The great waves, the great waves rise in Kona,
Bring forth the loin cloth that it may be on display,
The ebbing tide swells to set the loin cloth flying,
The loin cloth, Hoaka, that is worn on the beach,
It is the loin cloth to wear at sea, a chief ’s loin cloth,
Stand up and gird on the loin cloth
The day is a rough one, befitting Naihe’s surfboard,
He leaps in, he swims, he strides out to the waves,
The waves that rush hither from Kahiki.
White capped waves, billowy waves,
Waves that break into a heap, waves that break and spread.
The surf rises above them all,
The rough surf of the island,
The great surf that pounds and thrashes
The foamy surf of Hikiau,
It is the sea on which to surf at noon,
The sea that washes the pebbles and corals ashore.
(Mary Kawena Pukui, 1949:256)
Wan Hai Hotel November: Breaking the Waves
The inaugural program of the Wan Hai Hotel project, Breaking the Waves, unfolds as an immersive, day-long series of events combining performance, intervention, lecture, and dialogue. It opens with a guided crossing and poetry reading led by artist Rindon Johnson in dialogue with RAM’s artistic director, X Zhu-Nowell. Following this, T-Project, a Hangzhou-based collective, will activate the museum space with their improvisational performance Shanghai Swallow and Vomit, an invocation of the spirit of “Shanghai” drawn from their River God project.
In the afternoon, Australian-Filipina artist Bhenji Ra will initiate a ritual performance titled Sissy in the RUINS, setting the stage for an afternoon of resonant encounters. This will lead into a keynote lecture by artist and curator Taloi Havini, Rituals of Regeneration. A descendant of the Nakas clan of the Hakö (Haku) people from northeastern Buka, Havini’s practice draws from her matrilineal connections to Bougainville and her deep engagement with Indigenous Knowledge Systems and museum collections.
After the lecture, participants are invited to gather for tea and the conversation Voyage Encounters, featuring Zhan Zhaoxia, translator of 1922: The Story of the Amoy, and filmmaker Yang Hui. Together, they will reflect on the historic voyage of the Amoy, a traditional wooden sailboat that journeyed from Shanghai to Japan, Canada, San Francisco, and ultimately, through the Panama Canal to New York—a story of transoceanic migration and cultural convergence nearly a century ago.Finally, the program will culminate in a visceral performance by FITNESS, whose energy will literally break the waves, marking a powerful close to this day of interwoven histories, rituals, and regenerative acts.
Renn
Hardware mix is where Renn lays his creativity on, for a harmonic fusion of folk music and lo-fi electronica. By practiscing the recombination and application of the ethnic music samples from all over the world in his own mix, he seeks the bounty colors of unconventional rhythm patterns in his performance.
XIA
XIA was involved in the experimental theatre and live art project TAI in the early years. He is the founder of the electronica-focused group PRE, and the co-founder of the youth culture platform Big Balcony Club in Hangzhou. Focusing on sound art, his interest has shifted from DJ to modular synthesiser fun, with aesthetic emphasis on experimental, atonal, semi-improv and melancholic. He is now working on the enhancement of emotionality in his performances.
Jin Yanan
Artist, initiator of the River God project, and director of T-Project Space.
Jin finds himself pulled by the tendency to observe the negativity showcased by social beings under govermentality. With putting efforts into continuous planning and implementation of various actions through art means, he tries to stimulate new contexts for dialogues, in which way he outlooks to counteract the internal friction of the system in the daily setting as well as in the microhistory.
Bhenji Ra
Interdisciplinary Artist Bhenji Ra who is currently based on the stolen land of the Gadigal people of the Eora nation, Sydney Australia works largely with dance, video and community activation and will disrupt the day with an intervention.
Bhenji Ra is an Australian Filipina artist working at the intersections of dance, video and community activation. Rooted in trans-intercultural and intergenerational practice, her work deals with the unseen narratives of society seeking to offer new, decolonial, and fugitive possibilities of community and becoming. Guided by her genealogies, queer and cultural, she weaves together vast tapestries of ritual, archive and collective action that draw upon the intersections and intimacies of her personhood and its encounters.
Bhenji Ra's recent group exhibitions include: You Are Here, Town Hall Gallery, Hawthorn Arts Centre, Melbourne (2020); Club Ate: In Muva We Trust, National Gallery of Australia, Canberra (2020); 52 Artists 52 Actions, Artspace, Sydney (2019); Rogue Agents, Auto Italia South East, London (2019). In 2018, Bhenji was the commissioned artist for the Keir Choreographic Award 2018.
Taloi Havini
Taloi Havini (b, 1981, Arawa, Autonomous Region of Bougainville, Papua New Guinea; lives and works in Brisbane, Australia) is an interdisciplinary artist working across media from sculpture, photography, moving image, installation, and sound. A descendant from the Nakas clan of the Hakö (Haku) people of northeastern Buka, her research practice is shaped by her matrilineal ties to her land in Bougainville and studies surrounding indigenous knowledge systems and museum collections.Havini creates immersive and site-specific experiences, often reflecting on ideas of transmission, mapping, and representation. She continues to work collaboratively on cultural heritage projects with communities in Bougainville.
Havini’s artwork is held in public and private collections including TBA21–Academy, Sharjah Art Foundation, Art Gallery of New South Wales, Queensland Art Gallery | Gallery of Modern Art (QAGOMA), National Gallery of Victoria and KADIST, San Francisco. She has participated in numerous solo and group exhibitions exhibiting with Artspace, Sydney; Palais de Tokyo, Paris; Sharjah Biennial 13, UAE; 3rd Aichi Triennial; 8th & 9th Asia Pacific Triennial of Contemporary Art; TBA21’s Ocean Space, Venezia; Barbican Centre, London; Auckland Art Gallery Toi o Tāmaki, New Zealand; the Honolulu Biennial, Hawaii; and Artes Mundi 10, Wales.
Yang Hui
Yang Hui is a researcher of local culture and history as well as a documentary filmmaker. He graduated from Xiamen University. Utilizing video as his primary medium, Yang focuses on history and memory as central themes in his work. His notable projects include Bijia Mountain No. 6, The Bihu Project, A Place Called Streets and Alleys, and The Floating Residents, among others.
Zhan Zhaoxia
Zhan Zhaoxia is an expert on history and culture of Gulangyu Island who serves as a appointed historical researcher for the CPPCC of Xiamen, and as the Deputy Director of the Gulangyu International Research Center at Xiamen University. She is also the Editor-in-Chief of Journal of Gulangyu Studies at the Xiamen Academy of Social Sciences. In 2017, she was a special guest commentator for CCTV's live coverage of the BRICS Summit. Her published works include Gulangyu: People and Stories of the Past and Scholars of Gulangyu (co-authored with Hong Buren), as well as translations of Trade and Society: The Amoy Network on the China Coast, 1683-1735 (co-translated with Hu Shuyang) and 1922: The Story of the Amoy.
Long Yitang
Long Yitang (b.1992, Shaoshan) is a curator and writer. He graduated Xiamen University in Art Management (BA) in 2014 and China Academy of Art in Curatorial Studies (MA) in 2021. His current work centers on self-organization, communality, and On-Site Curating. In recent years, Long has organized numerous curatorial, field trip, and research projects focusing on the historical geography of flows and environmental media in the southeast coastal regions and river hinterland.
In 2015, Long co-founded the AXIS Art Project and won the 2016 Emerging Curators Project award from the Power Station of Art, Shanghai. That same year, he founded the independent art space 404 Not Found Lab, which has developed a series of community-based theatre-art practices in Houtian, Xiamen. Since 2017, he has also been involved in the Gazetteer-Novels project, curating various residencies, exhibitions, and workshops. In addition to curating, Long explores alternative ways of connecting through his writing.
Ma Sai
Ma Sai is an artist and curator who works at the intersection of creation and practice, art and community, art and management, as well as commercial and artistic spaces. He is particularly concerned with ecological issues and living spaces in the process of urbanization. Ma views art curation as a creative practice and a specific method of communication with society. He has co-initiated and curated several projects, including: Release to Play (Henan, 2016), Reshape and Produce (Chongqing, 2016), 100 Kilometer Program (Chongqing/Chengdu/Ningbo/Shanghai, 2017–2019), Temporary Art Community (Shenzhen, 2017), Activate the Site (Chongqing, 2020–2021), Thinking through Ocean (Xiamen, 2022). His works have been shortlisted for awards such as the 6th Tomorrow Sculpture Awards and the SAYA (Supporting Active Young Artists) International Project Awards, among others.
Eastern Margins
Releasing sounds from the margins of East and Southeast Asia and its diaspora, Eastern Margins is a music label and collective with roots in both. Their creative practice is attuned to the relationship between the "diaspora" and the "home" manifested in the notion of Phantom Thread.
FITNESSS
FITNESSS emerges as a composite of wires and veins
coursing with the distilled rage and sorrow of a decimated Los Angeles
prosthetic electronics trigger angelic pulsations
flowing through nervous pathways to communicate
the primordial choreography of our Holy Ancestors
巨浪，层层巨浪在背风面（Kona）翻腾，
你要取出腰带，显明在众人面前，
退潮之水涌起，将那腰带掀动了，
新月（Hoaka）的腰带，那要在海滩上缠起的，
那要在海边缠起的腰带，那族长所佩的，
你要站起，将腰带束上今天波浪洪涛，
众矛之人（Naihe）的浪板是合适的
他纵身入海向前，游水迈向海的浪，
自海外（Kahiki）而来的浪。
浪头花白，波涛澎湃，
层层叠起又散落了，散落向四处扬去。
浪花掀起，水上没有比那更高的，
岛的洪涛，
大浪拍击，大浪翻滚
急流（Hikiau）的浪涌起浮沫，
这大海正午冲浪是好的，
这大海冲卵石和珊瑚上岸。
（玛丽·卡维纳·普库伊，1949：256）
“环海旅社”十一月“破浪”
“破浪”将会带来一整天持续呈现的复合型活动，集结表演、讲座和对谈活动以艺术家林顿·约翰逊与上海外滩美术馆艺术总监朱筱蕤的导览和诗歌朗诵开场。随后，来自杭州的艺术项目“铜场计划”将通过他们的即兴表演“上海吞吐”活化美术馆空间，这一作品源自2023年起围绕河神展开对河流身体、感官的想象与行走，“上海吞吐”用持续性的表演想象上海从泥滩演变成一位“吞吐”了两百年的人。
下午，澳大利亚-菲律宾跨学科艺术家本吉·拉将带来题为“废墟中的娘娘腔”的仪式性表演，为下午的一系列共鸣交汇拉开序幕。接下来艺术家和策展人塔洛伊·哈维尼带来主题演讲“再生的仪式”。哈维尼是布卡岛东北部哈克（Hakö）人中纳卡斯（Nakas）氏族的后裔，其创作实践植根于她与布干维尔土地的母系联系，深入研究原住民知识体系及博物馆藏品。
讲座结束后，参与者受邀共品茶点，并聆听“航途际会”对话。《1922“厦门号”的故事》的译者詹朝霞和长期在漳、泉两地进行影像创作的导演杨晖分享一场跨越百年的跨太平洋航行：1922年，一艘“厦门号”无动力木帆船从上海航行至日本、加拿大、旧金山，穿过巴拿马运河抵达纽约。夜晚，菲律宾裔美国艺术家与音乐人FITNESSS将以内核迸发的视听表演打破无形障碍，作为“破浪”的高潮收尾，其充沛的能量将真正“破浪”，为这一天交织的历史、仪式和再生行动画上强而有力的句号。
电子人 Renn
电子人以硬件为主要创作工具，致力于民族音乐与低频电子的融合。他将世界各地民族音乐采样重组运用到歌曲当中，以非常规的节奏型为他的音乐现场增添丰富的色彩。
XIA/夏天 [PRE]
早年参与实验戏剧与现场艺术项目“月台小组”，并于杭州发起组织“PRE”，关注电子音乐活动，合作成立青年文化平台“大阳台俱乐部”。现专注于声音方向，从DJ的路上走到模块合成器玩家，审美取向在实验、无调性、半即兴和不开心，现在想让自己的演出变得更有情感一些。
金亚楠
艺术家，河神项目发起人，铜场计划总策划，近期倾向于观察人在治理系统下呈现出的消极外表，试图通过不断地计划与实施各类艺术行动来激发形成新的对话环境，并期待以此抵消一种日常性的、历史性的系统内耗。
本吉·拉
本吉·拉是一位澳大利亚菲律宾裔艺术家，从事舞蹈、影像与社区激活的交叉创作。她的工作植根于跨文化与跨代际的实践，探讨社会中的种种不被看见的叙事，旨在提供新的、去殖民的、转瞬即逝的社群与生成的可能性。在其酷儿与文化谱系的引导下，她汲取自身与自身际遇的各种交集与亲密关系，将仪式、档案与集体行动编织在一起。本吉·拉最近参与的群展包括：“你在这里”，墨尔本霍桑艺术中心市政厅画廊（Town Hall Gallery，2020）；“Club Ate：我们信任母亲”，堪培拉澳大利亚国家美术馆（2020）；“52位艺术家，52个行动”，悉尼Artspace（2019）；“Rogue Agents”，伦敦Auto Italia South East（2019）。本吉是2018年基尔编舞奖（Keir Choreographic Award）的委任艺术家。
塔落伊·哈维尼
塔落伊·哈维尼（1981年生于巴布亚新几内亚布干维尔自治区阿拉瓦，现居并工作于澳大利亚布里斯班）是一位跨学科艺术家，涉及雕塑、摄影、动态影像、装置和声音等多种媒介。她是布干维尔东北部哈库（Hakö）族纳卡斯氏族的后裔，她的研究实践的发展基于其母系血缘与布干维尔土地的联系以及关于本土知识体系和博物馆藏品的研究。
哈维尼创作沉浸式和场地特定的艺术体验，常常反思传递、制图和再现的概念。她持续与布干维尔的社群合作，开展文化遗产项目。
哈维尼的作品被包括TBA21学术院、沙迦艺术基金会、新南威尔士美术馆、昆士兰艺术馆|现代艺术馆（QAGOMA）、维多利亚国家美术馆及旧金山KADIST等公共和私人收藏所珍藏。她参与了多场个展和群展，展出地点包括悉尼艺术空间、巴黎东京宫、阿联酋沙迦双年展第13届、第3届爱知三年展、第8届和第9届亚太当代艺术三年展、威尼斯TBA21海洋空间、伦敦巴比肯中心、新西兰奥克兰艺术馆（Toi o Tāmaki）、夏威夷檀香山双年展及威尔士Artes Mundi 10等。
杨晖
厦门大学毕业，地方文史研究者、纪录片工作者，长期以影像为媒介，以历史和记忆为主线贯穿工作始终。主要艺术创作有“笔架山6号”、“碧湖计划”、“一个叫街头巷尾的地方”、“水居之民”等。
詹朝霞
鼓浪屿文史专家、厦门市政协特邀文史研究员、厦门大学鼓浪屿研究中心副主任、厦门市社科院《鼓浪屿研究》编辑部主任、2017年厦门金砖会晤中央电视台特别节目特邀直播嘉宾。著有《鼓浪屿：故人与往事》《鼓浪屿学者》（与洪卜仁合著），译有《厦门的兴起》（与胡舒扬合译）《1922“厦门号”的故事》。
龙奕瑭
策展人，写作者。1992年生于韶山，2014年本科毕业于厦门大学艺术管理专业；2021年硕士毕业于中国美术学院策展专业。目前主要关注自组织、共通体和现地策展（On-Site Curating）。近年来，他组织和策划多场基于东南沿海与流域，有关流动的历史地理与环境媒介的策展、行走和研究。他于2015年参与创立“轴艺术项目”（AXIS Art Project），并获得2016年上海当代艺术博物馆“青年策展人计划”奖项；同年创立独立空间404 Not Found Lab，组织后田协商组，在厦门开展一系列社区-剧场的艺术实践；此外，他从2017年起，参与“方志小说”，策划多场驻留、展览和工作坊。同时，他通过写作，寻找策展之外的连结方式。
马赛
艺术家、策展人。他工作于创作与实践、艺术与社区、艺术与管理、商业空间与艺术空间的交叉领域。关注城市化进程中的生态问题及生存空间问题。将艺术策划视为一种创作实践及与社会沟通的具体方法。曾参与发起与策划项目：放开打计划（河南，2016）；重塑与生产（重庆，2016）；100 公里计划（重庆/成都/宁波/上海，2017—2019）；临时艺术社区（深圳，2017）；激活现场（重庆，2020—2021）；海洋学（厦门，2022）等。同时，作品曾入围第六届明天雕塑奖，SAYA 菁英国际青年奖等。
Eastern Margins
Eastern Margins是一家音乐厂牌团体，为东亚和东南亚及其侨民边缘地区发行声音作品。他们的创作实践关注离散和家乡之间的关系，通过“幻影穿线”的概念体现。
FITNESSS
FITNESSS是电线与血管的复合体
流动着被毁灭的洛杉矶中浓缩的愤怒与悲伤
义肢电子装置触发天使的脉动
流经神经通路，相连
我们神圣祖先的原始舞蹈编排
