Shigeyuki Kihara

Samoa/Japan/New Zealand
Born 1975

In old Samoa, faleaitu (house of spirits) was a traditional theatre performed by men and presented political satire in the form of skits in front of the chiefs. The men of faleaitu were respected as entertainers and simultaneously served as social commentators to the wider community.

It is the ancient practice of faleaitu which led me to create this body of work entitled Fa'a fafine: In a Manner of a Woman 2005, a series of photographic self-portraits where I disguise myself. These works pay homage to my ancestors and simultaneously subvert the dominant Western heterosexual 'normalcy' that continues to conflict with the existence of fa'afafine (transgendered) people today.

木原(音譯漢字名)

薩摩亞/日本/紐西蘭
出生於1975

昔日薩摩亞的「faleaitu」(精靈之屋)是由男性表演者為頭目們所表演的政治諷刺劇,「faleaitu」的男性演員既被推崇為演藝人員,又被尊為廣大社區的社會評論家。

創作〈宛如女子〉(2005)這一系列自我扮演的自我影像攝影作品即是受到「faleaitu」的古老習俗所啟發。這些作品不僅表達我對先人的敬意,同時也意欲顛覆西方主流的異性戀「常規」,其與「fa’afafine」(超越性別)的族群尚存於今日的事實之間一直有著矛盾衝突。(譯註:fa’afafine為薩摩亞社會中特殊的性別角色,係指從小因個人特質而被當成女性教養長大,但生理上仍為男性的人。此字字首fa’a指in the manner of(宛如);fafine為woman(女性),參見本作標題。)

木原
Shigeyuki Kihara






Tama Samoa - Samoan man
Ulugali'i Samoa - Samoan couple
Teine Samoa - Samoan woman 2004-2005
From the series: Fa'a fafine: In a Manner of a Woman
C-type photographs 80 x 60 cm (each)
Courtesy of Brian and Gene Sherman Collection, Sydney

Shigeyuki Kihara's Fa'a fafine: In a Manner of a Woman exploit the conventions of 19th century portrait photography. Kihara uses her own body to reconstruct images in an ethnographic style, portraying herself as both male and female. These self-portrait images convey constructed notions of gender and its cultural embodiment asserting Kihara's own identity and status as a Samoan and as a fa'afafine.

The term fa'afafine may be translated as 'third gender' and are an accepted part of Samoan society. By taking ownership of the image, Kihara challenges orientalist clichés of early Pacific photography.

The Samoan Couple is, in fact, a portrait of the artist marrying both himself as a man and herself as a woman. By integrating gender and separating sexuality, Kihara confounds every cultural expectation.

  宛如女子系列:
薩摩亞男子
薩摩亞夫婦 2004-2005
薩摩亞女子
C-type 攝影照片 80 x 60 cm (每件)
雪梨 布萊恩與珍‧修曼典藏提供

木原的〈宛如女子〉利用19世紀肖像攝影的傳統習俗,以她自己的身體重新建構具人種誌風格的影像,所呈現的自己既是男性,也是女性。這些自我影像所傳達的是新建的性別觀念與其文化體現,宣稱木原身為薩摩亞人與「fa’afafine」的自我認同與身份地位。

「fa’afafine」一辭可詮釋為「第三性」,已獲認可為薩摩亞社會的一部份。透過影像所有權的取得,木原挑戰早期太平洋攝影的東方式陳腔濫調。

〈薩摩亞夫婦〉事實上是藝術家讓身為男性的自己與身為女性的自己彼此結為夫婦的肖像。木原將性別整合,將性的成分抽離,讓所有文化上的期待變得曖昧混淆。






Fa'a fafine: In a Manner of a Woman 2004-2005
From the series: Fa'a fafine: In a Manner of a Woman
C-type photographs 60 x 80 cm (each)
Courtesy of Brian and Gene Sherman Collection, Sydney

Shigeyuki Kihara utilises digital photography to transform herself into various personas which are drawn from Samoan cultural traditions. This series plays with the colonial tradition where south seas belles are the objects of sexual fantasy. By introducing the reality of the artist's own complex gender, Kihara subverts viewer's expectations.

宛如女子系列: 2004-2005
宛如女子
C-type 攝影照片 60 x 80 cm (每件)
雪梨 布萊恩與珍‧修曼典藏提供

木原運用數位攝影將自己化身為薩摩亞傳統文化中的各種人物。此系列作品所操弄的是將南洋美女視為性幻想對象的殖民傳統。木原在此藉著呈現自己複雜性別的事實而顛覆了觀者的期待。


My Samoan Girl 2004-2005
From the series: Fa'a fafine: In a Manner of a Woman
C-type photograph 80 x 60 cm
Courtesy of Brian and Gene Sherman Collection, Sydney

Kihara's extensive knowledge of historical pacific photography is evident in this self portrait alluding to the images created by Alfred Burton, the itinerant photographer fascinated with Polynesian female sexuality.

宛如女子系列:我的薩摩亞女孩 2004-2005
C-type 攝影照片 80 x 60 cm
雪梨 布萊恩與珍‧修曼典藏提供

從此件自我影像攝影作品可明顯看出木原對太平洋攝影歷史的廣泛瞭解,她以此作影射伯爾頓(Alfred Burton)所創作的影像,伯爾頓是旅遊攝影家,喜好玻里尼西亞女性有關性方面的題材。