【大地與內在洪流之重】
The Weight of the Earth and the Inner Flood
行為、錄像Performance art/ video｜DAIS Ishinomaki, Japan
於石卷 DAIS藝術中心進行，為「R7：non capital letters」國際藝術節駐村計畫的重要展演之一。石卷作為 311 東日本大地震的重災區，長年承載著震災的集體記憶與創傷經驗，DAIS 致力於以藝術作為橋樑，連結土地、社群與國際交流。這場作品結合行為、聲音與場域實驗，試圖回應石卷居民對土地、記憶與自然的情感狀態。 《大地與內在洪流之重》探索人與環境、情感與自然之間的深層關聯。作品的概念來自對「集體意識」的思考：當人類的意識被資本主義體系牽引，我們傾向將能量投注於外部消費，壓抑情緒與感受。然而，情緒並不會消失，而是如水般流動、潛伏於潛意識與土地之間。作品透過身體動作、聲音與物件，召喚觀眾重新感受與土地、記憶和創傷的關係，尋找平衡與療癒的可能性。
Performed at DAIS Ishinomaki Art Center, this work was part of the “R7: non capital letters” International Art Festival Residency Program.
Ishinomaki, one of the most severely affected areas by the 2011 Great East Japan Earthquake, continues to carry deep collective memories and trauma. DAIS is dedicated to using art as a bridge connecting the land, local communities, and international exchange.
The Weight of the Earth and the Inner Flood integrates performance, sound, and site-based experimentation to respond to the emotional landscape of Ishinomaki’s people—their relationship to the land, memory, and nature.
The work explores the profound interconnection between humans and the environment, emotion and nature. Its concept arises from a reflection on collective consciousness: when human awareness is drawn into capitalist systems, our energy is directed toward external consumption, suppressing emotion and sensitivity. Yet emotions do not disappear; they flow like water, hidden between the subconscious and the earth itself. Through movement, sound, and objects, the artist invites the audience to re-experience their relationship with land, memory, and trauma, seeking a renewed sense of balance and healing.
在森林與草原的交界之處，藝術家以一條粗繩綁在兩棵大樹之間，搭建出一道象徵情緒與記憶流動的軸線。觀眾被邀請以麥克筆在透明塑膠袋上寫下一個「無法被表達的情緒詞語」，並親自將水注入袋中。水的份量由觀眾自行決定——情緒越重，水也越多。隨著情緒水袋一一被綁上繩索，繩子因重量逐漸下垂，像是難以承載的壓力與集體的沉重。 接著，藝術家將整條繩子解下，將這些盛滿水的情緒之袋纏繞在自己身上，從頭部、頸部、肩膀、胸口、腹部、骨盆直到雙腿，將每一個人的情緒負重穿戴於身。這些水袋極其沉重，身體逐漸被壓制，走動變得艱難。藝術家緩慢步入一片空地，每一步都需要用盡全身力量，有時甚至不得不停下喘息。
在空地中央，圍繞著各式尖銳工具。觀眾被邀請選擇其中一個水袋，大聲讀出上面寫下的情緒詞語，並使用工具刺破水袋，讓水傾瀉而下。在水流入土地的過程中，難以承載的情緒被釋放，轉化為大地的能量。水袋上的文字象徵著那些無法具體被看見、卻沉重存在的情感，而水則賦予它們重量，使情緒在現場被身體化、被感知、被分享。 隨著最後一滴水流入土地，藝術家緩緩倒下，躺臥於大樹旁的草叢中，象徵著身體卸下負重、情緒回歸自然，完成情感與環境之間的循環。整場行為以靜默結束，現場僅留水漬、呼吸與土壤的氣息。
At the border between forest and meadow, the artist tied a thick rope between two large trees, creating an axis that symbolized the flow of emotion and memory.
Audience members were invited to use a marker to write a word representing an unspoken emotion on a transparent plastic bag, then fill it with water. The amount of water was determined by each participant — the heavier the emotion, the more water was added.
As the emotional water bags were gradually hung along the rope, its weight increased, causing the line to sink and visually manifest the pressure of collective heaviness.
The artist then untied the rope and wrapped the water-filled bags around her body — from head, neck, shoulders, and chest to abdomen, pelvis, and legs — carrying the emotional burdens of others upon herself.
The bags grew increasingly heavy; the body was slowly compressed, movement became difficult. Step by step, the artist moved toward an open clearing, each motion demanding full physical effort, sometimes forcing her to pause and catch her breath.
At the center of the clearing lay a circle of sharp tools.
Audience members were invited to select one of the water bags, read aloud the written word, and pierce the bag, letting the water pour to the ground.
As the water soaked into the earth, the unbearable emotions were released and transformed into the energy of the land.
The words on the bags symbolized emotions that could not be seen but were deeply felt; water gave these emotions weight, allowing them to be embodied, sensed, and collectively shared.
With the final drop absorbed by the soil, the artist slowly lay down beside the trees, her body resting among the grass — symbolizing the release of burdens and the return of emotion to nature, completing the cycle between feeling and environment.
The performance concluded in silence, leaving behind only traces of water, breath, and the scent of earth.
這是一場關於人與情緒、自然與災害之間關係的感知經驗，也是一次集體參與的身體儀式。每一滴水，都是一次釋放；每一次刺破，如同我們願意重新與自身感受同在，與承載我們的土地同在。 此次演出聚集來自日本、台灣、泰國、墨西哥、阿根廷等多國藝術家與當地居民，呈現了一場跨文化的共同創作與感知實驗。石卷的自然環境與歷史創傷，為表演提供了高度張力的背景；同時，DAIS 戶外場域的開放性，讓觀眾得以自由穿梭於行為之間，體驗「個體」與「集體」之間的能量交換。這場作品不僅回應震災後的土地記憶，也開啟了關於人類集體情緒與環境變遷之間的深層對話。
Ｍaron Shibukawa 日本當地評論家對《大地與內在洪流之重》作品評論： 資本主義奪走了人們透過身體去體驗與思考世界的力量，換來的是各種即時的快感。透過身體去體驗和思考世界的力量，換句話說，就是「經驗」的力量。資本主義剝奪了人們的經驗，這也是為什麼它奪走了人們的身體。資本主義將生活變成了可樂般的快樂，並把身體變成氣泡般被消解掉。 因此，對 Non capital letters 而言，重要的是重新奪回去感受、品味和透過身體思考的力量。換句話說，就是重新獲得經驗的能力。 藝術家 Milla Lee 李瓊蝶 的表演則是面對無法掌控的情緒。透明袋中的水象徵那些難以處理的情感，當它被打破時，所有情感傾瀉而出。這提醒我們，資本主義常常要求情緒被管理、被控制，尤其是負面情緒。而 Milla 則承認這些情緒的存在，給它們空間去被感受，當我的情緒被她用身體承載著，有一片刻很觸動到我。
This performance is a sensory experiment exploring the relationship between humans and emotion, nature and disaster.
It is also a collective, participatory body ritual—each drop of water becomes an act of release; each puncture signifies a willingness to reconnect with one’s own feelings, and with the land that carries them.
The work brought together artists and local residents from Japan, Taiwan, Thailand, Mexico, and Argentina, forming a cross-cultural collaboration and shared perceptual experience.
The natural environment and historical trauma of Ishinomaki provided a powerful backdrop, while the openness of the DAIS outdoor site allowed the audience to move freely among the actions, experiencing the exchange of energy between the individual and the collective.
The performance not only responded to the land’s post-disaster memory but also opened a profound dialogue about collective human emotion and environmental transformation.
“Capitalism has deprived people of the power to experience and think through their bodies, replacing it with instant pleasures.
The ability to perceive and think through the body—put differently, the power of experience—has been taken away, and with it, our bodies themselves. Capitalism turns life into a kind of ‘soda pleasure,’ dissolving the body like bubbles.
For non capital letters, what matters is reclaiming the ability to feel, to taste, and to think through the body—regaining the capacity for experience itself.
Milla Lee’s performance confronts emotions that cannot be controlled. The water inside the transparent bags represents those difficult, unmanageable feelings. When the bags are pierced, all emotions spill out. It reminds us that capitalism often demands the management and suppression of emotions—especially negative ones.
Yet Milla acknowledges their existence and gives them space to be felt. In a moment during the performance, when my own emotions seemed to be carried by her body, I was deeply moved.”＿Review by Maron Shibukawa (Japan)
