Isle 4224
梅心怡 Delphine Mei
臉、形、貌、體 重新思考行為 - 社會集體行為和個人行為在現有結構下的身份認 (IDENTITY) 問題 找臉尋身， 找家， 找那個冥冥中追尋的烏托邦和那個永遠不醒的夢 在創作上這次以此觀念出發， 採取混搭媒材實驗的方式， 嘗試打破 原有設定的框架。 做為一個多元媒材以身體做主軸出發的創作者， 因曾經為純舞者表 演者，常常會在過程中問自己： 什麼是舞蹈? 就是要跳來跳去脚舉 得很高很瘦很美嗎？ 這個美又是什麽？ 是誰來定義是或不是，美 或醜? 所以拍Video就是要做Video嗎? 它會不會只是一種中間的通 道， 到另外一個想像世界的媒材工具？Dancing with Camera 和 Dance on Camera 有没有不一樣? 行為藝術， 或整體來講當代藝術， 雖然表面上看似荒謬或無意義、 無解、甚至無聊， 對於非藝術創作者而言可能認為只是一群少數想 搞怪的人在玩。 但事實上它起源於探索詢問本質上的生命哲學觀念 問題， 重點是不按所謂已定的個人或社會標準無自我認知或無意識 的去執行。就像對一天到晚被金錢壓迫、被親情友情愛情人情和所 謂的為你好給壓迫悶死， 被控制地繼續活著工作著購買著然後就說 拜拜的人生提出問題。 關於內容，不想解釋太多故事情節，要靠觀者自己的想像力。身體 是有故事的, 身體的故事讓他她它自己來說；影像是一面鏡子， 看 到的故事不管是什麼事實上都是屬於自己的。如果你的疑惑多於答 案，那很棒， 這就是現世人生的形形色色百種群像的縮影！問題不 只一種，所以答案當然也千奇百怪任君選擇，没有什麼按牌理出牌 的， 連牌理都是個無止盡的探索，把原有的定義標箴分解開， 再重 新组合再生。在一團混亂中，除了焦慮不安、彼此打殺責駡、或完 全聽從所謂“只有 一個”存在的方式和真理， 還能做些什麼? 是不
是有可能在混沌失敗的真實中不斷地思考，然後幫助彼此朝個自目 標徐徐前進? 這一次在工作坊方面也特別挑選運用了一些劇場發展的方式: 人民劇 場或俗稱由巴西劇場導演奧古斯.波瓦 (Augusto Boal) 於1970年代 創發的”被壓迫者劇場”。它開始讓民眾思考 劇場與社會連結的可 能性，特別拿來做為受壓迫弱勢族群的發聲平台。這些劇場戲劇元 素可以用來推廣鏈接和整合行為藝術的核心精神- 簡單地說，就是把 藝術所代表的民主，想像力和創造力，文化、精神上的自由，再次 以有趣有意義地形式帶回人們的生活中。 值得一提的是在照片中可以看到的一個反觀在地醫療保健制度的問 題，包括近年來一直爆發的食品安全危機。以本身另一個角色自然 能量工作者出發，和我父母一輩子都是從事西方醫學的角度來觀 察，到底我們是在消費還是被消費? 是在治療或被謀殺? 吃了壞的食 物, 再去看醫生拿更多的化學藥物放入身體中，然後再繼續吃，然後 再然後，最後老了身體機能也退化了， 再也不能消化抵抗多年來的 毒素堆積在身體裏，糖尿病心臟病高血壓癌症，付更多錢住醫院打 針吃更多的藥，然後? 我外婆就是這樣得胃癌於去年離世; 我自己在十多年前也在突然檢查 到有淺性細胞病變疑轉癌細胞後險險地用自然物理療法大改生活飲 食思考習慣而過了關。 在看顧心愛的外婆躺在病床上插著氣管， 痛的一直出大汗， 我腦中 的這些疑問一層一層地被活生生地剝開重新攤在眼前。 最後, 也是最開始、回到人的原型初衷。 這個行為或作品不僅僅是屬於藝術的，眼睛看得到的東西， 也是個 代表回歸到精神上、肉眼看不到的一個祭典儀式行為。 看不到的藍色在脈輪能量學中屬於精神層面的上三脈輪 (藍、靛、 紫-白)， 除了象徵所有所説所做的都由心輪出發，靛藍也意味著預
知力（第三眼），洞悉過去現在未來的連貫性，和對未來的願景和 期望，因此它是屬靈的顏色。 看不到的黃色為下三輪之最上輪，象徴著自我在族群中的身份定 位， 也别稱 “The Inner Sun”, 自我世界中那個永遠閃耀温暖的 太陽。在一個真正民主開放的家庭社會族群中， 那個太陽能鞏固個 人獨特個性的發展成長與表達，而且可以同樣地支持他人在族群中 的獨立性 。當物質三下脈和精神三上脈順通流動，由中間輪心脈連 結， 我們的生活就平衡喜悦跳動了起來， 就可以與天地共吟共舞， 平靜地接受並流暢地行走過人生的不同階段。 至於看到的灰：我們生活中總是有很多的灰色地帶- 白色反射所有的 光線，而黑色吸收所有的光。 人生並沒有絕對的黑色或白色，其實 它混雜成很多的灰色地帶，最終就像麥克·傑克森唱的，“並不重 要你是黑還是白“ ，藝術的原生創造力和想像力就居住在這個美麗 又神奇的灰色地帶。遺憾的是我們現有的社會並不支持這種灰色地 帶，給另類或即不黑又不白不一樣的人事物很多有形無形的批判和 壓力，從而最終殺死像麥克這種偉大的藝術家。 藝術本身就是一種另類有選擇餘地的空間，交換交流來來去去憂喜 參半的地方。希望更多的人能够保持創造支持這種屬於大家、自由 開放的平台。 僅以此獻給從小養我長大的外婆，也獻給所有在苦難中已過去或還 堅強活著的所有靈魂。 在這茫茫混雜的台灣土地上， 願這些記憶也好， 失憶也好，屬於另 類空間、次元，看得到看不到的屬於生命的一切的一切，保佑著啟 發著我們， 繼續帶著它向前走。 感謝參加這次計劃的所有人 ， 感謝整個藝術家自助會主要發起人葉 育君，和INSTANT42、TAMTAMART TAIPEI. IPIX提供攝影及工作坊 空間。感謝大家一路陪伴著，不管你以任何形式支持我或我的行為
，在這裡寫的每個字每張照片後面都可以找到大家靈魂曾經旅行到 我生命的足跡。謝謝這個宇宙大地之母:我是早生2個多月的寶寶，差 點死在子宮裡，可能我迫不及待地想來這個世界探索和玩耍。現在 雖然青春不再，天天醒來要面對很多很複雜的生活問題，還是很慶 幸起起伏伏酸甜苦辣後依舊活著，仍然能夠創造想像的世界、烏托 邦，不斷地繞著心裡的太陽，繼續 。。。
梅心怡 民國103年九月 寫於老家台灣台北永和二村
編導與概念： 梅心怡
表演參與者 (沒有任何順序)： 洪雅純 Meta，黃耀廷，梅心怡 ，林耕舞，陳姿吟，林子寧，蔡昀 庭，丁禹仲，吳郁嫺，買黛兒，江元皓，Camille，葉育君，高琇 慧，曾為恩，陳文夫
部分平面攝影： 陳錦桐
錄像影片攝影： 阿甘（甘燿嘉），洪純雅 Meta，梅心怡
動作和表演指導： 梅心怡
雙人部分合作者： 黃耀廷（東尼）， 梅心怡
埸景和道具： 梅心怡
地點： INSTANT 42 TAMTAMART TAIPEI. IPIX 台北台灣
Face, Shape, Appearance, Body Re-think our behaviors - from collective social actions to individual conducts within the existing systems, issues to do with identity. Finding faces, searching for bodies, looking for homes and seeking somewhere the unfathomed utopia as well as the dreams that will never be awoken. This time the artwork departs from this very concept, mixing and matching different mediums while experimenting with varied materials and tries to break the pre-set frame of mind. Being a multi-dimensional art-maker, using body as the central theme,  I often ask myself in the process, been purely a dancerperformer, What is dance? Is it just jump around with high legs and the dancers have to be real thin and beautiful? What is beauty? Who defines it and what is beautiful or ugly? Must one make videos as a presentation form just because one shoots videos? Can it be perhaps a middle passageway, a tool just to arrive in another imaginary world and into another medium? Are Dancingwith-Camera and Dance-on-Camera the same? Performance Art, or let’s say Contemporary Arts in general, although from the surface may sometimes seem absurd or meaningless, answerless, even boring,  the non-art-creator might think it is just a minority of people who wanna make some tricks or play. In fact its original intention is to explore and question the elemental life philosophy and certain concepts. The point is not to
behave according to certain preset individual or societal standards or loosing self-recognition and -awareness. It is to raise deeper questions to those of us who are tyrannized by money, by all kinds of relationships and suffocated by others’ so-called good intentions. Living daily controlled by outward standards and continuing to succumb to work and consumption; eventually saying goodbye to life. About content, I do not want to explain more about the “storyplot”; one needs to rely on one’s own imagination. Bodies have stories, let it speaks for itself. Images are like a mirror, reflecting whatever one sees in oneself, so the stories ultimately belong to one’s own stories inside. If you feel more confusions than answers, that’s great, because that is the very microcosm-image of the colorful life forms and people! There are not only one kind of questions, so of course answers are limitless as you like it. There is no chess-game rule, even that rule is an infinite explorations of many kinds. So take all your definitions and labels away and have a good look at it, then gain new knowledge and awareness. In the midst of such chaotic world, except being anxious or upset, killing or blaming each other or completely listening to the so-called “one-and-only” existing way and truth, what else can we do? Is it possible to meditate in such state and help each other to move forward gently towards goals that might be different? This time I also incorporate some methods developed from “People’s Theatre” or commonly known as” Theatre of the Oppressed” by Augusto Boal. It was first created in the 1970s. This
was the beginning of linking theatre and social behaviors allowing people to think deeper, especially as a platform to express the voice for the oppressed minority people.  These theatrical elements can be used to advocate and connect the core spirit of Performance Art for empowerment. It is to bring art, which represents democracy, imagination and creativity, cultural spiritual freedom, back to people’s daily life meaningfully. What is worth getting into a little, is that one can see the reflection on the local medical and health issues, including the recent explosion of news about the danger of food-safety subjects. Being also a nature energy worker myself and coming from a western medicine family, I question whether we are consuming or being consumed? Is it really healing or are we murdered by it? Eating bad food manufactured with layers of chemicals that are harmful to the human body, then going to the doctors to take many more chemicalized drugs and put inside our bodies, then continuing to eat, then and then, finally becoming old and the functions of the bodies declining, not able to digest or fight against many poisonous elements piled inside the bodies from years of this same process. Diabetes, hypertension, heart disease, cancer, paying more money to stay in the hospitals to get even more injections and medications, then? My grandmother was like this and died of stomach cancer last year. More than 10 years ago I myself have also suddenly discovered that I have some cell mutations suspected to be cancerous lesions. After that I used natural physical therapy, alternative medicines,
changing eating and thinking habits, successfully healed. While watching over dear Grandma lying in the sick bed with trachea, the pain so huge that she sweated massively, these questions were re-opened again and laying right in front of my eyes. Lastly, back to the beginning, the original shape and intentions. This “action” or work is not only an artwork, visible to the eyes but also a symbol for returning to the spiritual in the form of ceremonial ritual action that is invisible to the outer eyes. The invisible blue, in the chakra energy system, belongs to the upper three spirit-centered chakras (blue, indigo, purplewhite). The color represents clear speech and expression of inner thoughts. Indigo blue also means the ability to foresee the future (the third eye). This insight to see the continuity and connections between past-present-future, as well as the vision and aspirations for the bigger picture, makes Blue a color of the soul. The invisible yellow, sits on top of the lower three chakras, symbolizing the self’s identity within the community, the tribe. It is often nicknamed “The Inner Sun” meaning the forever shining and warmth giving sun inside our own self. When living inside a real democratic and open environment, the inner sun can solidify the developments and expressions of a unique individual and in turn provide support to others within the community. When the energies between the material three lower chakras and the spiritual upper chakras are able flow fluidly, connected by the center heart chakra, then our life becomes balanced, full of joy and excitement. We can dance with the earth and sing, calmly ac-
cept and walk peacefully through the different stages of our life. As of visible grey here: There are always many grey zones in our life - white color reflects all light while black absorbs all. Life has no absolute black and white. It is actually made up of mixtures of many grey areas. Like what Michael Jackson sang, “ It doesn’t matter whether you are black or white”, the inborn creative forces and imaginations dwell in this beautiful and magical grey zone. Unfortunately our present societies do not tend to support such grey areas, often forming prejudices, eventually killing great artists and creatives like Michael. Art itself is the alternative where a variety of choices are offered. It is a place for genuine exchanges, discussions and a space where people can come and go sharing joys and sorrows. I sincerely hope that more people can support and create platforms of freedom and openness. I would like to dedicate this little book to Grandma, who has raised me since I was born prematurely. This is also dedicated to those who have suffered but passed into another realm like Grandma as well as to those who still hold on to their strengths and go on living. In this small yet boundlessly confounding island, may these memories, amnesias, another space or dimensions, visible or invisible, everything that belongs to life, will protect and inspire us, carrying us forward. A sincere thank-you to all the participants of this project and to the main organizer Yu-Jun Ye, Instant 42 and TAMTAMART
TAIPEI. IPIX for providing video-photography and workshop spaces. Heartwarming thanks to everyone that has accompanied my path, whichever way you have supported me, you can see your spirits leaving footprints in my life, amidst every word every photograph in this book. My whole being gives gratitudes to the Universe and Earth Mother: I was born more than twomonths earlier, almost died inside the womb. Perhaps I couldn’t wait to come to this world for explorations, adventures, and play. Although youth has already far passed by, and everyday upon waking up I still have to face many complicated difficult life issues, but still I am very thankful for being alive after the ups and downs, bitterness and sweetness of it all. Furthermore, still able to create the imaginary world- the utopia, infinitely circling around the inner sun, continuing my journey...
Delphine Mei 2014.09 In Old Home Yonghe Second Village Taipei Taiwan
Director & Concept: Delphine Mei
Performance Participants (not in any particular order): Meta Hong, Tony Huang, Delphine Mei, Keng-Wu Lin, Tzu-Yin Chen, Zi-Ning Lin, Yun-Ting Tsai, Yu-Chung Ding, Yu-Xian Wu, Dairei Mai, Iuan-Hau Chiang, Camille HS Yang, Yu-Jun Ye, Xiu-Hui Gao, Wayne Tseng, Wen-Fu Chen
Video Camera: Meta Hong, Nick Kan, Delphine Mei
Partial Photography: Gintong Chen
Movement and Performance Choreography: Delphine Mei
Duet Collaborators: Tony Huang, Delphine Mei
Props and Scene Design: Delphine Mei
Location: INSTANT 42 (Luzou, New Taipei City, Taiwan) TAMTAMART TAIPEI. IPIX (Taipei City, Taiwan)
Workshop