Once Upon a Time in Taiwan…

Son of the Tsou chief, circa 1930. The Tsou live in the Alishan area, the highest mountain range in Taiwan.

Unless you are Taiwanese, you probably don’t know that Taiwan is inhabited by indigenous Pacific Islanders. Currently, there are 16 recognized tribes on the island, comprising 2.4% of Taiwan’s population of 23 million people, comparable to the native population in the United States (2%). Archeological evidence shows that indigenous people have been on Taiwan for at least 8,000 years. At some point between 3,000 and 1,500 BCE, groups of indigenous people set sail from Taiwan and settled all the Austronesian islands, from Madagascar all the way to Hawaii. The indigenous people of Taiwan are the ancestors of the Maori.

indigenous Tayal women grounding rice

For the past five hundred years, Taiwan’s indigenous people have had to put up with successive waves of colonizers. First came the Dutch in 1623. They brought the first Chinese over to the island because the indigenous people flat out refused to work for them. When the Qing Dynasty took over the arable Western half of the island in the late 1600s, the indigenous people continued to resist, leading to a Qing dynasty saying about Taiwan, “Every three years an uprising; every five years a rebellion.”

Bunun brothers with a variety of weapons. The Bunun were the last indigenous group to be pacified by the Japanese.

The indigenous people are also matriarchal. Indigenous men are absorbed into their wives’ family and inheritance is matrilineal. Many of the indigenous tribes have female chiefs. It’s the opposite of Confucian patriarchy and astonished early Chinese travelers called Taiwan the Kingdom of Women – the Chinese equivalent of the Land of the Amazons.

Did we also mention that they were headhunters?

Don’t mess with the indigenous women in Taiwan. An Atayal woman with face tattoos, circa 1930.

In 1895, the Qing Dynasty lost the Sino-Japanese War and they were super happy to cede Taiwan and all its trouble-making natives to Japan. It was the Meiji Era, and Japan had just started following in the footsteps of European super-powers. To be a super-power in those days, you needed colonies. Japan was ecstatic to receive its first colony and start flexing its muscles.

Like all colonizers, Japan sought to establish dominance over its subjugated peoples. Most of the Taiwanese people of Chinese descent shrugged at a different set of masters. As long as they could keep farming, they didn’t care. The indigenous people, however, resisted being “civilized” and put up a prolonged fight. To quell the natives, the Japanese employed a variety of the usual tactics: outright military suppression, forced assimilation into Japanese culture, and land grabbing. They also discovered that postcards could be a deceptively innocent means of colonial propaganda.

Mass-produced postcards were very new at the turn of the 20th century. The Japanese government produced hundreds of thousands of postcards of their new colony, showing the marvelous ways that they were modernizing the cities and developing trade. With photography pretty much non-existent on Taiwan before the 1920s, the picture postcard was the dominant source of photographic imagery of the island.

Amis man and woman in coming-of-age attire. The Amis are the largest indigenous group in Taiwan.

Most of the postcards that the Japanese produced featured the indigenous people on Taiwan. Under influence from Western anthropology, Japanese scholars were sent out to study and photograph indigenous people. These photographs were used to produce thousands of postcards. By then, the majority of the population was Chinese, but you would never know this from Japanese postcards. The postcards promote a colonist legend of Taiwan as an isolated island of savages benefiting from the civilizing effect of Japanese rule.

Facial tattoos have been part of the Atayal tradition for more than a thousand years. The Atayal received their tattoos as marks of honour in weaving or hunting. The tradition is currently being revived by a new generation of Atayal people.
The caption identifies this woman as the daughter of a chieftain. She was probably Bunun.

Knowing all of this doesn’t make the postcards less marvellous. They’re a source of nostalgia for both indigenous people and Taiwanese people of Chinese descent, who long for a once-upon-a-time before industrialization on the island. The postcards also provide iconography for indigenous pride and evidentiary support for indigenous land recovery. In other words, though they are relics of a colonial past, the postcards have been reclaimed by the Taiwanese to affirm their unique history and culture.

An Atayal woman of the Truku group playing a mouth harp. The indigenous people in Taiwan are known for their music.

A glance at even a few of these postcards show the richness of indigenous culture in Taiwan. A hundred years later, they still convey indigenous defiance and pride.

The indigenous people are known for their weaving. The Atayal women weaving in this postcard circa 1930 would have produced linen with stripes in red, yellow, black, or blue. All indigenous tribes created cloth of their own distinctive patterns and colors.
During festivals and ceremonies, Paiwan people drink together from long wooden cups.
A Bunun man and woman with a pipe in her hair. The Bunun were hunter-gatherers in Taiwan’s central mountain range.
The Thao people live on Sun Moon Lake, the largest lake in Taiwan. They are known for their Pestle Song, which originally helped them pass the time while pounding millet. The wooden pestles are of different lengths and produce sounds of varying pitch when struck on a stone mortar. The women then raise their voices to harmonize with the sound of the pestles.
Atayal chieftains, wearing shells to denote their rank.
Houses in Wulai, where the Atayal still live.

About the Contributor

Born to a Taiwanese family in NYC’s Lower East Side, Victoria Linchong grew up with a natural instinct to investigate obscure history and secret places. Her mission in life is to rewrite Western history to include women and people of color, after which she will retire to an alpaca farm with a hundred stray cats. As burlesque performer Viva Lamore, she performs internationally and hosts historical web series in vintage drag.