放映場次

★ 10/03（六）14:30 苗栗｜掀冊店
★ 10/24（六）19:30 新竹｜江山藝改所
★ 10/24（六）19:30 苗栗｜重成商號
★ 11/04（三）18:00 台中｜佔空間
★ 11/07（六）14:30 花蓮｜勝利不廢商號

〈愛深耕彩虹生根：性別電影巡迴放映計劃，新竹、苗栗、台中、花蓮，台灣〉這篇文章最早發佈於《Huang Meng Wen 黃孟雯》。

入選影片：《日安午夜》

Selected films: Good Night, My Rogue Girl!

〈Tokyo Lift-Off Film Festival，線上展〉這篇文章最早發佈於《Huang Meng Wen 黃孟雯》。

日期 Dates｜2023.11.10－2023.11.12

地點 Venue｜韓國國立美術館高陽工作室，首爾。National Museum of Modern and Contemporary Art Residency Goyang Gallry, Seoul, Korea

〈《To you, I say》，韓國國立美術館高陽工作室，首爾〉這篇文章最早發佈於《Huang Meng Wen 黃孟雯》。

地點 Venue｜台北、桃園、台中、台南、高雄。Taipei, Taoyuan, Taichung, Tainan, Kaohsiung

主辦單位｜台灣國際影音與教育協會台灣國際酷兒影展

《日安午夜》放映場次

★ 09/23（六）19:00 新北｜永安兒童公園市民活動中心
★ 10/04（三）18:30 台北｜台灣大學
★ 11/05（日）14:00 台中｜心之谷永續教育園區
★ 11/14（二）18:00 桃園｜中央大學
★ 11/17（五）19:00 台南｜透南風咖啡聚場
★ 11/25（六）14:00 台中｜艾爾瑞特藝術所
★ 11/26（日）16:00 台南｜南門電影書院
★ 11/29（三）18:00 高雄｜高師大性別所學會

〈愛深耕 ‧ 彩虹生根 – 性別電影放映計畫〉這篇文章最早發佈於《Huang Meng Wen 黃孟雯》。

日期 Dates｜2023.07.27

地點 Venue｜韓國國立美術館，首爾。National Museum of Modern and Contemporary Art, Seoul, Korea

題目 Topic｜邊緣—主體：從酷兒與女性邊緣史看近代台灣

Marginal Subject: Exploring Modern Taiwan through the Marginal Histories of Queer and Women

〈MMCA 駐村藝術家座談會〉這篇文章最早發佈於《Huang Meng Wen 黃孟雯》。

人們印象中的「她們」總是在霓虹閃閃的煙花界，甚少知道「她們」在島嶼的歷史縫隙中默默付出她們的溫柔。在台灣蜿蜒經歷了殖民、二戰、戰後、冷戰，直至經濟奇蹟的近代史中，她們以身體勞動支撐自己，或成為家庭的支柱，配合國家政策成為國家動員的一份子，執辦國家交給「她們」的任務。然而，她們的身體勞動被國族視為不光彩的過去，為了國家的良好形象，「她們」成為被遺忘的記憶。其實，「她們」一直存在於台灣歷史的角落，主流歷史的邊緣。
「旗飄揚下的她們」由島嶼歷史中的「她」思考親密關係勞動者如何成為國家動員的一環，日治時代公娼制度成為帝國擴張領土的政策之一；二戰期間遭受日軍性暴力的「慰安婦」；戰後國民政府來台反共復國旗幟下隨各地駐軍的軍中特約茶室，或是敬軍愛國的酒家小姐；與冷戰期間，陪伴在台美國大兵的酒吧女。
由之延伸的是台灣百年來，當女性身體成為國家機器的資源，國家如何動員「她們」為國家效力，從日治到冷戰後。此計畫試圖在這近百年不同時空卻相似的生命政治之間，串連起歷史的連續性，此連續性背後蘊含著國家機器中的男性中心思維，結合國家權力機制，體現在這些職業女人們的生命中。而她僅能以命運理解自己的處境。她們曾有故事、曾有名字，而如今我們僅僅只能以「她」帶過。這是個關於這些職業女人們的故事，被污名化的女人們的故事。

她們與我。曾經在參與同志運動之時而接觸公娼運動，這場運動帶給我深深震撼。近期性別與近代史是我藝術計畫所關注的，當我以「性別」的視角探勘這個島嶼的歷史，不斷在各個時期、各種資料中，見到她們稀微的身影，我開始索尋她們的足跡，尋找她們的過去，竟發現「她們」與台灣這個島嶼的政權更迭、經濟脈絡息息相關，在這難以啟齒的勞苦職業背後是關於國家、戰爭與權力。我思考若是以「她們」的視角來拼湊歷史，那會是一個怎樣的台灣現代史故事。
當「她們」以身體溫柔的懷抱著這汙名的工作，默默地承受台灣近代史的曲折與不堪銘印，本計畫以藝術之名回報她們的溫柔。在流動的電影影像與瞬間的攝影時刻中，藝術的召喚術，召喚逝去的集體記憶。她們的故事，就是我們的過去。

These women had been called many names—geisha, comfort women, waitrees, waitresses, tea girls, liquor house girls, bar girls, licensed sex workers, and so on. They often showed up in the particular identity that a particular era, unit, or place needed them to be. Their ways of working might have changed for the era and their identity’s needs, but these women’s jobs were all similar—a major part of them was about sexual interactions.

People tend to have the impression that these women worked in the shiny sex-related entertainment industries. Little did they know about their silent dedication of their softness to the nation in the course of Taiwan’s history. Throughout Taiwan’s modern history, from Japan’s colonization, World War II, the post-war period, the Cold War, to Taiwan’s Economic Miracle, these women had been supported themselves or their families with their sex-related labor. They became a part of national mobilization whenever the policies demanded and they always carried out the tasks assigned to them by the government. Nevertheless, this sort of sex-related labor has been considered the disgraceful past of history by the nation. For a better image of the nation, these women had no choice but to be forgotten in people’s memories. They had always existed on the periphery of Taiwan’s so-called mainstream history.

Herstory Under the Flying Flag discusses how “these women”, the sex-related laborers, became a part of the national mobilization in Taiwan’s history. During the Japanese ruling period, the legal prostitution system had become one of Japan’s territorial expansion policies. In the post-war period, there were the patriotic liquor house girls; and the military paradises set up by the anti-communist Nationalist government with a mission of national salvation. Last but not least, there were also bar girls that accompanied the U.S. soldiers in Taiwan during the Cold War.

We could not help but wonder how the nation mobilized these women and used their bodies as a resource of the state apparatus throughout Taiwan’s modern history, from the Japanese ruling period to the post-Cold War period. This project attempts to connect all these similar biopolitics from different eras and illustrate a certain continuity in Taiwan’s history. Behind this continuity is the male-centered thinking in the state apparatus which, in combination with the state power mechanism, was reflected in the lives of these professional women. And these women could merely believe that the situation they were in was just their fate. These women, who had names and stories to tell, can only be referred to as “she” nowadays. This is a story about these women, these stigmatized women.

These women and I. Once I came into contact with the Sex Work Rights’movement while participating in the gay movement. This movement shocked me deeply. Recently my art projects often focus on gender and modern history. When I went through Taiwan’s history from the perspective of gender, I constantly saw traces of these women in all kinds of historical data. That was when I started to look for their footprints and figure out their past. To my surprise, these women’s past was highly related to the regime shifts and economic contexts of Taiwan. Behind this so-called embarrassing job of theirs, it was also about the nation, the wars, and the power. I wondered what a story of Taiwan’s modern history would be if it is told from these women’s perspectives.

These women softly embraced their stigmatized job with their bodies, and silently took in all the shame as well as all the twists and turns in Taiwan’s modern history. This project returns their tenderness in the name of art. With the dynamic images and the photographic moments captured, this project uses art as the spell to summon the long-forgotten collective memories. These women’s stories are indeed our past.

《太陽旗下的情死》

Suicide for love under The Sun Flag
2021，Digital Photography，數位攝影

日治，公娼制度的引進是為了在台日人

1895 年，台灣成為日本第一個海外殖民地，日本政府派遣軍隊與人員接收台灣。為了保護作為統治者的日本男性之健康，作為性病蔓延與的預防對策，殖民政府將日本內地的公娼制度引進於台灣，並在各地設置「遊廓」作為合法的性產業專區。為了使該外地具備猶如內地般的買賣春市場與環境，殖民政府與民間業者配合引進日本人娼妓前往台灣，提高日本人到殖民地移住意願。性的治理成為日本帝國擴張殖民地之政策之一，公娼制度的實施不是為了台灣人，而是為了在台日本人。

《太陽旗下的情死》故事來自《臺灣日日新報》，日本來台的川村是艋舺遊廓稻六高樓的藝妓，李姓男子是一名在大稻埕商會擔任通譯的台灣人，兩人相戀，男女之情濃得讓人羨慕。川村欲從遊廓脫身，李男盜用公款三千餘圓，最終樓主仍不讓川村脫籍。某夜，兩人在月光的陪伴下前往北投紗帽山，以紅絲纏身，相抱自焚，情死換取自由。

During Japanese governance, the introduction of the public prostitution system is for Japanese men in Taiwan, not for Taiwanese.

In 1895, Taiwan became Japan’s first colony overseas. In order to protect health of the Japanese male as the rulers, the legal prostitution system in Japanese mainland was introduced to Taiwan by setting up “licensed red light areas” as the legal sex industry special district. In order to provide Taiwan, which was regarded as the extended territory, with the same market and environment for prostitution as the mainland, the colonial government cooperated with the private sector, sending Japanese prostitutes to Taiwan to entice Japanese into migrating to their colony. Actually, governing sex had become one of the policies for the Japan Empire to expand its colonies; that is, the practice of the legal prostitution system had not set up for Taiwanese but for the Japanese men in Taiwan.
The story “Suicide for love under The Sun Flag” is derived from “Taiwan Daily News”. The plot is about a geisha coming from Japan fell in love with a Taiwanese man Li. The Geisha tried to get rid of the legal red light area; however, the boss refused to let her go. One night, the lovers entangled themselves by red silky rope, holding each other and burning themselves to exchange freedom with their death for love.

《慰安－軍需品》

Military necessities for comfort
2021，Digital Photography，數位攝影

二戰，日本帝國殖民下的台灣「慰安婦」

日本帝國於二戰前積極向外進行軍事擴張，在海外引入公娼制度，為因應軍人性需求，在各地部隊設置慰安所。二戰期間，日本政府以「慰安婦」（Comfort women）新造語徵召國內與殖民地女性前往戰場、日本統治區，為日軍提供性服務。台灣作為日本殖民地，也成為日本帝國動員的對象。戰爭期間，「慰安婦」遭受到日軍極不人道的性暴力與虐待奴役，身心俱創、傷痕累累或死於戰場。
在戰爭結束數十年後，由於台灣缺乏對於「慰安婦」歷史脈絡性的理解，甚至誤解，「慰安婦」議題在政治角力中被策略性的模糊失焦。人們只能以「被迫的良婦或自願的娼婦」二元性的理解「慰安婦」的歷史面貌，然而如此二元的選擇性記憶其實隱含了對女性與性工作者的歧視(與另一種壓迫)，撕裂人們對「慰安婦」歷史的理解，造成對於台灣集體人民的再度傷害。我們應超越現今政治情勢的架構與思維，更全面的理解「慰安婦」的歷史脈絡與當時被殖民台灣的社會結構，深入思考慰安婦議題，才能夠讓集體的歷史傷口慢慢癒合。
「慰安_軍需品」，戰時，「慰安婦」搭乘的運輸船如果被擊沉，軍方是按「軍需品沉沒」處理，即使死於戰場，也不能獲得甚麼勳章或撫卹。日本政府以「慰安」如此正面曖昧的用語，在戰爭愛國氛圍下徵召女性從事「慰安婦」，「慰安婦」卻承受了如同「物品」般的「非人」對待。

In World War II, the “Comfort women” under the Empire of Japan’s colony

Before World War II, the Japanese Empire actively conducted external military expansion. To meet the soldiers’ sexual need, the comfort stations were set in the army in many sites around Taiwan. During World War II, with the newly created term “the comfort women”, the Japanese government recruited their domestic women and the women in their colony to the war field and the areas governed by Japan to provide sex services to the Japanese soldiers. As the colony, Taiwan had also become the Japanese Empire’s mobilization object. During the war, the “comfort women” were treated extremely inhumanly, including sexual violence, abuse, and slavery, which hurt them both physically and mentally, and even resulted in wounds or death in the war field.
“Military Necessities for Comfort”: In the wartime, if the transportation ships with the“Comfort women” were attacked and sank, the military sector would treat them as “the military necessities sinking”. Even when the comfort women died on the war field, they could not receive any medals nor pension. The Japanese government used such positive as well as ambiguous term, “comfort”, to recruit the female to serve as the “Comfort women” in the army under the patriotic atomsphere of the wartime. Unfortunately, those “Comfort women” had to endure to be treated “inhumanly” as anobject”.

《敬軍花》

Patriotic Flower
2021，Digital Photography，數位攝影

戰後初期，敬軍愛國的酒家小姐

國民政府來台後，新的國家機構藉由新法對消費空間進行重新劃分，在戰時節約反共復國的思維下，酒樓、酒家被視為奢侈消費，要求酒樓、餐館改制為「公共食堂」，同時設立形同「公娼」業的「特種酒家」。

1956年，在戰時氛圍下，為響應政府春節節約勞軍號召，軍人之友社首先在新公園音樂廳舉行「敬軍花」義賣會，義賣花朵所得將作為勞軍使用。台北市鳳仙等十九家酒家將各推派女服務生代表參加「敬軍花」義賣運動，報紙也刊出一系列多篇「敬軍花」義賣相關報導。站在台上的「她們」因為這次義賣受到國家「敬軍愛國」的表揚，也是「她們」難得能有機會在台上為自己發言的時刻。

The Beginning of the Post-War Period: The patriotic liquor house girls that honored the soldiers

After the Nationalist Government came to Taiwan, the new national institution re-deployed the consuming space by the new law. In the war-time atmosphere, the public liquor house and the female workers– the liquor house girls were also treated by the National Institution as the called-up resource and took part in activities of fundraising and entertaining/honoring the army.

“Patriotic Flower”: In 1956, in the war-time atmosphere, in order to respond to the
Government’s New Year economically entertaining the army recruit, the “Public Liquor Houses Patriotic Flower” provided fundraising sale in 19 liquor houses for 20 days. The fundraising sale of flowers were all donated to the army. In this event, more than one thousand liquor house girls participated together, and the newspaper published a series of the Patriotic Flower’s fundraising sale related repots. The liquor house girls with the best performance in the fundraising stood on the stage to be praised as the best seller, the liquor house girls were praised as “honor the army and love the country” by our nation. This was a rare opportunity for these women to be praised by the country and speak for themselves on stage.

《台美合作》

Taiwan-U.S. Cooperation
2021， Digital Photography，數位攝影

冷戰時期：美軍駐台

自五○年代的韓戰開啟冷戰格局，美國陸續在東亞地區打造軍事島鏈，簽署了一系列共同防禦協定。冷戰期間，美國以台灣作為美軍的後勤中心，大批美軍駐台。1965 年越戰爆發，美國指定台灣為駐越美軍的渡假地點，在台灣設立官兵度假中心，啟動「R&R（Rest and Relaxation）美軍休息復原計劃」，台灣成為提供美軍心靈補給和身體慰藉的休息地。服務美軍的各式產業接連出現，包括咖啡廳、酒吧、俱樂部，以及提供美軍的「性服務業」。「吧女」即是在此結構下出現的行業，與公娼制度類似，政府發與牌照並定期接受身體檢查。據統計，1965~1970 年間，台灣從美軍消費賺取的外匯就高達三千五百多萬美元，其中一大部分不可否認是仰賴服務美軍的吧女與性工作者所賺取。70 年代中期，越戰結束，駐台美軍銳減，隨著台美斷交，美軍酒吧街也在八○年代漸漸消逝。

Cold War Period: The US Army Stationed in Taiwan

Since the Korean War in 1950s started the cold-war phase, the US had consistently constructed the military island chain in Eastern Asia, and signed a series of Mutual Defense Treaties with Taiwan. During the Cold War Period, the US took Taiwan as their troops’ logistics center, and sent a large quantity of troops to station in Taiwan. In 1965, the Vietnam War exploded, and the US appointed Taiwan as the vacation location for the US troops stationing in Vietnam by establishing the Officers and Soldiers Vacation Center in Taiwan. With starting “R&R” (Rest and Relaxation), Taiwan became the resort that provided the US army the spiritual supply and physical comfort. One after another, various kinds of industries emerged to serve the US soldiers, such as coffee shops, bars, clubs, and the “sex industry” for the US soldiers. “Bar girls” industry appeared under such structure. Similar with the public prostitute system, the government would issue license and had the girls receive health check periodically.

《如果她有一台相機》

If She Had a Camera
2021，Digital Photography，數位攝影

如果她有一台相機

1967 年 12 月時代雜誌刊登了一篇報導介紹「駐越美軍的休息復原計畫」專文，文中如此介紹台北：「台北除了故宮博物院豐富的中國文物收藏外，很少有文化古蹟可以欣賞，但卻以女人的柔順和食物的精美，選為美軍度假城市」。並刊登了一張美國大兵與北投侍應生共浴的照片，這張照片刊出後，1968 年 1 月照片中化名美玲的侍應生遭到陽明山警察所以妨害風化罪移送台北地檢處，並以公然猥褻罪將美玲移送法辦，拍攝地點文士閣旅社也奉令停業一星期。報紙更以「洋相出到外國，此事要問一番」標題報導美玲於地檢署應訊，美玲解釋她不知被人偷偷拍照，更不知道會被刊在外國的雜誌上；她是有照的陪浴女郎，與人共浴是合法的。拍攝這張照片的美國記者事後曾向新聞局提出要求反對懲處旅館及陪浴女，也有社論認為政府的懲處矛盾，最終，美玲與旅館業者均獲不起訴處分，全案在1月底終結。《如果她有一台相機》這件作品回應時代雜誌事件，如果「她」有台相機，將照相機的角度轉向，視角轉換，從她的視角會看到甚麼？

If She Had a Camera

In December, 1967, the Times magazine published an article that introduced the “Rest and Relaxation Plan for the US Army Stationed in Vietnam”. In that article, there was a photo of an American soldier taking bath with a waitress in Taipei. After this photo was published, the waitress in the photo was brought to justice by the police with public indecency. Moreover, the newspaper even reported with the title “An Embarrassing Sight to be Seen by Foreigners”. The waitress explained that she had no idea of being taken picture stealthily, and she was a bath accompany girl, so it was legal to take a bath with others. Finally, she was not prosecuted. The artwork “If she had a camera” responded the Times magazine event. In other words, if“she” had a camera, she would have turned the angle of shooting a photo. When the viewing angle had been changed, what would she have seen from her own angle of sight?

《清，二一事件》

The Soldier Need Love
2015，Digital Photography，數位攝影

清，二一事件

1972 年 4 月 21 日，在台中清崗基地附近工作的吧女清，被駐紮在台灣的美軍魯茲虐殺。當時為「鞏固中美邦誼」，政府總是以息事寧人的態度來處理美軍犯罪，但此事件引起當時台灣人民的憤慨，迫於社會輿論的壓力，於是對殺人兇犯魯茲僅輕判 18 個月有期徒刑。但是魯茲不服判決，提出上訴。台灣當畏懼美國的壓力，竟然宣佈：「魯茲于 1970 年 2 月末來臺，支援我反共戰爭，不無勞績，得依法減輕期刑二分之一。」引起當時台灣社會嘩然。

Soldiers Need Love

In April, 1972, the bar girl Ching working near Taichung airport was abused and killed by the US soldier Luz. In order to “Strengthen the Taiwan-US friendship”, the government made concessions to avoid trouble with US soldier’s crimes. However, this event aroused Taiwan people’s anger, so the murderer Luz was sentenced to 18 months’ imprisonment under the society pressure. Luz appealed against the adjudication. Then, under the fearing and pressures from the US, Taiwan announced that “Luz came to Taiwan in February, 1970, to support our anti-communism war. He is not without performance, so his sentense was lessened to 1/2 of the original adjudication based on the law”. Such judgment agitated the Taiwan society tremendously at that time.

《軍中樂園》

Military Paradise
2021，Digital Photography，數位攝影

軍中特約茶室 1951～1992

1949 年，國民政府來台，當時台灣面臨冷戰的國際情勢與二次大戰、國共戰爭遺留的問題，國家武力仍備受重視。當時政府在維持戰力的考量下，頒布《限婚令》限制軍人的婚配自由，嚴格規定在訓或現役軍人不得結婚的限制。軍方考量軍人性需求，避免嫖私娼、感染性病、強姦婦女、自殺、逃兵等情況發生，國防部以「台灣省各縣市管理娼妓辦法」為法源依據，參照公娼模式設立「軍中特約茶室」，透過軍中特約茶室（最初名為軍中樂園）的設置以穩固軍心，目的是「為調劑官兵身心健康、解決官兵性需求」。冷戰的終結與戰時體制的崩解，解嚴後各地駐軍逐年減少，加上女權意識抬頭，直至 1992 年，軍中特約茶室隨著台灣社會變遷而撤廢，軍中樂園走入歷史。

《軍中樂園》
在性病防治上，軍方偏重對侍應生的身體管理，將侍應生的身體視為性病防治的手段，以維護軍人健康與減少兵力耗損。軍方規定侍應生性交後使用過錳酸鉀稀釋液或白醋稀釋液洗滌陰道，除了定期的性病檢查，每週需注射青黴素（Penicillin，盤尼西林），長期的每周施打，超乎正常使用頻率，侍應生的身體宛如工具性的使用，讓侍應生承擔了未知的身體風險。

The Special Tea House (the Military Brothel) in the army 1951~1992

In 1949, the National Government arrived at Taiwan. Then, Taiwan encountered the international situation of the Cold War, and the problems left by the World War II and the Chinese Civil War. Under such premise, the national armed force still played an important role. Considering maintaining the armed force, the government then announced “Military Marriage Restriction” to limit the soldiers’ freedom of getting married, strictly regulating that the in-training or in-service soldiers were forbidden to marry. In consideration of soldiers’ sexual demandto prevent them from visiting the private prostitutes, infecting sex diseases, raping women, committing suicide, fleeing from army, and etc., the Ministry of National Defense set up “the Special Tea House in the Army” according to the public prostitute model based on the “Regulation of Prostitute Management in the Cities/Counties in Providence of Taiwan”,. Through the establishment of a special tea room in the military (originally called the military paradise), the military’s mind was stabilized. Besides, the goal ofmoderate the officials’ and the soldiers’ mental and physical health, and meet their sexual need” was fulfilled. With Cold War coming to the end and the war-time system collapsing, the station troops decreased year by year after lifting of the martial law. On the other hand, feministic consciousness raised; as a result, the Special Tea House in the army was abolished, and the Military Paradise faded into history as the society in Taiwan changed.

《旗飄揚下的她們》

Herstory Under the Fling Flag
2023，電影短片，Film，23 min

影片連結

像是一場夢，從日治時代到八零年代，不同的面孔與身體，怎麼會有如此相同的命運？難道是輪迴嗎？卻是確切發生的，一個個有名有姓的女子，順著島嶼時代洪流而生的，她們青春編織的檔案。
十九世紀末，台灣成為日本第一個殖民地，日本渡海來台的游女愛上台灣男子，相愛的兩人無法償還游女的身契，在夜晚前往紗帽山，紅絲帶纏繞，共赴火光。二戰期間，海面上一艘起火的日本軍艦，漂流的彈藥箱，女鞋，長髮，斷肢，漂浮著……回家。
國民政府來台，紅布幕的禮堂，酒家小姐在台上接受敬軍花頒獎表揚：我們不只燈紅酒綠，我們同樣有一顆愛國的心。七零年代美軍酒吧，窗邊情人雅座，美國大兵與吧女的約會，彼此半年的約定。一張沸沸揚揚的美國大兵雙飛共浴照，被肉搜的侍應生，如果時空凝結在浴室，如果侍應生有一台相機……。
金門軍中茶室，三位侍應生互道家常，一個正在打毛線，一個正在念家裡寄來的信，一個正在數著自己手中的票，她們聊著昨天去做體檢，聊著那個長官不戴套。這天，她們來到溪邊，白雲、綠地、白衣女子，是她們的夢境是她們的儀式。
她與她，說著我們的故事。

Herstory Under the Flying Flag illustrates how Taiwanese women were commodification and earing for the “Nation” throughout Japanese rule, Kuomintang government and U.S. aid period. Under Japanese rule, the army cheated Taiwanese young women as well as recruited Japanese prostitutes to systematically become “comfort women” as tool to keep soldiers healthy and happy. In early Kuomintang government immigration to Taiwan, the “waitrees” and “waitresses” were brougnt into “Patriotic Flowers” campaign to raise “charity” fund for Kuomintang army to fight against the Communist China. When it comes to U.S. aid period, these women transformed to “bar girls” who provided girlfriend and wife experience for G.I. Joe in this lonely exotic semi-tropical island. Their real names and living stories are erased by the nation and period whatever they were been though, such as a geisha paying the debt for her family, a comfort women cheated to work in Pacific war field for poverty alleviation, or a “flower” with patriotism. Under the national flag with “great expectation,” all their love, affection and life seem to be so insignificant that nobody sees. This film tries to empower again to these women to speak and let audience to see their exist and how they live in the “national” context and compulsion.

《抽屜隱史》

Hidden Herstory in the Drawer
2021，裝置，Installation

一個檔案鐵櫃，一格格的抽屜，關於「她們」的歷史檔案在其中，紅色花朵從櫃子縫隙長出盛開。

A file cabinet, drawer by drawer, contains the historical file about ‘these women,’ with red flowers blooming and bursting through the crevices of the cabinet.

《滿地紅》

Red flag

由女性內衣拼貼縫製的國旗，「她們」是歷史的掉落的一頁，飄落迴盪。

This Taiwan flag sewn from collaged pieces of women’s lingerie, the stories of “these women” represent a fallen page of history.

參考資料

竹中信子（2007），《日治台灣生活史–日本女人在台灣（明治篇 1895-1911）》，時報出版社。朱德蘭（2019），《臺灣慰安婦》，五南出版社。洪婉琦（2001），《台北市娼妓管理辦法之研究（1967－1999）》，國立臺灣師範大學歷史研究所碩士論文。姚惠耀（2019），《戰後臺灣「軍中樂園」研究（1951-1992）》，國立臺灣師範大學系所: 臺灣史研究所碩士論文。陳中勳（2015），《亞美混血兒，亞細亞的孤兒：追尋美軍在台灣的冷戰身影》國立交通大學社會與文化研究所碩士論文。陳玉箴（2013），〈政權轉移下的消費空間轉型：戰後初期的公共食堂與酒家（1945-1962）〉，國立政治大學歷史學報，201305 (39 期)，頁 211。陳長慶（2006），《金門特約茶室》；李錫隆（2006），〈烽火歲月的金門特約茶室序〉，《金門特約茶室》，金縣文化局。陳姃湲（2013），＜洄瀾花娘，後來居上–日治時期花蓮港遊廓的形成與發展〉，《近代中國婦女史研究》，21：49-119。梁秋虹（2003），《社會的下半身試論日本殖民時期的性治理》，國立清華大學社會學研究所碩士論文，頁 16。―（2012），〈導讀多重的底層、複寫的邊緣史〉，《看不見的殖民邊緣：日治台灣邊緣史讀本》，頁 8-29，玉山社。趙忠玉（1965），＜明清兩代臺北的保安措施＞，《臺北文獻》，8：68-96。23

〈旗飄揚下的她們〉這篇文章最早發佈於《Huang Meng Wen 黃孟雯》。

身為一個女性與女同志，多少在社會文化脈絡中總是對自身的存在與處境充滿困惑不解，難以自處。後來讀書識字，學會用酷兒（Queer）自我定位，嘗試汲取女性主義（Feminism）的論述來為自己言說。這些固然都給予了我紮實的力量，然而這些飄洋過海輾轉翻譯而來的理解與知識，要套用在土生土長於台灣的我身上，似乎總還是不那麼合身。

於是我開始叩問，在我容身的這座島嶼，有著如此蜿蜒的近代史、輾轉的現代性啟蒙，早在遲來的西方知識理論於八○年代的晚近飄向島嶼之前，我相信更早之前，島嶼上一定也有如酷兒的她們存在。於是我開始追索島嶼上的酷兒歷史，同時也追尋到島嶼過去的一段歷史曲折。我想知道與我同樣有著女性及酷兒身分的「她」與「她們」，究竟如何生活於島嶼的過去，從她們「穿的衣服」，或許我能找到屬於自己的剪裁。

2015 年，我正式開始了「西裝與香花」計劃，我開始田調這群以五、六○繁華大稻埕為華麗伸展台的「橋頭十三太妹」，展開一場與「她」們的相遇與對話。「她」們是查某人、「她」是太妹、「她」們是「穿褲的」。

1950 年代的大稻埕是台北當時最熱鬧繁盛的區域，南北貨批發、百貨、戲院、咖啡廳、酒家林立。十三個在此結拜的「穿褲的」，她們在狗標服裝行訂製全套西裝，去理髮廳梳上最流行的油頭，夜晚在大稻埕附近的「橋頭」聚會，或前往大稻埕提供的娛樂活動場所如酒家、舞廳、戲院。她們也運用大稻埕特殊的文化作為她們做生意的方法。她們會做香花給酒家，由她們賣給來此消費的顧客，或是賣私酒賣給圓環的小吃攤。或是運用她們的人脈，成為房子或土地買賣的中間人，介紹他人買賣。這些都是她們獲得展演自身性別氣質與娛樂活動的物質資本。

「穿褲的」不僅是「她」們使用島嶼在地語言作為指認彼此身分認同的詞彙，總是精心訂製的西裝和獨門的香花生意，更顯示她們主宰自身經濟資本的能動性。她們的行動與行為，與島嶼的社會變遷及傳統性別文化的流變息息相關，於是從她們的故事，我不只看見酷兒展演的本島剪裁，更看進島嶼幽微歷史的一段，從她們與個人情感鑲嵌的歷史，不僅是同志的歷史，也是女人的歷史，更是島嶼的歷史。

島嶼歷經政治與文化變遷的過程中，性別異議者如他們是如何衝撞，以外在的西裝與內裡的香花，華麗翩然轉身，卻又一定程度服膺在社會秩序裡，經營著「家外」的營生與情感生活。她們的瀟灑與壓抑，寫出精彩卻也暗藏遺憾的篇章。
「西裝與香花」藝術計畫仍在持續，我試圖以不同的創作形式與思維，裝禎出屬於這座島嶼女同志與酷兒的文化記憶。

「西裝與香花」藝術計畫於 2015 年起始，運用田野訪談與報紙檔案庫的資料，揭示了台灣早期酷兒―「穿褲的」（台語，tshīng-khòo-ê）女同志在 1950~1960 年代的身影。

“Suits and Flowers” depicts the “Thirteen Teddy Girls of Qiaotou” in Taiwan in the 1950s. The thirty teddy girls used suits as their expression of sexual orientation, and the Flowers can be referred to as their ability to gain their economic capital. But the real question is: How did I encounter these girls?

As a female and a lesbian, I often felt that my existence and situation under this sociocultural context were a bit confusing and awkward. Throughout my education, I have learned to self-orient as a queer, and utilized the feminism discourses as my self
explanation. Thought to a degree I empowered myself with knowledge, since my experience strongly linked to Taiwan society, I found that those theories and knowledge after translation and reinterpretation did not fit me very well.

I couldn’t help but wonder whether there was any historical trace of queers on this island that I live on. Taiwan had been through many twists and turns in the modern history. I believe there must already have been queers on this island even before
western knowledge was introduced to Taiwan in the 1980s. So, I started to investigate the history of queers in Taiwan. As it turned out, the history was also full of twists and turns. I would like to know how she and they, as a female and queer like me, lived on this island in the past. Through the process, I might also be able to find
the tailor-made self from how they dressed up.

I officially started my “Suits and Flowers” project in 2015. I conducted field research on the “Thirteen Teddy Girls of Qiaotou” who made their glamorous debut in Dadaocheng in the 1950s and the 1960s. They were females, teddy girls, and “women in pants”, as they called themselves. “Women in pants” were not just a local
term for them to identify their gender identity. Their exquisite tailor-made suits and the unique corsage business also showed their agency to self-manage their economic capital. Their actions and behaviors were closely connected to the social shifts and the dynamics of traditional gender culture. From their story, I could not only see the unique performance of local queers but also a part of a minor history of the island. What their history of personal relationships reflects is not just the history of queers. It also presents the history of women and this island.

I aim to discuss how these gender dissidents fought against society during the process of political and cultural shifts in Taiwan. They made their stunning debut with their suits and the corsage lining. At the same time, they managed to obey a certain social order despite their business and relationships outside the family. With the chic look and suppressed ego of theirs, their story also ended up brilliant yet regretful. “Suits and Flowers” is still an ongoing project. I attempted to design an experiment of cultural memories about lesbians and queers of the island using different creative forms and concepts.

《生之慾》

The Desire to Live
2015，錄像裝置，Video installation

即使沒有陽光沒有水，衣櫃裡的種子依舊在陰暗角落中發出芽，開出炫麗的花朵，孤挺花象徵著酷兒的孤獨與挺立。

“Despite the absence of sunlight or water, the seeds in this closet would still germinate vigorously in its dark corners, blossoming into dazzling flowers, akin to the resilience and resilience of the LGBTQ+ community amidst loneliness and adversity.”

《日安午夜》

Good Night! My Rogue Girl!
2018，電影短片與數位攝影，Film & Digital Photography，24 min

影片連結

阿寶與一群她們稱之為「穿褲的」的換帖，在五零年代台北結拜為「橋頭十三太妹」。夜晚，在大稻埕酒家歌舞與歡樂，那是她們展演自我的異質空間。白晝，姊妹們回到自己的生活，她們是女兒，妻子，與母親。

This film comes from my field research with sociological methods since 2015. A-Bao, born in 1939. She is a mother with four children. In the 1950s, A-Bao and her friends were women in pants who felt attracted to women. They named themselves the “Thirteen Rogue Girls “. At nighit, the clubs became the heterotopia wher they could be lesbians. However, in day, they’re just the decent women in the neighborhood, helping father with the store, or looking after the kids, and cooking at home.

《全家福》

The Family Portrait
2016，數位攝影，Digital photography

照片中間是阿寶，這是關於她的全家福。她在二十多歲結婚，與當時父母安排的相親對象，遵從父母的決定而結婚。牆上的照片是媽媽的女友們，那些只能在家外的親密關係。

In the middle of the photo is A Bao, which is about her family portrait. She got married in her twenties, and married a blind date arranged by her parents at the time, following the decision of her parents. The pictures on the wall are mom’s girlfriends, those who can only have intimate relationships outside the home, and the father who is not there.

《西裝與香花：1950-1960年代「穿褲的」查某人的身影》

SUITS AND CORSAGES:
TAIWANESE WOMEN IN PANTS DURING 1950S TO 1960S
2021，書籍，中文與英文，Books，Chinese and English

摘要

本論文由 1938 年出生「阿寶」的生命史與其相關報紙中的檔案，探究台灣戰後初期，性別異議者如何身處於當時社會的性別文化之中，以及當時社會大眾如何看待與傳統性別文化不同的她們。
日治時期政策促使台灣女性就業風氣普及並延續至戰後，阿寶來到台北這個城市工作，因為工作認識了一群與她有著共同「穿褲的」認同的「換帖的」──一群喜歡女人的女人們，她們彼此結拜為「橋頭十三太妹」。「橋頭」位於台北的「大稻埕」，「橋頭十三太妹」的祕密社會與「大稻埕」這個城市的文化有著緊密關聯。大稻埕作為「橋頭十三太妹」主要的活動空間，她們不僅在此娛樂與消費，更在此城市中以自我組織的方式賺取金錢，獲得展演自身性別氣質的物質資本。
以「太妹」作為標題搜尋 1950 至 1969 年的報紙，我們看到其他「穿褲的」的身影。從中發現，「穿褲的」對傳統價值某種程度的反叛，與「太妹」、女流氓對社會秩序的反叛，對於當時社會來說，她們同樣都是某種程度的社會秩序的反叛者，「穿褲的」與「太妹」她們共有的反叛性在當時社會脈絡顯現
出一種「選擇性的親近」（elective affinity）。在當時的社會中，「穿褲的」所具有可指認或辨別的身分仍屬禁忌，「穿褲的」的許多對性別規範某種程度的反叛行為在當時被認定為不良如「太妹」的行為。另一方面，社會對於「太妹」為秩序「反叛者」的標籤，也賦予「穿褲的」具「反叛性」而能夠「有理」地展演自己性別氣質的自由，並給予她們做出不符合傳統性別價值行動的空間。台灣戰後初期，「十三太妹」以「穿褲的」的身分，展演著陽剛女同性戀作為傳統性別文化反叛者、社會性別異議者的能動性。

ABSTRACT

This study aims to discuss the gender dissidents and their situation under the traditional gender culture in the early post-war period. Also, we address how the public regarded these women as they were gender variants that challanged the traditional gender roles. These discussions are based on the related newspaper
archives as well as the life story of “A-Bao”, who was born in 1938.
The policies enacted during the Japanese ruling period had resulted in the trends of female employment. These trends had further extended to the early post-war period, which was also when A-Bao came to Taipei and sought employment. Through her job, she became acquainted with a group of friends who shared the same gender identity. They were women in pants who felt attracted to women. A-Bao and her friends named themselves the “Thirteen Teddy Girls of Qiaotou”. Qiaotou locates in Dadaocheng, Taipei.
The secret society of the Thirteen Teddy Girls of Qiaotou was also closely related to the culture of Dadaocheng. Dadaocheng was the main gathering place for the Thirteen Teddy Girls of Qiaotou. Not only did they recreate and shop here, they also earned profits here through self-organization. As a result, they had gained enough
physical capital to express their unique gender temperament.If we search the term “teddy girls” from the newspaper published between 1950 and 1969, we could also see other archives about women in pants. We have discovered that just as teddy girls were rebels for the social order, women in pants also rebelled against traditional values. To a certain extent, they were rebels to the social order as well. In the early post-war period, the mutual rebellion of women in pants and teddy girls presented certain elective affinity.
The recognizable identity of women in pants was considered a taboo in the society then. To the gender norms at that time, a girl wearing pants was regarded as an act of rebellion just as being a teddy girl. On the other hand, the “rebel” label on teddy girls also helped rationalize the rebellion of women in pants and allowed them to express their own gender temperament without being limited by the traditional gender values. As masculine lesbians, also known as “women in pants”, the Thirteen Teddy Girls expressed the agency as both rebels of traditional gender roles and gender dissidents during the early post-war period.

〈西裝與香花〉這篇文章最早發佈於《Huang Meng Wen 黃孟雯》。

Expanding upon the investigations from ‘Suits and Flowers,’ the ‘Wandering’ series scrutinizes news articles unearthed from the archives of Taiwanese newspapers during the martial law era. These articles revolve around topics such as ‘women dressing as men,’ ‘men dressing as women,’ and ‘men with long hair.’ According to these news reports, the Breaches of Police Regulations conferred authority upon the police during that period. According to Article 66 of the Breaches of Police Regulations, individuals suspected due to their clothing choices, described as ‘wearing peculiar or outrageous garments that disrupt societal morals,’ were subject to detainment and penalties. Likewise, Article 64 addressed ‘wandering rascals behaving inappropriately,’ allowing the police to detain and penalize such individuals.

The term ‘wandering’ was interpreted by the police as ‘idleness’ or ‘loose behavior.’ Consequently, individuals displaying non-conforming gender traits—such as women in men’s clothing, men in women’s attire, or men with long hair—could be apprehended on the streets by the police, in accordance with the law, and taken to the police station.

The role of the head of the household extended beyond familial authority figures to encompass state surveillance under police control. The familial patriarchy became entwined with the state’s authority, mediated through the police force. The fan-shaped detention area where this scene was captured represents the surveillance and control exercised by both state and police authorities. In this setting, individuals with a non-binary identity perform their bodies, revealing the concealed queer erotic identity within the martial law’s patriarchal regime.

〈遊蕩〉這篇文章最早發佈於《Huang Meng Wen 黃孟雯》。

「家訓」是儒家文化家庭中，治家立身，用以垂訓子孫之言。「家訓」是家庭中的規則，家族中長輩教導晚輩之方針，訓誡子孫做人處事之道。從歷代家訓可以看見其中蘊含的儒家思想，透過家庭教育，一代傳一代，造就長幼有序、夫婦有別的家庭倫理，並延伸至君臣有義、朋友有信的處事之道。在現代，知識的教育由學校傳承，儒家文化的古籍經典由學校教授，成為學生們在學校必讀知識與用詞，透過語言的交流，知識的學習，儒家思想內化為集體意識部分。

《家—訓》藝術計畫搜尋《教育部國語辭典》中，關於儒家家訓中對於性別角色的經典詞語，其中蘊含對女性的規範與男性的期待，且已在生活中成為通俗用語或概念的經典詞彙。藝術計畫將這些經典詞彙從女到男分類，從長到幼排序，虛構了一個家族故事，每一個經典詞語繫著一位家族成員，每一位家族成員都有自己的故事。

《家—訓》拍攝此虛構的家族的合照，不是傳統家族大於個人的排排站大合照，而是家族成員每個人的獨照。每張獨照的上方有一幅字畫，字畫的內容是家訓經典詞語，虛構的家族敘事連結的是我們對於人與人的關係―倫理的記憶，這個成員可能很像我們的家人、親戚、鄰居、或朋友、或同事、或師長。經典詞語中蘊含集體的性別想像，即使我們知道不合時宜，但仍是我們紹承的文化與字詞。透過虛構，辭典中的經典詞語可以成為一個家族，虛構的是關於集體意識。

Taiwan is one of the East Asian countries deeply influenced by Confucian culture, where Confucian thoughts dominate ethical, moral, and normative aspects, concretely materializing as our culture. Confucianism, with its male-centered ideology, further shapes our expectations and values regarding gender roles. However, where do popular Confucian thoughts, common values, and beliefs among the general populace originate from, and how were they formed?

“Family Precepts” within Confucian culture emphasize household governance and personal conduct, aimed at imparting guidance to future generations. It stands as the family’s code of conduct, whereby elders impart principles to guide younger family members in navigating life. Analyzing the family precepts handed down over generations reveals embedded Confucian ideology. Through family education, this tradition has fostered structured intergenerational relationships, defined spousal roles, and provided ethical guidelines for relationships such as loyalty among rulers and subjects or trust between friends. In modern times, academic institutions transmit scholarly knowledge, including classical Confucian texts, becoming foundational knowledge for students. Through linguistic exchange and knowledge acquisition, Confucian principles have become an integral part of our collective consciousness.”

The ‘Family Precepts’ Art Project explores the traditional terminologies associated with gender roles within Confucian family precepts sourced from the Ministry of Education’s Mandarin Chinese Dictionary. These terminologies delineate norms for women and expectations for men, which have evolved into common expressions or concepts in everyday life. The project categorizes these traditional terms from female to male, organizing them in descending order of age, creating an imaginary family narrative where each classic term is linked to a family member, each of whom possesses a unique story.

The project captures a group photo of this fictitious family for ‘Family Precepts.’ Rather than the conventional lineup of family members in a group photo, this imagery showcases individual portraits of each family member. Above each portrait is calligraphy inscribing a classic family precept term. This fabricated family narrative interlinks our perceptions of interpersonal relationships, representing ethical recollections. Each member might resemble our own family, relatives, neighbors, friends, colleagues, or mentors. The classic terms encapsulate collective gender ideals, which, despite being considered outdated, remain embedded in our heritage, comprising part of our cultural lexicon. Through this virtual reality, the classic terms from the dictionary weave together a fabricated family tale, addressing collective consciousness.

〈家—訓〉這篇文章最早發佈於《Huang Meng Wen 黃孟雯》。

地點 Venue｜高雄市立美術館，高雄。The Kaohsiung Museum of Fine Arts, Kaohsiung

展出作品 Artworks｜旗飄揚下的她們 Herstory Under the Flying Flag

〈2023 高雄獎，高雄市立美術館，高雄〉這篇文章最早發佈於《Huang Meng Wen 黃孟雯》。