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Durham E-Theses Durham E-Theses Art-like Wealth: the Foundation of Paiwan Hierarchy HSIAO, HSIANG-WEI How to cite: HSIAO, HSIANG-WEI (2019) Art-like Wealth: the Foundation of Paiwan Hierarchy, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13180/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Hsiang-Wei Hsiao Art-like Wealth: the Foundation of Paiwan Hierarchy Abstract In examining the Paiwan, an indigenous group in Taiwan, this thesis illustrates how wealth affects social hierarchy amongst people in house societies. Paiwan wealth is examined through the idea of abduction of agency, as suggested by Gell (1998), to reveal how people associate with past interactions in perceiving both present and future social relations. Investigating the notion of Paiwan wealth provides a means by which Lévi-Strauss’ idea of the ‘house society’ is reconsidered. In possessing wealth, as Lévi-Strauss (1982:194) emphasises, the house is “a corporate body holding an estate made up of both material and immaterial wealth” for organising social groups. In addition to providing an argument for how people are grouped in and by the house itself, this thesis focuses on the processes that form the house as an agent in itself. Moreover, studying Paiwan wealth gives further insights into how features of Dumontian hierarchy (Dumont 1980) and precedence (Fox 1994, 2004) can co-exist in terms of employing multiple values to achieve supreme value of owning wealth. In mapping out the aim of this thesis, discussion begins from how the fieldwork process leads to certain empirical elucidation. By re-examining pervious research about the Paiwan, the significance of processes of interactions from past to present is explored. The social interaction not only enables the position of a house to be established and further gives Christian churches hierarchical position to be a house in the society. By participating in social interaction, Paiwan wealth shows its quality of index in Gell’s (1998) argument of art. The association between hierarchy, house and wealth is, therefore, can be exemplified by looking into the Paiwan marriage. Under these circumstances, the study of Paiwan society offers a channel to encompass different perspectives of anthropology to approach indigenous context. Art-like Wealth: the Foundation of Paiwan Hierarchy Hsiang-Wei Hsiao Doctoral Thesis Department of Anthropology Durham University 2019 Table of Contents Statement of Copyright…………………………………………………………….……………………..….…..vi Acknowledgements……………………………..…………………………..…………………….……………….vii Chapter One: Introduction……………………………………………………………………………..….……..1 The Paiwan………………………………………………………………………………..…………..….….….2 Becoming a Paiwan: the methodology………………………………..………………..…….…….6 Origin of the study of Paiwan in Austronesian contexts…….……………………..……..12 Conversion into Christianity……………………………………………………….……………..…….19 The house, people and wealth in Paiwan society……………………….……………..…….22 The house: Umaq…………………………………………………………………….…………….……….23 House name: ngadan nua umaq……………………………..………………………..……………24 The residents: tsamekalkal………………………………………………………………..……………25 Paiwan social organisation……………………………………………………………..………………27 Wealth: Sauzaiyan…………………………………………………………………………..……………..31 Paiwan hierarchy………………………………………………………………………………..………….34 Social changes……………………………………………………………………………………..…………38 Paiwan art-like wealth……………………………………………………………………..……………..44 A summary……………………………………………………………………………………..………………47 Chapter Two: Theoretical Framework……………..……………….….….……..………..…….………48 The perpetuation of social organisation……………………….…………….……….….………48 The quality of art of Paiwan wealth…………………….….……….……………..……….………57 Hierarchical precedence in Paiwan society…………………..…………….……………………73 Hierarchy…………………………………………………………………………….…..………………………75 Precedence…………………………………….……………………….………………..……….……………79 Hierarchical precedence…………………………….……….…………………….……….……………84 Chapter Three: Timur Social Organisation……………….………..…………….………………………86 Proof of origin…………………………………………………………………………………………………86 The myths of Davalan and Padain……………………………………………………………………96 The creation of social order………………………………..…………….…...………..……………103 Misinterpretation of Paiwan hierarchy………………………………….…….…………………110 The principle of social interaction between social positions……………….…………114 Associating with the past……………………………….……………….………………….…………119 From legend to history: the Timur village…………………..…………………...………….…122 Social relationships in modern Timur……………….……….…………….……….……………132 A summary………….………………..……….….……………………………….…………………………139 Chapter Four: Church as an Alternative Form of House ……………..………….….….………141 The Paiwan house…………………………………………..……………………………….……………141 Traditional Paiwan religion…………………….…………….…………….…………….……………153 Ritual performance and social position………..…….……….………..………………………156 Paiwan Christianity….…….………………….………….……………….……………..………………158 The Paiwan harvest festival and Christian Thanksgiving……….….……….……………162 The village-based harvest festival………………………….………..………………….…………162 The house-based harvest festival……………….………….……………………………..………164 The church-based harvest festival……………….…………..……………………………………171 A summary……………………………………….……………….………….…………….……..…………173 Chapter Five: Art-like Wealth as Evidence of Precedence………….……….………….………176 The nature of Paiwan art-like wealth………..….…….……………..……………….…………178 Art-like wealth………………………………….………….….….….…………………….………………187 Paiwan aesthetics………………………….………………………………………..……….……………205 The style of different art-like wealth………………………..….……….….……………………208 Forms of Paiwan art…………………………………………….……….………………………………212 The pulima and the artist…………………………….………….…………….………………………214 A summary…………………………………….…………..……….….…………….………………………217 Chapter Six: The Social Positions Given by Art-like Wealth……….……….…….….…………221 Murikaka: Visiting the prospective bride’s family…………..………………….……..……226 Dumulinja: The proposal………………….…………….……….……………….……………………232 The idea of family……………………….……………….……………….…………….…………………241 Tuima: Temporary art-like wealth………………………….………….……….……………….…243 Paukuz: Greeting the bride……………….………….…………….…………………………………251 Longi: The wedding reception………………………………….…….………….….………………259 Kisara: Escaping………………………………………………….………….….……….…………………264 Kialap: Taking the bride back to the house……………….…….…….………….………..…265 Pukizing: Becoming a household……………………….………….………………………………267 Mulialat: Becoming a Paiwan…………………………….………….………….……….…….……268 A summary……………………………………………….……..………….……….…….…………………271 Chapter Seven: Conclusion……………………………….……….……….………..………………………273 Becoming a Paiwan………………………………………………….…………….…….….……………273 Principles of Paiwan hierarchy…………………………………..…………….………….…………273 Essential factors of the Paiwan house…………………………….……….…….………………276 The quality of art………………………………………….……….…………..……………….…………278 An anthropological perspective on Paiwan society…………….…….……….….…….…283 The future of the anthropological study of art in Paiwan society…..….……..……285 BIBLIOGRAPHY……………………………………………………………………………….……….……………288 The copyright of this thesis rests with the author. No quotation from it should be published without the author's prior written consent and information derived from it should be acknowledged. vi Acknowledgements This thesis is based on ethnographic research conducted in Timur village of Paiwan in Taiwan. I can still remember my first day in the village, seven years ago, where I had settled down to conduct research for my Master’s dissertation. I spent the day wandering around the village, looking for a place to stay. After searching for several hours, Muni Ubalat, who became my landlady, generously offered me a room in her house. Her firstborn, Patagaw Ubalat, held a welcome dinner for me and later introduced me to her friends. When they found out that my Master’s dissertation was about Christian church art in Paiwan, they invited Lavuras from the house of Matilin of the Lalali family to join us for dinner. Most of his family members are producers of art-like wealth, and they have shared their extensive knowledge with me. Their wisdom encouraged me to pay more attention to the association between the social life of Paiwan and all forms of artwork present in society. During my PhD fieldwork, gama Masegege, father of Lavuras, taught me the significance of ceremonial knives and the knowledge of carving. Ina Gincu explained to me how people lay value in clothing, and clarified the actual relationships between the different families in Timur. Ina Remereman shared her wisdom of glass beads and the notion of Paiwan Christianity with me. Lavuras himself not only gave me knowledge of the Paiwan vessel, but also helped me in participating in the Paiwan everyday life. The wife of Lavuras, selep, have taken good care of me, and everyone else in her household. Aruwai, firstborn of the house of Matilin, also looked after me and share her life experience with me in exemplifying how to be
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