-About-
This project is focusing on women that were born around the 1960s in Taiwan.
As victims of the change in traditional values and gender consciousness, these women born in the 60s have multiple social identities.
In the wave of gender discernment and self-identity in modern Taiwanese society, how do they find a way to practice themselves between acceptance and rejection, between themselves and the community. We started with interviews and organized three workshops to develop the potential of interactive works and even bring in more community art practices. We hope that through this experience, we will be able to exchange ideas and stimulate more ideas on this platform.
The whole residency project is divided into three stages：
Two fields, three workshops, and a final 20 minutes presentation in June.
For the workshop we are going to host, we will aim to inspire each other through some imagination and discussion, dress-up activities, and physical exercises so that they can use their bodies to have a dialogue with society.
-The origins of fieldwork-
My mother always said: "our generation is the hardest. he values and rules from the elders cannot be rejected；also It is hard to find the“right” way to teach the next generation during a full-time job. Life is tired and unfulfilled." This passage is usually a summary of our discussion of women’s plight.
The passage indirectly reveals that they are sensitive to changes in women's sense of self-worth beyond their reliance on specific traditional forms, caught up in the atmosphere of the wave; the uncomfortable fact is that this does not make them more sure of their abilities, nor does it make them happier, but perhaps confuses their standards of self-identity and makes it easier to interpret their frustrations as irreversible internal factors and social the inevitable.
Another discovery was that I met a traditional family consisting of seven sisters and their parents. The seven sisters grew in the same age as my mother. In the process of getting along with the three of them, I found that even though they were having a different life from my mum, there are still many similarities between them. The similarities belong to the collective female sympathy developed at that age. Therefore, I am curious about those traditional families with only daughters. What major events have they experienced due to gender factors? It affects how they defend or break away from traditional thinking.
Chin
My three interviewers are all students who I having been teaching Chinese folk dance in a community course. Once in a dinner with them, they talked about marriage, traditional education, and how they educate the next generation. Then suddenly they asked me in a low voice, "Teacher, do you support homosexuality?"
This keyword suddenly turned into an uneasy query, made me realize that they were left behind in various women's rights and gender awareness campaigns. Except for the communication problems between generations and the information differences of echo chambers, their anxiety and confusion about the changing trends cannot be listened to or digested. All related discussions turned to negative "Forced acceptance".
Kuan
-Essays-
I remember when I finished the proposal of this project and asked Kuan's participation. We had a long conversation before our cooperation. We talked a lot about each other’s feminist stance. Kuan mentioned looking for new images of women and stimulating strength whether it comes from physical or psychological. On the other side, I was hoping to connect and identify with the female experience as a starting point. The biggest similarity between us was that we gradually analyze the possibility of breaking through the generation gap in the experience of communicating with others.
However, we are not in a hurry to combine concepts into a performance on this platform. The information obtained in the interview allows us to understand that "time" is a very important accumulation. I must always remind myself that I should never bury my self-righteous feminism too quickly.
I think it might be time to transform the power of listening into action.
Writing/Data Integration: Chin
-創作概念-
本次計畫聚焦在台灣40-60年代前後出生的女性。
作為傳統價值與性別意識更迭中的受衝擊者，擁有多重社會身份的她們，在現今台灣社會一波波的性別思辨與自我認同的浪潮中，她們如何在接受與排斥之間，自身與共體連結之間，探尋一條自我實踐的路。
我們從田調訪談開始拼湊梳理，為組織三次工作坊，從中開發互動式作品的潛力，甚至帶入更多社區藝術⾏動的實踐，期望在一次次的實踐經驗中，能在此平台交流出更多面向的思考與激盪。
我們將分為三個階段接續進行，從每位對象(共六位)兩次田調訪談、三場累積式工作坊一路到最後六月初的二十分鐘線上呈現。
在一個月左右的雲端駐村中，將重點放在工作坊的思考。在工作坊中我們將從想像與討論出發，藉由扮裝活動與身體練習來重新尋找身份的可能、與社會產生對話。
-田調起源-
常聽母親嘴上掛著一段話作為我們聊女性困境的總結: 「我們這代最辛苦，上一輩父母的觀念、規矩不能拒絕;下一輩小孩怎麼教都不對;還要一邊工作累得要命，實在活的很沒成就感。」
間接地揭露了，她們除了倚靠傳統特定形式以外也能敏銳的感知到女性自我價值意識的轉變，夾雜在浪潮氛圍中;有個無奈的事實是，這並不使她們更確信自己的能力，也並不使她們更快樂，也許反倒是混淆了她們對自我的認同標準，更容易將自己的挫折解讀為不可逆的內在因素和社會的必然性。
另一契機是，我因緣際會下認識了一個由七個姐妹及其父母所組成的傳統家庭，他們成長的年代正好與我母親的時代相近， 在與他們其中三位女性相處的過程中，發現即便有著截然不同的生命經驗，我母親與她們之間仍有許多特性交集，是屬於當時時代孕育出的集體女性共感;再進一步的了解，關於那個遵從男性傳宗接代的年代，一個只有女兒沒有兒子的家庭所乘載的特殊際遇，經驗了哪些因為性別因素的重大取捨?影響了她們如何鞏固或如何跳脫傳統思維。
詣芩
我的三位田調對象皆是我在社區課程裡教授中國民族舞的學生。曾經在與他們的一次聚餐中，聽他們聊著婚姻、母親的教育以及他們如何教育著下一代的故事。下一個話題她們突然轉頭用偷偷摸摸地問我:「老師，妳支持同性戀嗎?」，這個關鍵字突然變成氣音且不安的詢問讓我突然發覺，在現代正進行的種種女性權宜和性別意識運動裡，他們是被遺落的，除了世代之間的溝通問題和同溫層的資訊差異外，他們對於時代變動的不安與困惑是沒被傾聽也無法消化的，所有相關的討論結果都是導向消極的"只能接受"。
寬柔
-小記-
寫下了企劃書，並詢問寬是否有意願加入這次合作，我還記得，在我們合作前的深夜談話裡，針對彼此所頃向的女性主義立場聊了很多，寬提及到找尋女性新形象，不論在生理或心理層面的強壯；我則期望連結並肯認現有的女性經驗出發。雙方其中最大的謀和在於與他人溝通的經驗中，逐步剖析突破藩籬的可能。然而，在這個平台上，我們並不著急於把概念揉合成演出作品，訪談中所獲取的資訊讓我們理解到“時間”是非常重要的積累，永遠都不要太快埋進自以為的女性主義單一定論，是我必須時刻提醒自己的。
我想，或許是將聆聽的力量加以轉化成行動的時候了。
撰寫／文字資料統整 詣芩
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