Canoe 獨木舟
Concept and video: Anchi Lin [Ciwas Tahos] / Project assistant and photographer: Julia Lin Kingham / Performances by: 行為表演參與者：廖于宣（Rowbiq Ciwan）、慈姆達斯（Vuvutas）、里幸 （Lisin Sizu）、崔綵珊（Tsui Tsai Shan）、簡慧珊（Chien Hui Shan）、高惠玲（Gao Hui Ling）、宋曉仙 （Song Xiao Xian）、芙依絲·莎霧 （Fuis Sao Paotawan)
- Dual-channel HD Video, color, sound, (duration variable), Straw broom, 2017
“獨木舟” 邀請了八名來自各行個業不同年齡的台灣女性原住民，此項目是已非性別歧視的心態歡迎部落各界八位女性來參加連續20分鐘的拍攝，拍攝期間她們將使用台灣家庭中常看到的傳統掃把。
藝術家鼓勵參與者利用想像力使掃把在地上掃出她們心中海的聲音。同時在錄製之前，藝術家也進行了訪談來了解每位參與者的故事，並與她們討論相關原住民議題。女性參與者 廖于宣說到“族群認同永遠來自於自己，先認同自己才能認同族群”，同時來自排灣族的慈姆達斯 提到 ”排灣族的歌謠故事以前有好幾千個，現在只剩下五十多個“。阿美族的 宋曉仙 說到 “原住民在政治領域的參與性，曉先說目前台灣政壇上看不到多數有原住民背景的政治人物“ 同時ㄧ樣來自阿美族的芙依絲關心原住民土地問題，她舉例 有某集團為了商業利益把部落的祖靈墳墓挖出來蓋停車場。芙依絲也非常關心他國原住民土地議題，像是目前正在加拿大西岸發生的油管抗爭事件。
這些受訪行為演出的女性原住民有些還居住在原鄉，但是大部分因工作和學校關係已經離開原鄉已久，面對資本主義和現代化所帶來幾代人所被迫移動，有如在係潮和潑浪上被迫前進的獨木舟，即使在不同社會角落努力也不忘記心中那條看不見和一起前進的獨木舟，而那條看不見地獨木舟就是抽象性地與各表演這所關心各現代原住民性和議題的交叉點。
藝術家鼓勵參與者利用想像力使掃把在地上掃出她們心中海的聲音。同時在錄製之前，藝術家也進行了訪談來了解每位參與者的故事，並與她們討論相關原住民議題。女性參與者 廖于宣說到“族群認同永遠來自於自己，先認同自己才能認同族群”，同時來自排灣族的慈姆達斯 提到 ”排灣族的歌謠故事以前有好幾千個，現在只剩下五十多個“。阿美族的 宋曉仙 說到 “原住民在政治領域的參與性，曉先說目前台灣政壇上看不到多數有原住民背景的政治人物“ 同時ㄧ樣來自阿美族的芙依絲關心原住民土地問題，她舉例 有某集團為了商業利益把部落的祖靈墳墓挖出來蓋停車場。芙依絲也非常關心他國原住民土地議題，像是目前正在加拿大西岸發生的油管抗爭事件。
這些受訪行為演出的女性原住民有些還居住在原鄉，但是大部分因工作和學校關係已經離開原鄉已久，面對資本主義和現代化所帶來幾代人所被迫移動，有如在係潮和潑浪上被迫前進的獨木舟，即使在不同社會角落努力也不忘記心中那條看不見和一起前進的獨木舟，而那條看不見地獨木舟就是抽象性地與各表演這所關心各現代原住民性和議題的交叉點。
'Canoe' is an extension project from 'To the Shore' that aims to collaborate with women from different Indigenous communities. A callout was made to Indigenous communities in Taiwan, culminating in a collection of eight women from various locations. They were invited to participate in the filming of a continuous 20-minute shot, whereby they swept the floor with a traditional broom. The participants were encouraged to think about their lands and oceans.
Ciwas sat down with each participant before the performance to listen to their stories and discuss issues that were important to them. For example, Rowbiq Ciwan from Truku Nation believes "you have to accept who you are in the first place, then you can accept your ethnic identity". In addition, Vuvutas from Paiwan Nation mentioned that "more than a thousand Paiwan stories and folk songs in the past have already been lost, now only around fifty remain in people's memories". Song Xiao-xian from Amis Nation said, "it's rare to see Taiwanese indigenous politicians in the current governmental system, hopefully, there will be more in the future". Furthermore, Fuis Sao Paotawan from Amis nation pays close attention to indigenous people's land rights in Taiwan and overseas; for instance, she mentioned: "a corporate company that dug out some of our ancestors' graveyards just because they needed to make a parking lot for business purposes". Fuis is also aware of the Kinder Morgan pipeline protest in Canada and has been actively against the pipeline being built.
Most of the performers have long left their hometowns for better jobs and education in larger urban areas. The introduction of capitalism and modernity forced people to move, resulting in the diaspora over the generations, recalling a canoe propelled forward by the current or waves, steered with difficulty. The invisible canoe in this work represents the intersectional point of each performer's seemingly shared concern regarding contemporary Indigeneity.
Ciwas sat down with each participant before the performance to listen to their stories and discuss issues that were important to them. For example, Rowbiq Ciwan from Truku Nation believes "you have to accept who you are in the first place, then you can accept your ethnic identity". In addition, Vuvutas from Paiwan Nation mentioned that "more than a thousand Paiwan stories and folk songs in the past have already been lost, now only around fifty remain in people's memories". Song Xiao-xian from Amis Nation said, "it's rare to see Taiwanese indigenous politicians in the current governmental system, hopefully, there will be more in the future". Furthermore, Fuis Sao Paotawan from Amis nation pays close attention to indigenous people's land rights in Taiwan and overseas; for instance, she mentioned: "a corporate company that dug out some of our ancestors' graveyards just because they needed to make a parking lot for business purposes". Fuis is also aware of the Kinder Morgan pipeline protest in Canada and has been actively against the pipeline being built.
Most of the performers have long left their hometowns for better jobs and education in larger urban areas. The introduction of capitalism and modernity forced people to move, resulting in the diaspora over the generations, recalling a canoe propelled forward by the current or waves, steered with difficulty. The invisible canoe in this work represents the intersectional point of each performer's seemingly shared concern regarding contemporary Indigeneity.
Video stills, 2017