Paiwan Zoo
2025
Choreographer｜Baru MADILJIN
2025
Choreographer｜Baru MADILJIN
This is not a zoo,but a site where bodies are seen.
A cultural call from the Paiwan people between “Paiwan” and its misreading,
the body responds to histories of naming and classification.
As we are seen, we begin to look back.
A cultural call from the Paiwan people between “Paiwan” and its misreading,
the body responds to histories of naming and classification.
As we are seen, we begin to look back.
is a contemporary interpretation of Paiwan Indigenous culture in Taiwan that examines how it has been objectified and commodified in modern society. When culture appears on stage, enters a museum, or is presented within artistic platforms, it is often reduced to symbols and detached from lived experience. Through the metaphor of a menagerie, the work exposes how culture can lose its autonomy when it is exhibited, observed, and consumed.
The piece functions both as critique and reflection, portraying the struggle and revival of cultural identity amid globalisation. The score weaves together Chopin’s piano compositions with traditional Paiwan dance, creating a tension between modernity and tradition. The juxtaposition of traditional attire and contemporary movement vocabulary highlights the paradox of cultural transformation in the process of modernization.
Each section unfolds as a dialogue between the Paiwan community and the outside world, questioning how Indigenous peoples may reclaim interpretive authority over their own culture. Though the menagerie is fictional, it mirrors the categorization Indigenous people face defined both externally and through internal self-identification.
In Chinese, “Paiwan” is normally written with the water radical in the second character. In this work’s title, that radical is intentionally removed, symbolising a disruption of habitual ways of seeing culture. What appears recognisable on the surface may conceal deeper complexities. Through movement and emotional expression, the dancers invite audiences to confront their assumptions and reconsider culture not as a static exhibit, but as a living force in continuous transformation.
The piece functions both as critique and reflection, portraying the struggle and revival of cultural identity amid globalisation. The score weaves together Chopin’s piano compositions with traditional Paiwan dance, creating a tension between modernity and tradition. The juxtaposition of traditional attire and contemporary movement vocabulary highlights the paradox of cultural transformation in the process of modernization.
Each section unfolds as a dialogue between the Paiwan community and the outside world, questioning how Indigenous peoples may reclaim interpretive authority over their own culture. Though the menagerie is fictional, it mirrors the categorization Indigenous people face defined both externally and through internal self-identification.
In Chinese, “Paiwan” is normally written with the water radical in the second character. In this work’s title, that radical is intentionally removed, symbolising a disruption of habitual ways of seeing culture. What appears recognisable on the surface may conceal deeper complexities. Through movement and emotional expression, the dancers invite audiences to confront their assumptions and reconsider culture not as a static exhibit, but as a living force in continuous transformation.
Program Paiwan Zoo
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Part 1: Display Case: Living Beings Made Static
We're viewed as part of the past and objects of study—but we're clearly alive. |
CHOPIN: Etude, Op. 10, No. 3 "Tristesse"
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Part 2: Who Am I Echoing?
How do I recognize myself in a violent storm? |
CHOPIN: Nocturne, Op. 9, No. 1
CHOPIN: Prelude, Op. 28, No. 12 Vurevure – Family Lullaby |
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Part 3: Waltzing Lost Through the City
Be happy to get lost in the modern, free world! Your body will invariably lead you back home. |
CHOPIN: Waltz, Op. 64, No. 1
naluwan – Song of Gathering CHOPIN: Waltz, Op. 64, No. 2 |
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Part 4: Returning Home
It is both a burial and a summons. The road home is not necessarily straight, but you'll always remember it. |
CHOPIN: Scherzo, Op. 31, No. 2
likiliki – The Gluttonous Father qemauqauqaw – The Boastful Little Boy CHOPIN: Nocturne, Op. 9, No. 2 curisi – Warrior's Song CHOPIN: Sonata, Op.35 No. 2, III. Lento "Funèbre" Paiwan nose flute Paiwan mouth flute lja lja i – Wishing Song qinaljaina – Song of Gathering ljaqina ljaqiqaina – Song of Reminiscence qai qai (kavalanga) – Song of Lament Vurevure – Family Lullaby curisi – Warrior's Song |
Creative and Production Team
Artistic Director & Performer｜Ljuzem Madiljin
Choreography Director & Choreographer｜Baru Madiljin
Directors & Performers｜Yang Ching-hao, Ljaucu Tapurakac
Performers｜Chiang Sheng-hsiang, Meng Tzu-en, Zepulj Kazangilan
Lighting Designer｜Lee I-shun
Composer｜Hui Tak-cheung
Video Director｜Wang Hung-chun
Costume Designer & Maker｜PROJECTbyH.
Costume Accessories Design and Construction｜ShaTao Lazurite Art
Main Visual Designer｜58kg
Main Visual Photographer｜Ba Sa-xi
Technical Coordinator & Stage Manager｜Lu Hsiu-i
Audio-Visual Technical Coordinator｜Huang Wei-yu
Dramaturgical Support｜Gwen Hsin-yi Chang
Playbill Managing Editor｜Liao Yun-jing
International Producer｜Jih-Wen Yeh
Sports Massage Therapist｜Huang Jhih-jie
Company Manager｜Chiu Shu-ting
Commissioned by National Theater and Concert Hall (NTCH)
Residency Support｜O Espaço do Tempo
Special Thanks｜Tjimur Village, LIU Ting, YANG Hsiu-ying
Choreography Director & Choreographer｜Baru Madiljin
Directors & Performers｜Yang Ching-hao, Ljaucu Tapurakac
Performers｜Chiang Sheng-hsiang, Meng Tzu-en, Zepulj Kazangilan
Lighting Designer｜Lee I-shun
Composer｜Hui Tak-cheung
Video Director｜Wang Hung-chun
Costume Designer & Maker｜PROJECTbyH.
Costume Accessories Design and Construction｜ShaTao Lazurite Art
Main Visual Designer｜58kg
Main Visual Photographer｜Ba Sa-xi
Technical Coordinator & Stage Manager｜Lu Hsiu-i
Audio-Visual Technical Coordinator｜Huang Wei-yu
Dramaturgical Support｜Gwen Hsin-yi Chang
Playbill Managing Editor｜Liao Yun-jing
International Producer｜Jih-Wen Yeh
Sports Massage Therapist｜Huang Jhih-jie
Company Manager｜Chiu Shu-ting
Commissioned by National Theater and Concert Hall (NTCH)
Residency Support｜O Espaço do Tempo
Special Thanks｜Tjimur Village, LIU Ting, YANG Hsiu-ying