Taking it out of the villages
Cultural preservation is a pressing concern, and if we can’t help Aboriginal languages expand beyond the tribal villages, how can we get new generations speaking them in the cities?
It is this integration of old and new that is the greatest challenge for those working to preserve Aboriginal languages, especially with many of the languages falling behind the times, not developing new terms for new things, and becoming less practically useful.
“I can’t even use Paiwan to explain to my own mother what it is that I do,” says Resres. And any language that can’t be used in modern life is destined for the scrapheap of history.
According to the CIP, of the 700 people of Thao ethnicity, only some 20 can actually speak and understand the language fluently. And as those people grow old and pass on, that number edges ever closer to zero.
The mutual unintelligibility of the various Aboriginal languages is another challenge for the promoters of linguistic preservation, and can make a unified movement difficult. For example, says Resres, in Paiwan the word “bubu” means “ancestry,” while in Atayal it means “breasts.” “So when we’re talking about our ancestors, our Atayal friends can’t help but chuckle.”
While many schools have started courses in Aboriginal languages, few parents have any interest in having their children learn them, considering it a waste of effort because knowing an Aboriginal language won’t be a help to their futures. This, in turn, influences the children’s attitudes. And so just as the problem starts with parents, so too does the solution.
Nonagenarian Hong Liu, of the Bunun tribe, says that she is the last traditional shaman in her family line. Despite her age, she made the long trip north from Kaohsiung to perform, as well as having hand-stitched the costumes for herself, her children, and her grandchildren. She even demonstrated how to pull a bow to her grandchildren during rehearsals! One of Ms. Hong’s granddaughters says that at home, her mother and grandmother both speak Bunun, and so she naturally picked up the language. Studying in the Aboriginal arts class at school has made her all the more eager to take the Indigenous Languages Proficiency Test in the future.
Seediq culture specialist Dakis Pawan documented the making of Seediq Bale and the teaching of the movie’s lines to the cast in his book Truth Bale. He writes that while many Aboriginal children today are unable and unwilling to speak their tribal languages, there was one ray of light: that some of the film’s cast began developing an interest in learning about their own languages and writing systems through their experience on Seediq Bale.
“It’s a start. The film has inspired a lot of young people to value their own culture and origins more,” says Resres Livulivuwan.
Now, while the songs of the ancestors continue to be sung, the stories of the younger generation are just beginning.