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To date, the most important product of Adaw's interest in people's theatre is his full-length play, The Great Flood.
As Chen Chih-Fan explains, Adaw saw this latter as the second great flood, and it presented a profound change in the history of the people of Tapalong: "Adaw indicates that in Amis mythology during the first 'Great Flood' the heavenly gods sent the many spirits down to earth to 'become human beings.' But now they have encountered the second 'Great Flood'--the assault of modern civilization--[the problem is] how can [Amis people] be revived and once again become 'people'"?
While Adaw is expressing a strongly political message here, he has chosen to frame this message within the rhythms and imagery of his cultural tradition.
This is a technique that Adaw employs consistently in his verse.
(49) For Adaw, too, it was only by working through the rituals and mythology of his native culture that he has found the ability and motivation to create his own art: "[...] only by demonstrating the relationship between music and dance and our original rituals and myths, and by genuinely experiencing true Indigenous living culture could I pick up my pen and write." [......][TEXT NOT REPRODUCIBLE IN ASCII], (50) Mythology and ritual are the vocabulary with which Amis people may "talk among themselves" as well as make contact with the outside world.
The fundamental goals of the Native American Theatre Ensemble, Thomas Riccio and Adaw Palaf's Moguda'ai Theatre are the affirmation of the value of Indigenous culture and the (re) integration of that culture with the world outside the community.
When Adaw returned to Tapalong to live in 2001, he focused on ways in which to draw on traditional performance styles in order to express the essential meaning of living as an Amis in contemporary Taiwan.
Taking his lead from the practice of (Ab)original Dancers, Adaw Palaf has turned away from pan-indigeneity in favor of an intensive focus on highly localized culture.
In conclusion, as with other ceremonial theatres and "people's theatres," the essential goal of Adaw Palaf's Moguda'ai Theatre experiment is to express cultural and political resistance to the incursions of a dominant culture, whether in that culture be in the form of the nation state, or of transnational consumerism.
(7) Adaw Palaf [TEXT NOT REPRODUCIBLE IN ASCII], "Hao xiang 'mi chao chao' A, Xian zai" [TEXT NOT REPRODUCIBLE IN ASCII] "[TEXT NOT REPRODUCIBLE IN ASCII]" [TEXT NOT REPRODUCIBLE IN ASCII] ["I So Much Want to Suckle at the Breast!
(10) Adaw, "Hao xiang 'mi chao chao' A, Xian zai," Part 2.
(14) Adaw, "Qian Ina de shou" [TEXT NOT REPRODUCIBLE IN ASCII] ["Holding Ina's Hand"], Renben jiaoyu zhaji[TEXT NOT REPRODUCIBLE IN ASCII] [Humanist Education Notebooks] (Taipei: [TEXT NOT REPRODUCIBLE IN ASCII] [Humanist Education Foundation], 1998), 104.
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