Taiwan Today

Taiwan is expanding global recognition through international cultural exchange and cooperation.

For thousands of years, people have wondered what the future holds in store for them and whether they can thwart or facilitate destiny. Thus, numerous fortunetelling methods have been developed over the centuries to answer fundamental questions on career, health, wealth and relationships.

Titled “Calculating × Destiny: Divination in Europe and Taiwan,” a five-month exhibition held at National Museum of Taiwan History (NMTH) in the southern city of Tainan till May offered insight into the myriad ways people have sought such answers throughout history. It showcased a range of artifacts running the gamut from astrolabes and crystals, feng shui compasses and oracle bones, all the way to amulets and talismans. The items were lent by German National Museum (GNM), with other relics on display from the collections of NMTH and Academia Sinica in Taipei City. A similar event, “Signs of the Future: Divination in East Asia and Europe,” was organized in a novel hybrid on- and offline format at GNM from December 2020 to September 2021 so that during the pandemic, museums could provide solace even for those confined at home.

Chang Shu-ching (張淑卿), curator at NMTH, said the exhibition highlighted similarities and differences between cultures in terms of divination techniques such as astrology in Europe and Purple Star Astrology in Sinitic culture while seeking to inspire audiences to think about the intersection between science and superstition.

Charm Offensive

“The worldwide­ sp­read­­ of COVID-19 ­engen­-­­­dered feelings of anxiety and uncertainty about the future, sparking more interest in seeking answers and solutions through fortunetelling,” Chang said. “The theme of our ­exhibition was overwhelmingly popular in both countries and very apposite.” The cultural commonality of wishing to see into the future was the motivation for the exhibition, she added. The show was the result of three years of close collaboration starting in 2018 between Academia Sinica, GNM, Germany-based University of Erlangen–Nuremberg and NMTH. It was financed by the Ministry of Culture (MOC) under the National Branding Program (NBP) launched in 2017.

This funding initiative was designed specifically to assist national museums and other cultural institutions under the MOC to foster relationships with counterparts around the world, in a comprehensive use of national culture as a branding tool to enhance the country’s visibility. So far, 35 cooperative programs have been implemented, with partnerships spanning Asia, Europe and North America.

“Art and culture are soft power and an indicator of a country’s development level,” said Kuei Yeh-chin (桂業勤), director-general of the MOC’s Department of Cultural Exchange. “Taiwan boasts a rich and diverse culture, and we’re showcasing this on the international stage.” Running in tandem, exchange programs provide contact with new concepts and pave the way for long-term partnerships, he added.

Cultural entities across the globe have felt the impact of COVID-19 over the past two years, and in response they have become more innovative and resilient, Kuei said, adding that a hybrid event hosting both in-person and virtual attendees is a positive development as the inclusive digital approach helps realize international exchanges without overseas travel. According to the director-general, NBP is one of many initiatives undertaken by the MOC to promote Taiwan’s unique characteristics and buoy up the advancement of the cultural and creative industry through forums, joint R&D activities and performances, among other activities. Links with New Southbound Policy (NSP) target countries will expand, especially in crafts, as they are a reservoir of traditional knowledge and skills and are a significant contributor to economies in the region. A key plank in the government’s national development strategy, the NSP aims to deepen Taiwan’s agricultural, business, cultural, education and tourism ties with the 10 Association of Southeast Asian Nations (ASEAN) member states, six South Asian countries, Australia and New Zealand.

Weaving Together

The National Taiwan Craft Research and Development Institute (NTCRI) in the central county of Nantou is the nation’s foremost center for the preservation and promotion of traditional crafts. The ­institute’s wide remit encompasses hosting exhibitions; offering studios for artist-in-residency programs; providing technique training courses in bamboo weaving, ceramics, lacquer and stone carving; and undertaking research and ­marketing campaigns. Since the launch of NBP it has gained funding for many projects. One example is “Fiber Links—Taiwan and ASEAN Fiber Craft Online Co-creation Project,” launched last year and jointly organized by ASEAN Handicraft Promotion and Development Association (AHPADA) and NTCRI. The initiative was designed to explore the immense potential presented by fiber materials and techniques.

The collective venture brought together 24 designers and craft ­communities from Taiwan and ASEAN member countries including Indonesia, Malaysia, the Philippines and Thailand. They all connected through creating ­decorative and practical objects using materials such as bamboo, pineapple leaves, ramie, rattan and rush. Drawing on decades of refined craftsmanship and ingenuity, 24 pieces spanning clothing and accessories, home decorations and lighting fixtures were produced.

According to Yau Jen-kuan (姚仁寬), technique section chief at NTCRI, domestic crafts have a rich history and a vibrant present. Propagation through embracing the new and pursuing sustainable development is a major part of the equation to keep crafts both relevant and ­desirable to contemporary sensibilities. “Our goal is to make Taiwan the best place to ­produce, collect and learn about contemporary craft and realize the economic benefits associated with a strong craft sector,” Yau said. “We see international cooperation on an equal basis as the key and want to combine with the best artisans overseas to foster a growing global network. This progress from incubator to innovator raises the profile of Taiwan crafts.” The section chief further said that the launch of the Fiber Links project in ­partnership with AHPADA was a model of mutually beneficial cooperation, ­bringing together artisans and ­designers from different countries to engage in ­virtual dialogue about their indigenous cultural aesthetic principles. NTCRI anticipates that follow-up events will ­center on ­commercialization and international marketing.

Dramatic Development

Away from the tangible world of crafts, GuoGuang Opera Company, overseen by the National Center for Traditional Arts in the northeastern county of Yilan, is dedicated to preserving and promoting Peking opera while also placing a strong emphasis on exploring the intersection of tradition and innovation. “We’ve been developing new performance styles based on solid traditional technique,” said Chang Yu-hua (張育華), chief executive officer (CEO) of GuoGuang. “Our mission is to infuse contemporary elements into traditional drama to maintain relevance while passing down cultural assets from one generation to the next.”

The CEO considers cross-border collaboration as a vital contributor to the art form. In recent years the troupe has partnered with performance groups from Hong Kong, Japan and Singapore to create new works and gain fresh perspectives in the process. One of its latest international co-productions “Phaedra/Phaedra—A Dream of Passion” premiered in November last year at Taipei-based Taiwan Traditional Theater Center. Based on Greek mythology, Phaedra tells the story of a queen who falls in love with her stepson and pursues her illicit desires. GuoGuang invited Dutch consultant Robert van den Bos and Mexican dramaturge Ximena Escalante to participate in the theatrical production, thanks to funding from NBP.

Chang said the international co-production posed challenges that were settled through many videoconferences to align essential choices like acting style, aesthetic principles and possible audience reactions in different cultures. While the critical question was to what extent the performance should follow Western or Eastern paradigms, all team members had consensus that it should be not only contemporary in style but also recognizably rooted in Taiwan.

The result was a performance that was a new interpretation of the tragedy enrobed in a combination of classical opera with electronic music, contemporary dance, puppet theater and visual installations. “We embedded Eastern aesthetics and our actors’ techniques to offer a contemporary version of Phaedra that looks completely different from what Western audiences are used to,” she said. “The work broke national, linguistic and stylistic boundaries as a fusion of Eastern and Western cultures, tradition and modernity.” After the positive critical and audience response, Chang hopes the show may embark on an international tour.

The implementation of NBP has hatched exciting projects and assisted major cultural institutions like GuoGuang, NMTH and NTCRI to excel in pushing their boundaries. They have drawn in overseas audiences and gained Taiwan’s vibrant performing arts scene fans beyond its borders. “International cooperation broadens our cultural horizons and strengthens our ability to respond with pieces that appeal to a diverse audience,” the CEO said. “We want to offer the freedom and ­vitality of Taiwan’s consciousness to promote international understanding on the global stage.”

Write to Kelly Her at kher@mofa.gov.tw