在他們的作品中呈現他們應有的文化面貌,但我希望我的藝術只消說它自己的話就好。」這是我們在她的創作中所看見的狀態。
而任何週遭的事物都能成為秉芳的創作素材,「看過的書、聽過的音樂、遇過的人,以及與他們的交流都是我的靈感來源。」因此,這些便是「她已經說過的故事」,也就是這次展覽的主題。
秉芳在護專求學的期間,就對繪畫抱有高度的興趣,她的作品中有許多彷彿是在顯微鏡底下物體,而這些在作品中具象化的形象以及因此造成的聯想,秉芳表示「帶給觀者如此的聯想其實是我未曾想過的。」在她的創作歷程中,影響她較深刻的藝術家是20世紀初的俄羅斯藝術家康丁斯基。康丁斯基是現代藝術抽象繪畫的先驅之一,他透過鮮明強烈的顏色與形狀表達在繪畫中的音樂性,而影響到秉芳的創作中則轉化以生物形態學的方式呈現。
「我會先用一枝原子筆在素描本上構圖,當構圖轉移到畫布上時,所有的設色與擴延的結構就是自由的,我並不會特別假定內容。」秉芳傾向透過潛意識的想像來創作,讓那些零碎的想法自由地在畫布上發展;「通常一開始我會先選擇一個色彩,代表我對這件作品的心情與想法,接著就讓它自由發展。」

《已經說過的故事》曾秉芳個展在台北原住民當代藝術中心的展期延長至2016年8月13日。
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