導賞手冊2016 by deep mok

導賞手冊 CRITICS' GUIDE

目錄 Contents 1

演繹非洲：劇場、自我與身分 Performing Africa: Theatre, Selfhood and Identity 艾曼紐．薩摩．丹竇拉 Emmanuel Samu Dandaura

重新發現非洲的文化萬花筒 Rediscovering Africa: A Kaleidoscope of Cultures 周舜雯 Emily Chow Shun-man

神聖音樂的世俗風格：巴希爾．阿塔爾率領酋酋卡大師樂隊和尤蘇．恩多爾與達喀爾超級巨星樂團 Sufi Sounds in Global Pop: The Master Musicians of Jajouka led by Bachir Attar and Youssou N’Dour with the Super Étoile de Dakar 黃泉鋒 Chuen-fung Wong

《曼德拉》：從歷史人物到歌劇演繹 Mandela Trilogy : From a Person in History to a Character in Opera 焦元溥 Chiao Yuan-pu

繞過地球一圈的南非之歌：索韋托靈歌合唱團 Africa to Africa via the World – Music from South Africa by Soweto Gospel Choir 朱振威 Leon Chu

《太陽之舞》達夫拉鼓樂舞蹈團── 由太陽引領的一趟時空之旅 Tlé (The Sun) by DAFRA Drum – A Journey Guided by Light into the Past as Seen in the Present 阿諾．烏度卡 Arnold B. Udoka

細讀《死亡與國王的侍從》及《拼死阻止》 A Close Reading of Death and the King’s Horseman and Over My Dead Body 潘詩韻 Janice Poon

節目表 Programmme List

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編輯及統籌 Editor and Coordinator : 陳國慧、楊寶霖 Bernice Kwok-wai Chan, Po-lam Yeung 英文編輯 English Editor : 張文珊 Milky Man-shan Cheung 設計 Design : hung@deepworkshop.com © 國際演藝評論家協會（香港分會） © International Association of Theatre Critics (Hong Kong) Limited 香港灣仔港灣道2號香港藝術中心12樓1201-2室 Room 1201-2, 12/F, Hong Kong Ar ts Centre, 2 Harbour Road, Wan Chai, Hong Kong 電話 Tel : (852) 2974 0542 ｜傳真 Fax : (852) 2974 0592 網址 Website : http://www.iatc.com.hk ｜電郵 Email : iatc@iatc.com.hk 非賣品 Not for Sale｜版權所有，不得翻印 All rights reser ved, no reprint is allowed 出版日期 Publishing date : 2017年9月September 2017 本刊物所有文章表達之意見為作者個人觀點，並不代表出版、主辦及演出單位立場。 The views and opinions expressed in this publication are those of the authors, and do not represent the stand of the publisher or presenter or the performing groups.

香港藝術發展局全力支持藝術表達自由，本計劃內容並不反映本局意見。 Hong Kong Ar ts Development Council fully suppor ts freedom of ar tistic expression. The views and opinions expressed in this project do not represent the stand of the Council.

來自非洲的能量 The Vigour of Africa 文：陳國慧﹝國際演藝評論家協會（香港分會）總經理〕 By Bernice Chan﹝General Manager, International Association of Theatre Critics (Hong Kong)﹞

今年三月我在尼日利亞的商業重鎮拉各斯出席當地藝術節，主辦方安排周到也擔心各人安全，點到點接送和密集行程令我連兌換當地貨幣的機會也沒有，但卻在短短三天有機會與當地著名劇場創作人包括費米．奧索菲桑教授（Femi Osofisan）與辛尼．奧都都教授（Sunnie Ododo）交流，同時也在不同場地觀賞演出，包括一個約一小時車程座落在民居的小劇場。觀眾席是長板凳，不好坐，固然熱得很，舞台設備也簡陋，大家都忍耐著欣賞台上演員努力地演繹，但不知為何那唯一的射燈總是照落在不正確的位置，控制燈的人應該在忙著劇場的其他事，前後台好像只有他一人。坐在前排的奧索菲桑教授站起來，兩步走到射燈處微調角度，然後返回座位繼續看戲。我只是很片面地了解當地資源的限制，就連飯店的電力也經常不穩；然而舞台設計與設備並非當地劇場最重要、最動人的地方，人的能量卻常常在不經意處流動、介入，這股來自非洲的強大能量，我在艾曼紐．薩摩．丹竇拉教授身上也找得到。他是國際演藝評論家協會（尼日利亞分會）的主席，在康樂及文化事務署藝術節辦事處的支持下首度來港，除了為藝術節帶來兩個非洲製作外，也會以讀劇和講座方式引介當代非洲劇作；他同時亦是「國際藝評人講座工作坊系列」的嘉賓。我在拉各斯首次與他見面時獲盛情招待，他在來港前先以導賞文章方式介紹非洲劇作，期待他在香港時讓觀眾近距離認識非洲劇場。 This past March, I attended an arts festival at Lagos, a major financial city in Nigeria. The presenter took great care of us and, for safety’s sake, arranged for us point-to-point transportation and a packed itinerary. We were so well protected that I didn’t even have the chance to exchange currency! Nonetheless, in the course of three short days I was able to exchange with Professor Femi Osofisan and Professor Sunnie Ododo, two renowned Nigerian scholars, and to appreciate performances at multiple locations, including a small theatre nestling in a residential area an hour’s drive away. The audience were seated on rather uncomfor table long benches in a scorchingly hot, scantily equipped theatrical space. Putting up with the discomfor t, we watched the actors giving their all. As it happened, the one and only spotlight was trained at the wrong place. The operator, seemingly the only person who had to manage both the front and backstage, was perhaps occupied by something else. Before long, Professor Osofisan rose from his seat in the front row, walked two steps toward the back of the audience and slightly adjusted the spotlight angle, before returning to his seat to watch the rest of the play. Power kept going on and off even at the hotel I was staying at. That said, my understanding of the scarcity of resources in Nigeria remains piecemeal. Instead of stage setting or facilities, however, what struck me most about the theatre in this faraway country is the immensely powerful human dynamics that come into play when least expected. Such tremendous vigour representative of Africa is also found in Professor Emmanuel Samu Dandaura, the President of IATC, Nigerian Section. With the suppor t of the Festivals Office, Leisure and Cultural Services Depar tment, Professor Dandaura is soon visiting Hong Kong for the first time. On top of bringing two African productions to the World Cultures Festival, he is going to introduce African theatre by means of script reading and talk, and to appear as a special guest for the "International Theatre Critics Lecture/Workshop Series". He showered me with great hospitality when we first met in Lagos. Before his visit, he has written an introductory article to give us a general idea about African theatre. We look forward to his further exchange with theatre-goers in Hong Kong face-to-face. Translated by Elbe Lau

Performing Africa:

Theatre, Selfhood and Identity By Emmanuel Samu Dandaura

If you have been looking at the African continent from the lenses of the obtrusive international media, you probably have the picture of a poverty stricken continent with a shopping list of dictators, crime, diseases, hunger, unending wars and famine. In that case you might be a victim of what Chimamanda Adichie calls the ‘single story’. Her account draws global attention to the fact that Africa has been a victim of exploitation and negative stories from people and institutions outside her shores.

Stories matter, many stories matter. Stories have been used to dispossess and to malign. Stories can also be used to empower and to humanize. Stories can break the dignity of a people; but stories can also repair that broken dignity. Africa is a land of storytellers. African stories are told to motivate the listeners to realize their God given potentials by acting in ways that could enrich the lives of both the individual listener and society. African theatre has from time immemorial been the principal medium through which indigenous stories were told for societal reflection, healing and empowerment of the people. As the most culturally diversified continent, understanding what makes Africa unique requires close interaction with her performing ar ts. The World Cultures Festival 2017 features five outstanding theatre productions from Africa. These include: Athol Fugard’s The Road to Mecca , and A Woman in Waiting by Yaël Farber and Thembi Mtshali-Jones, both plays from South Africa. Silvia Cassini’s A Man Like You, from Kenya in East Africa; Ery Nzaramba’s Split/Mixed from Rwanda in Central-East Africa and Donna Ogunnaike’s Strelitzia from Nigeria, West Africa. With predominantly African casts, all the selected plays, which successfully toured major festivals in Europe and Africa recently, are coming to Asia for the first time. This paper gives you insights into these plays and performances.

The Road to Mecca The Road to Mecca by Athol Fugard is, unarguably the earliest and longest r unning of the curated plays. If you think his choice of Mecca in the title suggests some preoccupation with spirituality, you might be right; but that is if your ‘spirituality’ is not synonymous with religiosity. Unlike his other plays, this is his first whose major actions revolve around two strong female characters. Set in the small village of Karoo, Nieu Bethesda in 1974, during the hay days of apartheid in South Africa; the play centres on Helen, a solitary accidental sculptor in her late sixties. Her choice of artistic products like camels, owls, large reflective sun-faces, and other weird figures facing same direction (eastwards) make her subject

of regular scorn and gossip in the village. Though a work of fiction, Fugard’s inspiration came from a South African creative icon named Helen Neiman Elizabeth Mar tins (1897-1976). Successive misfor tunes in life made a hither to devout churchgoer to become withdrawn from the church and her community. Her attempt to brighten her prosaic abode brought out the ar tist in her. She decorated her interior with different bright colors, shapes and light. When the interior of her house could not contain her creative works; she began making sculptures in her courtyard. Interestingly, she positioned all her sculptures facing the east. Her works rely on intricate juxtaposition of light and geometry. Helen Martins’ works are still exhibited in her original home, which is today the famous tourist site called Owl House in Nieu Bethesda, South Africa. Helen Martins’ mecca is a mental state of spiritual fulfillment, which she spent all her adult life striving to attain. The internal conflict her dramatic character deals with represent the contradiction between personal choices and personal freedom. As an ar tist, Helen’s creativity holds her captive as she journeys to her mecca; her state of spiritual freedom. Freedom has, perhaps remained one of those critical human yearnings and desired states that seem to be in shor t supply or perhaps have eluded human comprehension and control. The power to act, speak or think, as one deems appropriate is a natural human instinct. It is what defines an individual or that consciousness this paper refers to as selfhood. Identity, on the other hand, subsumes those qualities or characteristics that differentiate or determining whom an individual truly is. Like Helen, irrespective of nationality, sex or creed, people yearn to be allowed unfettered choices on all issues that are pertinent to their existence. This is the crux of the intense psychological conflict Helen faced with in the play. She finds her inner being weighed down by conventions created by the world outside her. Besides the expectations from her community, Helen is further oppressed by the perception of her younger friend Elsa and the overbearing village pastor Marius. Both attempt to impose on her their personal ideas on what they consider best for Helen. Marius, Helen’s contemporary and former pastor wants Helen back to the church and indeed taken into protective custody in the old peoples’ home run by his church. Elsa who hates Marius’ guts would prefer Helen to stand up to Marius’ dictatorship. Not until the tail end of the play did Helen assert herself having attained her mecca, Helen charges at Elsa asking, “Who are you?” This unsettles

Elsa who could be regarded as the strongest character in the play. Thereafter Helen speaks authoritatively to both Elsa and Marius (both representing her erstwhile oppressors).

A Man Like You Silvia Cassini’s A Man Like You picks on the burning issues of kidnapping and terrorism. Kidnapping has become a global challenge in recent times. The reasons for these kidnaps range from social, political, economic and other pressures. Sadly, rather than engage the perpetrators to know their real motives, efforts are only geared towards punishing them. This play calls for a rethink of this approach as she proposes a more sustainable approach where society engages the perpetrators of violence in a conversation that could reveal what propels and sustains their interest in the crime.

The play opens with two Somali hardened pirates, Hassan and Abdi, leading their new hostage into his detention camp. The hostage is Patrick Nor th, a British envoy. Rather than take the usual narrative of demonizing the perpetrators of kidnapping as bloodthirsty terrorists, the playwright chooses to unmask and engage ‘the aggressor’ and ‘victim’ in an intense conversation, which reawakens the age-long cultural stereotypes, and divergent perspectives on national identity, or rationale for political and religious extremism. The moral pedestal separating the ‘hostagetakers’ from their ‘hostage’ soon thins out, in the course of the conversation. What we now see are two gangs of deadly pirates; each earnestly justifying its deadly activities as acts of patriotism to their nations, race, and humanity. The first gang represented by Abdi and Hassan, sees violence as the only option left to ‘protect’ their patrimony of oil, gas, and uranium from the greed, exploitation and imperialism of the other. Patrick embodies the second gang, made up of foreign capitalists, who are supported by

A S ce n e i n S i l v i a C a s s i n i ’ s A Man Like You duri ng the June 2017 performanc e i n C ape Tow n, Sout h Af r ica.

their powerful imperialist governments. The stock in trade of the imperialists is to plant mutual suspicion, fuel conflicts that degenerate into inter-tribal wars, genocide, armed robberies and other forms of terrorism that leave the indigenous population impoverished and unable to manage their natural resources for the people’s collective benefit. The play raises a fundamental question of “who indeed is the real victim of the two?”. It bemoans a morally bankrupt situation where every one is an aggressor; the true victims are innocent family members of the gladiators like Patrick’s wife, Elizabeth and her children and of course the pauperized population in the weak nations who bear the physical and psychological trauma of this increasing bullfight and blame game. In a way the contracting space for individual freedom, occasioned by these externally sponsored terror against majority of the people and the failure of governments of most developing countries to effectively protect their citizens, is responsible for the growing cases of global terrorism, kidnap, xenophobia, genocide and other violent crimes against humanity. A Man Like You calls on humanity to find a way out of the vicious circle through constructive engagements, good governance and systematic deradicalization of militants and terrorists.

Strelitzia Donna Ogunnaike’s Strelitzia is an interactive performance, which ultimately seeks to heal a traumatized world. It is a good experiment with theatre as therapy. The play seeks to help the audience free themselves from the pent-up inner tensions and trauma of the past, which may hinder their individual and group attainment of freedom. Its approach to freedom is to take the audience through a psychological journey facilitated by music, film, poetry and images that could free the clustered human mind and ultimately lead to self re-discovery. A reader, who is not conversant with traditional African theatre techniques, may probably end with the impression that as a script, Strelitzia is a monologue that lacks the usual ingredients of conventional drama texts; no dialogue, defined plot, conflict or characterisation. This is because rather than utilizing a logically connected plot, the play adopts the episodic structure of the African story-telling theatre aesthetic paradigm. The beauty of the play lies in the intricacy of its subject matter and most importantly, the intensity of its audience involvement. The human mind, which it x-rays sometimes does not readily lend itself to rational analysis or

©P e odi o P ro d u c tio n s L a g o s , Nig e ria

A ud i e n c e m e mb e rs wri ti n g th e i r s tori es on the wal l duri ng the performanc e of Strelitzia in Lagos.

the usual compartmentalisation in dramatic theory and criticisms. However, in performance the seeming latent words, symbols and subtexts come fully alive, pulsating and become deeply impactful. I had that opportunity to experience the performance of Strelitzia in March 2017 during the Lagos International Theatre Festival. Freedom Park, Lagos which served, as venue of the performance was originally a British colonial prison and transit camp for African slaves who were waiting to be shipped away to Europe via the nearby Lagos por t of the Atlantic Ocean. On entering the makeshift performance space, the audience is ushered into the ‘hallway of history’ where they are invited to recall and write landmark experiences from their past. With the aid of traditional African story-teller histrionics, music, movement, sound, mime, light, color, and iconic items and posts on the wall; the audience is helped to purge itself of the trauma of the past and ultimately attain reinvigorated spirits, thereby leaving the theatre better poised to grapple with the day-to-day challenges of life.

hilarious, and highly informative scripts written and performed by two of Africa’s most talented, award-winning artistes – MtshaliJones (A Woman in Waiting ) and Nzaramba (Split/Mixed ). The scripts draw extensively from the real life experiences of the actorcreators. I truly consider A Woman in Waiting and Split/Mixed as creative products, which are ‘must read/watch’ for anyone who wishes to understand the extent of disruption that colonialism, and internal post-colonial oppression has exerted on traditional African societies leading to the gradual disintegration of core traditional African values.

A Woman in Waiting uses the unjust oppression women suffered under the inglorious apartheid regime in South Africa to draw attention to the various social, political, economic and cultural structures that dehumanize women even in our societies today. It is a story about every woman whose life is permanently ‘in a waiting position’ as she remains helpless at the whims and caprices of her husband. It is about those uncelebrated, hardworking, faceless and voiceless ladies in Africa and elsewhere who work hard to sustain their families and societies; yet such effor ts go largely unacknowledged. We see this theme playing out in the life of the three women mentioned in Fugard’s play; Helen, Elsa and Katrina. Helen’s house help Katrina is dealing with abuses from an alcoholic husband; Elsa is facing extreme social pressures, as romantic love seems to elude her. Helen, on the other hand, is up against religious and social pressures as discussed earlier. In A Woman in Waiting , Mtshali-Jones gives us her personal experiences growing up in South Africa from childhood to early adulthood, indicating a cyclical order in which daughters eventually go through similar oppression as their mothers.

This play demonstrates the power of theatre in expressing even the non-perceptible qualities of the human mind and spirit. It proposes a model for healing our troubled world where the right to freedom of speech which most national constitutions uphold is at its lowest ebb. The late Uganda dictator is once reported to have said; “freedom of speech, yes; but freedom after speech, that I cannot guarantee”. Strelitzia offers the world a tranquiliser and cultural excursion akin to yoga. Its impact could be powerful, entertaining, inspiring and positively therapeutic.

A Woman in Waiting and Split/Mixed Yaël Farber and Thembi Mtshali-Jones’ A Woman in Waiting and Ery Nzaramba’s Split/Mixed are gripping, heart-rending, but

Them bi Mt shali- J ones in per f or m ance of A Woman in Waiting.

such people will likely turn subversive and violent because the pent-up emotions may explode at the wrong moments.

E r y N za ra mb a i n p e rfo rm a n c e o f Split/Mixed.

Split/Mixed on the other hand examines the har rowing experiences of families during the unfor tunate 1994 Rwandan genocide. It draws attention to the issue of identity and how jealousy, mutual suspicion, wounded ego, and primordial interethnic antagonisms and inherited hate narratives fuel violence in society. As the name implies, it addresses the identity crisis Nzaramba and his contemporaries are contending for more than two decades after the incident. The global narrative about the Rwandan genocide has ironically created a stereotype and ‘single story’ where Rwandans are haunted with myriad of questions whenever they encounter foreigners: On which side of the genocide divide do you belong? Are you Hutu or Tutsi? Were you there during the genocide? Where you a victim or a beneficiary of the genocide? This explains why at the beginning of the play Eddy experiences a mind battle when the young lady he was dancing with at the club poses a simple question to him, “Where are you from?” Eddy became torn between answering truthfully and contend with the usual follow up questions; or simply to lie about his nationality and move on to the next topic in their social conversation. A Woman Waiting and Split/Mixed are touching, but highly exciting creative attempts to give voice to the voiceless members of our society through theatre. The strong message that the audience will probably not miss upon watching these performances could be that in order to empower a marginalized and traumatized people, deliberate efforts need to be made to encourage them to tell their stories through whatever medium. We live in a world where there is information explosion, yet people hardly share their stories. People interact more with screens and technological gadgets than with fellow humans. Surely, one should expect trouble in any society where people hardly relate as social beings. Without adequate opportunities to share individual and group stories freely,

The above underscores the manner in which the five curated plays do not only reflect the different life patterns, exciting cultural nuances and experiences of Africa, but also demonstrate how the messages in the five plays reinforce each other. While The Road to Mecca points the way to the true meaning of freedom (a state of spiritual and inner fulfillment); A Woman in Waiting and Split/Mixed offer insights into the complex nature of oppression and self discovery; A Man Like You x-rays the root causes of extremism and violence from the dual perspective of perpetrators and victims; and Strelitzia offers an oppor tunity for the traumatized perpetrators and victims to unburden their stories and achieve spiritual renewal (mecca). Finally, since everyone is ultimately a loser in an oppressive environment, The World Cultures Festival 2017 has set the stage for more people to get involved in this process of self-reflexiveness and societal healing. Emmanuel Samu Dandaura is Vice-President of International Association of Theatre Critics (IATC), and Professor at the Department of Theatre and Cultural Studies, Nasarawa State University, Keffi, Nigeria.

演繹非洲：劇場、自我與身分文：艾曼紐．薩摩．丹竇拉

如果你一直戴著國際傳媒偏頗的有色眼鏡來看非洲，你可能會看到一片貧窮的大陸，充斥著一堆獨裁者、一連串罪惡和疾病，還有了無盡期的戰爭和飢荒。要是這樣，你便會成為尼日利亞作家奇瑪曼達．阿迪契（Chimamanda Adichie）所說的「單一故事」的受害者。據她的說法，非洲一直以來被外國人士、境外機構以及他們一面倒地製造出來的負面故事剝削。「故事很重要；要有許多不同的故事，這點非常重要。以前人們用故事來剝奪他人的權利，污衊他人的人格。但故事也可以用來激勵人心，彰顯人性。故事既可摧毀一個人的尊嚴，也可修補受損的尊嚴。」非洲是一片孕育說故事者的土地，她的故事激勵聽眾行動起來，去豐富個人及社會大眾的生活，以實現上帝所賦予的潛能。從古到今，非洲人主要藉戲劇訴說當地故事，使社會集體得以反省，人民的傷痛得以療癒，民眾的權力得以鞏固。非洲是多元文化蓬勃發展的大陸，因此要了解其獨特之處，最好從與之千絲萬縷的表演藝術入手。世界文化藝術節2017 將有五部來自非洲的傑出劇場作品，包括來自南非之作：阿索爾．富加德的《我的聖城麥加之路》、艾瑤．花柏和泰姆比．姆沙利—瓊斯合作的《等待》；來自東非肯尼亞，由西爾維婭．卡西尼編導的《致命對話》；以利．撒林巴的《離合》來自非洲中東部盧旺達；唐娜．奧貢奈基的《天堂鳥》則來自西非尼日利亞。這些劇目近期在歐洲和非洲各大戲劇節巡迴上演，今次初到亞洲。本文將深入討論這些戲碼和演出。

《我的聖城麥加之路》阿索爾．富加德的《我的聖城麥加之路》絕對是今次節目中最早誕生也最長壽的劇目。如果你認為他選擇以麥加為劇名，可能顯示他會對靈性追求有所探索，那倒沒有猜錯，只要你心中的「靈性」不是宗教狂熱的代名詞便可。1974年正是南非種族隔離的高峰期，在新貝塞斯達的小村莊卡魯，六十多歲的女主角海倫突然心血來潮，成了一個孤僻的雕塑家。她製作的藝術品，如駱駝、貓頭鷹、大型的反光太陽面孔，還有其他共同朝向東方的古怪雕像，令她備受村民白眼，經常惹來閒言閒語。富加德的劇本靈感來自南非一位創意橫溢的天才：海倫．尼曼．伊麗莎白．馬丁斯（1897-1976）。人生中接連的不幸打擊，使這位虔誠教徒逐漸淡出教會，遠離村民。為了令平淡居所明亮起來，她激發起埋藏心底的藝術衝動。她用各種明亮的顏色、形狀和光線裝飾室內。當房子內再容納不下她的創作時，她便開始在庭院裡造雕塑。有趣的是，她讓所有雕塑面朝東方，得力於光線和幾何構圖複雜而微妙的組合。

時至今日，海倫．馬丁斯的作品仍在她的故居「貓頭鷹之家」展出，是南非新貝塞斯達的著名旅遊景點。海倫．馬丁斯於成年後孜孜以求抵達的麥加，是一種靈性滿足的精神狀態。海倫於劇中的內心衝突，展現了抉擇和自由之間的矛盾。在朝向靈性自由、邁向麥加的路上，身為藝術家的海倫被她自己的創造力迷住了。也許，自由仍然是人類不可或缺的憧憬之一，是人們渴望達到的境界，但這似乎已成了可望而不可求，或者已超越了人類的理解和控制。人類本能地按照自己認為適當的方式去行動、說話或思考，更藉此界定一個人或其意識，本文稱後者為自我（selfhood）。另一方面，身分則包含各種特質，藉此區分或確定一個人真正是誰。不論國籍、性別或信仰，人們都渴望在與其生存有關的所有問題上，能無拘無束地作出選擇，像海倫一樣。可是，她發現自己內心受到外在世界的種種規條所壓制，這就是她在劇中面臨激烈心理衝突的癥結所在。除了四鄰八舍對海倫有所期望外，她還被年輕友人艾爾莎和霸道牧師馬呂斯弄得透不過氣來。他們都想海倫乖乖接受他們認為對她好的建議。馬呂斯是海倫的同代人，也是她以前的牧師，他希望海倫回到教會，並到他教會轄下的老人院接受監護。而對馬呂斯恨之入骨的艾爾莎，則叫海倫反抗馬呂斯的專橫跋扈。直到劇本尾聲，海倫才敢於肯定自己已找到了她的麥加聖地。海倫斥責艾爾莎：「你是誰？」本是劇中最鮮明的角色艾爾莎因此而心煩意亂。此後，海倫對她以前的壓迫者艾爾莎和馬呂斯說話，都語帶威嚴，毫不畏縮。

《致命對話》西爾維婭．卡西尼的《致命對話》，選擇了綁架與恐怖主義這兩個炙手問題。綁架事件的原因多來自社會、政治、經濟等壓力，但可悲的是，大家只顧竭力懲罰犯案者，而非設法了解他們的真正動機。透過這齣戲，卡西尼呼籲大家反省這種做法，並提議一種可以行之久遠的辦法，就是讓社會大眾與施暴者展開對話，藉此找出是甚麼驅使他們犯案，是甚麼令他們對作奸犯科樂此不疲。甫開場，兩名冷酷無情的索馬里海盜哈桑和阿布迪，正把剛抓來的人質——英國外交官柏德烈．諾夫——鎖進牢房。劇作家沒有將綁匪描寫成嗜血的恐怖分子，反而讓「犯罪者」和「受害人」展開激烈對話，藉此揭示兩者的本來面目，令觀眾再次注意到長久以來的文化定型、對國家身分的不同看法，或政治和宗教極端主義的不同理據。在對話過程中，「綁匪」和「人質」之間的道德分界很快瓦解。我們看到兩夥視人命如草芥的強盜，各自將其漠視人命的行動，視為對自己國家、民族和人類的愛國之舉。以阿布迪和哈桑為首的

一夥，認為暴力是唯一能保護他們的石油、天然氣和鈾礦的選擇，免受其他國家的貪婪剝削和帝國主義的侵略。而柏德烈所代表的另一夥，則由外國資本家組成，背後有強大的帝國主義政府撐腰。帝國主義者的慣用伎倆，就是使人互相猜忌、製造衝突，教唆部落之間開戰，煽動種族滅絕、武裝搶掠及其他形式的恐怖手段，使當地人民陷於貧困，無法妥善運用天然資源為大眾謀福利。這齣戲提出了一個根本問題：兩者之中，誰是真正受害者？劇本嗟歎世道澆漓，人心不古，每個人都在侵犯他人，而真正受害者是那些侵略者的無辜家人，如柏德烈的妻子伊麗莎白及孩子，還有弱勢國家的貧困人民。在這日益增長的角鬥、譴責遊戲當中，他們飽受著肉體和心靈的創傷。這些由外國人支持卻傷害大多數人民的恐怖活動，令個人的自由空間日益狹隘；而大多數發展中國家的政府也未能有效保護公民，造成全世界越來越多恐怖活動、劫持綁架、仇外情緒、種族滅絕及其他危害人類的暴力罪行。《致命對話》呼籲人們通過積極對話、妥善管治，逐步消除武裝分子和恐怖分子的激進心態，以擺脫惡性循環。

《天堂鳥》唐娜．奧貢奈基編導的互動演出《天堂鳥》，是以劇場作為治療的一場實驗，希望治癒這個滿目瘡痍的世界。人們積壓內心的鬱結與過去的創傷，或會成為個人、甚至民眾追尋自由的障礙。通過音樂、電影、詩歌和影像，該劇帶觀眾踏上一段心之旅程，藉此解開心結，使人重新發現自我，最終獲得自由。不熟悉傳統非洲劇場的觀眾可能會覺得《天堂鳥》的劇本只是獨白，缺乏普遍戲劇文本常見的成分：對話、清晰情節、衝突或人物塑造。該劇表現的不是邏輯連貫的劇情，而是採用非洲說唱劇場特有的美學範式，以片段形式訴說故事。該戲之美正在於其主題複雜，而最重要的是能令觀眾積極投入。劇本對人心的透徹分析，有時候難於訴諸理性分析，也無法迎合戲劇理論和批評中的一般區分。但在演出時，看似不明顯的話語、符號和弦外之音，就會一一活現，並隨著其節奏起伏，產生深刻的影響。在2017年3月拉各斯國際戲劇節期間，我在自由公園觀賞《天堂鳥》。那裡原是英國殖民時期的監獄，亦是非洲奴隸等待從拉各斯港口橫過大西洋，被運往歐洲的中轉站。觀眾步入其中，如同進入了「歷史走廊」，讓他們回憶自己的過去，然後寫下重要的經歷。作品借助傳統非洲說唱人的戲劇手段、音樂、動作、聲音、默劇、燈光、顏色，還有牆上佈置的標誌圖像和告示，幫助觀眾治療過去的創傷，使之重新

振奮，好讓他們在散場之後，更能沉著應對生活上日復一日的困難。這齣戲顯露了劇場的力量，在於表達出人類思想和精神中難以察覺的特質。在大多數國家憲法所維護的言論自由正處於最低潮之時，這齣戲提出了救治亂世之法。烏干達前獨裁者伊迪．阿敏曾揚言：「大家絕對有自由說話，但說了之後，我可不擔保還有沒有自由。」如同瑜伽一樣，《天堂鳥》帶來一片靜謐，同時引領人們接觸不同文化，其影響力強大且深刻、富娛樂性，能治癒和鼓舞人心。

《等待》和《離

合》

艾瑤．花柏與泰姆比．姆沙利—瓊斯共同編劇的《等待》和以利．撒林巴的《離合》，既扣人心弦，又令人心碎，同時叫人捧腹，內容更使人大開眼界。劇本分別由非洲最有才華、屢獲殊榮的兩位藝人姆沙利—瓊斯和撒林巴自編自演，內容大部分來自他們的現實生活經歷。誰想要了解殖民主義及後殖民時代遺留人心的壓迫，對傳統非洲社會造成多大破壞，又如何令當地的傳統核心價值逐漸解體，這兩部富創意的製作可說是「非讀非看不可」。面對南非實施種族隔離的可恥政權、對婦女不公不義的壓迫，《等待》促請大家注意今天仍對婦女麻木不仁的各種社會、政治、經濟和文化結構。對於丈夫的無理取鬧、任性胡為，只能無奈地忍受的女人一生都「在等待」。那些在非洲和其他地方寂寂無名的婦女辛勤工作，努力照顧家庭，維繫社會和諧，但她們的努力很多時都被人視而不見，聽而不聞。在富加德的戲中，這個主題也見諸三位女性身上：海倫家的傭人卡特里娜要受酒鬼丈夫虐待；艾爾莎因找不到浪漫愛情而正面臨極大社會壓力；如上文所述，海倫則反對宗教和社會壓力。在《等待》中，姆沙利—瓊斯呈現了她在南非成長的經歷，表明女兒最終與母親同一命運，遭受世代循環的壓迫。《離合》藉1994年盧旺達種族大屠殺的不幸事件，探討這期間各個家庭的悲慘經驗。劇本呼籲大家關注身分問題，還有彼此嫉妒、互相猜疑、傷害自我、以及源遠流長的種族對立和代代相傳的仇恨故事，如何令社會暴力火上加油。自事件發生二十多年以來，撒林巴及其同代人一直在面對身分危機。全球都在報導這場大屠殺，卻因此製造了一種刻板的印象，重複著一個「單一故事」。每當盧旺達人遇到外國人時，總會碰到以下問題：你屬於大屠殺中哪個種族？胡圖人還是圖西族人？在種族屠殺時，你在場嗎？你是種族滅絕的受害者還是受惠人？這就解釋了為甚麼戲開場時，當艾迪在俱樂部跟一名年輕女士跳舞，女的問他一個簡單問題：「你從哪裡來？」，卻使他的心靈陷入交戰。艾迪要麼據實回

答，然後面對隨之而來的連串問題，要麼撒謊隱瞞國籍，好繼續這次社交場合的對話。

演讀體驗劇場《我的聖城麥加之路》香港戲劇協會

《等待》和《離合》不但感人，更激動人心。兩個創作嘗 27-29.10（五至日）葵青劇院黑盒劇場試通過劇場，讓社會上無權無勢的人能夠發聲。我們活在一個訊息爆炸的世界，卻甚少分享自己的故事，只忙於追求世俗的享樂和財富。人們與電子屏幕和科技玩意互動，多於和《致命對話》The Theatre Company（肯尼亞） 4.11（六）其他人交往。在任何社會，要是人們甚少互相關心，當然會葵青劇院黑盒劇場引起麻煩。若沒有足夠機會自由分享個人和團體的故事，那些無法紓解的情緒可能會在不適當的時候爆發出來，使人很《天堂鳥》唐娜．奧貢奈基和布迪奧製作（尼日利亞）容易變成顛覆分子、傾向使用暴力。以上論述旨在突出今次展演的五齣戲作，不僅反映了非洲不同的生活方式，其引人入勝的文化差異和微妙經驗，更表明了這五齣戲的內容各有千秋，卻能互相補足。《我的聖城麥加之路》指出了自由的真正含義（靈性和內心的滿足）；《等待》和《離合》對壓迫和自我發現的複雜性質提出深入見解；《致命對話》從侵犯者和受害人的雙重角度，探討極端主義和暴力的根本成因；而《天堂鳥》則讓身心受創的加害者和受害人，有機會釋放壓在心頭的苦難故事，在精神上重獲新生（達至麥加之境）。在壓抑的環境下，人人都會成為失敗者，因此希望藉世界文化藝術節2017讓更多人有機會參與這種自我反省和社會癒合的過程。中譯：徐昌明艾曼紐．薩摩．丹竇拉國際演藝評論家協會（IATC）副會長，奈薩拉瓦州立大學（位於尼日利亞凱菲）戲劇與文化研究系教授。

4-5.11（六至日）葵青劇院廣場

獨腳戲系列：《等待》泰姆比．姆沙利– 瓊斯和艾瑤．花柏（南非） 2-3.11（四至五）香港文化中心劇場

獨腳戲系列：《離

合》以利．撒林巴（盧旺達）

4-5.11（六至日）香港文化中心劇場

Reader’s Theatre: The Road to Mecca by Hong Kong Federation of Drama Societies 27-29.10 (Fri–Sun) Kwai Tsing Theatre Black Box Theatre

A Man Like You by The Theatre Company (Kenya) 4.11 (Sat) Kwai Tsing Theatre Black Box Theatre

Strelitzia by Donna Ogunnaike and Poedio Productions (Nigeria)

4-5.11 (Sat–Sun) Kwai Tsing Theatre Plaza

Monodrama Series: A Woman in Waiting by Thembi Mtshali-Jones and Yaël Farber (South Africa) 2-3.11 (Thur–Fri) Hong Kong Cultural Centre Studio Theatre

Monodrama Series: Split/Mixed by Ery Nzaramba (Rwanda) 4-5.11 (Sat–Sun) Hong Kong Cultural Centre Studio Theatre

Rediscovering Africa:

A Kaleidoscope of Cultures By Emily Chow Shun-man

To many of us, Africa is a distant realm. The continent may not be the most popular travel destination in Asia but there is a sense of mystery that surrounds it. Africa is in fact the world’s secondlargest and second-most-populous continent – composed of 54 countries and inhabited by 1.2 billion people. It is an immense continent in terms of its size and population but also in terms of the vastness and complexity of cultures. The current frequent global cultural exchanges have made the world keener in knowing more about the continent and understanding traditional African cultures and ar t forms. In fact, more people have begun to recognise how its millions of years of history that mark it the cradle of humanities as well as the world’s cradle of arts. Although it is impossible to understand African culture thoroughly in a single article, this one intends to capture their common denominator, which is the social function. If there is an essence in African culture, it would be its social function. It is also what sits at the core of the two major African art forms this article introduces – music and dance.

Music Music is one of the most prominent ar t forms in Africa. Be it traditional or contemporary, African music comes in various forms and styles. It is therefore more appropriate to refer it in a plural form – ‘African musics’. Although African musics are diverse in styles, one commonly shared feature is that most of them are closely related to ever yday activities, rituals and ceremonies. Various instruments are deployed to perform African musics at different occasions depending on the region at different locations. But the drum is the most frequently used one. African drums are traditionally made of natural objects, like wood and hardrinded fruit. They come in different shapes and sizes and are either played with bare hands or sticks. To create more variations in music, objects like metal, jingles, seeds, or beads, are attached to the drum. One of the best-known African drums is the West African djembe , which often forms an ensemble with a number of other djembes for people to dance, sing, clap, or work to. African drumming can also be used to imitate the rhythms and intonations of speech patterns to make specific announcements or warnings. The African drum is therefore not only an instrument used for performance purposes but also one that intrinsically linked to the daily life of most Africans. Other than the drums, string instruments such as lute, harp, and zither are very popularly used in African musics as well. For example, the kora , which performed for songs of worship, is a

21-string lute-bridge-harp. Some modern well-known kora players include Toumani Diabaté (Mali) and Tasana Camara (Guinea) who also play the djembe and the balafon as well. The balafon is a kind of wooden xylophone having 16 to 27 keys originated from Mali and could be dated back to the 14th century. It is a very important musical instrument in Cameroon, Guinea, Senegal and Mali traditions. Richard Bona, the Grammy Award-winning jazz bassist, is also an acclaimed player of the balafon indeed. Apart from string instruments, wind instruments such as flutes, horns, trumpets, reed, and pipes are very frequently used in African musics too. Interestingly, these instruments are not very often played as solos. Rather, performers usually collaborate with each other. This is the reason why African musics are often said to be a collective exercise – one that relates individual performers to society. As a matter of fact, African musics could be interactive too when performers play in a ‘call-and-response’ manner that yields players to react to each other’s performances. This feature not only exemplifies the vibrancy of African musics but also its social function – a vehicle that facilitate a closer social relationship between people. Despite the significance of the drum, string, and wind instruments in most African musical performances, one element of African musics that cannot be neglected is singing. Songs are irreplaceable in various traditional African celebrations, marriages, funerals, as well as religious events. Singing in Africa presents itself in different forms: solos, duets, and choruses. In fact, similar to instrument performances, songs are often sung in a ‘call-andresponse’ fashion. However, to be more exact, this particular style of African singing is called a cappella – unaccompanied choruses. Similar to instrumental performances, what this specific way of singing underlines is the basic social function of African culture – connecting individuals with common communal values. This is the reason why multipart singing and harmonic concepts are sometimes celebrated as basic traits of many African musical traditions. There are actually lots of famous contemporar y a cappella choir, for example, Ladysmith Black Mambazo is a Zulu male voice choir celebrated for its distinguished a cappella singing. African singing sometimes includes other variations in sound such as slurs, whistles, yodels, and swoops. However, when it comes to contemporary African musics, it is a must to recognize how it inspires modern music worldwide. Evolving with other types of music, Africa continues to produce new styles of music. It should not be forgotten that rap and hip hop are products of an urban culture resulted from forced African immigration to the United

States. Other forms of music such as blues and gospel also have their roots back in Africa.

Dance An element that cannot be separated from music is dance. Like African musics, African dance comes in various forms and styles. Similar to music, it is referred to as ‘African dances’ to exemplify its diversity. African dances are similar to African musics in the sense that it also carries social functions and expresses the communal values and social relationships of Africans. Most traditional African dances can be classified into ritual celebration or social recreation purposes. The former carries religious functions and focuses mostly on the interaction between spiritual forces and the community. A good example is that according to the tradition of the Shona people, which is a major ethnic group of Zimbabwe, the Mhondoro spirit mediums sing and dance with simple and repetitive foot patterns to relate the people to the guardian spirits of the dead. Another unique quality of traditional African religious dances is the presence of masquerade dancers. Masqueraders symbolize diverse religious meanings and play an important role in ritual dance. Some masqueraders embody gods or spirits and to whom sacrifice is made to assure the fertility of land and people. There are also some masqueraders who embody the ancestral spirits and some who dance to calm the spirits. Nonetheless, there are some who perform as entertainers. There are undoubtedly many other styles of African dances that serve religious functions. However, regardless of the ways of presentation, all these kinds of dances highlight the intimate relationship between the people and their ancestors. Other than religious functions, traditional African dances also has a very important social function when one is transiting from one stage of life to another. Dancing is actually a key element of African social occasions, such as naming ceremonies of children, rituals celebrating adolescents becoming adults, women getting married and moving out of her paternal home, or people claiming new titles or honour. The aforementioned social occasions are always celebrated with dance and music, for instance, the Sunu dance celebrates Guinean and Malian weddings. These kinds of traditional African dances not only underline the significance of dance but also the close relationship among the African people. The reason why dance is often involved in significant moments of one’s life is that when one is undergoing an important stage of life, the community members would not let the individual bear the emotions alone but accompany him/her to go through the critical

moments with appropriate dance and music. The third element of African dances that underlines the social relationship is dances related to work and harvest, which are often performed to celebrate success and accompany the workflow. Nupe fishermen in Nigeria are famous for their net throwing skill and such movement is formalised into dance patterns. Irigwe farmers have specific dance patterns to encourage the growth of crops whereas Gombey dance originated from Senegal celebration of har vest. Other traditional professions such as hunters and wood-carvers also have their own dances to express and celebrate the professional skills. This kind of dance connects people who work together as a professional collective. Like African musics, dances of African origin are in perpetual transformation depending on what the society experiences. The changes in African dances are par ticularly distinct after World War II. Rather than carrying religious or social functions, some new forms and styles of dance presented themselves as a way of recreation. A good example is ‘highlife’ dance that was popular in West Africa in the 1950s. Originated in Ghana, it is a product of musicians adopting Western instruments at nightclubs to celebrate independence. Influenced by other dancing styles and music such as Latin American rhythms, Caribbean reggae, and western pop music, African dances continue to evolve and keep their distinctly African characters. Undeniably, African cultures are not very popular in Hong Kong. However, the two places are brought closer together because of more frequent economic and political activities. Chung King Mansion is a good example that highlights the relationship between the two places that is much closer than we think. With a rising status in the global arena, Africa has not only gained significance politically and economically but also in cultural aspects. There are more and more ways and resources to better understand the continent in the world. At any rate, Africa is getting closer to us socially, politically, economically, and culturally. Its richness in traditions and complexity in cultures mark Africa an important place to experience and understand in the 21st century. Emily Chow Shun-man is a Post-Doctoral Fellow of the African Studies Programme at the School of Modern Languages and Cultures of the University of Hong Kong.

重新發現非洲的文化萬花筒文：周舜雯

大部分人認為非洲是遙遠國度，可能不是亞洲最受歡迎的旅遊目的地，卻籠罩著一份神秘感。實際上，非洲是世界第二大洲，也是全球第二多人口的大陸，由54個國家組成，住有12億人以上，其文化廣泛而複雜。當前世界文化交流頻繁，很多人都更渴望認識非洲大陸，了解其傳統文化和藝術形式。其實，越來越多人已開始發現非洲數百萬年的歷史，如何使之成為人文精神的搖籃及世界藝術的發祥地。雖然光憑一篇文章不可能深入了解非洲文化，但本文旨在抓住其中的共同點——社會功能。如果非洲文化有其本質，就在其社會功能，這也是本文要介紹的非洲兩大藝術形式（音樂和舞蹈）之重心。

音樂音樂是非洲極負盛名的藝術形式。無論是傳統還是現代，非洲音樂都具有各種形態和風格，故更宜以複數稱之。儘管非洲音樂風格多樣，但其共同特徵多與日常活動及儀式祭典密切相關。根據不同地區的風俗，不同場合會以不同樂器演奏各種非洲音樂。不過，最常見的樂器是鼓。傳統非洲鼓由天然物質製成，如木頭和堅皮水果，有不同的形狀大小，徒手或用鼓棍敲擊。為了創造更多音色變化，會在鼓上加上金屬片、叮噹鈴、種子或珠子等物。西非的金貝鼓（djembe）是其中一種著名的非洲鼓，經常與其他金貝鼓組合，伴隨人們跳舞唱歌、拍手或幹活。非洲的鼓樂也可模仿語音的節奏和語調，用作某種公告或警告。因此，非洲鼓不僅用於表演，也跟大多數非洲人的日常生活息息相關。除了鼓外，非洲音樂也常用其他弦樂器，如魯特琴、豎琴和齊特琴。例如，柯拉琴（kora）是用於彈奏宗教歌曲的21 弦豎琴。現代知名的柯拉琴演奏家包括來自馬里的Toumani Diabaté和來自畿內亞的Tasana Camara，他們也演奏金貝鼓和巴拉風（balafon）。巴拉風是一種有16至27個琴鍵的非洲木琴，起源於馬里，可上溯到十四世紀，在喀麥隆、畿內亞、塞內加爾和馬里的傳統中有非常重要的地位。格林美獎得主爵士貝斯手李察．波納（Richard Bona）也是一名備受讚譽的巴拉風演奏家。除了弦樂器，吹管樂器在非洲音樂也很盛行，如笛子、圓號、喇叭、簧片、風管等。有趣的是，這些樂器經常不是獨奏，而是合奏。這就是為甚麼大家認為非洲音樂是集體演奏的音樂——將個體表演者與社會聯繫起來。事實上，非洲音樂表演者會「此呼彼應」地演奏互動，這特點不僅顯示非洲音樂的活力，也發揮其社會功能，促進人與人的密切關係。儘管在大多數非洲音樂表演中，鼓、弦樂和吹管樂器都很重要，唱歌也是一個不可忽視的要素。在各種傳統非洲慶祝活動、婚喪之禮及宗教活動中，歌曲有著不可替代的位置。非洲有不同形式的歌唱：獨唱、二重唱和合唱。就像樂器表演

一樣，唱歌通常也是「此唱彼和」，但更準確地說，這種非洲歌唱風格該稱為無伴奏合唱。這種獨特的唱歌方式，也強調了非洲文化的基本社會功能，即將個人和公共的價值觀結合起來。因此，多聲部歌唱與和聲概念都被視為眾多非洲音樂傳統的基本特徵。當代著名的雷村黑斧合唱團（Ladysmith Black Mambazo）就是非洲祖魯族的男聲合唱團，其清唱風格出類拔萃。此外，非洲歌唱有時會利用多種發音變化，如吹口哨、真假嗓交替、故意含糊吐字、音階突降或突升。然而，提到當代非洲音樂時，我們必須認識它如何啟發世界各地的現代音樂。非洲的音樂風格一直推陳出新，與其他類型的音樂與時並進。別忘記，非洲移民被迫來到美國後，在城市文化的影響下發展出饒舌歌和嘻哈音樂，而其他形式的音樂如藍調和福音音樂，也是起源於非洲。

舞蹈舞蹈與音樂息息相關，像非洲音樂一樣，非洲舞蹈也有各種形態和風格，繽紛多彩，不可一以概之。非洲舞蹈同樣具有社會功能，表達非洲人的社區價值和社會關係。大多數傳統非洲舞蹈按其用途可分為儀式慶典或社交娛樂。前者帶有宗教功能，側重於精神力量與社區之間的互動。根據津巴布韋的主要民族修納族人的傳統，Mhondoro 靈媒以簡單而重複的舞步，邊跳邊唱，令族人與死者的守護神靈溝通。傳統非洲宗教舞蹈的另一個特色，就是假面舞者。他們帶著不同面具，象徵不同的宗教意義，在儀式舞蹈中發揮重要作用。有些假面舞者代表神靈，人民為了確保土地肥沃、人口繁盛而向神靈獻祭；有些假面舞者代表祖先的靈魂；有些為了使神靈安息而跳舞，也有些跳舞娛樂大眾。固然，有許多其他風格的非洲舞蹈具有宗教功能，但不管表演方式如何，這些舞蹈全都凸顯了人與祖先的親密關係。當人們從某個生命階段過渡到另一階段，傳統非洲舞蹈也起了非常重要的社會作用。在非洲的社交場合，如兒童的命名禮、成年儀式、婦女外嫁的婚禮，或獲頒頭銜榮譽的慶典上，人們總會以舞蹈和音樂來慶祝，例如蘇努舞蹈是慶祝畿內亞人和馬里人的婚禮。這些傳統非洲舞蹈不僅凸顯了舞蹈的意義，而且強調了非洲人民之間的密切關係。舞蹈之所以常常出現於人生的重要階段，是因為社區成員不想讓個人獨自承受當下的情緒變化，希望透過適當的舞蹈和音樂，陪伴他人度過關鍵時刻。除了宗教功能和陪伴過渡人生重要階段外，非洲舞蹈還會在第三個方面強調社會關係。人們為了慶祝工作有成，或在幹活當中，便會表演與工作和收穫有關的舞蹈。尼日利亞努佩（Nupe）部族的漁民以撒網捕魚的本領聞名，他們將撒網動作編排成不同花樣的舞蹈。尼日利亞伊里圭（Irigwe）部族的農民有特定的舞蹈模式，來祝願農作物茁壯生長，而源

於塞內加爾的貢貝（Gombey）舞蹈則慶祝收穫時節。其他傳統職業如獵人和木雕工人，也有自己的舞蹈來表揚本行的專業技能。這種舞蹈能把同一行的專業人才團結起來。像非洲音樂一樣，源自非洲的舞蹈隨著社會大眾的經驗不斷變化。非洲舞蹈的轉變在第二次世界大戰後特別明顯。一些新形式、新風格的舞蹈，不再帶有宗教或社會功能，而成為一種娛樂，如二十世紀五十年代在西非盛行的「強節奏爵士舞」（highlife dance），這種舞蹈起源於加納，是音樂家在夜總會演出時，用西方樂器來慶祝國家獨立而產生的。非洲舞蹈深受其他舞蹈風格影響，在音樂上也吸納了拉丁美洲節奏、加勒比雷鬼和西方流行音樂的元素，故能在保持非洲特色的同時不斷演變。

無可否認，非洲文化在香港並不是很受歡迎。不過，由於香港和非洲的政治經濟活動日趨頻繁，拉近了兩地距離。單看重慶大廈，我們就能明白兩地的關係比想像中還要近。隨著非洲在世界的地位逐漸提高，不但其政治經濟受到重視，其文化也變得日益重要。同時，了解這個大陸的方法和資源也越來越多。總括而言，非洲的文化傳統既豐富又複雜，在二十一世紀是值得大家體驗及理解的重要地方。中譯：徐昌明周舜雯香港大學現代語言及文化學院非洲研究課程的博士後研究員。

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Suﬁ Sounds in Global Pop:

The Master Musicians of Jajouka led by Bachir Attar and Youssou N’Dour with the Super Étoile de Dakar By Chuen-fung Wong

To this list we should also add the ecstatic performance of the highland Jbala people from northwest Morocco, as made famous by the internationally acclaimed Master Musicians of Jajouka. The small hilltop village named Jajouka, from where the musicians came, is located in the south of the Rif Mountains, a two-hour drive or train-ride from Tangier. The immediate sonic appeal of the group comes from its signature piercing wail performed on the ghaita , a double-reed aerophone that is a close sibling of the Arab mizmar as well as the zurna or surnay found in Turkey and the Turkic Central Asia. The ghaita appears both as a solo instrument that carries the melody and also as an accompanying instrument that supplies the drone in the background. Either way, it plays unbroken phrases through the technique of circular breathing, recreating the transnational Sufi devotional ritual known as zikr (dhikr ), or the naming of god, where short lines of prayers are repeatedly recited or sung, silently or aloud. To the Sufis, the act of listening to ritual music is itself a crucial means of attaining the divine state of trance, a quintessential pathway to reuniting with the god. Other Jajouka instruments include the lira , a vertical flute made of bamboo or cane commonly found in Morocco. The lira is considered one of the oldest musical instruments in the tradition 12

and featured prominently in the ensemble. The most commonly used chordophone is the gimbri , a half-spike plucked lute normally with three or four strings; it is also found in Gnawa music and some other North African genres. The violin, held upside down and resting on the lap, may be added to provide a bowed string timbre. Finally, a double goat-skinned drum known as the tebel , which appears in various sizes and played with a pair of sticks or hands, adds a rhythmic edge to articulate the melodies. Oral sources of history recount that Jajouka musicians were traditionally patronized by the sultans to perform healing rituals. Today their music and dance remain associated ritually with an annual weeklong festival that worships Pan, the ancient Greek god known locally as Boujeloud, a half-human, half-goat deity whose spirit is to be summoned through trance performance at the ceremony. The hypnotic music of the Master Musicians of Jajouka was brought to the attention of the outside world through a number of ‘discoveries’ by some high-profile Euro-American visitors, including the writers Paul Bowles (1910–1999) and William S. Burroughs (1914–1997) as well as the artist Brion Gysin (1916– 1986) in the 1950s. Later it was the Rolling Stones’ guitarist Brian Jones – producer of the widely popular album Brian Jones Presents the Pipes of Pan at Jajouka – who introduced the Jajouka musicians to the broader outside world. More recently, the released of their first international album Joujouka Black Eyes as well as their debut at the WOMAD (World of Music, Arts and Dance) Festival, both in the mid-1990s, brought the group squarely onto the contemporary world music scene. Today, the Master Musicians of Jajouka is led by Bachir Attar (b.1964), who inherited the leadership of the group from his father Hadj Abdesalam Attar (who ran the group when they recorded with Brian Jones in the late 1960s). It continues to be one of the most sought-after performing groups in the contemporary world music scene.

World music audience over the past half a century or so have witnessed the proliferation of global pop genres that style themselves as proud inheritors of centuries-old indigenous ritual traditions. Part of what this amounts to is the transnational circulation of sacred sounds and music, connecting among diverse faiths and belief systems across the world. Sufism, a mystic Islamic tradition practiced widely across traditional societies in Central Asia, the Middle East, North Africa, and other parts of the world, represents a major creative impulse and source of inspiration in contemporary world music. The Sufis embrace musical, poetic, and choreographic performances as spiritual paths through which practitioners seek reunion with the god. Devotional sounds are central to Sufi rituals. The Sufis’ musical dedication to Islamic worship – which is frequently set apart from orthodox, extreme interpretations of the Qur’ˉan and Hadˉıth, where music making of all kinds is indiscriminately banned – has also put some of the Sufi styles and genres on the map of contemporary global pop. Certain Sufi genres, such as the Pakistani/South Asian qawwˉalˉı, the Moroccan/North African gnawa, and the ceremonial music of the Turkish Mevlevi whirling dervishes have enjoyed wide global circulation and enormous popularity.

Sufi influences in the music of the Dakar-born Senegalese world music superstar Youssou N’Dour (b.1959) came less as literal evocations of some trance-inducing ritual soundscapes, and more as an aspiration and heritage that seek not to escape the mundane world but to engage it in order to inspire social changes. Youssou’s mother came from the well-known West African tradition of poet musicians known as griots, a hereditary class of praise singers who assume the role of storytellers and oral historians. The social commentaries frequently found in Youssou’s lyrics – interpreted with the impressively broad range of his soaring voice – have been heard as perpetuation of this centuries-old griot tradition. In his songs, Youssou sings about the ideal of a pan-African identity, solidarity with the anti-apartheid movement, environmental issues, Sufism and Islamic practices, inequalities and the problems faced by urban migrants, as well as ancestors and heritage. He was named a UNICEF Goodwill Ambassador in 1991, and has assumed multiple roles in social advocacy. Among the most famous African musicians alive, Youssou is credited today as a pioneer of African pop: he was among the first to blend local musical genres and instruments with AfroCuban and other African diasporic styles from the Caribbean. The outcome is a uniquely urban Senegalese pop genre known as mbalax , which, sung primarily in the Wolof language, Senegal’s lingua franca, features highly ornamented vocal styles and sophisticated percussion forms borrowed from Wolof traditions, unfolded against a primarily Latin jazz backdrop. Altogether the mbalax style reminds its audience of the Congolese soukous and a few other African pop genres created since the 1960s. In the late 1970s, Youssou formed the Étoile de Dakar, a Senegalese pop band that became the genre’s de facto spokesperson both domestically and internationally. The group was renamed the Super Étoile de Dakar in the early 1980s in an effort to further Africanize its sound by adding more polyrhythmic lines and assigning more rhythmic roles to the enlarged instrumentation. A devout Sufi, Youssou embarked on a musical journey that delved into his Islamic faith with the 2004 album titled Egypt . The project highlights the cultural continuities between North Africa and West Africa by involving the Fathy Salama Orchestra from Egypt and a range of Arab styles, musical forms, and instruments. The West African bridged harp kora is heard alongside such Arab instruments as the plucked lute oud and the reed flute nˉay . This album represents a major depar ture from the Latin vibe

and synthesized dance sound in his early styles, and has received wide acclaim around the world; it won a Grammy Award for the Best Contemporary World Music Album in 2005. What Youssou celebrated in his songs here is an amalgamation – or bridging– of his African griot identity and his Islamic faith (a theme he had not discussed openly in previous projects). As Youssou puts it in a 2009 interview, “We, coming from West Africa, Senegal, we are black, Africans. Yes, we are also Muslim, and the label, ‘We are Muslim’ is the strong one.” Perhaps more impor tantly, the songs on the album represent a pluralistic vision for broader understanding and greater tolerance in Islam and across different faiths. To Youssou and many in his audience today, the spirit of Sufi music lies not in its evocation of the distant, ahistorical past. It is the present moment, in which so much has been divided across religious, national, and ethnic lines, that his songs find the strongest resonance and the most powerful relevance. In many important ways, the Sufi sensibilities so colorfully layered in the music of both the Jajouka musicians and Youssou N’Dour (and his group) speak no longer to the vernacular sect that was once at the periphery of the Islamic world. These global pop musicians and the mesmerizing, Sufi-inspired soundscapes they created are increasingly part of an emerging global musical faith, whose membership is perhaps as inclusive as the styles and sounds being represented, sampled, and appropriated. What qualifies as Sufi music today is as much an aesthetic question as it is a historical and religious one. It is true that the late 20th-century popularity of Sufi styles in the world music marketplace has both revived these centuries-old mystical traditions and diminished their ritual functions, exposing the sound to the broader audience while also extracting it out of the original context. It is also true that these Sufi-styled global pop songs have blurred the differences between the sacred and the secular, the private and the public. Yet what musicians such as Youssou N’Dour and the Jajouka masters have achieved is the creation musical space that invites pluralist devotional pursuits and spiritual journeys across ethnicities and other premodern boundaries. It is in this sense that the Master Musicians of Jajouka as well as Youssou N’Dour and his Super Étoile de Dakar continue to enchant their devoted global audiences. Chuen-fung Wong is Associate Professor and Chair of Music at Macalester Collage, Minnesota.

神聖音樂的世俗風格：巴希爾．阿塔爾率領酋酋卡大師樂隊和尤蘇．恩多爾與達喀爾超級巨星樂團

文：黃泉鋒

世界流行樂壇的非西方音樂種類繁多，不少風格受本土宗教儀式啟發，常以傳統神聖音聲糅合現代表演形式。近世最為西方聽眾著迷的，要說伊斯蘭蘇菲教派（Sufism）樂風。蘇菲信眾遍及中亞細亞、中東、北非以至世界各地；信眾對誦經十分執迷，亦常以音樂、詩詞及舞蹈融入敬拜儀式當中，以修煉自身作為靠近真主的不二門法。概括而言，蘇菲對樂舞較為開放的態度，有別於保守伊斯蘭教派對《古蘭經》及《聖訓》教義的極端闡釋，以及對音樂活動的禁止。受蘇菲風格影響的樂種有很多，當今世界樂壇較常聽到的有巴基斯坦的格瓦利（qawwˉalˉı）、摩洛哥的格納瓦（gnawa）、土耳其梅夫拉維教團（Mevlevi）的薩瑪（Sema）旋轉舞等。此類遊走於神聖與世俗之間的風格，讓本土音樂在世界廣泛傳播，亦為流行音樂注入傳統底蘊。眾多承襲蘇菲樂風的樂團中，今日最炙手可熱的當數酋酋卡大師樂隊。樂團成員來自北非摩洛哥西北地區里夫山（Rif Mountains）南脈、距離大城巿丹吉爾（Tangier）約兩小時車程的酋酋卡小村落。樂團最引人入勝的招牌聲音，來自雙簧吹管樂器ghaita發出的哀嚎。Ghaita與土耳其和中亞突厥語系

地區的各種嗩吶（zurna或surnay）源出一轍，聲音帶點刺耳又有極強穿透力，獨奏以外，更常以持續低音為其他樂器伴奏，亦以循環換氣法吹奏連串樂句，以模仿禱告儀式齊克爾（zikr）中，蘇菲信眾背誦真主99個名字的音聲。儀式的目的，是要讓敬拜者自身達到入迷狀態，藉此靠近真主。除了ghaita以外，樂團亦常用一種竹製直笛（lira），是通用於摩洛哥的傳統樂器。另外也有一件稱為gimbri的撥弦樂器；gimbri呈半尖柱狀，有三或四根弦，也在摩洛哥的格納瓦音樂和其他北非地區使用。樂師亦常按樂曲需要加入小提琴（放在膝上拉奏），以補充拉弦音色。樂團還用一種兩面蒙羊皮的鼓，稱為tebel，為旋律加入節奏感及律動。Tebel以雙手或對棍擊打，形製大小不同。酋酋卡樂師身分世襲，以往受僱蘇丹（穆斯林國家統治者）宮廷，以音樂治病。時至今日，酋酋卡音樂和舞蹈仍與敬拜慶典息息相關，供奉古希臘神話中半人羊形態之牧神（古希臘神話中稱Pan；當地人稱Boujeloud），樂師以音樂及舞蹈召喚牧神的聖靈。酋酋卡大師樂隊使人「入迷」的音樂，五十年代以來在歐、美文藝界掀起一股熱潮，吸引不少作曲家、作家、畫家的

注視，紛紛造訪酋酋卡村落並與樂師跨界合作。當中，英國著名的滾石樂隊結他手布萊恩．瓊斯於1968年推出了唱片《Brian Jones Presents the Pipes of Pan at Jajouka》，首次向外介紹酋酋卡一眾樂師及其風格。九十年代中，酋酋卡大師樂隊發行了首張國際唱片《Joujouka Black Eyes》及首次參與 WOMAD世界音樂節，於國際舞台上首度登場。現任團長巴希爾．阿塔爾（生於1964）承繼父親Hadj Abdessalem Attar的事業，領導樂團繼續在世界樂壇佔一重要席位。與酋酋卡大師樂隊有別，世界音樂超級巨星尤蘇．恩多爾沒有在歌曲刻意營造入迷出世的蘇菲音聲。相反，他的音樂十分入世，處處滲透出對世俗的批判及對社會變革的期許。尤蘇．恩多爾生於塞內加爾首都達喀爾（Dakar），母親世襲西非傳統吟遊詩人（griot）身分（即身兼樂師和詩人角色的講故人，是重要口述歷史傳承者）。尤蘇．恩多爾的聲音沙啞且音域廣闊，延續了數百年格里奧的唱腔。他以歌詞抒發自己對各類社會問題的看法，當中包括黑人的身分認同、種族隔離、環境保護、蘇菲主義以及城市新移民所遭遇的不平等對待等等。尤蘇．恩多爾對大眾權益的關注得到國內外的肯定，並於1991年獲委任為聯合國兒童基金會親善大使。當代的非洲流行風格始於六、七十年代。尤蘇．恩多爾將塞內加爾的本土音樂和樂器，與古巴及加勒比地區的非裔僑民音樂互相結合，創立一種稱為姆巴拉斯（mbalax）的獨特城市流行風格，與剛果的倫巴音樂（rumba）和索卡斯（soukous）等流行樂種互相呼應。姆巴拉斯歌曲主要以本土沃洛夫語（Wolof）演唱，並借鑑沃洛夫民族傳統中富有裝飾音的演唱法，以及複雜的多聲部節拍。此種新興音樂的冒起，某程度上繼承了當時的拉丁爵士音樂熱潮。七十年代後期，尤蘇．恩多爾創立著名的達喀爾巨星樂團，國內外視之為演唱姆巴拉斯風格之典範。樂隊於八十年代初易名達喀爾超級巨星樂團，配器有所擴充，多聲部節拍亦加強，以凸顯非洲黑人風格獨有的節拍模式。尤蘇．恩多爾是虔誠蘇菲信徒。他對蘇菲和伊斯蘭教義之鑽研，體現於2004年推出的音樂專輯《埃及》（Egypt ）。專輯加入埃及樂隊Fathy Salama Orchestra，並以阿拉伯樂器演奏一系列阿拉伯風格和結構的樂曲。當中有以西非豎琴柯拉（kora）融入阿拉伯撥弦樂器烏德琴（oud）及蘆葦笛（nˉa y）。尤蘇．恩多爾藉此向聽眾展示西非與北非之間的文化聯繫，並脫離早期強烈的拉丁音樂氛圍及舞樂風格。專輯廣受好評，2005年獲格林美「當代最佳世界音樂專輯獎」。尤蘇．恩多爾藉其世襲格里奧血統及伊斯蘭信仰的「雙重身分」，向聽眾呈現當中的矛盾和機遇。早前一次媒體訪談中，他說：「我們來自西非國家塞內加爾；我們是非洲籍黑人，但同樣也是穆斯林，後者的身分（或許）更重

要。」專輯《埃及》收錄的樂曲，除了給聽眾一般的音樂欣賞外，更重要是提供了一種多元視野，嘗試了解並包容伊斯蘭教各分派及各種宗教信仰。蘇菲音樂的精神並不止於要喚起教派各自的歷史記憶；相反，在今日壁壘分明的宗教、國籍及種族分野下，尤蘇．恩多爾的音樂正在嘗試跨越異見和界限，牽引更大的共鳴。酋酋卡大師樂隊和尤蘇．恩多爾的音樂，從不同角度呈現蘇菲的音樂品味，說明小眾語言與風格在世界樂壇不一定會被邊緣化。音樂家受蘇菲風格啟發的創作，亦逐漸成為新興的後現代宗教音樂，廣受大眾認同。甚麼是蘇菲音樂？答案或許要涉及歷史、宗教及美學等多層思考。二十世紀末，蘇菲風格於世界樂壇盛行，復興逾百年歷史的傳統聲音。流行音樂的形式是否削弱了原本的宗教意味和功能？新加入的現代音聲和技法，又是否令原本的風格和含義變得模糊？再說，既神聖又流行的現代曲風，會否淡化宗教與世俗之間的差異？多元的角度或許可以翻越種族、信仰等傳統枷鎖，但能否同時保持追求自身的宗教思想精神？酋酋卡大師樂隊和尤蘇．恩多爾為樂迷洗滌心靈，超脫世俗煩囂，以音樂拓展新的思考空間，或許都是解開這些問題的答案。中譯：董芷菁黃泉鋒美國明尼蘇達州麥卡萊斯特學院音樂系主任、副教授。

尤蘇．恩多爾與達喀爾超級巨星樂團（塞內加爾） 20-22.10（五至日）香港文化中心大劇院

巴希爾．阿塔爾率領酋酋卡大師樂隊（摩洛哥） 11.11（六）香港大會堂音樂廳

Youssou N’Dour with the Super Étoile de Dakar (Senegal) 20-22.10 (Fri–Sun) Hong Kong Cultural Centre Grand Theatre

The Master Musicians of Jajouka led by Bachir Attar (Morocco)

11.11 (Sat) Hong Kong City Hall Concert Hall

文化導航系列

Cultural Perspectives Series 系列請來多位來自不同界別的嘉賓，透過講座、對談、電影放映，帶你多角度認識非洲！ Understand Africa from diverse perspectives! Through talks, dialogues and film screenings, speakers and specialists from various disciplines provide fresh insights into the continent. 6.9 三 Wed（英語主講 In English）

特別放映和映後談 Special Screening and Discussion

非洲人在中國——影像鏡頭後的真實故事 Africans in China: The Real Story

6.10 五 Fri（粵語主講 In Cantonese）

《尋找隱世巨聲》 Searching for Sugar Man

陳古城〔嶺南大學文化研究系助理教授〕 Roberto Castillo (Assistant Professor, Department of Cultural Studies, Lingnan University) 地點Venue : 商務印書館尖沙咀圖書中心 The Commercial Press Tsimshatsui Book Centre 時間Time : 7:30pm-9pm

導演 Director : 馬力．賓謝萊 Malik Bendjelloul 主演 Cast : 羅利葛斯 Sixto Díaz Rodríguez 片長 Duration : 86分鐘 minutes 英語對白，附中文字幕 In English with Chinese subtitles

鄭政恆〔文化評論人〕黃志淙〔香港大學通識教育助理總監〕 Matthew Cheng (Art Critic) Wong Chi-chung (Assistant Director of General Education, HKU) 地點 Venue : 商務印書館尖沙咀圖書中心 The Commercial Press Tsimshatsui Book Centre 時間 Time : 7pm-9pm

22.9 五 Fri（粵語主講 In Cantonese）

烈日當下——非洲生存的現實與挑戰 Surviving Africa: Reality and Challenges 李璧君〔無國界醫生（香港）傳訊經理〕李冰心〔樂施會高級籌募幹事（資訊）〕 Lee Pik-kwan (Regional Communications Manager, MSF-Hong Kong) Brenda Lee (Senior Donor Communications Officer, Oxfam Hong Kong) 地點Venue : 商務印書館尖沙咀圖書中心 The Commercial Press Tsimshatsui Book Centre 時間Time : 7:30pm-9pm

26.9 二 Tue（粵語主講 In Cantonese）

香港人看非洲——鏡頭背後實錄 Hong Kong Perspectives on Africa 沈旭暉〔香港中文大學社會科學院副教授〕莫至剛〔電視節目監製〕 Simon Shen (Associate Professor, Faculty of Social Science, CUHK) Jan Mok (TV producer) 地點Venue : 01空間 01 SPACE 時間Time : 7:30pm-9pm

29.9 五 Fri（粵語主講 In Cantonese）

共融以外——了解「落地」的非洲文化 Inclusion and More: Understanding African Culture in Hong Kong 駱美清〔香港非洲人協會會長〕譚婉儀〔香港融樂會倡議主任〕 Camy Lok (Chairman, Hong Kong African Association) Kayla Tam (Campaign Officer, Hong Kong Unison) 地點Venue : 商務印書館尖沙咀圖書中心 The Commercial Press Tsimshatsui Book Centre 時間Time : 7:30pm-9pm

策劃及統籌 Organised and coordinated by

13.10 五 Fri（粵語主講 In Cantonese）

《我的八十後同學》 The First Grader 導演 Director : 積斯甸．查域 Justin Chadwick 主演 Cast : 娜奧美．夏莉絲 Naomie Harris、奧利華．尼東度 Oliver Litondo 片長 Duration : 105分鐘 minutes 英語對白，附中文字幕 In English with Chinese subtitles

蔡靄兒〔MOViE MOViE頻道總經理〕陳葒〔陳校長免費補習天地創辦人〕 Joycelyn Choi (General Manager, MOViE MOViE channel) Chan Hung (Founder, Principal Chan Free Tutorial World) 地點 Venue : 商務印書館尖沙咀圖書中心 The Commercial Press Tsimshatsui Book Centre 時間 Time : 7pm-9pm

商務印書館尖沙咀圖書中心 The Commercial Press Tsimshatsui Book Centre : 九龍尖沙咀彌敦道132號美麗華廣場一期低層地下 B1, Mira Place One, 132 Nathan Road, Tsim Sha Tsui, Kowloon 01空間 01 SPACE : 香港灣仔皇后大道東127號 127 Queen’s Road East, Wan Chai, Hong Kong 座位名額 Quota : 60 網上留座及查詢 Online registration and enquiries: www.iatc.com.hk / 2974 0542 免費入場，敬請留座。另設小量企位，先到先得。 Free admission. Limited seats, available on registration. Standing quota for walk-in participants available on a first-come-first-served basis.

電影伙伴 Movie partner

場地由商務印書館（香港）有限公司及01空間贊助 The venues are sponsored by The Commercial Press (H.K.) Ltd. and 01 SPACE

《曼德拉》：從歷史人物到歌劇演繹文：焦元溥

是因緣際會也是個人意志，由律師走上不服從運動，面對白人政權極其不公的種族歧視與生活宰制，與之奮鬥對抗的曼德拉（1918-2013）在牢獄中度過26年，視力更因苦役而受損，最後卻換來全新的南非。不只推動廢除種族隔離制並促成族群和解，曼德拉從總統職位退下後更致力於對抗愛滋與慈善活動。當他於2013年以95歲高壽辭世，曼德拉不只被譽為最偉大的南非人，更成為普世性的人權燈塔象徵。

也因此，對於熟悉傳統歌劇製作與寫作的亞洲觀眾而言，初看《曼德拉》可能會不太習慣——此劇從念白到演唱都有不少歌手配戴麥克風，這還算是嚴肅的「歌劇」嗎？的確，《曼德拉》三部曲運用許多當代劇場手法，滿是爵士樂的第二部更幾乎就是音樂劇，整體風格可謂歌劇與音樂劇的迷人混合。不過若我們以更宏觀的角度衡量，歌劇與音樂劇本來就沒有必然分界。以戲劇表現而言，《曼德拉》的場景何其接近現實，回溯一九四O年代的南非若少了爵士樂，又怎能說得上貼切？就近年歌劇寫作來看，包括英國皇家歌劇院邀請馬克—安東尼．特內奇（Mark-Anthony Turnage）寫作的《安娜．妮可》（Anna Nicole ），雖然多數段落仍為傳統聲樂唱法，也有配合樂曲需要而以麥克風播音的段落。這無關演唱技巧，而是音樂寫作風格與設計使然。想知道當代歌劇已發展成何等面貌，《曼德拉》自然是不該錯過的好戲。歷史人物不難寫，難的是寫「當代」歷史人物。當年威爾第《茶花女》之所以震撼，原因之一就是劇本明說故事為當代。畢竟故事離我們愈近，衝擊自然愈大，《安娜．妮可》如此，菲力普．格拉斯（Philip Glass）以甘地發想的《真理堅固》（Satyagraha ）如此，約翰．亞當斯（John Coolidge Adams）以中美建交過程為本的《尼克森在中國》（Nixon in China ）更是如此。《曼德拉》旨在主述主角過去，但畢竟是

如此典範人物自然成為藝術創作題材，開普敦歌劇院的《曼德拉》三部曲就是箇中代表，作品以三段相當不同的戲劇呈現曼德拉的人生面向，近年在歐洲巡演獲得好評。由彼得．路易斯．梵迪克（Péter Louis van Dijk）譜曲的第一段從監獄場景開場，回溯曼德拉的部族源頭，以及接受西式教育的他何以逃離家族安排的婚姻。第二段迥然一變，從歡樂俱樂部場景揭示主角的感情生活及其面對的種族壓迫，在米克．坎貝爾（Mike Campbell）的音樂中愛情與政治螺旋開展，激發相當的戲劇效果。第三段回到梵迪克的音樂，肅穆沉重的氛圍和前一段形成更大的張力對比，呈現一般為人所知的「政治人物」曼德拉。三段環環相扣又各自獨立，投影熒幕和舞台設計都有出色發揮。音樂因劇情而融入民俗與爵士素材，混搭調配恰到好處。這不是風格艱深晦澀的現代音樂，也沒有模稜兩可的台詞，而是戲劇語言與音樂語彙都相當明朗清晰，無須多做準備即可欣賞並接受的易懂創作。

離世不久的典範人物，下筆自得戒慎小心。所幸此劇雖沒有甚麼揭隱搜奇，卻也未將主角聖人化，而是透過曼德拉讓我們看南非以及整個世界的種族壓迫，由此思考公理與正義。好聽好看，《曼德拉》仍能帶來啟發與思索，讓人走出劇院時帶回的不只是美好回憶。也因如此，《曼德拉》定位成現今意義上較為嚴肅的「歌劇」而非一場「show」，討好觀眾但並非僅是娛樂，這背後可有創作者的微言大義與立場堅持。在表演藝術風貌不斷變化，舊定義不斷被新典型挑戰的二十一世紀，歌劇可以有甚麼新面貌，又如何反映時事與社會，就讓我們從開普敦歌劇院這個從南半球走向全世界，更即將在香港登場的《曼德拉》三部曲好好欣賞觀察吧！焦元溥倫敦國王學院音樂學博士。

Mandela Trilogy :

From a Person in History to a Character in Opera

By Chiao Yuan-pu

By both outer circumstances and inner strength, Nelson Mandela (1918–2013) as a lawyer moved to the other side as an advocate for civil disobedience, in his battle against racial discrimination and unfair restrictions on nonwhites under the white minority’s regime. The 26 years of hard labour in prison damaged his vision, but his toil paid off eventually and brought about a brand new South Africa. Alongside his efforts to eradicate apartheid and to facilitate reconciliation between blacks and whites, Mandela after his presidency became deeply involved in the combat against AIDS and other charity work. When he passed away in 2013 at the ripe old age of 95, Mandela was hailed not only as the greatest South African national, but an icon of human rights the world over. Such a moral exemplar naturally lends himself to ar tistic interpretations. Among the signature works is Cape Town Opera’s Mandela Trilogy , which won enthusiastic reviews in its European tour. The opera retells Mandela’s life story in three acts, each

written in a different tone. The first act, scored by Péter Louis van Dijk, begins at the prison; it traces Mandela’s ancestral roots and how this western-educated intellectual escapes from an arranged marriage. The second act takes a wildly different turn: it strikes a jolly note with a nightclub scene where Mandela embarks on his romantic encounters, followed by descriptions of the racial oppression he is faced with. Romance and politics are inextricably entwined in Mike Campbell’s score, which creates much dramatic tension. The third act returns to van Dijk’s music and portrays Mandela as a political figure known to most of us. The sombre, heavy under tone stands in stark contrast to the previous act. The three closely-linked acts can each stand on its own. Visual projection and stage design leave little to be desired. Folk and jazz elements are nicely put into the music fabric to serve the narrative. Without the murkiness typical of contemporary music nor excessively convoluted lines, Mandela Trilogy shines with a clarity in terms of vocabulary. Viewers don’t have to do much in

advance to appreciate what the play sets out to convey. However, for Asian audiences who are more familiar with traditional opera making and writing, Mandela Trilogy might come across as rather unconventional: can it be called an ‘authentic’ opera with performers delivering their lines and vocals wearing microphones? Indeed, Mandela Trilogy borrows liberally from contemporary theatre. The second act, for instance, has so many jazz passages that it resembles a musical. Style-wise, the play as a whole is arguably a fascinating hybrid of opera and musical. That said, considering from a broader perspective, there is in fact no absolute boundary between the two. As far as the drama is concerned, Mandela Trilogy comes strikingly close to reality: without jazz, how can the viewer be convinced that it is South Africa in the 1940s?

calls for a firm commitment to have justice on the par t of its creator. In the 21st century when the performing arts never cease to evolve, when the old is constantly challenged by the new, how can opera reinvent itself and serve as a mirror of society? Let’s start our observation from the Hong Kong showcase of Mandela Trilogy which is making its way from the southern hemisphere to the entire world. Translated by Elbe Lau Chiao Yuan-pu is PhD in Musicology, King’s College London.

When it comes to opera writing in recent years, Royal Opera House’s Anna Nicole guest-written by Mark-Anthony Turnage is an example worth noting. Even though it is largely sung in classical operatic style, microphone is used occasionally in some passages when the composer deems it necessary. This has nothing to do with the singer’s vocal prowess – only a natural outcome of the aesthetic needs of the music itself. Mandela Trilogy is no doubt a must-see for those who want to know more about the everchanging landscape in contemporary operas. It is not difficult to por tray historical figures – ‘contemporary’ historical figures are the real headache. Back in the day, Verdi’s La Traviata came as a revelation, partly because the librettist made it clear that the story was a contemporary one. The closer the story to the present, the greater the impact. This is true of Anna Nicole, the Ghandi-inspired Satyagraha by Philip Glass, as well as John Coolidge Adams’ Nixon in China which chronicles how diplomatic ties were forged between China and the United States.

Mandela Trilogy is essentially an attempt to trace the past of the title character. But since Mandela is an iconic figure who passed away in recent years, extra caution is needed for any story about him. For tunately, Mandela Trilogy neither tries to expose the lesser-known secrets of the hero nor put a halo around his head; 《曼德拉》開普敦歌劇院（南非） 17-19.11（五至日） instead, it seeks to lay bare the racial oppression in South Africa and other parts of the world, so that audiences are left to ponder 香港文化中心大劇院 over social justice. A feast for both the eyes and the ears, Mandela Trilogy nonetheless offers food for thought and thus a theatrical Mandela Trilogy by Cape Town Opera (South Africa) 17-19.11 (Fri–Sun) experience beyond sensual pleasure. Hong Kong Cultural Centre Grand Theatre

This also reveals that Mandela Trilogy , which endears itself to the viewer as a relatively serious opera instead of mere entertainment, 21

繞過地球一圈的南非之歌：索韋托靈歌合唱團文：朱振威

將目光南移，看非洲諸國中發展程度最高的南非，可見合唱音樂近年發展蓬勃，南非隊伍在各大型國際合唱賽事中不時亮相。執筆之時在INTERKULTUR的世界合唱團排行榜（以認可國際賽事成績計算），名列榜首的是南非斯坦陵布什大學合唱團（Stellenbosch University Choir），而Akustika Chamber Singers則位列第九。至於各分類排名之中，南非團隊均在頭十名前列：兒童及青年合唱團（第四、六、九）、混聲合唱團（第一、二）、聖樂及宗教音樂（第二、五、九）、流行、爵士、福音、靈歌及理髮師合唱（第一、二）及民俗音樂（第九）。但是，以上是否純粹肯定了「南非合唱音樂」已達到很高的水平？還是引申出另一個問題：我們談及「南非合唱音樂」時，到底指涉的是甚麼？這件事並不好說。首先，南非並不只有一種原住民，更不用說後來因殖民而引入其他族群，如果籠統地以一種風格說明「南非」音樂，定流於過分簡化。再者，今天我們看到的南非合唱音樂——例如將會來港獻技的索韋托靈歌合唱團——均以歐洲發源的所謂「西方音樂」為發展藍本，並非從原始非洲合唱音樂直接發展而成，而更多的南非合唱團主要演唱的就是西方合唱音樂。儘管索韋托靈歌合唱團以不少非洲民族歌曲新編（如《Khumbaya》）而為世人所認識，但我們仔細了解他們的表演形式以至整體曲目選擇後，他們的音樂應該理解為在全球化的洪流以及南非本是白人主導的社會背景下，將歐洲宗教音樂、流行音樂及非洲民族音樂融合而成的「當代非洲音樂」——這仍是一個籠統說法，因為南非不代表非洲！更有趣的是，繼續追本溯源的話，索韋托靈歌合唱團代表的，可算是一個非洲人因西方殖民主義而在世界流轉的總結。索韋托靈歌合唱團由製作人比華莉．拜耶（Beverly Bryer）與已故合唱指揮家戴維．穆洛夫希德茲（David Mulovhedzi）在2002年透過公開徵集招募一流歌手而成立。由於基督教在南非早已落地生根，教會詩班培育出大量出色的（西方音樂定義下）合唱歌手，他們的演唱實力毋庸置疑，加上流行音樂會規格的舞台設計、燈光效果及舞蹈演出，令他們能迅速在國際舞台上走紅。索韋托靈歌合唱團的演出曲目包含不同文化和信仰，演唱語 22

人聲是最原始的「樂器」之一，先民有感而發，或低吟或長嘯，開始了歌唱。聚眾而唱，在不同的民族也見相似的演出形態，英國民俗音樂學家兼作曲家大衛．范曉（David Fanshawe）於1972年創作的《非洲聖哉經》，就在一系列於肯亞、烏干達、蘇丹和埃及蒐集到的原始錄音之上譜曲，讓現代合唱團歌手跟預先錄音的非洲部落在舞台上穿越時空對唱。由於演出用到田野錄音，這可能是當代觀眾對原始非洲合唱音樂的初次體驗。

言有科薩語、索托語、祖魯語及英語不等。音樂風格以南非福音音樂——經過「本土化」的基督教合唱音樂為基礎的風格，再混合牙買加的雷鬼、美國的福音音樂及黑人靈歌等民族音樂以及流行音樂而成。當中雷鬼與靈歌，正是被販賣到牙買加及美國的非洲人發展出來的特色音樂。由此可以看到一個弔詭的情況：若說這些音樂不是來自「原初」的非洲音樂，這些音樂卻又實實在在源於真正的非洲人！可以說，索韋托靈歌合唱團的音樂，是非洲被殖民者（無論是在地被殖民還是被販賣到新世界）挪用殖民者的文化（宗教音樂、合唱音樂）後，以音樂重新建構自己的身分。在享受索韋托靈歌合唱團載歌載舞、令人血脈沸騰的精彩演出之時，我們聽到的，其實是一首由非洲出發、環繞地球一圈再回歸非洲的散居之歌。朱振威以寫作及音樂為業，現任香港中文大學合唱團音樂總監。

索韋托靈歌合唱團（南非） 27.10（五）葵青劇院演藝廳

28.10（六）元朗劇院演藝廳

Soweto Gospel Choir (South Africa) 27.10 (Fri) Kwai Tsing Theatre Auditorium 28.10 (Sat) Yuen Long Theatre Auditorium 29.10 (Sun) Sha Tin Town Hall Auditorium

29.10（日）沙田大會堂演奏廳

Africa to Africa via the World –

Music from South Africa by Soweto Gospel Choir By Leon Chu

The human voice is one of the earliest musical instruments. As a way to express their feelings, our forebearers thrummed and hummed and began to sing. People came together to sing, and similar modes of performance soon emerged among different races. In African Sanctus , created by British ethnomusicologist and composer David Fanshawe in 1972, live recordings of aboriginal African music gathered from Kenya, Uganda, Sudan and Egypt were scored and played on stage in a time-transcending crossover with modern-day choral singers. Since the performance featured field recording, it may well have been today’s audiences’ first exposure to traditional choral music from Africa. Take a look down south at South Africa, the most developed nation of the continent, and we find that its choral music has been growing fast in recent years. Performers from South Africa have been a regular in large-scale chorus competitions around the world. By the time this article is written, the one that tops the INTERKULTUR World Rankings (decided by results at internationally acknowledged contests) is the Stellenbosch University Choir from South Africa, whereas the Akustika Chamber Singers ranks ninth. As for the rankings by category, South African participants are among the top ten across the board: Children’s and Youth Choirs (4th, 6th & 9th respectively); Mixed Choirs (1st & 2nd); Sacred Music and Music of the Religions (2nd, 5th & 9th); Pop, Jazz, Gospel, Spiritual & Barbershop Choirs (1st & 2nd); and Folklore (9th). That said, does it only follow that choral music in South Africa has reached a very high level? Or brings forth another question: Exactly what are we referring to with ‘choral music in South Africa’? There are no easy answers. First of all, the indigenous people of South Africa alone have multiple ethnic origins, not to mention the other racial groups brought into the country after colonization. Confining South African music to one single style would end up being an oversimplification. What’s more, the South African choral music we are appreciating today – including the Soweto Gospel Choir which will be soon performing in Hong Kong – invariably hacks back to the so-called ‘Western music’ that originated in Europe, rather than native choral music in Africa. Today, many choirs from the country are in fact performing western choral music. The Soweto Gospel Choir is known to the world for its reworks of African folk music, such as Khumbaya . However, closer examination of their performing style and their oeuvre reveals that ‘contemporary African music’ – a confluence of European religious music, pop music and African folk music due to globalization and

the social dominance of Caucasians in South Africa – is a more accurate description. The term is yet far from complete, as South Africa doesn’t represent Africa in its entirety. Even more intriguing is that as history indicates, the spreading of African culture to the wider world, as the Soweto Gospel Choir signifies, is somewhat made possible by colonialism and imperialism in the West. The Soweto Gospel Choir was co-founded by its executive producer Beverly Bryer and its late conductor David Mulovhedzi back in 2002 when they recruited some top-tier singers through open audition. Since Christianity goes back a long way in South Africa, church choirs have become a breeding ground for a huge pool of talents – albeit largely defined by aesthetics of Western music. Their unquestionable vocal skills, coupled with staging, lighting and choreography of similar scale to pop concerts, instantly catapulted them to worldwide fame. The repertoire of Soweto Gospel Choir is an amalgam of diverse cultures and faiths. Songs are sung in different languages such as Xhosa, Sotho, Zulu and English. At the core of its art is South African gospel – some form of localized Christian choral music combined with folk and pop including Jamaican reggae, American gospel, and black spiritual. Among them, reggae and spiritual are some distinctive genres developed by black slaves who were sold to Jamaica and the United States. And here there is something worth pondering: despite the fact that this kind of music doesn’t derive from aboriginal African music, it is nonetheless the handiwork of real Africans! In conclusion, it is fair to say that the works of Soweto Gospel Choir are created by colonized Africans – either those under colonial rule or those sold as slaves to the New World – who appropriated the colonizers’ cultures (e.g. religious or choral music) in a quest to rebuild their own identity. As we immerse ourselves in their electrifying performance, let’s not forget that what unfolds before us is a song of itinerants – one that was born in Africa and returned home after a round-the-world trip. Translated by Elbe Lau Leon Chu is Music Director of the Chinese University of Hong Kong Chorus.

Tlé (The Sun) by DAFRA Drum –

A Journey Guided by Light into the Past as Seen in the Present

By Arnold B. Udoka

Tlé (The Sun) opens with a kerosene lantern, signifying the breaking of dawn. As is typical in the customs of Burkinabes, the symbolic sweeping of the cour tyard is carried out in order to welcome the spirits to interact with humans. Tlé (The Sun) is set in a courtyard surrounded by ancestral masks magisterially ‘supervising’ the performance and signifying the ritual interconnections between man, mother nature and spirits; that intercourse which exudes humanity. But fashioning a style is the preserve of genius. This is where the postmodern sensibilities of choreographer Olivier Tarpaga inform the structure, technique and style deployed in Tlé (The Sun) . Structured into two parts, Tarpaga serves in the first par t, a dramatic impression with characters straddling from ordinar y persons to royalty and engaged in commonplace routines of daily chores. In the second part, Tarpaga

takes the audience on an excursion into the ancestral memory of some of Burkina Faso’s dance traditions. The movement selection for the first segment of Tlé (The Sun) – walking, singing, sweeping, washing, pounding, farming, selling, archery, homage to the chief, car tyre-rolling and bouncing and rhythmic movements are in the greater part utilitarian in purpose, but all rolled into what is metaphorically the ‘dance of life’. These activities suggest a homogenous and cohesive society upon which humanity meets its common social needs. Tarpaga sets commonplace movements to rhythm and gives them aesthetic significance within the conceptual framework of the confluence of modern ideas and African traditions whereby a new movement vocabulary is evolved and deployed within the matrix of theatrical communication. The movement vocabulary in the opening of Tlé

(The Sun) may be lacking in the vibrancy associated with dances of African origin, but this marks out Tarpaga as a postmodernist who finds ‘the aesthetic’ in everyday movement, albeit, its subversive tendency. That each character is a protagonist for the common good, pointedly suggests the political philosophy upon which Tarpaga’s Tlé (The Sun) is based. Tarpaga can be profiled as an exponent of the late Marxist President, Thomas Sankara’s political philosophy. This is exemplified in the character of the Chief that inspires selfconfidence in his citizens in whatever each does towards value addition to the nation state. With this consideration, the aesthetic parameters for the movement vocabulary in the opening scene of Tlé (The Sun) are not exponible since they are not canonized but experimental. Like in every contemporary art, its borrowings and contraptions for expression continue to seek new and boundless meanings of movement and abhor formalistic confinements. Here, Tarpaga’s dance theatre thesis marks the western influence in Burkina Faso’s theatre offering. In the second segment of Tlé (The Sun) , Tarpaga returns to Burkina Faso traditions and explores the folkloric movement or thography rich in aesthetic and symbolic values. The idea resonates with the intention to celebrate a nostalgic past whose elegy has not been able to subdue the imagery which at once defines the Burkinabe dance heritage and spirit. Traditional dances all over the world were for religious purposes; Burkina Faso is no exception. Such dance traditions have passed on to the new generation of Burkinabes and still retain their significance as art forms without emphasis on religious functions or devotion. In this context, the dances are reminiscent of their folkloric counterparts and for entertainment than anything else. Body movement in traditional dances of Africa is a factor of many things: the myths of the cultures, the belief systems, flora and fauna, occupations, elements of the terra firma, fire, wind and water which are ingenuously ar ticulated into movement vocabulary, encapsulated in techniques that are accessible to all participants in the cultures. Accessibility to the dances by all also makes for capacity for adjudication by all. The exceptions to this rule are cultic dances which generate their internal movement orthography to maintain their secrets. Effectively, dances of Africa always are derived from divine entities as ensconced in the myths of cultures. These divine entities are believed to be responsible for the providence of the culture and they are captured in imageries to which most Africans are no longer conscious of.

In each African dance, the human body transforms as a result of the internalization of imagery. This imagery forms the metaphorical and mental image which each culture holds dear as its identity and history. Through the process whereby the imagery is reproduced through kinaesthesia, the dancer symbolically is the image of the choice of the flora, fauna or any element and assumes its characteristics and behaviours. This way, a complete transformation to ‘becoming’ has been accomplished. At this point, it is believed that the dancer bestrides the two worlds of the humans and the spirits – where one can attract the blessing of the gods. The energetic and seemingly plotless second segment of Tlé (The Sun) , made up of solos, duet, trio and quartet are rich in imagery drawn from the dance vocabulary of indigenous cultures of Burkina Faso. Each dance follows a sequential storyline told in movement. Some of the movement imageries Tarpaga deploys signify the following: deep inclined genuflection with spread arms (worship), contract and release upper torso action (bird in flight), spins and head swings (trance), patter (awaking the earth), lateral kicks (the warding off interfering forces), shuffles (caressing mother earth in thanksgiving), male-female pair (mythical parents of the universe; conjugality of opposites), palm of the hand touching the floor (homage to earth), contract and release upper torso action with lateral kicks (the warding off interfering forces). Essentially, Tarpaga draws on indigenous dance vocabulary and movement experiences to display the mastery and virtuosity of the dancers and also introduces the world and critics alike to the rich dance traditions of Burkina Faso.

Tlé (The Sun) , is indeed, a journey guided by light into the past as seen in the present where the genius of Tarpaga shines through the experiments to re-invent Burkina Faso dances and negotiate its significance as well as everyday movement as a cultural activity under the sun. Arnold B. Udoka is Director (Dance) of National Troupe of Nigeria and Founding President of Association of Dance Scholars and Practitioners of Nigeria.

《太陽之舞》達夫拉鼓樂舞蹈團 ─ ─由太陽引領的一趟時空之旅文：阿諾．烏度卡

一盞煤油燈為《太陽之舞》打開序幕，意味著破曉時分的一絲暮光。就如典型的布基納法索習俗，象徵性的祭掃庭院能招請神靈跟人類接觸。在《太陽之舞》的庭院背景下，一副副祖傳的面具威嚴地「監督」著演出的進行，暗示天、地、人之間儀式性的聯繫，而這彼此互連的關係散發著人性的光芒。有說塑造個人風格是展現卓越才情的好方法，編舞奧利華．達柏加將他獨特的後現代感性反映在《太陽之舞》的結構、技巧和風格中。舞作分成兩部分，在上半部，達柏加以戲劇化的手法處理，人物設置由普羅大眾到達官顯宦皆有，他們都在處理日常之瑣事；而下半部，達柏加則帶領觀眾走入布基納法索傳統舞蹈的祖輩憶記裡。有關舞作上半部分的肢體動作，譬如行走、歌唱、打掃、清潔、捶擊、耕作、售貨、射箭、向酋長致敬、滾動車輪胎和跳躍等富韻律的動作，均以實用性為主要目的，而且全納入並被喻為「生之舞」。這一連串動作表示人類達至一個大同的社會，完全地滿足社會上的共同需要。達柏加把日常庸俗的動作加入節奏與韻律，並在現代藝術與非洲傳統合成的框架下賦予其美學價值，在千迴百轉的劇場演練中創造出一套獨有的舞蹈語言。《太陽之舞》的初段或許不如一般非裔舞蹈般生意盎然，但這卻表現達柏加作為一位後現代主義者，在尋常瑣務中也發現到「美」，無論這是如何具顛覆性的構想。舞作中每位角色都切實為共同利益而活，由此可見，《太陽之舞》明確表露了它所依據的政治思想。達柏加可說是已故馬克思主義總統托馬斯．桑卡拉政治理念的繼承者，這思想恰恰體現於酋長一角，他不論人民對國家價值貢獻的多寡，亦一視同仁，激勵並鞏固他們的自信心。由此，便明白舞作開首那肢體語彙的美學性之所以是不可言喻，是因為那是非經典化、卻具實驗性的舞步。就如所有當代藝術一樣，它們所借用的任何表現裝置或表達方式，都渴望推陳出新，在無垠之中尋找意義，並鄙棄一切形式主義的限制。可見達柏加的舞蹈劇場正呈現了西方對布基納法索的作品之日濡月染。《太陽之舞》的下半部分，達柏加回歸到布基納法索的傳統，嘗試探索民族舞步在美學與象徵方面特有的價值。這重返的念頭回應著歌頌往昔的心，悽愴的輓歌聲無法抑壓那定義布基納法索的舞蹈文明與精神、栩栩如生的舞蹈意象。過去，任何傳統舞蹈亦有其宗教用途，布基納法索的也不例外。雖然新一代的布基納法索裔承傳了傳統舞步，也保存了此藝術形式，但舞蹈在宗教上的功能與其蘊涵的奉獻精神已逐漸被淡化。在這種情況下，傳統舞蹈漸轉化為一種對先人的懷想以及娛樂方式，更甚於其他目的。非洲傳統舞匯集多方面的題材，包括神話與文化、信仰體系、植物與動物群、職業，以及土、火、風、水四大元素，

並巧妙地將它們羅致到舞蹈語彙中；也不論觀眾的文化背景，貫穿在不同人種都能解讀的舞蹈技巧中。所有人都能明白舞作，等於所有人都能作出裁決。只有邪教舞蹈才會把意義槃旋在內，以隱藏秘密暗語。事實上，非洲舞蹈通常源自神話傳說中神聖的存有物。這些神聖的存有物被廣泛認為是代表神的眷顧，可這些有關神的意象隨處可見，讓大部分非洲人習以為常。在每種非洲舞蹈中，肢體動作亦跟隨著意象而內化其中。意象組成了各個文明在隱喻與精神上的形象，使其身分與歷史得以確立。舞者運用肢體以及對動作的敏銳度，令意象展翅高飛。在此過程中，舞者象徵著植物群、動物群，甚或是其他元素的形象，呈現它們的特質與舉止，最終便達至全面的「生成」（becoming）。人們相信，舞者因此能跨越天神與凡人之界線，藉以獲得神的祝福。朝氣蓬勃、看似沒有情節的下半部分由獨舞、雙人舞、三人舞和四人舞所組成，從布基納法索土著文化的舞蹈語彙中抽取意象並設置其中。每段舞蹈順著故事的敘述流溢，當中達柏加的一些設計蘊含以下意味：張開雙手深深跪拜（代表朝拜）、展開雙臂（如小鳥展翅）、頭昏目眩（發獃）、喋語綿綿（喚醒蒼天）、側蹬（防範干擾）、於地上反復拖曳（為感恩而愛撫大地之母）、男女相對（傳說中宇宙之父母；夫婦之關係）、掌心貼地（向大地致敬）、展開雙臂並側蹬（防範干擾）。實際上，達柏加希望借助土著舞蹈的語言與動作，讓舞者展示他們精湛的舞藝，也藉此向全世界以至評論家介紹布基納法索傳統舞蹈的深邃內涵。《太陽之舞》確是一趟由太陽引領，穿梭過去的旅行──讓才華洋溢的達柏加以是次重構布基納法索舞蹈、推索其舞蹈與日常之意義的實驗，在太陽底下迸發光芒。中譯：林凱敏阿諾．烏度卡「尼日利亞國立藝團」舞蹈總監、「尼日利亞舞蹈工作者及學者聯會」創會主席。

《太陽之舞》達夫拉鼓樂舞蹈團（布基納法索） 10.11（五）沙田大會堂演奏廳

12.11（日）荃灣大會堂演奏廳

Tlé (The Sun) by DAFRA Drum – West African Drum and Dance Ensemble (Burkina Faso) 10.11 (Fri) Sha Tin Town Hall Auditorium

12.11 (Sun) Tsuen Wan Town Hall Auditorium

細讀《死亡與國王的侍從》及《拼死阻止》文：潘詩韻

於六十年代才脫離殖民統治、全面獨立的非洲，面積和人口也是全球第二大洲，但礙於從前西方的殖民主義，以及獨立後長期的政治不穩、種族衝突、熱帶疾病以及工業發展帶來的環境污染等，令非洲成為全球經濟發展水平最低的一個洲，居民長居於貧窮線下。然而，就人類文明的發展而言，非洲，尤以北部埃及為甚，卻是人類最古老的文化及文明發源地之一。當地的神話、傳說及故事一直口耳相傳，以各種不同的敘述、舞蹈、唱誦或圖繪的形式流傳至今，而劇場在當中扮演了重要的角色。當下的非洲劇場，跟遠在歐亞的觀眾及香港的劇場工作者們，不無聯繫。跟古希臘及其他古文明的劇場一樣，非洲劇場的傳統功能在於透過口述唱誦各種神話傳說及英雄故事，祈求保佑，在面對危難時安穩人心。在教育資源貧乏的國度，說唱亦成為重要的表演形式。時至今日，非洲劇場在社會介入及討論中扮演著重要角色，對當地劇場工作者而言，劇場並非「為藝術而藝術」，它有著提出及釐清社會中具爭議性的問題並引發討論的功能，形式也多秉承非洲劇場鼓勵觀眾參與的傳統，編劇都希望觀眾能就社會問題作出行動，或至少對問題有更深刻的了解，而觀眾入場也不為純粹娛樂。所以，非洲劇場可以說充滿政治劇場意味。首位獲得諾貝爾文學獎的非洲尼日利亞作家渥雷．索因卡，一直以文學批判社會，早於六十年代便指「藝術家在非洲社會的功能一直是記錄社會經驗，並為他那個時代的願景發聲」。他在七十年代發表的五幕經典悲劇《死亡與國王的侍從》便是一部探討人與命運及信念角力的作品，諾貝爾文學獎的頌詞稱讚此劇「深刻地發掘人和神的境界，因此它告訴我們的不僅僅是不同文化之間的決裂」。讀者也可對此劇進行多重閱讀，包括殖民與被殖民者的對立、西方與非洲的不同文化道德價值、傳統在現代演進的衝突，或個人面對命運的哲學思考。不過，索因卡在劇作的序言中則清楚指明不要將此劇簡單視為文化衝突，這只會鼓勵分析的惰性。此劇根據1946年於尼日利亞發生的一件真實事件改編而成，於1975年正式發表。故事圍繞非洲魯約巴族的傳統，規定國王的侍從首領必須在國王死後的葬禮中一併死去，伴國王到彼岸世界，以延續他的工作。後因白人行政官認為此舉不人道，故把侍從囚禁避免他自殺，卻因而令族人及侍從感到羞恥，侍從的長子遂代父就死，侍從得悉後繼而尋死，留下剛娶的市場年輕女子及遺腹子。索因卡的劇本體現著「神話詩學」的結構，語言充滿長篇韻文及詩化意象，跟非洲傳統的說唱故事一樣，充滿神話色彩。鼓聲、輓歌等音樂元素建構了劇本的節奏，推進劇情；豐富的詩歌和舞蹈色彩，提高了劇本的表演性。索因卡成功地將非洲傳統劇場的表演與敘事形式，跟當代劇場融匯結

合。本劇也仿效了古希臘悲劇的典型，全劇以不同符號隱喻命運的種種，透過瀕死的侍從，呈現了人面對命運時的軟弱，也透過侍從長子，將逆轉命運的希望寄托在未來世代。侍從即將枯萎的身體，也對照著其戀慕的年輕女子，彷彿嫩芽滋長，為求得到最終的歡愉，侍從以將要逝去的生命，換取自己下一代種子得以留下的生機，讓「維繫我生命的湧流，最後一次從這具肉體奔瀉而出」。只是他對世間的留戀，「使得原本連繫著全族人的臍帶竟被我一個人徹底切斷」，甚至令世界歪斜顛倒；而當年輕的兒子決定代替父親履行職責，他這才意識到「榮譽結束之際，也就是生命結束的時刻來臨」。「死者已矣，忘了吧，就連生者也該置諸腦後。但願你們只把心思傾注在尚未出生的人身上啊！」索因卡透過此劇述說一種超越過去、現在和將來的世界觀，也就是說，我們活著的人，跟往生與未來者都有著緊密的聯繫。這種超越古今的聯繫，也延伸到今日的非洲劇場，只是當下非洲大陸在全球化的影響下，個人面對的命運議題，也更迫在眉睫。今日許多非洲劇作家的作品，愈多關注非洲跟全球政治經濟發展的互動連繫。形式方面則仍深受傳統說唱形式的影響，只是在全球化的影響下，他們的作品更多超越了本土宗教及文化傳統，而結合著不同文化的劇場敘事與表演形式。今年六月在阿姆斯特丹的荷蘭藝術節上演了一部七十後非洲剛果編導迪厄多納．尼安古納（Dieudonné Niangouna）的作品《Nkenguegi》，以密集直白的語言批判當下非洲的社會及難民問題，當中呈現女性被受壓迫與性暴力的境況，跟二十年前烏干達劇作家維奧莉．芭倫吉透過喜劇《拼死阻止》關注的女性狀況不謀而合。芭倫吉長年透過劇場推動非洲女性的自由、充權，以及平等接受教育的機會，在一次訪問中，她直言希望自己的作品能被用作當代非洲女性文學的研究參考，也希望其作品能成為女性議題的發展工具。《拼死阻止》以喜劇手法，關注非洲年輕女性因家庭經濟需要，被迫嫁給經濟能力較佳的男性，早婚剝削了她們接受教育的機會，而當婚姻出現問題，她們因缺乏經濟獨立的能力，加上社會的歧視目光，終陷入被動無助、無奈接受現狀的困境。此劇於1997年獲得英國文化協會國際新劇獎（非洲及中東地區）。故事透過一對父母為女兒籌劃未來的衝突，呈現非洲女性在教育上面對的困境，以及可能的樂觀願景。父親希望女兒有更佳的將來，想她接受大學教育，也想她完成自己因為早婚而未能完成的學業；但母親則希望女兒早點嫁給她喜歡且富有的男友，以改善他們全家的生活，並支援自己的醫療費

用。父親要脅說女兒若要選擇結婚而不入讀大學，他定會拼死阻止（over my dead body），及後在一次爭吵中，女兒以為自己誤殺了父親，只是這誤會沒有讓她選擇結婚，反而叫她看清楚自己該作的選擇——繼續升學。全劇最後大團圓結局，在女兒的大學畢業慶祝會中，曾遭女兒拒婚的男友因仰慕女兒的獨立思想及求學意志，再度向她求婚而終獲女兒及父親首肯。「成功沒有捷徑，唯有透過汗水與堅毅才能達到目標。」父親的一番話，成為女兒繼續求學的座右銘。全劇的喜劇結局充滿劇作家對非洲女性前景的期許，但上一代的期望如何影響下一代的選擇，上一代似乎都為自己當初的選擇後悔，希望下一代能彌補他們未完的夢。有趣的是阻礙女兒升學的是母親是非父親，這也透露了非洲女性的教育若得不到改善，她們的命運將繼續循環。社會批判意味濃厚的作品，大都出於對當下現況的迫切關注與鞭韃。兩位劇作家於七十年代及九十年代寫成的作品，當中描述的非洲人的處境，在今天雖有變遷，但普遍仍然持續，可見兩個作品的當代意義仍然深遠。延伸參考： African Women Playwrights , edited by Kathy A. Perkins, Urbana: University of Illinois Press, 2009.

Dieudonné Niangouna’s Nkenguegi and Theatre in Africa by Mineke Schipper, Nkenguegi house program, Holland Festival, 2017.

潘詩韻「香港戲劇創作室」藝術總監。

品戲非洲《死亡與國王的侍從》 5.11（日）葵青劇院黑盒劇場

品戲非洲《拼死阻止》 5.11（日）葵青劇院黑盒劇場

African Plays Tasting Series: Death and the King’s Horseman 5.11 (Sun) Kwai Tsing Theatre Black Box Theatre

African Plays Tasting Series: Over My Dead Body 5.11 (Sun) Kwai Tsing Theatre Black Box Theatre

A Close Reading of Death and the King’s Horseman and Over My Dead Body By Janice Poon

Having achieved decolonization and full independence in the 1960s, Africa is the world’s second largest continent in size and population. Never theless, Western colonialism from the past, as well as prolonged political instability after its independence, racial conflicts, tropical diseases, and environmental pollution caused by industrial development have made Africa one of the least economically developed continents in the world, where its people perpetually live below the poverty line. In terms of the development of human civilization, however, Africa, particularly Egypt in North Africa, is one of the origins of mankind’s most ancient cultures and civilizations. Indigenous myths, legends and stories were passed on from storytellers to audiences, and they have been passed down to the present day through different forms of narration, dance, singing & chanting, drawing and painting. Theatre has played a crucial role in this preservation of heritage. Today, African theatre has its connections to audiences in the faraway lands of Europe and Asia, as well as theatre practitioners in Hong Kong. Like the theatres of ancient Greece and other ancient civilizations, the traditional function of African theatre was to use oral narration or singing of mythological and heroic tales as a prayer for blessings, offering reassurance to the people in times of crisis. In countries where resources for education were scarce, storytelling became an important form of performance. Nowadays, African theatre plays a crucial role in social intervention and discussion. To local theatre practitioners, theatre is not an act of ‘art for art’s sake’; it has the function of raising, illuminating and provoking discussion on controversial issues in society, and its forms have largely upheld the tradition of encouraging audience participation in African theatre. The playwrights hope the audiences will react on social issues, or at least gain a deeper understanding of the issues. The audiences are not only seeking entertainment as they enter the theatre. In this sense, African theatre is steeped in connotations of political theatre. The first African to receive the Nobel Prize for Literature, Nigerian writer Wole Soyinka has always sought to criticize society through literature. As early as in the 1960s, he noted that “the artist has always functioned in African society as the record of the mores and experience of his society and as the voice of vision in his own time”. Premiered in the 1970s, his classic five-act tragedy Death and the King’s Horseman is a work that explores the human struggle with fate and faith. In the presentation speech at the award ceremony of Nobel Prize in Literature, the play is lauded for its drama that “goes so deeply into human and superhuman

conditions that it cannot be reduced to something that teaches us about breaches between different civilizations”. The reader may read the play on different levels, including the contention between the colonizer and the colonized, the divergent cultural and moral values of the West and Africa, the conflicts arising from tradition in the evolution of modernity, and the individual’s philosophical reflections on fate. However, Soyinka pinpoints in his preface to the play that it should not read simply as a portrayal of the clash of cultures, as that would encourage a reductionist tendency in interpretation. The play is based on a real incident that took place in Nigeria in 1946, and it was premiered in 1975. The story revolves around the tradition of the Yoruba people in Africa; according to the tradition, the horseman of a king who has passed away must die at the king’s funeral, to accompany the king on his transit to the otherworld and to continue with his duty. A white administrative officer considers this inhumane, and has the horseman imprisoned to prevent his suicide. However, this turn of events brings shame upon the community and the horseman, and the horseman’s eldest son commits suicide in his father’s place. Upon learning this, the horseman takes his own life and leaves behind his newly wed wife, a young woman from the market, and an unborn child. Soyinka’s play embodies the structure of ‘the poetics of mythology’. Its text is filled with long verses and poetic imagery, and it has a strong mythological resonance like the tales of traditional African storytelling. Musical elements such as drumming and the dirge constitute the rhythm of the play and propel its dramatic unfolding, while the richness of poetry and dance enhances its performativity. Soyinka successfully merges the forms of performance and narration of traditional African theatre with contemporary theatre. The play also imitates the prototypes of ancient Greek mythology. It employs different symbols as metaphors for fate and, through the character of the horseman on the verge of death, illuminates the feebleness of man against fate. It also projects the hope for the wheel of fate turning onto the future generations through the horseman’s eldest son. The horseman’s withering body is contrast to the young woman with whom he is infatuated, and whose presence nourishes his spirit. To get his final taste of pleasure, the horseman trades his life that is soon to the end for the chance of his seed surviving: “[my] vital flow, the last from this flesh”. Yet his attachment to earthly life “[severs] the cord that links [his people] to the great origin”, and even sends the world tumbling down. It is only when the

young son decides to fulfil the father’s duty in his place that the horseman realizes that “[life] ends when honour ends”. “Now forget the dead, forget even the living. Turn your mind only to the unborn.” Soyinka conveys through the play a worldview that transcends the past, the present and the future. That is to say, those of us who are living have a close connection to the dead and those who are yet to be born. This connection that transcends history also extends to present-day African theatre. As the effects of globalization take hold in Africa, the questions of fate for the individual become all the more pressing. The works of many African playwrights today show increasing concer n about the inter action between Afr ica and the development of global politics and economy. In terms of form, these playwrights’ works are still deeply influenced by traditional stor ytelling. Under the influence of globalization, however, their works are going beyond indigenous religions and cultural traditions, as they incorporate the forms of theatrical narration and performance from different cultures. In June 2017, the Holland Festival in Amsterdam presented Nkenguegi by Dieudonné Niangouna, a post-1970s generation director and playwright from Congo, Africa. In exuberant and direct language, the play criticizes the issues of African society and refugees today, as it depicts the suppression and sexual violence against women. This echoes the concern for women conveyed in Over My Dead Body , a comedy by Ugandan playwright Violet Barungi in the 1990s. Bar ungi has been a long-time advocate for freedom and empowerment, and equal educational oppor tunity for African women through theatre. In one interview, she stated that she hopes her works will be “used as reference books in the study of contemporar y African female literature, and as tools for development with regard to women issues”. With strong comical undertones, Over My Dead Body spotlights the issue where African women are forced to marry affluent men due to their families’ financial needs. Early marriage deprives them of the opportunity to get an education. When their marriages hit the rock, they lack the ability to become financially independent, and they face discrimination from society. Eventually they fall into a passive, helpless state where they have no choice but to accept the status quo. The play won the British Council New Playwriting Award for Africa and the Middle East in 1997. Through the conflict between a pair of parents and their daughter over their plans for the daughter’s future, the play illustrates the challenges African women encounter in education and the hopeful

prospects that may be possible. The father wishes for a brighter future for his daughter and wants her to attend the university; he also hopes she could complete her education, as he did not do so himself because of an early marriage. The mother would rather the daughter marry the wealthy boyfriend she likes sooner, which would help improve the life of their family and pay for her own medical expenses. The father threatens the daughter that if she chooses marriage over university education, she would have to do so over his dead body. In a fight that ensues, the daughter believes she has killed her father by accident. The misunderstanding does not prompt her to marry but to reflect on the choice she should make – continuing her education. The play closes with a happy ending where, at the daughter’s university graduation ceremony, the boyfriend who was once rejected proposes to her again out of admiration for her independent thinking and determination to study, and his marriage proposal is accepted by both the daughter and the father. “There’s no shortcut to success. It’s through one’s sweat and endeavor that one achieves one’s goal,” the father’s words become the daughter’s motto in pursuing her education. The play’s comical ending embodies the playwright’s hopes for the future of African women. As they seek to influence the choice of the next generation with their expectations, the earlier generation seems to regret over the choices they made earlier in life, and hopes the next generation could live out their unfulfilled dreams. What’s interesting is that it is the mother, rather than the father, who attempts to stop the daughter from continuing her education. This shows that the fate of African women will remain in a vicious cycle, if there is no improvement to their prospects for education. Socially critical works are mostly born of a pressing concern and decrying of the present reality. Written in the 1970s and 1990s, the circumstances surrounding the lives of Africans depicted in the two playwrights’ works have changed somewhat. Yet they remain prevalent at the present time, and these two works still resound with profound contemporary significance. Extended references: African Women Playwrights , edited by Kathy A. Perkins, Urbana: University of Illinois Press, 2009. Dieudonné Niangouna’s Nkenguegi and Theatre in Africa by Mineke Schipper, Nkenguegi house program, Holland Festival, 2017.

Translated by Nicolette Wong Janice Poon is Artistic Director of Hong Kong Dramatists.

世界文化藝術節 World Cultures Festival 2017— 躍動非洲 Vibrant Africa 20.10 – 19.11.2017 表演節目 Stage Performances 開幕節目：尤蘇．恩多爾與達喀爾超級巨星樂團（塞內加爾） Opening Programme: Youssou N’Dour with the Super Étoile de Dakar (Senegal) 20-21.10（五Fri -六Sat）7:30pm 22.10（日Sun）3pm 香港文化中心大劇院 Hong Kong Cultural Centre Grand Theatre $580, $480, $380, $280*, $180* 索韋托靈歌合唱團（南非） Soweto Gospel Choir (South Africa) 27.10（五Fri）8pm 葵青劇院演藝廳 Kwai Tsing Theatre Auditorium $360, $280, $220, $160* 28.10（六Sat）8pm 元朗劇院演藝廳 Yuen Long Theatre Auditorium $320, $260, $200, $140* 29.10（日Sun）3pm 沙田大會堂演奏廳 Sha Tin Town Hall Auditorium $360, $280, $220, $160* 演讀體驗劇場：《我的聖城麥加之路》香港戲劇協會 Reader’s Theatre: The Road to Mecca by Hong Kong Federation of Drama Societies 27-28.10（五Fri -六Sat）8pm 28-29.10（六Sat -日Sun）3pm 葵青劇院黑盒劇場 Kwai Tsing Theatre Black Box Theatre $140 獨腳戲系列：《等待》泰姆比．姆沙利— 瓊斯和艾瑤．花柏（南非） Monodrama Series: A Woman in Waiting by Thembi Mtshali-Jones and Yaël Farber (South Africa)

2-3.11（四Thur -五Fri）8pm 香港文化中心劇場 Hong Kong Cultural Centre Studio Theatre $280, $200*

《致命對話》The Theatre Company（肯尼亞） A Man Like You by The Theatre Company (Kenya)

4.11（六Sat）2:30pm, 7:30pm 葵青劇院黑盒劇場 Kwai Tsing Theatre Black Box Theatre $200 《天堂鳥》唐娜．奧貢奈基和布迪奧製作（尼日利亞） Strelitzia by Donna Ogunnaike and Poedio Productions (Nigeria) 4.11（六Sat）11:30am, 4:30pm 5.11（日Sun）11:30am, 2:30pm 葵青劇院廣場 Kwai Tsing Theatre Plaza $200# 《非洲豎琴音樂會》素娜．祖巴特與樂隊（岡比亞英國） Kora Concert by Sona Jobarteh and Band (Gambia / UK)

9-10.11（四Thur -五Fri）8pm 香港大會堂劇院 Hong Kong City Hall Theatre $280, $220, $160 《太陽之舞》達夫拉鼓樂舞蹈團（布基納法索） Tlé (The Sun) by DAFRA Drum – West African Drum and Dance Ensemble (Burkina Faso) 10.11（五Fri）8pm 沙田大會堂演奏廳 Sha Tin Town Hall Auditorium $320, $260, $200, $140* 12.11（日Sun）3pm 荃灣大會堂演奏廳 Tsuen Wan Town Hall Auditorium $320, $260, $200, $140* 巴希爾．阿塔爾率領酋酋卡大師樂隊（摩洛哥） The Master Musicians of Jajouka led by Bachir Attar (Morocco) 11.11（六Sat）8pm 香港大會堂音樂廳 Hong Kong City Hall Concert Hall $400, $300, $220, $160

獨腳戲系列：《離合》以利．撒林巴（盧旺達） Monodrama Series: Split/Mixed by Ery Nzaramba (Rwanda) 4.11（六Sat）8pm 5.11（日Sun）3pm 香港文化中心劇場 Hong Kong Cultural Centre Studio Theatre $280, $200*

《當初》謝曼恩．阿科尼（塞內加爾法國） Somewhere at the Beginning by Germaine Acogny (Senegal / France) 17.11（五Fri）8pm 香港大會堂劇院 Hong Kong City Hall Theatre $280, $220, $160*

安潔莉克．淇祖（貝寧） Angélique Kidjo (Benin) 3.11（五Fri）8pm 香港文化中心音樂廳 Hong Kong Cultural Centre Concert Hall $480, $380, $280, $180

《本相》謝曼恩．阿科尼（塞內加爾 / 法國） Mon élue noire-sacre #2 (My Black Chosen One) by Germaine Acogny (Senegal / France) 19.11（日Sun）3pm 香港大會堂劇院 Hong Kong City Hall Theatre $280, $220, $160*

* 部分座位視線受阻 Some seats may have a restricted view # 部分企位視線受阻 Some areas in standing zones may have a restricted view

閉幕節目：《曼德拉》開普敦歌劇院（南非） Closing Programme: Mandela Trilogy by Cape Town Opera (South Africa) 17-18.11（五Fri -六Sat）8pm 19.11（日Sun）3pm 香港文化中心大劇院 Hong Kong Cultural Centre Grand Theatre $580, $480, $380, $280*, $180*

延伸活動 Extension Activities 文化導航系列 Cultural Perspectives Series 非洲人在中國─ ─影像鏡頭後的真實故事陳古城 Africans in China: The Real Story by Roberto Castillo 6.9（三Wed）7:30pm-9pm 商務印書館尖沙咀圖書中心 Commercial Press Tsimshatsui Book Centre 烈日當下─ ─非洲生存的現實與挑戰李璧君、李冰心 Surviving Africa: Knowing the Reality and Challenges by Lee Pik-kwan and Brenda Lee 22.9（五Fri）7:30pm-9pm 商務印書館尖沙咀圖書中心 Commercial Press Tsimshatsui Book Centre 香港人看非洲─ ─鏡頭背後實錄沈旭暉、莫至剛 Hong Kong Perspectives on Africa by Simon Shen and Jan Mok 26.9（二Tue）7:30pm-9pm 01空間 01 SPACE 共融以外─ ─了解「落地」的非洲文化駱美清、譚婉儀 Inclusion and More: Understanding African Culture in Hong Kong by Camy Lok and Kayla Tam 29.9（五Fri）7:30pm-9pm 商務印書館尖沙咀圖書中心 Commercial Press Tsimshatsui Book Centre 特別放映和映後談：《尋找隱世巨聲》鄭政恆、黃志淙 Special Screening and Discussion: Searching for Sugar Man by Matthew Cheng and Wong Chi-chung 6.10（五Fri）7pm-9pm 商務印書館尖沙咀圖書中心 Commercial Press Tsimshatsui Book Centre

特別放映和映後談：《我的八十後同學》蔡靄兒、陳葒 Special Screening and Discussion: The First Grader by Joycelyn Choi and Chan Hung 13.10（五Fri）7pm-9pm 商務印書館尖沙咀圖書中心 Commercial Press Tsimshatsui Book Centre

開幕夜派對 Opening Night Party 20.10（五Fri）10:30pm-11:30pm 香港文化中心大堂 Hong Kong Cultural Centre Foyer

品戲非洲 African Plays Tasting Series 《死亡與國王的侍從》 Death and the King’s Horseman 5.11（日Sun）4pm-6pm 葵青劇院黑盒劇場 Kwai Tsing Theatre Black Box Theatre $80 《拼死阻止》 Over My Dead Body 5.11（日Sun）7:30pm-9:30pm 葵青劇院黑盒劇場 Kwai Tsing Theatre Black Box Theatre $80

戶外演出 Outdoor Performance 「夢想的力量」巡遊 "Power of Dreams" Parade 17.9（日Sun）2:30pm, 3:30pm, 4:30pm 九龍灣淘大商場地下露天廣場 G/F, Open Pedestrian Mall, Amoy Plaza, Kowloon Bay 一呼百應樂街舞 Surprise Dance 4.11（六Sat）隨時現身 No fixed time for appearances 銅鑼灣Fashion Walk百德新街 Paterson Street, Fashion Walk, Causeway Bay 非凡非洲 Viva Africa 5.11（日Sun）2pm-6pm 香港文化中心露天廣場 Hong Kong Cultural Centre Piazza

雜技 Circus

工作坊 Workshop

繁盛馬戲團 Fekat Circus 4.11（六Sat）3pm 銅鑼灣Fashion Walk百德新街 Paterson Street, Fashion Walk, Causeway Bay

索韋托靈歌合唱團音樂工作坊 Music Workshop by Soweto Gospel Choir 28.10（六Sat）3pm-4pm 元朗劇院演講室 Yuen Long Theatre Lecture Room $160

示範講座 Lecture Demonstration 巴希爾．阿塔爾率領酋酋卡大師樂隊 The Master Musicians of Jajouka led by Bachir Attar 10.11（五Fri）7:30pm-8:30pm 香港文化中心音樂廳後台7樓排演室CR1 Hong Kong Cultural Centre Concert Hall Backstage Level 7 CR1 素娜．祖巴特 Sona Jobarteh 10.11（五Fri）2:30pm-4pm 香港大學美術博物館林仰山展覽廳 F. S. Drake Gallery, University Museum and Art Gallery, The University of Hong Kong

講座 Talk 素娜．祖巴特 Sona Jobarteh 11.11（六Sat）2:30pm-4pm 01空間 01 SPACE

大堂演出 Foyer Performance 巴希爾．阿塔爾率領酋酋卡大師樂隊 The Master Musicians of Jajouka led by Bachir Attar 11.11（六Sat）3pm-3:30pm 香港文化中心大堂 Hong Kong Cultural Centre Foyer 開普敦歌劇院 Cape Town Opera 18.11（六Sat）3pm-3:30pm 香港文化中心大堂 Hong Kong Cultural Centre Foyer

展覽 Exhibition 開普敦歌劇院 Cape Town Opera 8-18.11 9am-11pm 香港文化中心大堂 Hong Kong Cultural Centre Foyer

非洲鼓樂及舞蹈親子工作坊 African Drumming and Dance Parent-child Workshop 28-29.10（六Sat -日Sun）4:30pm–5:30pm 高山劇場新翼一號排演室 Ko Shan Theatre New Wing Rehearsal Room (1) $140（成人Adult） $100（兒童Child）非洲串珠及樂器製作工作坊 African Paper Bead Making and Instrument Making Workshop 28.10（六Sat）2:30pm-4pm 高山劇場新翼一號排演室 Ko Shan Theatre New Wing Rehearsal Room (1) $160 非洲面具製作及舞蹈工作坊 Mask Making and African Dance Workshop 29.10（日Sun）2:30pm-4pm 高山劇場新翼一號排演室 Ko Shan Theatre New Wing Rehearsal Room (1) $160 基桑巴舞體驗工作坊 Experiencing Kizomba Workshop 4.11（六Sat）7pm-9:30pm 香港文化中心音樂廳後台7樓排演室CR2 Hong Kong Cultural Centre Concert Hall Backstage Level 7 CR2 $160 達夫拉鼓樂舞蹈團舞蹈工作坊 Dance Workshop by DAFRA Drum – West African Drum and Dance Ensemble 8.11（三Wed）7:30pm-9pm 香港文化中心大劇院後台8樓排演室GR2 Hong Kong Cultural Centre Grand Theatre Backstage Level 8 GR2 $160 達夫拉鼓樂舞蹈團鼓樂工作坊 Drum Workshop by DAFRA Drum – West African Drum and Dance Ensemble 12.11（日Sun）5:15pm-6:45pm 荃灣大會堂展覽館 Tsuen Wan Town Hall Exhibition Gallery $160

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