Editing Taiwanese indigenous peoples (section)

==Culture==
===Religion===
[[File:Taiwan aborigine lona children.jpg|thumb|300px|Young residents in the Bunun village of Lona, Taiwan dress up for the traditional Christmas holiday (not an [[Holidays in Taiwan|official holiday in Taiwan]]). Christian missionaries have converted many residents to the [[Catholic Church in Taiwan|Catholic]] and Protestant faiths, and the town holds two large holiday parades.]]
Of the current population of Taiwanese indigenous, about 70% identify themselves as [[Christians|Christian]]. Many of the [[Taiwanese Plains Aborigines|Plains]] groups have mobilized their members around Christian organizations; most notably the [[Presbyterian Church in Taiwan]] and [[Catholic Church in Taiwan|Roman Catholic Church]].{{sfnp|Stainton|2006|pp=393–398}}

Before contact with Christian missionaries during both the Dutch and Qing periods, Taiwanese indigenous peoples held a variety of beliefs in spirits, gods, sacred symbols and [[myths]] that helped their societies find meaning and order. Although there is no evidence of a unified belief system shared among the various indigenous groups, there is evidence that several groups held [[supernatural]] [[Augury|beliefs in certain birds and bird behavior]]. The [[Siraya people|Siraya]] were reported by Dutch sources to incorporate bird imagery into their [[material culture]]. Other reports describe animal skulls and the use of human heads in societal beliefs. The Paiwan and other southern groups worship the [[Deinagkistrodon|Formosan hundred pacer]] snake and use the diamond patterns on its back in many designs.{{sfnp|Montgomery-McGovern|1922|pp=145–146}} In many Plains indigenous societies, the power to communicate with the supernatural world was exclusively held by women called ''Inibs''. During the period of Dutch colonization, the ''Inibs'' were removed from the villages to eliminate their influence and pave the way for Dutch missionary work.{{sfnp|Blusse|2006|pp=71–82}}

During the [[Zheng dynasty|Zheng]] and [[Qing dynasty|Qing]] eras, Han immigrants brought [[Confucianism|Confucianized]] beliefs of [[Taoism]] and [[Chinese Buddhism|Buddhism]] to Taiwan's indigenous people. Many Plains indigenous adopted Han religious practices, though there is evidence that many indigenous customs were transformed into local Taiwanese Han beliefs. In some parts of Taiwan the Siraya spirit of fertility, [[Ali-zu]] (A-li-tsu) has become assimilated into the Han [[Pantheon (gods)|pantheon]].{{sfnp|Shepherd|1986|pp=1–81}} The use of female spirit mediums (''[[Tongji (spirit medium)|tongji]]'') can also be traced to the earlier matrilineal ''Inibs''.

Although many indigenous assumed Han religious practices, several sub-groups sought protection from the European missionaries, who had started arriving in the 1860s. Many of the early Christian converts were displaced groups of Plains indigenous that sought protection from the oppressive Han. The missionaries, under the articles of [[extraterritoriality]], offered a form of power against the Qing establishment and could thus make demands on the government to provide redress for the complaints of Plains indigenous.{{sfnp|Shepherd|1993|p=382}} Many of these early congregations have served to maintain indigenous identity, language and cultures.

The influence of 19th- and 20th-century missionaries has both transformed and maintained indigenous integration. Many of the churches have replaced earlier community functions, but continue to retain a sense of continuity and community that unites members of indigenous societies against the pressures of [[modernity]]. Several church leaders have emerged from within the communities to take on leadership positions in petitioning the government in the interest of [[indigenous peoples]]{{sfnp|Stainton|2006|pp=420–422}} and seeking a balance between the interests of the communities and economic vitality.

===Music===
{{See also|Taiwanese pop}}
[[File:Pestle Music Theater 02.jpg|thumb|upright=1.5|Young woman playing music in the [[Formosan Aboriginal Culture Village|Formosan indigenous Culture Village]]]]
A full-time indigenous radio station, "Ho-hi-yan", was launched in 2005<ref>[[#Reference-Ho Hi Yan-2005|Ho Hi Yan 2005]]</ref> with the help of the [[Executive Yuan]], to focus on issues of interest to the indigenous community.<ref>Listen to [http://english.taipei.gov.tw/tbs/index.jsp?categid=4589 Ho-hi-yan] {{webarchive|url=https://web.archive.org/web/20130819194836/http://english.taipei.gov.tw/tbs/index.jsp?categid=4589 |date=2013-08-19}}; requires Windows Media Player 9 or higher.</ref> This came on the heels of a "New wave of Indigenous Pop",{{sfnp|Liu|2000}} as indigenous artists, such as [[A-mei]], Pur-dur and [[Samingad]] ([[Puyuma people|Puyuma]]), [[Difang Duana|Difang]], A-Lin ([[Amis people|Amis]]), [[:zh:戴愛玲|Princess Ai 戴愛玲]] ([[Paiwan people|Paiwan]]), and [[Landy Wen]] ([[Atayal people|Atayal]]) became international pop-stars. The rock musician [[Chang Chen-yue]] is a member of the [[Ami people|Ami]]. Music has given indigenous both a sense of pride and a sense of cultural ownership.{{sfnp|Anderson|2000|pp=283–290}}

The issue of ownership was exemplified when the musical project [[Enigma (German band)|Enigma]] used an Ami [[chant]] in their song "[[Return to Innocence]]", which was selected as the official theme of the [[1996 Summer Olympics|1996 Atlanta Olympics]]. The main chorus was sung by [[Difang and Igay Duana|Difang and his wife, Igay]]. The Amis couple successfully sued Enigma's record label, which then paid royalties to the French museum that held the master recordings of the traditional songs, but the original artists, who had been unaware of the Enigma project, remained uncompensated.{{sfnp|Anderson|2000|pp=283–290}}

===Parks, tourism, and commercialization===
[[File:Pastaai.jpg|thumb|upright|[[Pas-ta'ai]], a ritual of the [[Saisiyat people]]]]
Indigenous groups are seeking to preserve their folkways and languages as well as to return to, or remain on, their traditional lands. Eco-tourism, sewing and selling carvings, jewellery and music have become viable areas of economic opportunity. However, tourism-based commercial development, such as the creation of Taiwan indigenous Culture Park, is not a panacea. Although these create new jobs, indigenous are seldom given management positions. Moreover, some national parks have been built on indigenous lands against the wishes of the local communities, prompting one Taroko activist to label the [[Taroko National Park]] as a form of [[environmental colonialism]].{{sfnp|Simon|2006}} At times, the creation of national parks has resulted in forced resettlement of the indigenous.{{sfnp|Lin|2006}}

Due to the close proximity of indigenous land to the mountains, many communities have hoped to cash in on hot spring ventures and hotels, where they offer singing and dancing to add to the ambience. The Wulai Atayal in particular have been active in this area. Considerable government funding has been allocated to museums and culture centers focusing on Taiwan's indigenous heritage. Critics often call the ventures exploitative and "superficial portrayals" of indigenous culture, which distract attention from the real problems of substandard education.{{sfnp|Mo|2005}} Proponents of ethno-tourism suggest that such projects can positively impact the public image and economic prospects of the indigenous community.{{fact|date=July 2024}}

The attractive tourist destination includes natural resources, infrastructure, customs and culture, as well as the characteristics of the local industry. Thus, the role of the local community in influencing the tourism development activities is clear. The essence of tourism in today's world is the development and delivery of travel and visitation experiences to a range of individuals and groups who wish to see, understand, and experience the nature of different destinations and the way people live, work, and enjoy life in those destinations. The attitude of local people towards tourists constitutes one of the elements of a destination's tourism value chain.<ref name="Kachniewska, Magdalena 2016" />
The attraction is a tourist area's experience theme, however the main appeal is the formation of the fundamentals of the tourism image in the region [Kao, 1995]. Attraction sources can be diverse, including the area's natural resources, economic activities, customs, development history, religion, outdoor recreation activities, events and other related resources. This way, the awareness of indigenous resources constitutes an attraction to tourists. The indigenous culture is an important indicator of tourism products' attractiveness and a new type of economic sources.<ref name="Kachniewska, Magdalena 2016"/>

While there is an important need to link the economic, cultural, and ecological imperatives of development in the context of tourism enterprises, there is the key question of implementation and how the idea of [[sustainable tourism]] enterprises can be translated into reality: formulation of strategies and how they may be expected to interact with important aspects of indigenous culture. In addition to being locally directed and relevant, the planning process for the establishment of an ethno/ecotourism enterprise in an indigenous community should be strategic in nature. The use of a strategic planning process enables indigenous culture to be regarded as an important characteristic requiring careful consideration, rather than a feature to be exploited, or an incidental characteristic that is overshadowed by the natural features of the environment.<ref name="Kachniewska, Magdalena 2016"/>

====Pulima Art Festival====
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The Pulima Art Festival (藝術節; also known as Pulima Arts Festival) is a biennial event held since 2012 which showcases indigenous art and culture and is the biggest indigenous contemporary art event in Taiwan. ''Pulima'' is a [[Paiwan language|Paiwan]] word meaning "creative or highly skilled people". Inspired by the [[Edinburgh Art Festival]] and the [[Festival d'Avignon]] in France, Pulima is supported by the Indigenous Peoples Cultural Foundation. Dancers and musicians from Taiwan as well as abroad feature in the festival, which takes place between November and February every second year, and awards a prize called the Pulima Art Prize.<ref name=baker2016>{{cite web |last=Baker |first=Diane |title=Pulima Art Festival opts for south |website=Taipei Times |date=10 November 2016 |url=https://www.taipeitimes.com/News/feat/archives/2016/11/10/2003658943 |access-date=28 March 2021}}</ref>

The festival was held in Taipei in 2012 and 2014, and in [[Kaohsiung]] in 2016. In 2016, the Atamira Dance Company and Black Grace came from New Zealand, and [[Tiwi Islands#B2M|B2M]] ([[Bathurst Island, Northern Territory|Bathurst]] to [[Melville Island, Northern Territory|Melville]]), a band from the [[Tiwi Islands]], Australia also performed at the festival.<ref name=baker2016 />

The 2018 festival took place in the [[Museum of Contemporary Art Taipei]] Under the theme "MICAWOR – Turning Over", it displayed the talents of 26 groups of Taiwanese and international artists, and included a series of international forums, artist lectures, workshops and many other events. It collaborated with [[Melbourne]]'s [[YIRRAMBOI Festival]], with a "Festival in Festival" program.<ref>{{cite web |title=MICAWOR – 2018 Pulima Art Festival |website=Medianet |date=18 December 2018 |url=https://www.medianet.com.au/releases/171068/ |access-date=28 March 2021}}</ref>

The Pulima Arts Festival took place from 2020 to 2021<ref>{{cite web |title=2020 Festival |website=PulimaENG |url=http://www.pulima.com.tw/pulimaeng/pulima.aspx? |language=la |access-date=28 March 2021}}</ref> and several videos of participants are available on [[YouTube]].<ref>{{YouTube|UCUAjA_Hq9s5M3sqvCJSwrnw|2020 Pulima Art Festival}}</ref>

=== Indigenous Peoples' Day ===
{{See also|International Day of the World's Indigenous Peoples}}
In 2016, the administration under President [[Tsai Ing-wen]] approved a proposal that designated 1 August as Indigenous Peoples' Day in Taiwan. In celebration of the special day, President Tsai issued an official apology to the country's indigenous people and outlined steps to further promote legislation and involve organizations related to indigenous causes, such as the Presidential Office's Indigenous Historical Justice and Transitional Justice Committee. The government hopes the day will remind the public of the diverse ethnic groups in Taiwan by bringing greater respect for indigenous peoples' cultures and history and promoting their rights.<ref>{{cite web|title=Taiwan designates Aug. 1 as Indigenous Peoples' Day|date=29 July 2016 |url=https://focustaiwan.tw/politics/201607290022|access-date=1 August 2020|publisher=Focus Taiwan CNA}}</ref>