Chin-Jie Melodie Liu

<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:media="http://search.yahoo.com/mrss/"
	
	>

<channel>
	<title>Chin-Jie Melodie Liu</title>
	<link>https://chinjiemelodieliu.com</link>
	<description>Chin-Jie Melodie Liu</description>
	<pubDate>Sun, 25 Jan 2026 05:08:02 +0000</pubDate>
	<generator>https://chinjiemelodieliu.com</generator>
	<language>en</language>
	
		
	<item>
		<title>About</title>
				
		<link>https://chinjiemelodieliu.com/About-1</link>

		<pubDate>Sun, 07 Jan 2024 00:02:41 +0000</pubDate>

		<dc:creator>Chin-Jie Melodie Liu</dc:creator>

		<guid isPermaLink="true">https://chinjiemelodieliu.com/About-1</guid>

		<description>
	
	
Chin-Jie Melodie Liu 劉沁潔 is a Taiwanese and American emerging artist, curator and writer based in Kamberri (Canberra, Australia). Her interdisciplinary practice is informed by her heritage and focuses on contested histories and collective memory. She is interested in varying forms of creative collaboration and the use of text as visual material. 
&#38;nbsp;
Liu has received numerous awards, including the Megalo Print Studio &#38;amp; Gallery Residency Award, Country to Coast Residency and Exhibition Award, Gallery of Small Things Exhibition Award, Emerging Arts Support Scheme Patrons Honours Scholarship, and the Gray Smith and Joan Scott Prize.
In 2024, Liu was a Curationist Fellow and participated in the National Gallery of Australia’s Young Writers Digital Residency, as well as the Adelaide Festival Centre and Flinders University’s&#38;nbsp;Arts Leadership Program.


	︎
	︎ 

	
I acknowledge the Ngunnawal and Ngambri people who are the traditional custodians of the land upon which I am located. I pay my respects to the Elders past, present, and future.
</description>
		
	</item>
		
		
	<item>
		<title>Selected Projects</title>
				
		<link>https://chinjiemelodieliu.com/Selected-Projects</link>

		<pubDate>Sun, 07 Jan 2024 03:17:05 +0000</pubDate>

		<dc:creator>Chin-Jie Melodie Liu</dc:creator>

		<guid isPermaLink="true">https://chinjiemelodieliu.com/Selected-Projects</guid>

		<description>
	
	Selected Projects
	

	&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/70a616c04c06d40e5e1ab2e0fe6bb89187702fd83208e483664d350a05901591/Photoaccess-spread-1-2.jpg" data-mid="222572232" border="0"  src="https://freight.cargo.site/w/1000/i/70a616c04c06d40e5e1ab2e0fe6bb89187702fd83208e483664d350a05901591/Photoaccess-spread-1-2.jpg" /&#62;
	︎︎︎You are close be-side me2023

	
	&#60;img width="4160" height="3241" width_o="4160" height_o="3241" data-src="https://freight.cargo.site/t/original/i/222d832918ac14a742f62d5357bba53b6480d56bbd51f58264e6213b44111ec9/cck_1.jpg" data-mid="200982630" border="0"  src="https://freight.cargo.site/w/1000/i/222d832918ac14a742f62d5357bba53b6480d56bbd51f58264e6213b44111ec9/cck_1.jpg" /&#62;
	︎︎︎Drawing Near2020-2021
</description>
		
	</item>
		
		
	<item>
		<title>You are close be-side me </title>
				
		<link>https://chinjiemelodieliu.com/You-are-close-be-side-me</link>

		<pubDate>Sat, 10 Jul 2021 13:56:44 +0000</pubDate>

		<dc:creator>Chin-Jie Melodie Liu</dc:creator>

		<guid isPermaLink="true">https://chinjiemelodieliu.com/You-are-close-be-side-me</guid>

		<description>
	
	
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/7ef960bdc0e443cd19ee636a123675399de9be7199b1e20b01a6986c73987707/Photoaccess-spread-3.jpg" data-mid="222572070" border="0" alt="Chin-Jie Melodie Liu, 'He lets me rest', 2023, from the series 'You are close be-side me', CMYK screen print on Stonehenge paper, 56 x 76 cm" data-caption="Chin-Jie Melodie Liu, 'He lets me rest', 2023, from the series 'You are close be-side me', CMYK screen print on Stonehenge paper, 56 x 76 cm" src="https://freight.cargo.site/w/1000/i/7ef960bdc0e443cd19ee636a123675399de9be7199b1e20b01a6986c73987707/Photoaccess-spread-3.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/70a616c04c06d40e5e1ab2e0fe6bb89187702fd83208e483664d350a05901591/Photoaccess-spread-1-2.jpg" data-mid="222572071" border="0" alt="Chin-Jie Melodie Liu, 'I have everything that I need', 2023, from the series 'You are close be-side me', CMYK screen print on Stonehenge paper, 56 x 76 cm" data-caption="Chin-Jie Melodie Liu, 'I have everything that I need', 2023, from the series 'You are close be-side me', CMYK screen print on Stonehenge paper, 56 x 76 cm" src="https://freight.cargo.site/w/1000/i/70a616c04c06d40e5e1ab2e0fe6bb89187702fd83208e483664d350a05901591/Photoaccess-spread-1-2.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/20ddb9f7f35f1f6c84cc903fccaa14f1ac9e402b7bf1bd9bbf1aefbe4aa74808/Photoaccess-spread-1.jpg" data-mid="222572075" border="0" alt="Chin-Jie Melodie Liu, 'lead me by the qui-et stream', 2023, from the series 'You are close be-side me', CMYK screen print on Stonehenge paper, 56 x 76 cm" data-caption="Chin-Jie Melodie Liu, 'lead me by the qui-et stream', 2023, from the series 'You are close be-side me', CMYK screen print on Stonehenge paper, 56 x 76 cm" src="https://freight.cargo.site/w/1000/i/20ddb9f7f35f1f6c84cc903fccaa14f1ac9e402b7bf1bd9bbf1aefbe4aa74808/Photoaccess-spread-1.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/cff292238ca971e3394442534d1c51c1007e130d276bce22e81dd42148994eab/untitled-51-copy.jpg" data-mid="222572285" border="0" data-scale="70" alt="'You are close be-side me', exhibition installation view, photo access, Kamberri/Canberra, 2023" data-caption="'You are close be-side me', exhibition installation view, photo access, Kamberri/Canberra, 2023" src="https://freight.cargo.site/w/1000/i/cff292238ca971e3394442534d1c51c1007e130d276bce22e81dd42148994eab/untitled-51-copy.jpg" /&#62;

You are close be-side me is a series of large-scale screen prints presenting the documentation of a funeral by two sisters—Annette, who attended the proceedings for their grandfather in person in Taiwan, and Melodie, who joined via Zoom from Australia. This collaborative work encapsulates a shared experience of witnessing and documenting grief simultaneously through two different perspectives, access, and means. Together, they reflect on the ways digital access facilitates grief, influencing our process of mourning in the modern world.

Curator: Annette An-Jen Liu︎︎︎Curatorial essay&#38;nbsp;
	You are close be-side me was exhibited at PhotoAccess, Kamberri/Canberra from 28 June—11 August 2023.

Installation images: Maria Koulouris


</description>
		
	</item>
		
		
	<item>
		<title>Drawing Near</title>
				
		<link>https://chinjiemelodieliu.com/Drawing-Near</link>

		<pubDate>Sun, 07 Jan 2024 00:48:37 +0000</pubDate>

		<dc:creator>Chin-Jie Melodie Liu</dc:creator>

		<guid isPermaLink="true">https://chinjiemelodieliu.com/Drawing-Near</guid>

		<description>
	
	
&#60;img width="3242" height="4160" width_o="3242" height_o="4160" data-src="https://freight.cargo.site/t/original/i/6076fadd1ecbfb5f03bf7fb78b44e2790dd631c634b72e7297cf50d8c357bc52/fam_1.jpg" data-mid="200978758" border="0" alt="Chin-Jie Melodie Liu, 'The Breakthrough', colour pencil on Strathmore Toned Tan paper (118 gsm), 27.9 x 35.56 cm, 2020." data-caption="Chin-Jie Melodie Liu, 'The Breakthrough', colour pencil on Strathmore Toned Tan paper (118 gsm), 27.9 x 35.56 cm, 2020." src="https://freight.cargo.site/w/1000/i/6076fadd1ecbfb5f03bf7fb78b44e2790dd631c634b72e7297cf50d8c357bc52/fam_1.jpg" /&#62;
&#60;img width="3650" height="2575" width_o="3650" height_o="2575" data-src="https://freight.cargo.site/t/original/i/cf9ce8a29d5227fd2c64b5d71e42cc4ca444741d18ecafd77a2c3013b4f312ed/Liu_Chin-JieMelodie4.jpg" data-mid="200997598" border="0" data-scale="92" alt="Still from 'Two of Two Million', video, 33 seconds, 2020." data-caption="Still from 'Two of Two Million', video, 33 seconds, 2020." src="https://freight.cargo.site/w/1000/i/cf9ce8a29d5227fd2c64b5d71e42cc4ca444741d18ecafd77a2c3013b4f312ed/Liu_Chin-JieMelodie4.jpg" /&#62;
&#60;img width="4152" height="3232" width_o="4152" height_o="3232" data-src="https://freight.cargo.site/t/original/i/1c41dc567fb54c29a233ba1ece5ef697a39b7d00efca721c8de5e2ad3a6fd62e/WINE_1.jpg" data-mid="200978885" border="0" data-scale="70" alt="Chin-Jie Melodie Liu, 'Anniversary Wine', colour pencil on Strathmore Toned Tan paper (118 gsm), 27.9 x 35.56 cm, 2020." data-caption="Chin-Jie Melodie Liu, 'Anniversary Wine', colour pencil on Strathmore Toned Tan paper (118 gsm), 27.9 x 35.56 cm, 2020." src="https://freight.cargo.site/w/1000/i/1c41dc567fb54c29a233ba1ece5ef697a39b7d00efca721c8de5e2ad3a6fd62e/WINE_1.jpg" /&#62;
&#60;img width="4145" height="3193" width_o="4145" height_o="3193" data-src="https://freight.cargo.site/t/original/i/50b47c5bd0b642a016bc6aee1612a0ea7218ea03d0412b0a12898ed054fbbc56/gma_1.jpg" data-mid="200978757" border="0" data-scale="81" alt="Chin-Jie Melodie Liu, 'Blessed', colour pencil on Strathmore Toned Tan paper (118 gsm), 27.9 x 35.56 cm, 2020." data-caption="Chin-Jie Melodie Liu, 'Blessed', colour pencil on Strathmore Toned Tan paper (118 gsm), 27.9 x 35.56 cm, 2020." src="https://freight.cargo.site/w/1000/i/50b47c5bd0b642a016bc6aee1612a0ea7218ea03d0412b0a12898ed054fbbc56/gma_1.jpg" /&#62;

Drawing Near 近鄉·回溯 investigates contrasting Taiwanese identities through a multidisciplinary visual arts practice. The project documents Chin-Jie Melodie Liu’s journey of understanding her own identity as a Taiwanese woman of mixed heritage (of waisheng 外省 and bensheng 本省) through reinterpreting objects and photographs. In examining archival material, Liu further seeks to reveal the layered narratives that co-exist in contemporary Taiwanese society. The project is a result of Liu’s Bachelor of Visual Arts Honours thesis undertaken in 2020 which was created for  presentation online.

︎︎︎ Discover the series


&#60;img width="2336" height="3115" width_o="2336" height_o="3115" data-src="https://freight.cargo.site/t/original/i/d3b1b9ebe56a63732c2f3238b8c4c1f3c403e4dfa79d281e9d97611b52f6a16d/IMG_0231.jpg" data-mid="200997441" border="0"  src="https://freight.cargo.site/w/1000/i/d3b1b9ebe56a63732c2f3238b8c4c1f3c403e4dfa79d281e9d97611b52f6a16d/IMG_0231.jpg" /&#62;
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/e362f108922485ec5d08eebf1c6b569c4253566f6ea28a0f1744cc34b27984f2/Liu_Chin-JieMelodie3.jpg" data-mid="200997374" border="0" data-scale="70" src="https://freight.cargo.site/w/1000/i/e362f108922485ec5d08eebf1c6b569c4253566f6ea28a0f1744cc34b27984f2/Liu_Chin-JieMelodie3.jpg" /&#62;
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/2f8f6b8798de073b79b86ed4ed2c8234b01db1c888d81f51b82aacd690a3711c/DSC_5797.JPG" data-mid="200997439" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/2f8f6b8798de073b79b86ed4ed2c8234b01db1c888d81f51b82aacd690a3711c/DSC_5797.JPG" /&#62;

Drawing Near was exhibited at the Australian Centre on China in the World at the Australian National University (ANU) from 18 February—13 March 2021.
The exhibition was an initiative under the ANU Taiwan Studies Program — a partnership between the ANU and the Ministry of Education, Republic of China (Taiwan).
︎︎︎ Exhibition catalogue

Installation images: Matthias Wong


</description>
		
	</item>
		
		
	<item>
		<title>Writing</title>
				
		<link>https://chinjiemelodieliu.com/Writing</link>

		<pubDate>Tue, 07 Oct 2025 23:33:52 +0000</pubDate>

		<dc:creator>Chin-Jie Melodie Liu</dc:creator>

		<guid isPermaLink="true">https://chinjiemelodieliu.com/Writing</guid>

		<description>
	
	Writing
Inside the Empty Interval: Lisa Stonham, photo access, 2026
Transforming Impressions: HARD/SOFT Exhibition, More Than Reproduction, 2025
Under the Open Sky: Lindy Lee and the search for self, National Gallery of Australia, 2024
Illustrating Taiwan: Travelogues and Their Visual Narratives, Curationist, 2024

Neither soft nor weak: Gwangju’s 14th Biennale, Art Monthly Australasia,&#38;nbsp;Issue 336, Winter 2023

Saucepans and data: Justene Williams’s ‘Victory over the Sun, Art Monthly Australasia, 2022
Mapping Croft’s voyages and traces of Country at CMAG, Art Monthly Australasia, 2022

Capturing Country: ‘Art Centres on Screen’, Art Monthly Australasia,&#38;nbsp;2021


	Trust and Language: Saskia Haalebos on Vulnerability in Collaboration…, Scaffolding Cultural Co-Creativity, 2021

</description>
		
	</item>
		
		
	<item>
		<title>CV Chin-Jie Melodie Liu</title>
				
		<link>https://chinjiemelodieliu.com/CV-Chin-Jie-Melodie-Liu</link>

		<pubDate>Sun, 25 Jan 2026 05:08:02 +0000</pubDate>

		<dc:creator>Chin-Jie Melodie Liu</dc:creator>

		<guid isPermaLink="true">https://chinjiemelodieliu.com/CV-Chin-Jie-Melodie-Liu</guid>

		<description>
	
	CV
Chin-Jie Melodie Liu 劉沁潔
b. 1998, Honolulu

Solo Exhibitions
2023 &#38;nbsp;You are close be-side me, Photoaccess
2021 &#38;nbsp;Drawing Near 近鄉·回溯‬‭, ‬Australian Centre on China in the World (CIW), the Australian National University (ANU)

Group Exhibitions2025 &#38;nbsp;Fruits of the Souring Sea, River of Art Festival, Durras Progress Hall
2024 &#38;nbsp;Everything I Am Not, Platform Contemporary 
2023 &#38;nbsp;The Overwintering Project: The Jerrabomberra Wetlands, Megalo Print Studio &#38;amp; Gallery2023 &#38;nbsp;Crevices: The Art of Looking Closely, River of Art Festival, Durras Progress Hall2023 &#38;nbsp;Art Auction Fundraiser Exhibition, Tributary Projects

2022 &#38;nbsp;Impressions 22, Megalo Print Studio&#38;nbsp;&#38;amp; Gallery2022 &#38;nbsp;Contour 556, Canberra Public Art Biennial2022 &#38;nbsp;Sharing Stories Arts Exchange Exhibition, Photospace Gallery, ANU2022 &#38;nbsp;Carved, Thor's Hammer Mixing Room Gallery
2021 &#38;nbsp;Environmental Fundraising, Rust Pop-up Gallery2021 &#38;nbsp;EASS 2021, Gallery of Small Things&#38;nbsp;2021 &#38;nbsp;Future Proof: National Graduate Online Exhibition, Megalo Print Studio &#38;amp; Gallery2021 &#38;nbsp;Insight Out, ANU Learning Communities with aMBUSH Gallery, University Avenue2021 &#38;nbsp;Acute Actions: Responses To I Am Not A Virus, 4A Centre for Contemporary Asian Art

2020 &#38;nbsp;amplified/together: Graduating Exhibition, ANU School of Art &#38;amp; Design, online&#38;nbsp;2020 &#38;nbsp;Iridescence, aMBUSH Gallery2020 &#38;nbsp;50-50 Stimulus Package, Tributary Projects

2019 &#38;nbsp;Graduating Exhibition, ANU School of Art &#38;amp; Design2019 &#38;nbsp;Recollection, Tributary Projects2019 &#38;nbsp;Her / A Female Anthology, Brunswick Street Gallery2019 &#38;nbsp;Qu'est-ce tu fais?, École nationale supérieure des beaux-arts de Paris, France2019 &#38;nbsp;Long Way Around, aMBUSH Gallery2019 &#38;nbsp;National Science Week Makerspace Exhibtion, ANU Hancock Library
Residencies &#38;amp; Programs
2024 &#38;nbsp;Young Writers Digital Residency, National Gallery of Australia
2024&#38;nbsp; Arts Leadership Program, Adelaide Festival
Centre &#38;amp; Flinders University 
			
		
2024 &#38;nbsp;30 UNDER 30 Mentoring Program, Communicating the Arts
2023 &#38;nbsp;The Overwintering Project, Megalo Print Studio &#38;amp; Gallery2023&#38;nbsp; Generation Asia, Asia Society&#38;nbsp;
2022 &#38;nbsp;Carved, Thor’s Hammer &#38;amp; Megalo Print Studio &#38;amp; Gallery

2022 &#38;nbsp;Country to Coast Residency, Helen Maxwell and Barbara Holloway2022 &#38;nbsp;Sharing Stories Arts Exchange, ANU School of Art &#38;amp; Design2022 &#38;nbsp;Jacks &#38;amp; Punties Glass Workshops, ANU School of Art &#38;amp; Design
2021–22&#38;nbsp; Megalo Print Studio &#38;amp; Gallery Residency
2021 &#38;nbsp;Insight Out, ANU Learning Communities

Awards2020 &#38;nbsp;ANU School of Art &#38;amp; Design Emerging Arts Support Scheme (EASS) Patrons Honours Scholarship
2020&#38;nbsp; Chancellor's Letter of Commendation2020 &#38;nbsp;Country to Coast Residency and Exhibition Award
2020 &#38;nbsp;Gallery of Small Things Exhibition Award2020 &#38;nbsp;Gray Smith and Joan Scott Prize
2020 &#38;nbsp;Megalo Print Studio &#38;amp; Gallery Residency Award2020 &#38;nbsp;People's Choice Award, ANU Drawing Prize

2019 &#38;nbsp;Westende Travelling ScholarshipEducation 
2021&#38;nbsp; Master of Museum and Heritage Studies, ANU
2016–20&#38;nbsp; Bachelor of Visual Arts (First Class Honours), ANUMajor in Printmedia and Drawing, minor in Art History and Theory2016–19&#38;nbsp; Bachelor of Arts, ANUMajor in French Culture and Language (Advanced), minor in International Relations2019&#38;nbsp; École nationale supérieure des beaux-arts de Paris, exchange
2017 &#38;nbsp;National University of Singapore, exchange
2016 &#38;nbsp;École supérieure des Sciences Commerciales d'Angers, exchange
Related Positions
2022–present&#38;nbsp; Events and Collections Officer, CIW
2021– present Publication Manager, Blue Art Journal (formerly Art Monthly Australasia)&#38;nbsp;2024 &#38;nbsp;Curationist Fellow, Curationist Foundation

2020&#38;nbsp; Mandarin Gallery Educator, National Portrait Gallery of Australia
Curation
2025&#38;nbsp; Scenes from the Collection, CIW
2023&#38;nbsp; Florilegium: Distant Memories, CIW
2022&#38;nbsp; Lu Yang’s Screen Bodies, CIW
2022 &#38;nbsp;China &#38;amp; ANU at 75, CIW

Media &#38;amp; Talks
2026&#38;nbsp; In-conversation: Ruth Ju-shih Li, Grainger Gallery
2024&#38;nbsp; Panel: Communicating the Arts Conference, Sydney
2024&#38;nbsp; Presentation: Curationist Fellowship, online
2023 &#38;nbsp;Review: “Photography - You are close be-side me by Chin-Jie Melodie Liu (Canberra)” by Brian Rope, Canberra Critics Circle&#38;nbsp;2023 &#38;nbsp;Review: “Three diverse shows offering so much to absorb” by Con Boekel,&#38;nbsp;CityNews2023 &#38;nbsp;Artist talk:&#38;nbsp;Durras Progress Hall
2022 &#38;nbsp;Interview:  Art Sound FM by Neil Doody
2021 &#38;nbsp;Review:&#38;nbsp;“Art vs Science: Interdisciplinary collaboration comes to aMBUSH Gallery” by Grace Murphy, Her Canberra2021&#38;nbsp; Interview:《近鄉·回溯》探討台灣人身份認同&#38;nbsp;by Guo Juncheng, SBS Mandarin (普通話電台)&#38;nbsp;2021&#38;nbsp; Interview:「新銳台灣藝術家劉沁潔 坎培拉展出回溯家鄉創作」by Jennis Hsu, SBS Mandarin (普通話電台)2021 &#38;nbsp;Artist talk: ANU School of Art &#38;amp; Design, Honours cohort2021 &#38;nbsp;Interview:&#38;nbsp;Sunday Brunch by Kim Huynh, ABC Radio Canberra2021&#38;nbsp;
Interview: Art Sound FM by Neil Doody2021&#38;nbsp;
Interview: Chinese Voice Program (Mandarin) by Shaniya Huang, Canberra Multicultural Service (CMS Radio FM)&#38;nbsp;

2020&#38;nbsp; Interview: Art Sound FM by Neil Doody
2020&#38;nbsp; Interview: Art Sound FM by&#38;nbsp;Peter Monaghan
2020&#38;nbsp; Interview: Tributary Projects by Emma Rani Hodges and Tom Campbell
2020&#38;nbsp; Artist talk:  ANU School of
 Art &#38;amp; Design, Printmedia &#38;amp; Drawing: Drawing Beyond the Line
</description>
		
	</item>
		
		
	<item>
		<title>Drawing Near Home</title>
				
		<link>https://chinjiemelodieliu.com/Drawing-Near-Home</link>

		<pubDate>Sat, 14 Nov 2020 04:47:51 +0000</pubDate>

		<dc:creator>Chin-Jie Melodie Liu</dc:creator>

		<guid isPermaLink="true">https://chinjiemelodieliu.com/Drawing-Near-Home</guid>

		<description>

 1. One of Them or One of Us?

&#60;img width="4171" height="3247" width_o="4171" height_o="3247" data-src="https://freight.cargo.site/t/original/i/77ee32a082e6aef3cc8c015c3d534ee38a61167e12e0745494477c8ac4f83550/ID_1.jpg" data-mid="88778319" border="0"  src="https://freight.cargo.site/w/1000/i/77ee32a082e6aef3cc8c015c3d534ee38a61167e12e0745494477c8ac4f83550/ID_1.jpg" /&#62;


2. Breakthrough

&#60;img width="4143" height="3219" width_o="4143" height_o="3219" data-src="https://freight.cargo.site/t/original/i/acbafb3689f6066cad5020c612f230e5049e8575286d077f45b308b315c57bf5/retirement_1.jpg" data-mid="88778351" border="0"  src="https://freight.cargo.site/w/1000/i/acbafb3689f6066cad5020c612f230e5049e8575286d077f45b308b315c57bf5/retirement_1.jpg" /&#62;


3. The Dictator,
&#60;img width="4160" height="3227" width_o="4160" height_o="3227" data-src="https://freight.cargo.site/t/original/i/d6daf88e56f0157f4bd26565204a2ef070d1c9c59477f561102674e6b74d046d/cks_1.jpg" data-mid="88778349" border="0"  src="https://freight.cargo.site/w/1000/i/d6daf88e56f0157f4bd26565204a2ef070d1c9c59477f561102674e6b74d046d/cks_1.jpg" /&#62;the Madame,
&#60;img width="4124" height="3223" width_o="4124" height_o="3223" data-src="https://freight.cargo.site/t/original/i/a7f390c9a1e1513334dca33f3fbdb7cf823f1a3ed11cbf1967afe342899bc57c/soong_1.jpg" data-mid="88778353" border="0"  src="https://freight.cargo.site/w/1000/i/a7f390c9a1e1513334dca33f3fbdb7cf823f1a3ed11cbf1967afe342899bc57c/soong_1.jpg" /&#62;and the Son

&#60;img width="4160" height="3241" width_o="4160" height_o="3241" data-src="https://freight.cargo.site/t/original/i/6d6e76140a4d5b0abfc5099e7d21f652b7c8971277aee058ad48c97d1d0654cc/cck_1.jpg" data-mid="88778348" border="0"  src="https://freight.cargo.site/w/1000/i/6d6e76140a4d5b0abfc5099e7d21f652b7c8971277aee058ad48c97d1d0654cc/cck_1.jpg" /&#62;


4. State of Recovery
 
&#60;img width="3227" height="4147" width_o="3227" height_o="4147" data-src="https://freight.cargo.site/t/original/i/2847b91ec4bb5a7166d322a9022f79f98315d1ca5ce6d791ce9700474841c927/spu_1.jpg" data-mid="88778354" border="0"  src="https://freight.cargo.site/w/1000/i/2847b91ec4bb5a7166d322a9022f79f98315d1ca5ce6d791ce9700474841c927/spu_1.jpg" /&#62;


&#60;img width="4143" height="3219" width_o="4143" height_o="3219" data-src="https://freight.cargo.site/t/original/i/acbafb3689f6066cad5020c612f230e5049e8575286d077f45b308b315c57bf5/retirement_1.jpg" data-mid="88778351" border="0"  src="https://freight.cargo.site/w/1000/i/acbafb3689f6066cad5020c612f230e5049e8575286d077f45b308b315c57bf5/retirement_1.jpg" /&#62;


5. Testament


&#60;img width="4183" height="3244" width_o="4183" height_o="3244" data-src="https://freight.cargo.site/t/original/i/804582df12bc31b7b85709c3f72c6d14b3503f842cd461e925f7d70e942a6117/bible_1.jpg" data-mid="88778320" border="0"  src="https://freight.cargo.site/w/1000/i/804582df12bc31b7b85709c3f72c6d14b3503f842cd461e925f7d70e942a6117/bible_1.jpg" /&#62;

6. Cash In&#60;img width="3252" height="4165" width_o="3252" height_o="4165" data-src="https://freight.cargo.site/t/original/i/fe9498dac9cf272863eb895a6f8ca1069deca2d020f8ae9fc965ee8cd5d22fab/baobao_1.jpg" data-mid="88778347" border="0"  src="https://freight.cargo.site/w/1000/i/fe9498dac9cf272863eb895a6f8ca1069deca2d020f8ae9fc965ee8cd5d22fab/baobao_1.jpg" /&#62;


7.&#38;nbsp;Loyalty for All


&#60;img width="4142" height="3240" width_o="4142" height_o="3240" data-src="https://freight.cargo.site/t/original/i/8467c23bdfe75e11903cbf6c1114d245e8c8596cb971927598de3e260bcab72d/kmt-membership_1.jpg" data-mid="88778350" border="0"  src="https://freight.cargo.site/w/1000/i/8467c23bdfe75e11903cbf6c1114d245e8c8596cb971927598de3e260bcab72d/kmt-membership_1.jpg" /&#62;


8. U.S.Aid &#60;img width="3215" height="4156" width_o="3215" height_o="4156" data-src="https://freight.cargo.site/t/original/i/007d089600e83afecd82e4ea3a09e01f480bbb720f97bd81844ecd0b9c710204/rice_1.jpg" data-mid="88778352" border="0"  src="https://freight.cargo.site/w/1000/i/007d089600e83afecd82e4ea3a09e01f480bbb720f97bd81844ecd0b9c710204/rice_1.jpg" /&#62;


	About &#38;nbsp;&#38;nbsp;
	Glossary

</description>
		
	</item>
		
		
	<item>
		<title>Glossary </title>
				
		<link>https://chinjiemelodieliu.com/Glossary</link>

		<pubDate>Sat, 14 Nov 2020 13:49:25 +0000</pubDate>

		<dc:creator>Chin-Jie Melodie Liu</dc:creator>

		<guid isPermaLink="true">https://chinjiemelodieliu.com/Glossary</guid>

		<description>Ethnic Groups

	Benshengren 本省⼈&#38;nbsp;
Bensheng (本省) translates to “of the (Taiwan) Province”, ren (⼈) translates to “people”. Together, the term benshengren, translates to “native of the Province”, referring to the Indigenous Taiwanese population and the descendants of early Hakka 客家and Fujian 福建 migrants who resided in Taiwan long before the Japanese colonial rule (1895–1945).1

Bensheng 本省
Relating to bensheng culture and its people (used as an adjective).

	Waishengren&#38;nbsp;外省⼈
Waisheng (外省) directly translates to “outside of the (Taiwan) Province”, ren (⼈) translates to “people”. Together, the term waishengren, refers to “people from outside of the Province”, specifically referring to the two million refugees who fled with the Kuomintang Party from mainland China to Taiwan in 1949.2

Waisheng&#38;nbsp;外省Relating to waishengren and their culture (used as an adjective).


People


	Chiang Kai-shek (Jiang Jieshi ) 蔣介石
Chiang Kai-shek (1887–1975) was the President of China (1928–38; 1943–49) and later President of Taiwan (1950–1975), both of which he led under the Kuomingtang Party (KMT). Chiang retreated from mainland China with his troops after the current Peking (Beijing) was seized by the Communists in 1949.3 

Chiang Ching-kuo (Jiang Jingguo)
蔣經國
Chiang Ching-kuo (1910–1988) was the son and de facto successor of Chiang Kai-shek. Assuming presidency in 1978, Chiang Ching-kuo is known for his efforts to reform the political structure of Taiwan and lift martial law.4

	
	Sun Yat-sen ( Sun Zhongshan) 孫中山
Sun Yat-sen (1866–1925) was the founder and first leader of the KMT. Sun was a revolutionary leader who manifested the anti-imperial uprising to form the foundations of modern China. His nationalist and democratic ideology of ‘The Three Principles of the People’ (San Min Zhu Yi 三⺠民主義) was adopted and heavily promoted by the KMT in Taiwan.5

Soong Mei-ling 宋美齡


Often referred to as Madame Chiang, Soong Mei-ling (1897–2003) was the wife of President Chiang Kai-shek. Educated in the United States, Soong lobbied support for her husband on an international scale. Her influence was not just political, but also captured the hearts of many waishengren, who continue to see Soong as the nation’s benevolent mother.

Others
	Kuomingtang Party (KMT) 國⺠黨The Kuomintang Party, also known as the Chinese Nationalist Party, was the dominant political party to rule China from 1928 to 1949 after the final imperial dynasty, the Qing Dynasty (1644–1912). The party retreated to Taiwan following their defeat in the Chinese Civil War and ruled the island from 1949 to 2000.7
Martial law 戒嚴Chiang Kai-shek ruled Taiwan under authoritarianism, with martial law in place from 1949 to 1987. Under martial law, civilians’ freedom was severely restricted; mass media was state-controlled and excessive force was used to supress political dissidents.8Military dependents’ villages (Juancun)眷村The military dependents’ villages were established by the Kuomintang Party as
residential quarters to house waishengren, made up of mostly military personnel and
their families.9

	U.S. aid (Meiyuan) 美援
			
		
United States (U.S.) aid provided foreign assistance to Taiwan from 1951 to 1965. The U.S. supported Taiwan economically and through its military, as well with circulation of goods and services. This ranged from establishing health centres to the “Food For Peace Program”, delivering flour and pastas to residents of the military dependents’ villages.10&#38;nbsp;Sino-American Cooperation (中美合作)
‘Sino’ here refers to Taiwan, formally known as the Republic of China (ROC), as Chiang Kai-shek’s government claimed to represent the whole of China, which it intended to reclaim. Taiwan held the seat of China on the United Nations (UN) Security Council until 1971, when the UN switched their diplomatic recognition to the People’s Republic of China.11


Notes on Romanisation

This website follows the Wade-Giles romanisation rather than Hanyu Pinyin. Traditional
Chinese characters and footnotes appear when a term or name is first used in the text.
1&#38;nbsp;Dominic Meng-Hsuan Yang and Mau-Kuei Chang, “Understanding the Nuances of Waishengren,” China Perspectives no. 3 (2010): 122, doi.org/10.4000/chinaperspectives.5310.
2&#38;nbsp;Dominic Meng-Hsuan Yang and Mau-Kuei Chang, “Understanding the Nuances of Waishengren,” China Perspectives no. 3 (2010): 122, doi.org/10.4000/chinaperspectives.5310; Elisa Tamburo, “Authoritarianism in the Living Room: Everyday Disciplines, Senses, and Morality in Taiwan’s Military Villages,” Journal of Current Chinese Affairs 47, no. 2 (2018): 156,&#38;nbsp;doi.org/10.1177/186810261804700206.
3&#38;nbsp;“Chiang Kai-shek,” Oxford Reference, accessed August 25, 2020, https://www.oxfordreference.com/view/10.1093/oi/authority.20110803095606625.
4&#38;nbsp;Stephane Corcuff, Memories of the Future: National Identity Issues and the Search for a New Taiwan (Armonk: Taylor &#38;amp; Francis Group, 2002), 56, ProQuest Ebook Central.
5 Christopher Riches and Jan Palmowski., "Sun Yat-sen," in A Dictionary of Contemporary World History (Oxford: Oxford University Press, 2019), https://www-oxfordreference- com.virtual.anu.edu.au/view/10.1093/acref/9780191870903.001.0001/acref-9780191870903-e-3465.
6 Erin Prelypchan, “Madame Chiang’s life touches centuries,” Taipei Times, November 03, 1999,&#38;nbsp; http://www.taipeitimes.com/News/local/archives/1999/11/03/0000009215.
7 Christopher Riches and Jan Palmowski, "Guomindang (Kuomintang, KMT)," in A Dictionary of Contemporary World History, (Oxford: Oxford University Press, 2019), https://www-oxfordreference- com.virtual.anu.edu.au/view/10.1093/acref/9780191870903.001.0001/acref-9780191870903-e-982#acref- 9780191870903-e-982-div1-1233.
8&#38;nbsp;Dafydd Fell, “Authoritarian rule: The politics of martial law in Taiwan,” in Government and Politics in Taiwan (London: Routledge, 2012), xv.
9 Dominic Meng-Hsuan and Mau-Kuei Chang, “Understanding the Nuances of Waishengren,” China Perspectives no. 3 (2010): 109, doi.org/10.4000/chinaperspectives.5310.
10&#38;nbsp;Man-houng Lin, I-min Chang, and Wei-chen Lee, “The US Aid and Taiwan,” (paper presented at the XVIth World Economic History Congress, South Africa, 2012), 3, 18,&#38;nbsp;http://192.192.83.167/bitstream/987654321/863/2/us%20aid%20and%20Taiwan%20for%20Shigeru%20- %E6%96%87%E7%AB%A0.pdf.
11 “Chiang Kai-shek,” Oxford Reference, accessed August 25, 2020, https://www.oxfordreference.com/view/10.1093/oi/authority.20110803095606625.


</description>
		
	</item>
		
		
	<item>
		<title>1. One of Them or One of Us?</title>
				
		<link>https://chinjiemelodieliu.com/1-One-of-Them-or-One-of-Us</link>

		<pubDate>Sat, 14 Nov 2020 05:38:27 +0000</pubDate>

		<dc:creator>Chin-Jie Melodie Liu</dc:creator>

		<guid isPermaLink="true">https://chinjiemelodieliu.com/1-One-of-Them-or-One-of-Us</guid>

		<description>

“In our society, there are those who say they are “Taiwanese”, and those who say they are “Chinese”, as well as both.1
「我們社會上，有人說自己『臺灣人』，也有人說自己是『中國人』，也有人說都是。」&#38;nbsp;

	
&#60;img width="809" height="522" width_o="809" height_o="522" data-src="https://freight.cargo.site/t/original/i/d26fa2d10cc0b0804dd16b0a6ec44dbd76dbf91ef45fbd82966e66c7be30dc09/Generation5_Background.jpg" data-mid="88778856" border="0"  src="https://freight.cargo.site/w/809/i/d26fa2d10cc0b0804dd16b0a6ec44dbd76dbf91ef45fbd82966e66c7be30dc09/Generation5_Background.jpg" /&#62;
	&#60;img width="4171" height="3247" width_o="4171" height_o="3247" data-src="https://freight.cargo.site/t/original/i/36e79275a7ed195d96c2446ae3b2f33b77d20cc34be8fb1193ace778c70e6ab0/ID_1.jpg" data-mid="88778869" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/36e79275a7ed195d96c2446ae3b2f33b77d20cc34be8fb1193ace778c70e6ab0/ID_1.jpg" /&#62;
	
&#60;img width="809" height="522" width_o="809" height_o="522" data-src="https://freight.cargo.site/t/original/i/d26fa2d10cc0b0804dd16b0a6ec44dbd76dbf91ef45fbd82966e66c7be30dc09/Generation5_Background.jpg" data-mid="88778856" border="0" data-scale="100" src="https://freight.cargo.site/w/809/i/d26fa2d10cc0b0804dd16b0a6ec44dbd76dbf91ef45fbd82966e66c7be30dc09/Generation5_Background.jpg" /&#62;


Chin-Jie Melodie Liu, Third Generation (2020), colour pencil on Strathmore 
Toned Tan 
paper (118 gsm), 27.9 x 35.56 cm.Background image: True ROC ? (2020), digital illustration, 522 x 809 pixels. 

“Do you identify as “Taiwanese”, “Chinese”, or both?”&#38;nbsp;「請問您認為自己是『臺灣人』、『中國人』，或者都是？」2
One’s paternal family home was listed on Taiwanese national identity cards issued before 2006, signifying that any second generation 


waishengren 外省人

 Waishengren, refers to “people from outside of the Province”, specifically referring to the two million refugees who fled with the Kuomintang Party from mainland China to Taiwan in 1949., like my father, most of whom have never set foot in mainland China, had it registered as their place of origin. Reflecting on how differently I would perceive my identity if this column was still present today, Third Generation (2020) is a drawing of these cards with my passport headshot. The sole information listed are my name, birth date, and my grandfather’s hometown, Ganzhou, mainland China. 


Chin-Jie Melodie Liu, Ganzhou (2020), 6 minutes 51 seconds.&#38;nbsp;Ganzhou (2020) is a screen recording video documenting my virtual visit to Ganzhou through Google maps. Constituting as my first trip, the work was a way for me to reflect upon my relationship to the mainland and how limited my knowledge of it has been. Working digitally was appropriate not only because of the travel restrictions with the pandemic but also due to the increasing political tensions between mainland China and Taiwan, amplified through online platforms. 


Chin-Jie Melodie Liu, Two of Two Million (2020), 33 seconds. 
Curious about how my paternal grandparents arrived in Taiwan, Two of Two Million (2020) is a video mapping out their routes from 1927— 1951. Made up of digitally drawn portraits of my grandparents, each second of the video corresponds to each year of their journey from the mainland to Taiwan.
1 Annual survey conducted by the&#38;nbsp;Election Study Center, National Chengchi University&#38;nbsp;政治大學選舉研究中心since 1992.

2 Data visualisation survey by Wei Hao-wang. &#38;nbsp;


</description>
		
	</item>
		
		
	<item>
		<title>2. Breakthrough</title>
				
		<link>https://chinjiemelodieliu.com/2-Breakthrough</link>

		<pubDate>Mon, 30 Nov 2020 13:36:22 +0000</pubDate>

		<dc:creator>Chin-Jie Melodie Liu</dc:creator>

		<guid isPermaLink="true">https://chinjiemelodieliu.com/2-Breakthrough</guid>

		<description>


&#60;img width="3242" height="4160" width_o="3242" height_o="4160" data-src="https://freight.cargo.site/t/original/i/8fd67cdd993b43be94c12d3b97280c79429fc7f3b1b5a13a90c95a28131dab19/fam_1.jpg" data-mid="90602576" border="0"  src="https://freight.cargo.site/w/1000/i/8fd67cdd993b43be94c12d3b97280c79429fc7f3b1b5a13a90c95a28131dab19/fam_1.jpg" /&#62;
&#60;img width="4143" height="3219" width_o="4143" height_o="3219" data-src="https://freight.cargo.site/t/original/i/56bcba5efed7519bdfe94d6b377573b09f331f129cd521967c06bc19f53e5825/retirement_1.jpg" data-mid="90602577" border="0"  src="https://freight.cargo.site/w/1000/i/56bcba5efed7519bdfe94d6b377573b09f331f129cd521967c06bc19f53e5825/retirement_1.jpg" /&#62;

Chin-Jie Melodie Liu, The Breakthrough (left)(2020) and The Retirement (right)(2020),
colour pencil on Strathmore Toned Tan paper (118 gsm), 27.9 x 35.56 cm each.

The only problem that continued to exist until recently was that non-waishengren did not have a chance to get promoted or become high ranking officials. We (benshenren) welcomed the KMT with open arms and were still treated as secondary citizens even after the Japanese left. 


Among the two million 


 waishengren 外省人 waishengren refers to “people from outside of the Province”, specifically referring to the two million refugees who fled with the Kuomintang Party from mainland China to Taiwan in 1949. 


who fled with the 
Kuomintang Party (KMT) 國民黨

 The Kuomintang Party, also known as the Chinese Nationalist Party, was the dominant political party to rule China from 1928 to 1949 after the final imperial dynasty, the Qing Dynasty (1644-1912). The party retreated to Taiwan following their defeat in the Chinese Civil War and ruled the island from 1949 to 2000.


to Taiwan, an estimated 600,000 were military personnel.1 Despite only making up fourteen percent of the island’s population,  waishengren  

dominated Taiwan’s politics for fifty-one years.2 The 2000 Presidential election saw the first non-KMT president, Chen Shui-bian 陳水扁.&#38;nbsp; 

My paternal grandparents both arrived in Taiwan separately with the KMT military and resided in the 

military dependents’ villages (juancun)眷村

 The military dependents’ villages were established by the KMT as residential quarters to house waishengren, made up of mostly military personnel and their families.
. The document is a record of my grandfather’s retirement from the military, which also acts as a veterans card. 


1 See Elisa Tamburo, “Authoritarianism in the Living Room: Everyday Disciplines, Senses, and Morality in
Taiwan’s Military Villages,” Journal of Current Chinese Affairs 47, no. 2 (2018): 139,
doi.org/10.1177/186810261804700206.

2 See “What’s behind the China-Taiwan divide?,” BBC News, September 28, 2020,
https://www.bbc.com/news/world-asia-34729538.


&#38;nbsp;</description>
		
	</item>
		
	</channel>
</rss>