|
This paper is a manifestation of the flow my life, whereby I use texts to gaze at what I have seen, heard, and thought through my various identities. These texts carry the spirit of research yet become forms of artworks themselves. The content of this paper in-cludes my observations and documentation as a member of the Dowmung community of Truku nation. This paper also contains different perspectives, criticisms, imagina-tions, and constructions from my own perspective as a Truku Smapuh and as an artist.
Thus, this article will discuss the following. First, discussion of the meaning of my vari-ous artworks, which includes theatre production, video art, performance art etc. and questions how to respond to the predicament of Truku cultural inheritance in these con-temporary times? Second, I will discuss the kinship between my life and family, fol-lowed by my tribe and ethnic group. Third, discussion of the contemporary situations I faced after becoming Smapuh. For instance, the changes in the display of sacrifices, the changes in rituals, and conflicts between different beliefs in the community. Fourth, how I shuttle between a three-way relationship of the sacrificial venue and the theatre, people (ceremony performers, artists) and I, venues (land, exhibition venues), and be-liefs (ceremonial purpose, issues, and story background).
My artworks form the basis for analysis of how I use ‘dream imageries’ and ‘patterns’ from my Truku ethnic culture as a method to form image narratives as an artist. Our Truku ancient past contained no word for ‘image’, however, it contained many symbols related to the nature of ‘image’, such as the narration of personal dreams and the display of patterns. When retelling personal dreams, we are trying to convey the state of exist-ence of the image; the pattern carries the history of a specific family’s symbols and wishes as a means for protection from the ancestors. ‘Pattern’ is a simplified and con-densed picture. I regard ‘pattern’ in this context as having the quality of what we deter-mine as ‘image’.
In the process of flowing between the sacrificial field and the theatre, I see the boundary and overlap between the sacrificial field and the performance theatre. Thus, my artwork has a unique language and form following the understanding of the ritual sacrificial texts.
Nowadays, Smapuh (inheritor of healing rituals) rituals are influenced by colonization and religion. This paper documents my questions and responses to my ongoing actions and life process. For instance, how to continue ancient beliefs during historical and en-vironmental times of change, to continue the belief in the soul, resolve the contradiction of the soul, and create a dialogue with tradition in contemporary times, and find a solid way forward. Just as our ancestors were in an extremely harsh environment, they were able to create their own unique character of life the rock was cracked, it became a stream of gravel, bright and smooth, and alive along the river stream.
|