The Songs of Seven Mountains

Baguashan Power Art Festival 2024 curated by Yujun Ye

 (Cheung Ji Hall Jinguashih, Ruifang District, New Taipei City, Taiwan.

The Songs of Seven Mountains was about the Jinguashih mountains and the protector of the Land (Cheung Ji Hall Jinguashih, Ruifang District, New Taipei City, Taiwan.

I spent two hours at the temple site, contemplating and envisioning the night before the performance for the next day's event. The site featured five murals that depicted the story of a general who protected the mountains and people. Nestled amidst the breathtaking mountain- The Cheun Ji Hall temple (stands as a tribute) to the revered guardian of the mountains. Its serene presence invites visitors to explore the rich spiritual heritage and connect with the majestic natural surroundings. I followed the fey signs represented by wrapped cloth bags in the murals and by the statue on the right, which also held a wrapped cloth. The temple was surrounded by mountains and inhabited by various plants and living beings. The night landscape appeared beautiful as I immersed myself in these elements, and The true nature of my connections would unfold during the performance.

Eventually, the other day, I chose to use a branch for my performance, so I searched for a long time until I found the perfect one. Daisuke Takeya helped me locate some branches behind the car. I chose the first branch I collected and placed it in the temple complex. However, the woman who cleans the temple complex removed it and tossed it into the bushes. With effort, we managed to retrieve it and return it to the temple complex, but unfortunately, someone threw it far away again. Eventually, we found another branch. I had to make some compromises and use this one instead. It did not fit properly on my head, and I struggled to balance it, but I had to make do with what I had. I began by performing a small ritual outside the temple complex. I walked while balancing a branch on my head, entering the temple grounds, standing near each mural and aligning with the mountains to perform the ritual. The wood branch I used looked exceptional, with one green leaf still attached, symbolizing the presence of life. I marked the ground with a square with the scared ashes metaphorically representing the universe and the four directions. Inside the square, I placed five silver Sun Coins, Five silver moon coins, and copper footprint sheet coins that symbolically represented the day/night cycle and resonated with nature and my surroundings. I performed a ritualistic action by showing a mirror to the protector of the land. This act symbolically revealed the beauty within oneself and reflected its light.

I possess a profound awareness of emotions and feelings, and my experiences during the trip visits to temples and historical sites significantly influenced my experience throughout Taiwan. Each site offered a distinctive perspective that enriched my understanding of the cultural and spiritual dimensions of the region. My presence and movements guided the entire journey and the experiences that involved rituals that celebrated the land of Formosa. I had no control over this experience. This journey metamorphosed into a shamanic pilgrimage for me; subconsciously, I felt directed and guided to perform as a priest at the festival.

Dimple B Shah

21 November 2024

Aligning to the Axis-Striking a Conversation

6th Baguashan Powerart Performance Festival, Changua Taiwan,

Curated by Yujun Ye

In front of Longshan Temple Taipei

5th November 2024

The third performance was in the vibrant setting of Longshan Temple in Taipei, a place steeped in rich history and cultural significance. Upon our arrival in Taipei, we immediately made our way to this iconic landmark renowned for its stunning and intricate architecture. The Longshan Temple is not just a feast for the eyes; it serves as a spiritual haven for many, housing a variety of deities that are revered by devotees. Among them are the God of Knowledge, sought after by students and scholars alike The God of Love, who attracts those seeking romantic connections, and the revered Machu Goddess, believed to protect the wellbeing of women. The atmosphere was electric as we prepared for the performance, surrounded by the incense-laden air and the soft sounds of prayers and offerings echoing throughout the temple grounds.

The atmosphere in front of Longshan Temple was filled with a vibrant mix of energy and contemplation, creating a unique space that felt expansive and intimate. A large audience had gathered, their varied expressions and movements adding to the lively scene. From my vantage point, I could stand a short distance away and still catch glimpses of the intricate details of the temple's interior through its ornate doorways. The sunlight filtered through the trees, casting gentle shadows on the ground, while the scent of incense drifted softly through the air.

Inspired by the moment, an idea began to take root in my mind: the urge to perform was irresistible. I imagined a conversation unfolding, one that would resonate with the spirit of the temple and engage the crowd around me. It felt like a calling, an opportunity to connect with the sacred space and the myriad of souls who had come to experience it. In this performance piece, I embarked on a journey of deep self-exploration and connection, utilizing a dialogue that wove together elements of intimate conversation and poetic expression reminiscent of shaman practices. This approach aligned with the rituals and customs deeply rooted in my culture.

To initiate the creation, I envisioned using a vibrant red cloth, symbolizing vitality and spirituality, which I manipulated to take on the form of a temple head. This act of formation symbolized my intention to manifest the body as a temple. For me, it was essential to intertwine the essence of the human body with that of a sacred space, aligning it with an imaginary Axis to facilitate a dialogue with what I envisioned as the opposite temple—a mirror of my being.

As I engaged in this performance action, I felt transported into a trance-like state. The rhythm of my movements, guided by the flowing cloth and illuminated by the soft glow of a traditional Chinese lamp, created a surreal atmosphere. It felt like I was beckoning divine energies, reaching out beyond the confines of my physical space, inviting the goddesses to partake in this sacred conversation.

Throughout this experience, I focused my gaze on the centre of the temple I had created. This focal point became a source of intense concentration, enabling me to channel my thoughts, body, and spirit into a singular purpose. The performance unfolded in a public space, yet it generated a unique and personal energy, isolating me in a bubble of profound introspection. The alignment I achieved granted me a sense of clarity and openness, enabling me to truly immerse myself in a trance-like state, where the boundaries between the sacred and the every day began to dissolve.

Describing this piece proves to be a challenge; it existed in a realm beyond words, a vivid blend of physicality and spirituality that transcended the space it occupied, echoing the deep connections between mind, body, and the universe.

Dimple B Shah 

5th November 2024

The Land of Formosa- Prayer for People and Dreams

6th Baguashan Powerart Performance Festival, Changua Taiwan,

Curated by Yujun Ye

27th October 2024

@Changhua Nanguokeng Riverside Plaza (Changhua Arts High School Third Campus), kaobinge

The second performance was on the next day. I prepared a structure with four sides using branches and rope to hold onto the text on the cloth. The performance resonated with the land of Changhua, Taiwan. It started with a vision to grasp the land with four words describing people and land.

 The land of Formosa,

The four-direction spirits represent four side temples in Changhua city and the cardinal four-direction.

The land of Bagushan Buddha (Big Buddha)

The Prayer from the Machu goddess temple in the Glass factory

These words are structured and serve as a foundation for the land and its people. The primary challenge was translating this message into Mandarin Chinese and having it on white cloth. I approached Ting Yung Chang for assistance, and she quickly helped me with the translation.

 

 

The upcoming challenge was to design a sculptural structure, and I couldn't help but feel a wave of excitement mixed with apprehension. With the clock ticking down, the pressure was on to transform our ideas into something truly captivating in a limited timeframe. I spent the morning preparing, and after giving a talk on ecology and art practice, I hurried to start working on my sculpture. Surprisingly, I noticed the text was ready on four long pieces of clothes written magically and placed on a chair. I later learned that the artist and designer, Zoey Wu, created it. It was my first encounter with her, and I felt overwhelmed.

As I was constructing the sculpture, although it seemed like an impossible task, I told someone that I had faith it would happen and did not know how it turned out to be true.

The performance started as planned, featuring a sculptural headdress symbolizing the land and its spirits. I walked toward a separate space, passing through a miniature replica of a military building. I invited people to write messages for their ancestors, friends, or loved ones who belonged to this land and foreign lands. The Messages were in Mandarin Chinese, which I could not understand. Later, I asked the audience to paste these messages onto my body, and I concluded my performance by offering a prayer for the land and its people.

Dimple B Shah 27th October 2024