Tjaquvuquvulj, a group consisting of 23 settlements, is considered to be the Southern Paiwanese. Historically, Tjaquvuquvulj organized Maljeveq to commemorate their origin in the north every five years. Neighboring groups either related to or subordinated to Tjaquvuquvulj's two chief families participated in Maljeveq. Tjaquvuquvulj were dispersed over a large landscape during ordinary days but were reunited during the time of Maljeveq. This rhythm was broken when the Japanese colonial government began to relocate some of the groups and put an end to Maljeveq in the late 1930s. The Tjaquvuquvulj remained dispersed until the 2000s when a musical of the historical dispersal was performed and interpreted as a consequence of local resistance to the Japanese pacification policies of 1914. In the play, the original unity of Tjaquvuquvulj was symbolized by four brothers, represented by four connected human heads, a common motif for the Southern Paiwanese. Maljeveq was also reenacted in the mid 2000s, as part of a two-day conference. The heir to one of the two chiefly families officiated after many years of absence with people from different counties, townships and villages participating. After nearly 70 years, Tjaquvuquvulj reemerged in the form of a performance. Although there has been a wave of the revival of Taiwanese Austronesian cultures, partially aimed at promoting tourism, the Tjaquvuquvulj are developing a dialogue among themselves. Through historical narratives, ritual enactments and museum displays, the Tjaquvuquvulj intend to bridge the gap in time and space with their ancestors and it has been found that reconnecting dispersed descendents and descendents with ancestors, connecting descendents with their local hosts in their new homes, and the lofty achievements of ancestors are the main themes resonating in all these actions. Historical representations served as acts of identification helping to position the descendents of the Tjaquvuquvulj group in the present.