La Adelita

e-textiles, mexico, oaxaca


受到國家文化藝術基金會的海外藝遊計劃補助,我在2013年來到瓦哈卡進行一項駐村計劃,但是因為一些意外邀請,於是我將我的機票延後了四個月,參加了一項當地社區營造項目。Bandui Lab是一個當地的獨立藝術工作室,由Clarrisa Zarate和Leo Balinos夫婦一起開創,他們當時邀請我參加一項他們正在進行的計劃:透過田野調查收集瓦哈卡村莊即將遺失的文化,並透過將這些文化轉換成玩具公仔的方式將其保存,並輔導村民利用現有技能製作轉化自當地民俗和傳說人物的公仔,也幫助他們在市中心開設零售店和組織展覽,經濟條件在這些村莊中通常很艱難,因此這個項目期待幫助他們建立第二職業,Bandui Lab創造了一個公平貿易的條件來幫助那些村莊,建立一種村莊和中心之間的社會交流。這些村落包括Analco, Zegache, Capulalpam。

”Adelita”是墨西哥革命期間婦女參與戰爭事件的一種形象( 1910-1920),這個形象經常在corrido中被傳頌。“corrido” 是一首流行的敘事歌曲和詩歌,形成了民謠。這些歌曲通常是關於壓迫,歷史,農民的日常生活以及其他與社會相關的話題。它現在仍然是墨西哥的一種流行形式,在20世紀的墨西哥大革命中開始廣受歡迎。”Adelita”也是Bandui Lab委托我製作的小型公仔。


在與Bandui Lab合作的四個月裡,我們也天天生活在一起,我住在他們在瓦哈卡市中心的家裡,然後他們會開車開上三到四個小時,帶我一一去拜會這些村子,也一起和當地的居民交流,討論什麼是當地的文化,還有什麼是當地可以利用的設備或是有哪些閒置人力。因為我不會講西班牙語,所以這些都是透過Clarrisa翻譯得知,雖然有語言的障礙但是我也因此可以專心在刺繡電路的設計上。

基本上跑一個村子分為四個步驟:三個月的田野調查、七天工作坊共創設計、兩個月籌備成果展覽、輔導當地創建實體店面。這是我第一次用電子織品技能參與文化典藏類型的計劃,並對社區產生實際的影響,認識到有大量協調工作在技術工作之外。我也發現當我在試圖教導當地居民怎麼把電路轉成刺繡時,我們的語言障礙並不會阻礙我的工作太多,這讓我開始思考如何透過電子材料的參與,來提高手工品的價值,和這些科技材料開始被在偏鄉的居民當作手工藝品材料時的意義。這個計劃也啟蒙了我對於這些村造行為和殖民主義的關連,全球化和在地主義的平衡點應該要落在何處。


最後我完成了Adelita公仔的LED刺繡披肩和公仔設計,也在另外一個擁有木工技術的村落Zegache中,和村民的協助下一起完成了我另外一件面具裝置,結束了我在墨西哥的駐村,也啟發了我和台灣原住民合作織品創作的想法。



I applied a residency program in Oaxaca in 2013 under the a grant of National Art and Culture Foundation. By an unexpected invitations, I spent a four months and participated in a local community project besides my residency project. Bandui Lab, a local art group, founded by a couple, Clarrisa Zarate and Leo Balinos, invited me to this action: archiving the missing myth cultures of Oaxaca villages through toy design; to preserve these rural myth by converting it into wooden action figures, as well as to coach villagers to use their existing skills to establish the long term manufacturing, help them open retail stores and organize exhibitions in Oaxaca city. The economic conditions are in these villages are primitive. This project aims to help them to build a second career with fair trade model, to increase social exchange between rural and city.

"Adelita" is an image of women's participation in war, during the Mexican Revolution (1910-1920), the legacy celebration can be usually found in the “corrido”, popular narrative metrical tale and poetry that forms a ballad. These songs are often about oppression, history, the daily life of farmers, and other socially relevant topics. It is still a popular form in Mexico, having gained popularity during the Mexican Revolution of the 20th century. "Adelita" is also  figure that Bandui Lab commissioned me to make.

During the four months with Bandui Lab, we lived together in their house in Oaxaca. It takes 3 to 4 hours by car to reach those villages, to meet the local villagers to discuss the workshop contents, what equipment can be used there for the production and the working schedules. I don't speak Spanish, so I can only interact with Bandui’s help. Despite the language barrier, I found that I can still work with the local people via common crafting skills, like embroidery. I later found a way to teach them how to make the circuit by sewing it stitch by stitch, with precise indication map.

Basically, the whole action is divided into four steps: three-month field research, week-long workshops to translate local myth to action figure design, two-month preparation for the exhibition of results, and the mentoring for retail shop establishment. This is the first time I have seen that design and art can actually participate in social work and have actual impact on community. I also found the common ground for engineering and craftsmanship, our language barrier did not bother my work too much, it inspired me how to empower the old craftsmanship through the participation of e-textiles , and the significance of our action to the local communities. This project seeded the thinking in me, are these community project involve colonialism? What is the balanced relationship for globalism and localism?

After the 7-days workshop in Analco, I have made two masks with the same technique, with the assistance from villagers in Zegache, to call it an end of my residency in Oaxaca. This experience inspires me to collaborate with Atayal aborigines in Taiwan and to start the Tribe Against Machine Project.




.   
.