Under the warm early spring sun of southern Taiwan, the National Ainu Museum and Park (Upopoy) from Hokkaido, Japan, took the stage on March 1 at the Taiwan Indigenous Peoples Cultural Park, presenting two performances rich in rhythm and cultural meaning. The event deepened cultural exchange between the indigenous peoples of Taiwan and Japan, and received an enthusiastic response from audiences.

The “Ainu Taiwan Performance” stems from a cultural exchange initiative launched in 2024, when the then-Director of the Indigenous Peoples Cultural Development Center—now Minister Ljaucu·Zingrur of the Council of Indigenous Peoples (CIP)—led the Naluwan Dance Troupe to Hokkaido to sign a Memorandum of Understanding (MOU) with Upopoy. This collaboration laid the foundation for a sustained Taiwan–Japan Indigenous cultural exchange. This year, a delegation of 24 performers from Upopoy traveled to Taiwan, presenting a refined and cohesive program of Ainu traditional performing arts. The repertoire ranged from the prayer ritual (kamuynomi) and seated choral songs (upopo) to heroic epics (yukar), as well as dances such as the bow dance (ku rimse), symbolizing reverence for nature, and the bear spirit-sending dance (iyomante rimse). The performances preserved ritual origins while incorporating contemporary stage interpretation and adaptation.

Notably, Ainu dance movements are restrained and subtle, yet imbued with strong rhythm and spiritual force. The repetitive chanting reflects a dialogue between humans and deities, as well as between nature and community. For audiences familiar with Taiwanese indigenous music and dance traditions, these spiritual values—reverence for the heavens, the earth, and ancestral spirits—resonate deeply, forming a cultural bridge across the seas between the indigenous peoples of Taiwan and Japan.

Beyond the stage performances, Upopoy also introduced a series of interactive cultural experiences, which became another highlight of the event. Activities included adorning Ainu traditional attire, crafting and playing the mukkuri (jaw harp), and making keychains featuring traditional Ainu patterns. These hands-on sessions transformed spectators into active participants. Multiple sessions quickly reached full capacity, reflecting a strong public interest in indigenous crafts and music, and demonstrating how cultural tourism can be enriched through immersive, experience-based engagement.

The Indigenous Peoples Cultural Development Center noted that this event represents not only a cultural performance exchange, but also a significant step in institutionalizing ongoing collaboration. Through annual planning and resource integration, the Center will continue to build platforms for indigenous performances and cultural exchange, steadily accumulating experience and professional capacity in international collaboration. Looking ahead, the Center will continue to position the Taiwan Indigenous Peoples Cultural Park as a hub, connecting indigenous cultural institutions both domestically and internationally. By promoting diverse performances, artistic exchanges, and cultural experience programs, it aims to strengthen the park’s role as a global hub for indigenous cultural exchange, expand the potential for indigenous performing arts, and deepen public understanding of and engagement in indigenous cultures.