Nativism 本土主义

From ArtSpeak China (ASC) Wiki

The Taiwanese Nativist movement is an ideology concerned with the exploration of indigenous cultural forms and their relationship to Taiwanese social, economic, and political identity. Although the origins of Taiwanese Nativism can be traced back to 1949, the movement is typically defined by the literary and artistic creations of the 1970s. Unlike many Western art movements, Taiwanese Nativism is still considered a viable means for exploring national identity.

Childhood (1977) Acrylic on Cardboard Laid on Panel,54 x 76 cm.

[edit] Meaning(s)

Taiwanese Nativism manifests in a variety of forms including the visual arts, literature, politics and everyday life.

Within the context of contemporary visual art, members of the Taiwanese Nativist movement often find inspiration in traditional or regional art forms such as wood-sculpture, pottery and textile arts. However, other artistic forms such as photography, painting and performance art are also used to express Nativist sensibilities. The Nativist sensibility is frequently expressed by the slogan: “Humanism, Nationalism, Realism (Rendaode, minzude, xianshide)."^[1]

[edit] Origins & History

After losing its seat as the Chinese United Nations representative in 1971, Taiwan underwent a rapid period of modernization characterized by economic, political and social liberalization. However, many Taiwanese soon became disillusioned with Western capitalist notions of progress, which were associated with a number of Taiwan’s cultural reforms.

In 1975, Premier Chiang Ching-kuo revealed a “Six-Year Plan” which proposed a series of further economic reforms. In response to an increasingly capitalist oriented society, many artists such as Chou You-rui, inspired by regional literature and American works of photo-realism, began using elements associated with rural life as subject matter. Other artists, like sculptor Zhu Ming (Ju Ming), also used rural subjects for many of his works as seen in Nativist Series, Bronze Cast (1983).^[2]

By 1976 realism had become the prevailing style taught in most Taiwanese art academies. Bolstered by Ju Ming’s first solo exhibition at the National History Museum in Taipei and Hung T'ung's pictographic paintings inspired by native folk art, the Nativist movement attracted a considerable following in both Taiwan and mainland China.

Since the 1970s, a number of Taiwanese artists have gained considerable recognition using contemporary Western aesthetic vocabularies; however, Nativism is still an extremely popular form of creative expression in Taiwan.

Zhu Ming, Nativist Series, Bronze Cast (1983)

[edit] Significance

Since the 1600s, Taiwan has experienced considerable political turmoil. Many factions within Taiwan view their history as one of constant foreign colonization. While the sources and circumstances of this colonization are continually debated, many Taiwanese feel a need to reconnect with authentic elements of their shared heritage. Part of this heritage includes traditional forms of visual art. Although arguments over the authenticity and legitimacy of indigenous works of art are unavoidable, the Taiwanese Nativist Movement provided a starting point–from which groups with differing ideological beliefs could find common ground.