舞蹈手札 dance journal/hk 22-2 by Hong Kong Dance Alliance

繼

續

KEEP AND

專欄Column 舞蹈策展：來自印尼的經驗

Curating dance: An Indonesian experience

跳

四月 APR / 五月 MAY 2020 Vol.22 No.2

ISBN 1999 – 6721

舞

DANCING CARRY ON

焦點 Focus 我們需要重新定義這世代的香港舞蹈 —— 楊春江專訪

Redefining Hong Kong dance for this generation — An interview with Daniel Yeung

香港舞蹈聯盟 Hong Kong Dance Alliance

觀察 Obser vation 想見你（和你的藝術）—— 橫濱表演藝術交流會及周邊節目經驗談

匯演暨頒獎禮

PRESENTATION & GALA PERFORMANCE

香港舞蹈年獎

節目延期至七月

主辦 Presented by

Event is postponed to July

7 18 2020

六

Sat

葵青劇院演藝廰

8pm

Auditorium, Kwai Tsing Theatre

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。

$180, $120

徵

稿

CALL FOR ARTICLES

Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.

歡迎任何形式的舞蹈文章/書寫

Any form of dance writing on dance is welcomed

若希望發表長篇文章，歡迎直接聯絡編輯部

For any full-length article to be submitted,

來稿字數:（中）1100 字/（英）700 字截稿日：每月1 5 日

投稿電郵：admin@hkdanceall.org

Word Count: (Chi) 1100 words / (Eng) 700 words please contact the editorial team directly Submission Deadline: 15th of every month Submission email: admin@hkdanceall.org

出版人 Published by

香港舞蹈聯盟理事委員會 Hong Kong Dance Alliance Executive Committee 主席 Chairperson 副主席 Vice Chairperson 秘書 Secretary 司庫 Treasurer 委員 Members 榮譽退休主席 Chairpersons Emeriti

龍世儀 Shirley Loong 林偉源 Allen Lam 黃建宏 Kevin Wong 崔德煒 David Tsui 韓錦濤 Angela Hang 許俊傑 Cyrus Hui 劉燕玲 Stella Lau 羅佳娜 Natasha Rogai 衛承天 Septime Webre 黃狄文 Dominic Wong 楊雲濤 Yang Yuntao 白朗唐 Tom Brown 陳頌瑛 Anna Chan 吳杏冰 Helen Ng 曹誠淵 Willy Tsao

《舞蹈手札》出版部 dance journal/hk Editorial Team 編輯 Editor 英文編輯 English Editor 見習編輯 Editorial Trainee 設計及排版 Design & Layout

陳瑋鑫 William Chan 羅佳娜 Natasha Rogai 黃卓媛 Charlotte Wong 趙震銚 Ryan Chiu

封面圖片 Cover Photo —— CCDC 舞者在 CCDC 舞蹈中心進行《 ⃝ 》的排練 CCDC Dancers rehearsing for

⃝ at CCDC Dance Centre

編舞 Choreographers : 邢亮、又一山人 Xing Liang, anothermountainman 攝 Photo: 又一山人 anothermountainman

今期焦點 Focus of this issue : 繼續跳舞 Keep Dancing and Carry On

廣告 Advertisement 香港舞蹈聯盟歡迎各界於《舞蹈手札》的印刷或網上版刊登廣告，本會會員及持續刊登者可獲折扣。詳情請向本會職員查詢。

d ance journal/hk welcomes advertisement for both printed and online versions. Discounts are available for Alliance members and for ads in consecutive issues. Please contact the Alliance office for more information. 投稿 Article Submission 《舞蹈手札》致力為本地舞評人提供出版平台。有興趣投稿者請於每月 15 日前將稿件電郵至本會 ( admin@hkdanceall.org )。新晉舞評人的投稿亦將獲考慮。 dance journal/hk offers dance writers the opportunity to publish

their work. Articles and reviews can be submitted in Chinese or English through email (admin@hkdanceall.org) by the 15th of each month. Work from new writers will also be considered.

訂閱 Subscription

《舞蹈手札》是免費派發予香港舞蹈聯盟會員的刊物，非會員以個人名義可以港幣 150 元 ( 本港 ) / 200 元 ( 亞太區 ) / 300 元 ( 其他地區 ) 訂閱，以機構名義為港幣 300 元 ( 本港 ) / 400 元 ( 亞太區 ) / 600 元 ( 其他地區 )。請將支票連同姓名地址寄來本會。

dance journal/hk is distributed free of charge to members of the Hong Kong Dance Alliance. Yearly subscriptions are also available, non-member subscription prices for individual are $150 ( HK ) / $200 ( Asia Pacific ) / $300 ( others ) ; for institutions are $300 ( HK ) / $400 ( Asia Pacific ) / $600 ( others ) . Please send cheque, name and address to the Alliance office.

支持我們 Support Us 特別鳴謝以下捐款人: ( 贊助人 ) 白朗唐及施德安、無名氏、( 香港舞蹈聯盟之友 ) 無名氏、黃建宏、( 捐助人 ) 黃國威

S pecial Thanks to following donars: (Patron) Tom Brown & Cecil Sze, Anonymous, (Friend) Anonymous, Kevin Wong, (Donar) Raymond Wong

香港舞蹈聯盟及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香港舞蹈聯盟或香港藝術發展局意見。

Hong Kong Dance Alliance and Hong Kong Arts Development Council fully support freedom of artistic expression. The views and opinions expressed in this publication do not represent the stand of the Alliance or Hong Kong Arts Development Council.

舞蹈手札 dance jounral/ hk 香港九龍新蒲崗大有街 26 28 號 7 樓 7/F, 26 – 28 Tai Yau Street, San Po Kong, Kowloon, HK

+852 2267 6728 admin@hkdanceall.org www.hkdanceall.org www.dancejournalhk.com

編者的話

想不到 2020 伊始，才踏入庚子鼠年，本地（以至全世界）表演藝術界都忽爾進入了冰河時期。所有學校停課，一切學校文娛活動皆被叫停；各類型演出與藝術節因新冠病毒疫情持續而要延期或取消，而隨著政府關閉各文娛場地，整個三、四月之所有表演節目都無一倖免全部暫停。之後三月底出現新一波疫情爆發，政府更宣布包括舞蹈、健身中心等的公眾娛樂場所需要暫時關閉最少至四月中。無可否認，目前困境可說是前所未見那麼嚴峻，不過大家活在香港，尤其從事舞蹈行業，相信對「逆境」從不陌生。因此今期「焦點」部分，我們就決定以「繼續跳舞」為題，從今天眼前的「疫境」說起，聽聽業界如何各施各法，積極應對「逆境」，繼續舞不停。至於「專欄」部分，今期「環亞舞略」就請來印尼日惹的 Helly

Editorial As soon as we stepped into the Year of the Rat, the whole performing arts scene (from local to around the world) entered an ice age. In Hong Kong, classes at schools were suspended and all extra-curricular activities were called off while performing arts programmes and festivals had to be postponed or cancelled due to the outbreak of the Covid-19 novel coronavirus — as all government venues were closed, shows scheduled from late January through to the end of April could not take place. Making things even worse, in late March the Hong Kong Government announced new regulations to combat the renewed spread of Covid-19, which included closing down venues like fitness centres and dance studios for at least 14 days.

Minarti 為我們撰文，分享她過去數年如何透過改變印尼舞蹈 However, dance practitioners in Hong Kong have been 節的策展策略，讓年輕編舞能夠獲得更多支援及發展空間； facing challenges since long, long before the virus 鬼與約翰的「旅歐舞記」就介紹了他們跟一眾藝術家，去年 outbreak, so as far as they’re concerned, the current 11月於英國倫敦創作及展演《 Meniscus 》的經驗；而在沒有 situation is just another obstacle to be overcome. In this 劇場演出的日子，「舞後對談」則選來莫斯科大劇院芭蕾舞 issue’s FOCUS section, entitled “Keep dancing and carry 團的演出錄影《羅密歐與茱麗葉》，並請來資深藝評人、國際 on”, we will look at how different artists and companies 演藝評論家協會（香港分會）總經理陳國慧，跟班尼斯譜舞師 deal with their hard times, and keep dancing forward. 鄧曉霖作舞後對談。

期望疫情早日消退，大家可以盡快在劇場再遇！編輯陳瑋鑫

In the COLUMN section, we have Helly Minarti from Yogyakarta Indonesia to share with us her curatorial strategies at the Indonesia Dance Festival, which of fer more suppor t and creative space for young choreographers to grow; while Ghost & John’s “Dance Travelogue” introduces the development and presentation process of a collective work, Meniscus, which premiered in London last November. And in these days with no stage performances to review, we brought Bernice Chan, a veteran critic and General Manager of the International Association of Theatre Critics (Hong Kong), and Iris Tang, a Benesh choreologist, together for a “Dialogue on Dance” after watching the live recording of the Bolshoi Ballet’s Romeo and Juliet in the cinema. Things may be tough at the moment, but let’s hope we can meet again at theatres very soon.

Editor William W.Y. CHAN

目錄 Content 1 舞訊

Dance News

2 焦點:繼續跳舞

19 專欄

Column

Focus: Keep Dancing and Carry On

My heart goes on - keep dancing and carry on — An interview with the directors of CCDC and CCDC Dance Centre 我們需要重新定義這世代的香港舞蹈 —— 楊春江專訪文 : 袁潔敏

Redefining Hong Kong dance for this generation — An interview with Daniel Yeung Text: Yuen Kit Man

就把它當成是舞蹈生涯的悠長假期文 : 肥力

A long vacation in the journey of dance Text: Felix Chan

13 觀察

Observation

想見你（和你的藝術）——

橫濱表演藝術交流會及周邊節目經驗談

文 : 羅妙妍

先研習南方武術，後啟發舞蹈創作

談「中國舞蹈與中國武術之交互研究與成果呈現計劃」的研究方法

文 : 陳瑋鑫

有關《 ⃝ 》的圓與緣文 : 陳瑋鑫

文 : 約翰 ( 自鬼與約翰 )

Text: FancisJohn Chan ( from Ghost & John )

舞後對談 Dialogue on Dance

莫斯科大劇院芭蕾舞團電影《羅密歐與茱麗葉》 —— 演後暢談文 : 《舞蹈手札》編輯部 / 對談：鄧曉霖、陳國慧 Text: dance journal/hk Editorial Team / Dialogue: Iris Tang, Bernice Chan

Text: Brian Yu

左顧右盼後的藝術呈現

Presenting art as we look across

我心不死繼續跳舞 —— CCDC及CCDC舞蹈中心專訪文 : 藝文記

旅歐舞記 Dance Travelogue

環亞舞略 Dance Curating in A sia

舞蹈策展：來自印尼的經驗

文 : Helly Minar ti（印尼、日惹）

Curating dance: An Indonesian experience Text: Helly Minarti (Yogyakarta, Indonesia)

26 舞蹈節目表

Dance Listings

舞訊 Dance News 「藝文界支援計劃」接受申請「藝文界支援計劃」除支援藝發局資助的藝團及藝術工作者外，亦會向受康樂及文化事務署（康文署）及其他合法藝文場地暫停開放，以及受疫情影響的非藝發局資助藝團與個人藝術工作者提供支援。資助主要用以補助藝團及藝術工作者於 2 月至 4 月取消或延期的重點工作，包括演出、展覽、排練、前期及後期工作等。計劃由三月起接受申請，並不設截止申請日期直至另行通知。

Su ppor t Scheme for Ar ts & Cult ural Sector — Open for applications In addition to providing assistance for ar ts organizations and practitioners funded by HK ADC, the Suppor t Scheme for Ar ts & Cultural Sector also offers support to other ar ts organizations and individual ar ts prac titioners af fected by the closure of LCSD or other valid cultural venues. The funding aims at subsidizing primarily arts organizations, groups and practitioners whose work from February to April has been impacted by Covid-19, including performances, exhibitions, rehearsals, preparation and post-event work. The Scheme has been open for applications since March and remains so until further notice, with no deadline for submitting applications fixed as yet.

1 — 舞訊 Danceing News

匯演暨頒獎禮

PRESENTATION & GALA PERFORMANCE

香港舞蹈年獎

「 2 0 2 0 年新型冠狀病毒疫情對本港舞蹈教學範疇造成之損失調查報告發佈會」香港舞蹈界聯席會議於 3 月 17 日召開「 2020 年新型冠狀病毒疫情對本港舞蹈教學範疇造成之損失調查報告發佈會」，回應「防疫抗疫基金— 藝文界支援計劃」，發佈早前進行的問卷調查結果，並提出「四大訴求」，促請政府盡早作出支援，包括以「拾遺補漏」方式發放舞蹈導師津貼、增加補助金額及擴大保障範圍、設「藝術文化券」補助私營舞蹈學校及團體，以及發放一次性特別補助金。

Press Conference on losses to the dance education sector caused by the Novel Coronavirus Epidemic in 2020 On 17 March, Hong Kong Dance Sec tor Joint Conference held a Press Conference on losses to the dance education sector caused by the Novel Coronavirus Epidemic in 2020, in which it gave its reaction to the Anti-epidemic Fund — Support Scheme for Arts & Cultural Sector, and announced the corresponding results of a questionnaire it had circulated earlier. To addres s the concerns raised, the Joint Conference has put forward four key requests for prompt action by the government: providing subsidies to dance educators who are currently excluded from benefiting from the Anti- epidemic Fund; increasing the amount of the subsidy and expanding the applicable scope of protection; launching an ‘Arts and Culture Voucher’ to assist private dance schools and organizations; and offering a one-off special grant.

節目延期至七月

Event is postponed to July

7 18 2020

六

Sat

葵青劇院演藝廰

Auditorium, Kwai Tsing Theatre $180, $120

主辦 Presented by

8pm 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 Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.

「香港舞蹈年獎 2020 」將延期舉行為因應現時2019 年冠狀病毒病（Covid19 ）的防疫措施，原定於 2020 年 4 月 17 日（五）於葵青劇院演藝廳舉行的「香港舞蹈年獎 2020匯演暨頒獎禮」，將延期至 2020 年 7 月 18 日舉行。

22nd Hong Kong Dance Awards Postponed Due to the measures in place to combat the Covid-19 pandemic, the 22nd Hong Kong Dance Awards Presentation & Gala Performance, was originally scheduled to take place on 17 April 2020 at Kwai Tsing Theatre Auditorium, has been postponed to 18 July 2020.

永遠懷念楊偉舉老師楊偉舉老師於 2 0 2 0 年 3月9日離世。楊是本地第一批從事舞台上的舞蹈創作的編舞家之一，作品包括 1 9 6 2 年香港大會堂開幕節目之一《仙羽神弓》。數十年來他專注舞蹈創作，並關心香港舞蹈發展。舞盟謹向楊偉舉老師的家人和朋友致以深切慰問，並感激楊老師為香港舞蹈界所作的貢獻。

In memory of Yeung Wai Kui We are sad to announce that Yeung Wai Kui passed away on 9 March 2020. He was one of the first local dance ar tists to engage in choreography and creative dance work on stage. For decades he focused on creative dance work and on working for the development of dance in Hong Kong. Hong Kong Dance Alliance would like to express its condolences to Yeung’s family and friends, and its gratitude for his contribution to dance in Hong Kong.

李藹儀就任港芭行政總監在表演藝術界工作超過 20 年的李藹儀（ Heidi Lee ），曾為香港多個文化藝術團體負責藝術管理工作及擔任項目策劃，包括：香港舞蹈團、香港話劇團、香港文化中心及香港藝穗會等。李獲香港芭蕾舞團委任為新任行政總監，並於 2020 年 2 月 26日履新，接替譚兆民（ Paul Tam ），與藝術總監衛承天（ Septime Webre ）攜手掌舵香港的旗艦芭蕾舞團，領導舞團的企業策略、推廣、籌款及營運。

Heidi Lee appointed Executive Director at Hong Kong Ballet Heidi Lee has served the performing arts sector for more than 20 years, dedicating her career to ar t s management and project curation for a number of local cultural and arts organizations including Hong Kong Dance Company, Hong Kong Reper tor y Theatre, Hong Kong Cultural Centre and Hong Kong Fringe Club, among others. Lee has been appointed by Hong Kong Ballet as its new Executive Director and joined Artistic Director Septime Webre at the helm of Hong Kong’s f lagship ballet company on 26 Februar y 2020, succeeding Paul Tam. A s Executive Direc tor, she will lead the Company’s corporate strategy, promotion, fundraising and operational activities.

繼續跳舞

「哭有時，笑有時；哀慟有時，跳舞有時。」 ——〈傳道書〉第三章第四節。

從去年中開始的一連串社會運動，到今年初新型冠狀病毒疫情爆發，無不對本港的藝文活動帶來影響。而對於城市當代舞蹈

團（ CCDC ）來說，近半年更是波折重重。跟其他舞團一樣，去

年之示威浪潮令票房收入大減，到今年一月起連場地也因疫情

關係需要關閉，大大打亂舞團運作。雪上加霜的是，去年八月

CCDC 創辦人曹誠淵更宣佈辭任藝術總監兼終止所有與舞團有

關的職務，並且將CCDC舞蹈中心現址放售，令舞團不得不另覓地方作延續發展。面對如此困境，舞團可以怎樣應對？我們今期

就特別找來CCDC行政總監黃國威及 CCDC 舞蹈中心總監黃建宏，來跟我們分享一下。

旗艦舞團以外，中小型舞團與及獨立舞者，在這段艱難時期又能夠怎樣「繼續跳舞」呢？新任藝術發展局舞蹈組主席楊春江會談

談他對舞蹈界的觀察與展望，肥力則走訪了一些舞者及舞蹈教師，了解一下他／她們如何渡過這段抗疫時期。

KEEP DANCING AND CARRY ON

‘a time to weep and a time to laugh, a time to mourn and a time to dance.’ — ‘Ecclesiastes’ 3:4 In these tough times for dance in Hong Kong, City Contemporar y Dance Company (CCDC ) has been especially hard hit – first, like other companies, by low attendance during the protests in the second half of 2019 followed by the closure of venues due to the Covid-19 pandemic from January this year. An additional blow came last October when founder Willy Tsao resigned as artistic director and announced he was dissociating himself from the company and selling the premises occupied by CCDC Dance Centre, leaving this key hub for local dance searching for a new home. How are the company and the dance centre responding to these problems? We invited Raymond Wong (Managing Director of CCDC) and Kevin Wong (Director of CCDC Dance Centre) to talk to us about their plans. Apart from the flagship companies, how can medium and small companies, as well as independent dance practitioners, “keep dancing and carry on” in such a difficult period? The newly appointed Chairman of Hong Kong Arts Development Council (HKADC) Dance Group, Daniel Yeung, shared his observations and aspirations on the local dance industry in our interview with him. While Felix Chan talked to some dancers and dance teachers in order to get a better picture of how they are coping in the midst of the pandemic.

四月 APR / 五月 MAY 2020 — 2

我心不死繼續跳舞 —— CCDC 及 CCDC 舞蹈中心專訪文：藝文記

CCDC 舞團行政總監黃國威（左）及 CCDC 舞蹈中心總監黃建宏（右）在 7 號排練室攝：Terry Tsang

疫症陰霾久久不散，日常生活大受影響，其中舞蹈業界的演出、舞團必須堅持邁步向前，這既關乎機構的生存，亦涉及團隊的授課及交流等活動通通取消或延期，編、跳、教、學無一倖免，使命，「為什麼政府會『 support 』（支持）文化藝術，因為這幾近完全停擺；抗疫之路仍然漫長，業界拒絕坐以待斃，靜極是『 basic right 』（基本權利），是責任。」思動，紛紛透過如數碼科技等工具「繼續跳舞」，其中城市當代舞蹈團（ CCDC ）在過去一個多月內先後推出「 Facebook 藝團演出需要取消和延期，損害當然巨大；既成事實，多想 live 」教室、網上串流平台，以至與音樂服務平台 KKBOX 合辦無益，Raymond 寧可把握這個暫借的餘暇進行深層次的檢

舞蹈音樂頻道，反應甚快。舞團行政總監黃國威（ Raymond ）討和反思，「去思考我們表演藝術的本質是什麼，任何『 art 強調，雖然環境非常艱辛，但是絕對不能停步，「如果這個時間 form 』（藝術形式）好，即是你的本質是否與社會一齊行？不去做，別人忘記了你，就算日後復原，他們都不會再理你，或是你本身與社會就不是太有關係呢？」他尤其關注表演藝術你就變得可有可無。」在香港社會的位置，「全世界的表演藝術都受影響，都要『 cut

show 』（抽起節目），意義在哪？對香港來說，cut 了 show 為了配合政府防疫計劃，CCDC 舞蹈中心（舞蹈中心）自一月也無所謂，即是等如你不行街、不看戲，好似沒有太大所謂，底全面停課，倘若最終全額退款，收入銳減過百萬元，損失但是對於某些國家來說，好大件事『哎呀！少了一場歌劇』，慘重。中心總監黃建宏（ Kevin ）指出，長期停課引發出一連串那又代表了什麼呢？」深遠影響，包括導師生計難保和學生學習受阻等等，他更擔心嚴峻情況短期之內都難有改善，「其他坊間『 studio 』（舞蹈堅持舞團一直運作，並與社會一起同行，因為 Raymond 相信表工作室）的情況比我們壞一萬倍，我們至少暫時無需負擔一個演藝術有其獨特價值，「提供一個『 enrichment 』（充實）、很貴的租，他們每個月付出數萬元的租，卻一毫子收入都沒有，娛樂，這是最基本，更重要是在這些時間，我們再去有個心靈的可以怎辦？整件事『 ongoing 』（持續發展）又會如何？」價值，或者能夠提供到『 value 』（價值），去安慰這個社會？

疫情下，原定之現場演出被逼延期 1，舞團立即轉攻網絡世界，

我覺得這個『繼續』的意義是更加重要。」

推出串流平台「 CCDC Programme Play 」（劇場搜影），舞迷除了探索理念、堅定宗旨，Raymond及其團隊亦有機會釐清前足不出戶仍能觀賞舞團歷年精彩節目；除了看舞，舞迷亦可路方向，並且調撥資源配合，「其實我們做了很多『 analysis 』透過線上教室學習不同舞種，就算處於停工停課狀態，舞蹈（分析），愈傾、愈自己內部去問，就愈清楚其實我們為什麼會生活仍可持續不停。Raymond 認為，不論社會狀況如何惡劣，做這些事；或者一些不必要的，我們就不做了，或者遲些才做，

3 — 焦點 Focus

這樣我們就能夠找回重點」，率先煞停的是（「跳格國際舞蹈我們有責任和大家共渡時艱，如何去繼續跳舞，是我們每日都影像節」）舞蹈影像的委約項目。經過多年來的投資和推廣，思考的事情⋯⋯要『 keep 』（保持）住大家的創作欲望，這個 CCDC 確認社會對舞蹈影像已有一定的認識和了解，並相信心死了、火熄了的話，就很難搞」；Kevin 亦呼籲行家採取主動，市場有足夠能力持續發展下去，因此決定將用於委約作品的「你出聲，就可能有人幫到你，或者大家合作做些事；你自己坐資源改放到其他地方。在一邊，只是埋怨，就沒有事會發生。」花上這麼多的時間和心思，從理念、宗旨到營運、執行，一層一層深入檢視，既是自願，也是被迫：驟明驟暗的疫情只是外憂，舞蹈中心面臨搬遷更是內患，雙重夾擊之下，團隊上下

更要抖擻精神、全力迎戰；縱然戰情緊湊，Raymond 卻不失樂觀，始終相信危中有機，如以叫停舞蹈影像委約項目為例，

「說真的，要不是曹生 2『 withdraw 』（退出），我們又未必會去如此思考，然後又再自我複製；我覺得（這次）需要尋回你自己的存在意義，以及你的支持者，當中的反思很大很大。」舞蹈中心既是 CCDC 的支柱，也是香港當代舞蹈業界的搖籃：她為大小演出提供排練空間、她給予新晉編舞和舞者創作平台；她的舞蹈課堂培育了一代又一代的舞蹈人才、她的節目製作圓滿了一個又一個的舞蹈夢想。由空間、平台到人才、資金，舞蹈中心全方位支援了整體行業發展，故此當舞蹈中心須覓地重建消息傳出時，行內上下無不感到震撼。舞蹈中心租約將於今年九月中到期，Kevin 透露，團隊目前正 CCDC 線上教室在探討多個不同方案，包括已向新業主提出短暫續租，可是照片由 CCDC 提供至今未有回覆，另外他們也在坊間尋找其他可行替代空間，例如香港藝術發展局轄下大埔藝術中心的商業樓面用地，

以至商場舖位等等；另一方面，CCDC 已向政府當局入紙申請將火炭一個廢置校舍重新發展成為舞蹈中心，倘若一切順利，預計可於 2022 年啟用。

Kevin 預告未來大約兩年多會出現一個過渡期，挑戰巨大，「現在就全部一齊不停做『 proposal 』（企劃）、不停做『 plan 』（計劃）、不停計數，看看哪些會『 work 』（有效），哪些可以不用再想。」

按照目前計劃，新的舞蹈中心將提供五個排練室，以及如辦公室和服裝間等其他基本設施。Kevin 明言，發展規模難免受到影響，發展模式則有更多可能，「未來會不會是一個『 satellite model 』（衛星模式）呢？即是有一個主地方，

之後加上不同的其他地方，例如我們租用一些細的 studio，

可以這樣營運嗎？」

Raymond 相信，不同做法自有不同好處，「當然會是可惜，

沒有了一個『 hub 』（聚會點），大家可以見到大家，但是如果分散的話，會不會對『 audience building 』（建立觀衆群）或者推廣有用呢？⋯⋯變相我們盡量會用這些方式去靈活地繼續營運，沒有行不通的事情。」

儘管自顧不暇，CCDC 卻仍然心繫整體行業發展，Raymond 寄語同業積極面對，迎難而上，當眼前工作難免受到影響時，更應該捉緊時機籌劃未來，力之所及，CCDC 和舞蹈中心都會鼎力支持，Raymond強調這是本份，「作為『九大團』之一，

二月初在中環大館舉行的 CC D C 4 0 周年舞蹈節節目《雙雙》和《 0 7 / 0 8 0 2 2020CE 》需要延期舉行。

誠淵為城市當代舞蹈團創曹辦人及前藝術總監；他早前辭任舞團藝術總監，並收回其擁有業權的 CCDC 舞蹈中心會址另作發展。

藝文記「不要在乎權威會說什麼，真理就在你的自我之中。」《傅柯的生死愛慾》

四月 APR / 五月 MAY 2020 — 4

My heart goes on — keep dancing and carry on

An interview with the directors of CCDC and CCDC Dance Centre Original Text: Brian Yu The dark days of the Covid-19 pandemic have had a massive impact on daily life. Dance performances, classes and exchange events have been cancelled or postponed; choreography, practice and learning also affected. Operations in the dance sector have almost come to a halt. Members of the industry do not want to waste their time being idle and have made use of tools like information technology to carry on with dance activities. In the past February, City Contemporary Dance Company (CCDC) reacted quickly to the situation with the launch of the “Facebook live classroom”, online streaming service and an online dance music channel in cooperation with KKBOX, the music streaming service provider. CCDC’s managing director, Raymond Wong, stresses that although the circumstances are tough, they cannot stop their activities. “If we stop what we’re doing, people will forget us. Even if everything goes back to normal after the pandemic, people won’t think about us anymore, we will become dispensable,” he explains.

a matter of the institution’s survival and preserving its mission. He adds, “Why does the government support culture and arts? It is because this is a basic right and a responsibility.”

With all performances either cancelled or postponed, the losses are huge but there is no point dwelling on the downside and getting upset. Instead, Raymond Wong prefers to focus on reviewing and reflection during this period of inactivity. “To think about the nature of our performing arts, you have to think whether your own nature aligns with society, regardless of the art form your work belongs to. Or do you yourself not relate enough to society?” he questions. He is particularly concerned with the status of performing arts in Hong Kong society. “Performing arts all over the world have been affected. Everyone has had to cut shows. What’s the point? Yet in Hong Kong, it doesn’t seem to matter if dance shows are cancelled, it’s just like not going out, or not going to the cinema to watch films. Yet in some countries, it matters hugely if there’s one opera less. In line with the government’s anti-epidemic plan, CCDC What does this mean?” he continues. Dance Centre has suspended dance classes since late January, and is facing from a potential loss of more than The reason for Raymond Wong’s insistence on CCDC a million dollars if full refunds of class fees are ultimately continuing to operate and to stay in sync with society is made. The Dance Centre’s director, Kevin Wong, points that he believes in the unique value of the performing out that long term class suspension results in a series of arts. “To provide enrichment and entertainment is one profound impacts, including reduced income for dance basic thing that we can do, but is there also a spiritual teachers and disruption of students’ learning. He is also value or other value we can give to console society? worried that it will take a long time for things to get I believe the meaning of this ‘continuation’ is even more better. “Other dance studios outside suffer way more important,” he says. than we do. We at least do not have to pay high rent at the moment. They have to spend over ten thousand Aside from the exploration of CCDC’s spirits and dollars each month on rent. Now, they have no income, reaffirmation of its objectives, he and his team also so what can they do? What will it be like if the situation have the opportunity to clarify their future direction goes on this way?” he laments. and allocation of resources. “We have done quite a lot of analysis. The more we discuss the issues with our During the pandemic, scheduled live dance staff, the more clearly we know the reasons for what we performances have been postponed1. CCDC has turned have done, the more we can sort out what isn’t really to the internet, rolling out a streaming service, CCDC necessary, which things we can stop doing or get on Programme Play, where users can view past dance with later. In this way, we can get our focus back,” he programmes and performances by CCDC. In addition to explains. The first programme to be discontinued was watching performances, users can also study different the ( Jumping Frames) contracted project to commission genres of dance through online dance classes. Despite dance videos. After many years of investment and the suspension of work and classes, dance life can still promotion, CCDC is confident that society now has go on. Raymond Wong is certain that no matter how dire a certain level of awareness and understanding of the status quo is, CCDC still has to move forward. This is dance videos. The company believes that this market will

5 — 焦點 Focus

be able to thrive on its own and has thus decided to development will inevitably be affected; however, the transfer the project’s resources to other areas instead. ways in which it can develop could be more diverse. For example, a ‘satellite’ model might be envisaged, with a Much time and effort has been spent on re-evaluating principal location plus smaller studios in other places. CCDC’s spirit, objectives and operations, digging deep “Could we operate like this?” he wonders. to review these aspects. It is voluntary and involuntary at the same time. The Covid-19 outbreak is only Raymond Wong believes that different approaches have one of the reasons for such a thorough review. The different advantages. On the one hand he laments that CCDC Dance Centre is also facing the unprecedented “It’s surely a pity that we won’t have a hub anymore difficulty of having to move to a new location. In these where we can all meet together,” On the other hand: circumstances, CCDC’s whole team is prepared to fight “If we’re spread more widely, could that help to an uphill battle and morale is high. In this time of crisis, promote audience building? Our aim should be to Raymond Wong remains positive and sees opportunities operate flexibly. To us, there is nothing that cannot be in the dangers the company is facing – for example, the worked out.” decision to discontinue the dance video project. “To be honest, if Mr. Tsao2 had not withdrawn from CCDC, we Despite the inevitable preoccupation with its internal wouldn’t be thinking and considering what alternatives reform and impending change, CCDC has not lost its we might have. I think we need to return to the real concern for the overall development of the dance sector. meaning of our existence and think about our followers. Raymond Wong hopes that their counterparts in the The amount of deliberation involved in this process dance sector will remain positive and deal proactively is significant.” with the challenges ahead. When normal work is affected, they need to grasp the opportunity presented The CCDC Dance Centre is the backbone of CCDC by difficult times to plan for the future. CCDC and its and the cradle of the contemporary dance sector in dance centre will do everything in their power to fully Hong Kong. It provides venues for dance rehearsals, support their colleagues in the sector. He stresses that platforms for creative projects for emerging dance this is their duty, “as one of the nine major performing choreographers and performers and dance classes arts groups, it’s our responsibility to see through hard which have nurtured generations of dance talents. times with everyone together. How we can keep on Its productions have fulfilled the dreams of dance dancing is what we think about every day. We have to practitioners. Whether providing venues, platforms, or keep the desire to be creative burning. If this passion funding, the Centre has been a pillar supporting the dies out, it will be hard to rekindle it again.” Kevin Wong continuous growth of Hong Kong dance. When the news also urges other members of the dance sector to take that the Centre was being forced to re-locate came out, action, “if you speak out, you are likely to get help, or the whole dance sector was shocked. join together with others to make things work. But if you just sit and do nothing but complain, nothing is going The Centre’s current lease expires in September. Kevin to happen.” Wong reveals that the team is exploring different options. They have requested a short-term renewal of the lease from the new owner, but have not yet received a reply. Meantime, they are looking for 1 The programmes of CCDC 40 th suitable substitute locations, such as studios in the Anniver sar y Dance Festival, HK Arts Development Council’s Tai Po Arts Centre or A Lover ’s Concer to and 07/08022020CE to be held in Tai space in commercial premises. Furthermore, CCDC Kwun in early Februar y have has submitted an application to the government to been postponed. redevelop a disused school in Fo Tan into a new dance 2 centre. If everything goes as planned, this new dance In October 2019, CCDC’s founder Willy Tsao resigned as the centre will open in 2022. Kevin Wong expects the coming two years will be mainly transitional. The challenges are going to be big. “We are working together non-stop on proposals and plans, doing the calculations to see which proposals will work and which we can put aside,” he says.

company’s artistic director and reclaimed ownership of his property, the site of CCDC Dance Centre, for other development, obliging the Centre to seek a new location.

(English Translation by Pomny Chu)

According to the current plan, the new dance centre will be equipped with five rehearsal rooms, plus other basic facilities including offices and locker rooms. Kevin CCDC online class Wong acknowledges that the scale of the dance centre’s Photo provided by CCDC

Brian Yu ‘Don’t look to authorities; the truth is in your self.’ The Passion of Michel Foucault

四月 APR / 五月 MAY 2020 — 6

我們需要重新定義這世代的香港舞蹈 —— 楊春江專訪文：袁潔敏

楊春江攝：Terry Tsang

這次專訪，我們相約訪談剛上任藝發局舞蹈組主席不久的楊藝術教育規劃不詳，學生入讀演藝前也未必受過有系統的舞春江（ Daniel），聽聽他對行業困境的分析及對變革的盼望。蹈訓練，單單在演藝四年時間，根本不足以培育出獨當一面的藝術家。」「藤㨢瓜、瓜㨢藤」的行業困境 Daniel 直言，香港舞蹈業界面對的嚴峻困境並不是疫情導致的另外，藝術發展政策一直只以場地硬件主導，由六十年代香停市停課，而是舞蹈藝術在香港一直難以發展。舞者完成專業港大會堂建成起始，政府心思只在建設場地，提供資助，然而訓練後，接觸到最多的是舞蹈教育、商業演出，甚至依靠舞蹈以場地落成的速度根本不可能應付每年本地畢業及海外回流的外的兼職幫補收入。他形容這是一種「踩界」，即以非純藝術家新力軍。舞者要勉強留在行業內，投身教育或許無可避免。的工作來支持自己發展藝術事業。整體來說，政府的藝術發展政策無所作為一直為人詬病，觀乎現實，純舞蹈藝術家在香港根本無法維持生計。當舞者接尤其是肺炎一役。自一月底新型冠狀病毒疫情爆發，政府帶受專業訓練，學習藝術創作，畢業後卻花上大部分時間參與中、頭關閉表演藝術場館，幾近所有舞蹈演出都需要取消、延期，小學童舞蹈創作，更要花上心神照顧學生，他形容這是「為他加上教育機構停課，無論個人工作者、團體或公司同樣面對巨人作嫁衣裳」；而教學亦未必能刺激舞蹈家發展純藝術創作，大損失。抗疫基金杯水車薪，其審核準則更幾乎將自由身工作因他們很難從中尋找自己獨特的語彙和風格作創作素材。者以及藝術教育機構均排除在外。作為新任藝術發展局舞蹈組而即使有部分人參與較多商業演出，這些工作也未必有效幫助主席，Daniel 直指政府並不知道怎樣幫助舞蹈業界。例如這次讓業界批評的 $7500 個人藝術工作者補助金，藝發局單以藝術其純藝術性的創作。範疇選民來計算持份者數字，然而很多藝術工作者、私人教學據他觀察，舞蹈藝術生態之不平衡，箇中原因千絲萬縷。人員都沒有登記為選民。「現在藝發局就是以數字計算，六千幾一方面，坊間多年來也有聲音指演藝學院像職業訓練學院 —— 個選民，撥一些作儲備，就只剩下這樣多（作補助金)。」

課程只著重訓練舞者技巧，而非培育舞蹈藝術家。D a n i e l 亦認同演藝不應該太著眼於只表現傳統觀念的技巧能力。「學生都在表演勁度、轉圈、飛躍、伸展，把技巧量化，但這不會助長多元化的舞蹈創作。我明白在目前業界生態中，演藝學院的教育方針實屬無可避免。學生需要這些技巧讓他們畢業後教班，或以正規技巧參與商業演出；加上教育局對中小學的

7 — 焦點 Focus

把疫情看成改變的契機所謂「冰封三尺，非一日之寒」，上述的業界困境並不只因疫情而起，而是過去數十年日積月累而成。Daniel 認同政府在藝術發展的政策思維沒有跟上行業實況，然而制度的更新永遠也比生態發展慢。業界要自救，先要改變目前行業生態。

首先，舞者需要有意識自己不只是在表演技巧，而是要運用技

巧創作，成為一個「 Dance Maker 」（舞蹈創作人）。疫症是不可預料的，然而社會環境也好，藝術也好，總不可能一直不變，舞蹈創作人在技巧之外，最需要的是一種靈活性。「即使在香港必須『踩界』才能生存，每個人也要找到自己不同的模式去『踩界』。」這裡所指的「踩界」，是創作人需要懂得隨著生態轉變，突破自己框架去建構獨有的生存空間。這情況就像歐洲的馬戲藝術一樣，當動物馬戲被禁止，市場收窄，馬戲藝術家反而改變了表演的方式，揉合舞蹈或形體藝術的概念，於是不少馬戲藝術家也成為了編舞。「每一個世代也要重新定義他們對舞蹈的看法，令他們有一個新的身份。」Daniel 如此概括道。

那麼，這個世代的舞蹈藝術該如何改變？這需要靠舞蹈創作人

的欲望驅動探索。他以自己的經歷為例，Daniel 出身自視覺藝術訓練，受「逃出畫廊」文化運動思潮影響，即以非固定、主流想像的空間創作為觀念，因此他傾向創作非正式舞台、非正統的舞蹈作品。同樣地，今時今日當創作人希望擺脫政府場地不足的局限，有人主動接洽社區中心、製作公司商議合作；又或者當去年區議會選舉帶來全新氣象，有人提出如何善用區議會的資源，讓舞蹈藝術也在地區的其他文娛場所「遍地開花」；或大膽嘗試以更另類的戶外地方作演出實驗。這些場地每場觀眾人數或許比正規舞台少，卻可接觸到更多類型的觀眾，打開新市場。除了現實世界的場地，Daniel 也有提出近來坊間團體紛紛

嘗試採用的網絡平台。這些平台可觸及面廣，而且門檻低，人人也可有自己的發表頻道，可見舞蹈藝術形式和應用方法將有無限可能性。除了創作人主動以藝術創作求變，Danie l亦希望制度能追上藝術家作出改善。這也是他出選藝發局舞蹈界民選委員的原因之一。他形容民選委員是一個十分「吃力不討好」的位置—— 它是一份義務性質的工作，沒有工資並要自資經費來参予每項工作，而基於利益衝突原則下，委員在三年任期內也不能獲楊春江得藝發局任何資助。因此即使同樣受肺炎影響而幾近停工，攝：Terry Tsang 他並不獲抗疫基金補助。然而他希望承傳前任委員梅卓燕的使命，繼續於體制內推動政策改革。「改革需要很長時間，你先要和政府周旋一兩年，可能到第三年才開始實施；藝發局三年一屆，那些計劃不可能一兩屆就完成。」長遠而言，他也希望業界有更多人願意走出來，登記成為選民，參與政策推動。「只有我們每一個人都走出來，在不同崗位上做些事情，業界用自己的方法重新定義藝術的應用，決策者推動制度隨著生態改善，上下一起做，才有機會真正改善現有生態。」他如是說。四季總有寒冬，縱然現時舞蹈界「無市、無客、無環境」，

Daniel 希望每個人也可積極行動，找志同道合的人，突破現有

的界限去尋找新的出口。改變之路艱辛而漫長，但只有持之以恆地行動，香港舞蹈界自會有新轉機。

袁潔敏劇場評論及戲劇構作碩士，現職藝術行政，亦有參與戲劇創作。

四月 APR / 五月 MAY 2020 — 8

Redefining Hong Kong dance for this generation An interview with Daniel Yeung Original Text: Yuen Kit Man Shortly after he took up his new role as Chairman of Hong Kong Arts Development Council (HKADC) Dance Group, we sat down with Daniel Yeung to hear his thoughts on the industry’s current hardships and his hopes for future change.

unavoidable. Students need these techniques to teach and to perform in commercial shows after graduating. Besides, owing to the government’s failure to provide properly planned arts education in primary and secondary schools, students might not have undergone any systematic dance training before entering HKAPA. Four The t angled dilemma for the Hong Kong years at the academy is far from sufficient to nurture an dance industry independent artist. ” Yeung believes that the most important dilemma that the Hong Kong dance industry faces is not the current The government’s arts development policies have suspension of classes and events due to the Covid-19 always focused on performance venues – in other words, epidemic, but the long-term difficulties of developing hardware – ever since City Hall was established in the the art of dance in Hong Kong. After completion of their 1960s. The government knows to build venues and professional training, dancers spend most of their time provide subsidies, but the construction of venues does working in dance education and commercial productions, not keep pace with the increase in the number of artists, or even take part time jobs unrelated to dance in order including each year’s crop of local graduates as well as to make a living. He describes this taking of non-artistic artists returning from overseas. For dancers to stay within jobs to support the development of a career as an artist the industry, they have no choice but to work in education. as ‘crossing the line’. In general, the lack of effectiveness of the government’s The reality is no one can support themselves in Hong arts development policies has always been widely Kong by working solely as an independent dance artist. criticized, and the government has faced even stronger Dancers receive professional training and learn to create complaints during the Covid-19 epidemic. Since the art - if they then have to spend most of their time putting outbreak began in Hong Kong in late January, the together dance routines for secondary and primary government has closed all performance venues, students and focusing their attention on taking care of causing almost all dance performances to be cancelled them, that means, says Yeung, that they are: ‘sewing bridal or postponed. With schools also closed and classes dresses for others’. Teaching does not necessarily inspire suspended, many individuals, organizations and dance artists to create high quality artistic work and may companies in the dance sector have been left facing make it difficult for them to explore and develop a unique huge losses. vocabulary and style. And while they may be able to take part in commercial performances, that experience may The Arts and Culture Sector Subsidy Scheme from the also not be helpful when it comes to creating their own government’s anti-epidemic fund is an inadequate original work. measure - the assessment criteria adopted pretty much rule out either freelancers or arts education organizations From his observations, there are many reasons leading benefiting from the fund. As the new Chairman of to the imbalance of the dance ecosystem. On the HKADC Dance Group, Yeung says that the government one hand, for many years, the Hong Kong Academy simply does not know the right way to help the dance for Performing Arts (HKAPA) has been criticized for industry. For example, HKADC came up with the $7,500 functioning as a vocational training institute which puts subsidy for individual arts practitioners (something that the emphasis on teaching dance technique rather than was criticized by the whole arts industry), based on the on nurturing dance artists. Yeung agrees that HKAPA number of registered voters in the Performing Arts subshould not concentrate only on traditional techniques. sector. However, many artists and private tutors who are “Students are focusing on technique based on power, arts sector stakeholders are not registered voters. “the turns, jumps and extensions and measuring their skills... HKADC calculates with the figure of around six thousand This does not foster a diversity of choreography. Yet in voters. So that’s how much [subsidy each gets] after saving the current industry’s ecosystem, HKAPA’s direction is some for reserve.”

9 — 焦點 Focus

See the epidemic as a turning point for change As the Chinese saying goes, ‘It takes more than one cold day for a river to freeze three feet deep’. The dance sector’s difficulties don’t just arise from the Covid-19 crisis, but from longstanding problems which have been building up for decades. Yeung agrees that the government’s policy thinking on arts development has not kept up with the industry’s situation, but the system always lags behind the development of the ecosystem. The industry needs to take the initiative and start by changing its own ecosystem. First and foremost, dancers have to be aware that their role is not just to perform technique, but to use their technique to create and to become ‘Dance Makers’. Epidemics are unforeseeable, yet no matter the social environment, artists cannot remain unchanged. The most important thing dance makers need, second to technique, is flexibility. “Even though it is inevitable to ‘cross the line’ to survive in Hong Kong, everyone should find their own way of ‘crossing the line’.” Here, ‘crossing the line’ means that artists need to change according to the ecosystem, to break through themselves to find their own unique role. Yeung compares this situation to what happened to circuses in Europe. When animal acts were banned, the market shrank, so circus artists changed their form of performance to combining concepts of dance and physical theatre, with many circus ar tists becoming choreographers. “Ever y generation has to redefine dance and to build a new identity for themselves.” Yeung concludes. So, how should dance for this generation change? This exploration needs to be driven by dance makers’ own personal aspirations. Yeung raises his own experience, as a dancer with visual arts background, as an example. As a visual artist, he is influenced by the ideological concept of “creation beyond galleries”, the concept where creative works happen in non-fixed spaces, supported by collective imagination. Hence, he tends to create unconventional dance works in unconventional performance spaces. Similarly, when artists seek to overcome the insufficiency of government-owned venues, some have taken the initiative to reach out to community centres and production companies for collaboration. After the turning of a new page with the landslide victory of the pan-democratic camp in the District Council elections last year, people raised the question of how to make good use of the District Councils’ resources to allow the art of dance to blossom in cultural recreation venues in every district. Yeung has even heard of artists baldly holding experimental performances in alternative outdoor settings such as beaches. Although these venues have a smaller audience capacity for each show, they allow performers to come into contact with different kinds of audiences, opening up new markets. Aside from actual performance venues, Yeung also points out that many

organizations now experiment with online platforms. These platforms have high accessibility and low barriers, providing everyone with channels to express themselves. This shows that dance as an art form and its applications have limitless possibilities. In addition to artists proactively changing the scene with their work, Yeung also hopes that the system can improve to catch up with artists - that was one of the reasons he decided to run for HKADC Dance Group Elected Member. He says that taking office as an Elected Member is an arduous and thankless task. It is voluntary and pro bono in nature, with expenses for each work task being self-financed, and due to conflict of interest, it means his own work cannot be subsidized by HKADC during his three years term of office. Therefore, even though his livelihood is affected by the epidemic just like everybody else, he cannot receive any subsidy from HKADC. Nonetheless he still wishes to carry on the mission of his predecessor as Elected Member, Mui Cheuk Yin, and strive to bring about change from within the system. “Change needs time. First you have to spend one to two years dealing with the government, then changes might start to be implemented in the third year. An HKADC term lasts for three years, yet some plans cannot be fulfilled in one or even two terms.” In the long run, he hopes that more people from the industry will come forward to register as voters, and participate in policy-making. “Only when we all come forward and play our parts – so that the industry finds its way to redefine the application of arts and policymakers drive the system to be more in sync with the ecosystem — can we truly improve the situation,” he says. Winter is always one of the four seasons. Even though the dance industry is currently facing a bleak situation with “no market, no customers, no positive environment”, Yeung urges everyone to be active and gather like-minded people to break through the existing boundaries in search of new ways out. The road to change is long and arduous, but if we continue to take action and don’t give up, Hong Kong’s dance industry will take a turn for the better.

(English Translation by Tiffany Wong)

Daniel Yeung; Photo: Terry Tsang

Yuen Kit Man M.A. in Theatre Criticism and Dramaturgy, currently a n a r t s a d m i n i s t r a to r and participant in drama production

四月 APR / 五月 MAY 2020 — 10

就把它當成是舞蹈生涯的悠長假期 A long vacation in the journey of dance 文︰肥力

Original text: Felix Chan 原本文章旨在訪問不同獨立舞者及教室，在疫情影響而全面停工之下，有否新奇方法去維持舞蹈工作及場地營運。然而，當訪問過幾位不同相關人士 1，包括舞者、兒童教室導師、編舞、老師，及與街舞和健身有關的舞蹈人士，便發現現實還是相當殘酷。不同於擁有資源、地方、人手及政府全力補助的大型舞團，能夠有心有力去開創新的營運模式，獨立舞者及中小型教室在停業之下，並沒有什麼自救方法。事實是所謂創意，特別是需要科技及市場支援的網上系統，還是需要一定資本。但反過來看，正如受訪舞蹈老師何蕤渟慨嘆不同於其他學科，舞蹈需要同時傳授美感與技術，單靠網上教學並不適宜。或更坦白說，在二十一世紀，直播流行，網上學習成為潮流（但不代

無論學習哪一種舞蹈，都在渴求與人互動及溝通。在身體美學的追求上，還得要直接接觸，才能產生化學作用。正如美國

哲學家瑪莎‧納思邦（ Mar tha Nussbaum ）提到表演藝術能激發人的同理心，緩解仇恨及冷漠。疫症當前，當香港由搶口罩、搶廁紙，到經歷各種寂寞、歧視，編舞及舞者在當下最可以做到的，唯有整理自己，在未知時限的假期裡，為將來埋下種籽，準備表達美及自由。

表有一定成效），可是即使 VR 或 AR 技術如何先進，表演藝術

仍然沒辦法被任何科技取代，因為其人與人置身同一空間接觸的即時性及獨特情感交往，並不能被完全複製及虛擬化。有趣的是，受疫情影響而賦閒在家的一些舞者的想法，與著名日劇《悠長假期》中瀨名對同時失婚、失業、失家的小南說的不約而同，既然沒辦法改變現實，那就把空檔期當做人生的一次長假期，好好地修練，整理自己的創作及享受生活。例如何蕤渟有邀約同樣空閒的幾位舞者，編作舞蹈，並嘗試拍成影片，準備寄去外國尋求演出機會。他們說一直以來都想整理自己的作品，甚至學習影片剪接，但之前工作太忙，難以抽空學習錄影及剪片，現在正好趁此機會一併完成。另一邊邱加希及她邀請的舞者開始創作及互相訪問，搜集資料及身體研究，為下一個演出做更多的準備。兩位舞者都說，或者這是一個好好的機會給自己休息，及有更多時間準備下一次的創作。他們

均於 CCDC 舞蹈中心完成他們的工作，並說如沒有中心提供場地及資源，即使有閒暇也不一定能完成作品，故此很擔心將來中心搬遷對舞蹈業界發展的影響。

另一方面，身兼舞者與舞蹈老師的麥卓鴻說，不少中小型芭蕾舞或當代舞教室正面臨財政危機，很擔心它們能否撐得住，

但反過來一些主打 Hip Hop 及其他統稱「街舞」或健身舞步的教室，人潮反而逆流而上。麥認為主要原因有二：其一是不像芭蕾及當代舞課，由小孩到成人不同年紀的學生組成，街舞或健身舞在文化及體能上都集中吸引年輕人學習，始終身體是比較健康的一群，受疫情影響比較少，而在概念上將舞蹈與健身融合，在疫情之時反倒成為一個促進健康的潮流；其二，這些舞種較重視體能鍛鍊，其訓練及表演方式也促進大量的體能消耗，也容易激起熱情及投入感，尤其這些舞蹈都很追求完美的合拍及節奏，群體訓練能令人更能令人忘我及集中，故此令學員不易放棄。

11 — 焦點 Focus

訪舞者及資料提供︰受何蕤渟、黎德威、麥卓鴻、邱加希、流白之間肥力藝評人，劇場人，插畫人。個人網站：

w w w.felixism.com

This article sets out to look at how different dance artists and studios have been exploring ways to keep their work and venues running in light of the spread of the novel coronavirus. A grim reality soon emerged after interviewing a number of dance artists, tutors working with children, choreographers, dance instructors, and other practitioners working in areas like street dance and fitness1. Independent and medium-to-small-sized studios have it hard as maintaining their programmes translates into additional costs. Their situation cannot be compared to large dance companies which possess greater resources in terms of finance, space and staffing or government subsidies and have the capacity to explore various online solutions that require special technological and market support. Unlike other fields of study which can easily be transferred to an online environment, the grace, alignments and techniques of dance cannot be conveyed in the same way through a screen as in the studio, dance teacher Julianna Ho explains. In the 21st century where everything is streamed online, e-learning has become the preference for many even though it isn’t always the most effective method. Despite the introduction of virtual or augmented reality technology, the spontaneity of human touch and the exchange of emotions expressed in an artistic performance that brings the performers and audience together in the same space, still cannot be fully replicated in the virtual world.

Both express concerns about the impact the Centre’s relocation will have on the industry in the future. Dancer and instructor Kelvin Mak reveals that many medium-to-small-sized ballet and contemporary dance studios are facing financial trouble and worries whether they will be able to ride out the storm. However, he also notes that studios providing lessons on hip hop and other kinds of “street dance,” as well as fitness dance, are seeing more participants coming through their doors. There are two possible explanations for this phenomenon: First, unlike ballet and contemporary dance classes that are made up of students of different ages from children to adults, the stamina required and the culture of street or fitness dance are more aligned with the younger generation who are from a healthier segment of the population and less vulnerable to the virus. Conceptually, street and fitness dance are also seen as a form of exercise which in turn makes them easier for people to accept as a healthy choice in this time of health turbulence.

Second, the emphasis that these styles of dance put into combining training and performance makes it possible to burn a great deal of energy and help dancers to commit to them with passion. Matching steps to rhythms heightens the dancers’ attention and In the famous Japanese TV series, Long Vacation, after collectivism, drawing them in even more. experiencing the loss of his marriage, job and family, the protagonist reflects that while he cannot change reality, Regardless of the kind of dance one practices, the goal is he can see this chapter of his life as a long vacation, one to connect and communicate with others. Setting body that offers him a chance to better manage and work on aesthetics aside, one must be able to have that human his creativity and to enjoy life. The same kind of feeling contact to ignite the spark. American philosopher is shared among some dancers who are facing the Martha Nussbaum once said that performance can fallout brought by Covid-19, and left at home without inspire empathy and iron out hatred and apathy. Against work. Ho has been taking advantage of this enforced the backdrop of an epidemic, without knowing when long vacation to devise choreography with a few other we will find ourselves at the end of the tunnel, and dancers. They are also videoing their work and sending with people fighting for toilet rolls and experiencing it to presenters abroad to seek overseas performance solitude and discrimination, what choreographers and opportunities. For a long time, they have wanted to dance performers can do is to prepare themselves reorganize their work, and even learn how to edit film and sow the seeds for a future expression of beauty themselves so they can produce their own footage but and freedom. their busy schedules meant it was all but impossible to find time to do so — until now. Another dancer, Yau Ka Hei and two fellow dancers have started creating 1 Interviewees: together and inter viewing each other, gathering Julianna Ho, Lai Tak-wai, information and studying their bodies in order to better Kelvin Mak, Yau Ka-hei and prepare themselves for moving forward when the time Blank Space Studio comes. Ho and Yau have heeded the old saying that when life gives you lemons, you should turn them into (English Translation by lemonade by giving themselves a well-deserved rest Billy Leung) and readying themselves for a more successful future. Felix Chan While both have finished their recent work with CCDC is an art critic, theatre creator Dance Centre, they both say that they would not have and illustrator. been able to complete their pieces had it not been for Personal website: the venue and resources provided by the Dance Centre. www.felixism.com

四月 APR / 五月 MAY 2020 — 12

想見你（和你的藝術）—— 橫濱表演藝術交流會及周邊節目經驗談文：羅妙妍

《渦》在 HOTPOT 東亞舞蹈平台編舞：盤彥燊 / 舞者（由左）：盤彥燊、盧敬燊 / 攝：Yulia Skogoreva

在新冠肺炎疫症的陰霾下，今屆「 HOTPOT 東亞舞蹈平台」，已是第六以甚麼為優先？」兩人的共識是藉著日本橫濱表演藝術交流會（ T PA M ）在次展演。每次展演 W a y s o n 都會調整是次機會，重新連繫過往結下的網絡，

2 月 8 至 16 日有驚無險地順利舉行。作品，務求逐步建構出更好的版本，並與即將合作的海外伙伴舉行製作會

交流會節目主要分為三大範疇：匯聚各「作品首演後就像剛誕下的孩子，我會議，以實際工作為優先。「我不想漁翁

種交流活動的「 TPAM Exchange 」、緊緊抓著，但當巡演多了，我開始有種撒網，也不需要認識好多人 . . . . . . 最首要由策展團隊委約或邀演作品組成的從容，讓作品在不同的劇場空間和氣候環的當然是 Wa y s o n 的演出圓滿完成，

「 TPAM Direction 」、本地及海外團隊境下調節 —— 孩子慢慢長大，獨立了。」讓大家知道 Wayson，也知道我正在和報名參演的「 TPAM Fringe 」，另外亦

他合作；第二個重點是再連結一些有質

有多個關係密切的「 Joint Project 」今次巡演團隊由 Way son、製作人何嘉素的聯繫，所以我在 T PA M 參與的都是

同期進行，如「橫濱舞集」、「 HOTPOT 露（ C a r r o l ）、舞者盧敬燊以及聲音藝『 group meeting 』2 ，以及其他國家主東亞舞蹈平台」等。

術家 P e t e r L e n a e r t s 組成。Peter 在辦的『 reception 』（茶會），得到的資訊

之前的北京及芬蘭巡演都沒有隨團，比較集中，也可以有真正的對話。」

本地獨立編舞盤彥燊（ Wayson）及藍嘉總結經驗後，團隊決定調整預算安排，

穎（Blue）聯同製作人及創作伙伴，參與了 Way s on 形容：「 Peter 是非常核心的今次展演後，主辦單位安排了每位編舞五

當中的節目，各有體驗與省思。從參與平成員，我很慶幸今次他能夠出現，今次巡分鐘時間，讓他們向席上的海外製作人、

台的本意與困惑，到如何在國際交流中把演的版本在聲音上是最完整的。」然而，節目主辦者、製作中介等介紹自己。在藝

握創作人的主動性，面向世界同時是探問在藝術發展局的文化交流計劃資助條術市場身經百戰的 Wayson，選擇以自自身的過程 —— 正如TPAM的英文全名 1 款下，資助金不能用作支付非本地創作己的方式應對：「我的方式是不會再講所揭示：「 Arts Meeting 」，以藝術之名人 Pe te r 的酬金，Carrol 點出目前政策作品，而是分享自己日常的藝術生活，

聚集文化、語境、經驗、關注、美學相異下的現實：「如果我們做國際協作，當中如何把自身覺知融入創作。」Way son 的人，可以預約相遇，可以不期而遇，亦可包括外國藝術家的話，香港資助是無法支邀請大家一起進行一個簡單呼吸練習，以遇上自己。

援的，我們需要以其他方式尋找資源。」有助放鬆調節身心。介紹時段完結後，

盤彥燊與何嘉露：相遇自然帶來對話

自 2 0 16 年起，獨立製作人 C a r r o l 與走近與他聊天，感謝他的練習，分享自身

幾個本身僅屬點頭之交的製作人從容地

盤彥燊（ Wa y s o n ）的編舞作品《渦》 W a y s o n 締結長期合作關係，今次出生活的疙瘩，自自然然便打開了話匣子。

首演於 2 0 18 年香港藝術節賽馬會當發橫濱前，C a r ro l 先問 Wa y s o n 幾個如果作品是進入人心的鑰匙，由衷的交代舞蹈平台，今次在橫濱參與第三屆問題：「為了甚麼而去？有甚麼期望？流就是旋開大門的那道力量。

13 — 觀察 Observation

《實驗性關係》在TPAM Fringe，於 WAK ABACHO WHARF 編舞：藍嘉穎 / 舞者（由左）：邱加希、陳玥伶 / 照片由演出受訪者提供

藍嘉穎與黃漢樑：規則裡尋索虛位

演出後提出疑問，驅使其他觀眾加入討也希望探索類近的展示方式：在交流

相比 Wayson，藍嘉穎（ Blue）今趟橫濱論，她從旁細聽他們對於作品的解讀與活動的基本設置上，以半展演、半講解

之行忙碌多了，她首演於 2 019 年香港想像，饒有興味，「也讓我回想起創作這個的方式呈現創作理念，既能保留表演

藝術節賽馬會當代舞蹈平台的編舞作品作品的初衷。」

元素，亦可能比 TPAM Fringe 更大機

《實驗性關係》除了在橫濱舞集

會被潛在合作伙伴「看見」，「 TPAM

的比賽（一）亮相，亦與香港編面對高度全球化的藝術生態，如日方中的某些前設就像催化劑，能夠讓事情

舞黃碧琪的團隊合租獨立表演場的創作人要挖掘更多創作資源，難免要發生 . . . . . . 不過可能你需要多去幾次，地 WAK ABACHO WHARF，成為 TPAM 在國際藝術市場或平台爭取「被看見」在遊戲規則中找到一些虛位。」 F r i n g e 的參展節目之一，公開展演共的機會，然而 Wilfred 參與其中亦有未能

三場，同場加映創作伙伴黃漢樑梳理的迷思：「我不太想進入這個遊戲，發問作為自身與世界之間的一種交流，

（ Wilfred ）導演的兩齣舞蹈短片《 9 》但好難避免 ......我感覺這是一個商業化在反覆驗證與思辨的過程中，且問

及《 God limps 》。

的圈子，亦是一個資源分配者的圈子。」且前行，在體制的桎梏與機會中，虛位

Wilfred 以超級市場比喻表演藝術買賣以待。

藍嘉穎參與的橫濱舞集比賽（一）分兩天市場，在這個藝術超市裡，手握資源的節進行，十個參賽作品選自三十八個國家的目主辦者將以最短時間檢閱最多作品 / 一百八十七件投案，每天展演五個作品。貨品，跟最多的供應商 / 製作人交流，《實驗性關係》是唯一香港代表，與來自從而在最有效時間內完成一單交易，成功

日本、台灣、韓國及菲律賓的入選作品競製作節目，「作為獨立藝術家，當中的主逐各個獎項。雖然最終空手而回，Blue 坦導性其實好低。你有一件可能很優秀的作然沒有失望，皆因能夠入選已是意料之品，但沒有一個好供應商在平台裡推而廣外，故純粹以觀摩海外藝術節的心態參之，你就無法接觸到任何地方。」與，藉此感受日本的劇場文化，亦實驗在

不同大小、質地的空間展演作品，觀察作 Wilfred 續問：「把商業社會行之有效品在不同圈子的反應。

的一套搬到藝術平台上，的確可以達

到一定效果，但為甚麼藝術世界要這

不過比賽設計似乎不容易構成交流，樣運作？我不是中介，我期待交流；賽程時間緊逼，鮮有鼓勵討論的時段，我對買賣有保留，但亦不會完全抗拒

「即使是比賽後的頒獎典禮和派對，買賣。只是每次買賣我都會嘗試思考氣氛好客氣，的確有好多節目主辦者參其價值 —— 到底這只是一宗買賣，抑或與，但他們給我的感覺是早已習慣這種一種真正的文化交流？

」不過對比參

場面，少有深入談作品，往往很快就跳與其他藝術市場的經驗，W il fred 亦同到其他硬件上的問題。」B l u e 對比後來意 TPAM 是個更具可能性的平台。受到參與 TPAM Fringe 的經驗，通過後者能台灣動見体劇團在 T PA M

E xchange

夠更直接與觀眾交流。她回憶其中一場主持的 group meeting 所啟發，Blue 和

有位日本觀眾對於作品結尾大惑不解， W il f re d 展望下次再參與 T PA M 的話，

編按： T P A M 的英文全名為「 Tok yo Performing Arts Me et in g 」， 2011 年起從東京移師橫濱（ Yokohama ）繼續舉行。

作者按：T PA M E xchange 活動之一，T P A M 與會者可自訂主題，主持約四十分鐘的非正式分享會，觀眾由十人至一百一十人不等羅妙妍又名大妙實知。自由身劇場工作者，訪問藝術研究者，新界西資深通勤者，德國柏林美食糾察。

四月 APR / 五月 MAY 2020 — 14

先研習南方武術，後啟發舞蹈創作

談「中國舞蹈與中國武術之交互研究與成果呈現計劃」的研究方法文：陳瑋鑫

談到中國武術與舞蹈之間的關係，可能很武舞互相學習，啟發新展演模式

多人都會即時想起太極。除了作為舞者晨至於具體研習何種拳法與門派，則是由

課訓練，鍛煉身心，台灣更有不少舞團將計劃之武術指導及夥伴中華國術總會太極導引入舞蹈訓練與創作當中，把淵遠執行董事趙式慶先生建議。「我是從武

流長的身體文化傳統融入當代創作，雲門術研究者的角度去看，將廣東南方武術

舞集就是其中的佼佼者。不過香港舞蹈團視作一個龐大體系，並從拳種的技術角在策劃其首個跨界藝術研究項目「中國度去考慮，而不是單從個別門派的角度去舞蹈與中國武術之交互研究與成果呈現選取。」所以最後趙先生特意揀選了包含

計劃」時，卻另覓方向，把焦點放在中國長、中、短距離的三大拳種：「長，最有代南方的武術，先專注學習不同拳種，然後表性的是蔡李佛；中包含有長、有短的，

把當中的領悟及發現，透過舞台表演的方是洪拳；短，就是福建的永春白鶴。」式作呈現。

讓參與的研究員可以透過親身學習，領略

先去做，後再想

身體的認知。

不同拳種特色，進而加深對武術法則與

話說從頭，藝術總監楊雲濤笑言自己從不

愛「三思而後行」，總是抱著「先去做」的此外，這三種拳種在香港來說，師承比項目研究員廖慧儀

心態工作，因此當初知道政府有一筆資較清晰，其在港傳人的武藝水平也高，攝：Henry Wong 助可以申請時，其實並未有太確切的想其傳授方法也十分有系統，能夠讓舞者

法，只是他一直希望去學習一些新東西，容易明白，所以趙先生就選擇邀請這三於是就想到不如做一個三年的正規學習大拳種的相關師傅共同參與是次的交流計劃。因為一直以來，舞蹈團雖然都會計劃。而從武術界代表的角度，他也希

因應個別演出需要，找來不同導師去教授望師傅們在專注教授舞者傳統武術的同

團員一些特別的演出技巧，但卻從來沒引時，也可以從舞者們身上，發掘到活化傳進過任何恆常或長期的非舞蹈訓練，故希統武術文化表演與承傳的新方向。事關傳

望藉此契機，讓舞者們能夠有一個認認真統武術在過去二、三十年，無論在市場、

真去學習新技藝的空間與平台，提高舞團觀眾，以至與新的創作形式之結合上，

成員的學習氣氛之餘，也能夠刺激未來的也不是做得很好，發展出現僵化，甚至有

萎縮的現象。故此趙先生認為這次和舞蹈

舞蹈創作。

團的合作，是一個非常難得的機會去將

不過最後為什麼會選上南方武術作為南方武術，透過專門從事創作表演的舞者學習對象，其想法就相對清晰得多。認真習武，注入新想法再作發展。「藝術上我有一個十分清晰的想法，就是

作為一個香港舞團，我們有責任去挖掘踏出實踐式研究的第一步一些屬於香港的地道文化。

」楊提到畢竟在香港的現有資助體制下，藝團往

那時候剛好看到有關香港武術宗師的往要像工廠般不斷輸出作品，差不多每電影，引起他對武術流傳之人文故事的兩個月就得排演幾場新作，編舞或舞

興趣，並且希望以舞蹈的角度去了解一下者都難有空間去專注投入學習與研究，武術在香港的發展。而南方武術在香港的這次長達三年的研究計劃就正好給予推廣傳承一直保留著高度完整性，加上其一眾舞者一個機會去重新裝備自己。動作發力多從內在出發、穩打穩紮，跟北縱使環顧全球也有不少舞團會以各樣武

方武術的靈動高踢，抑或如芭蕾或古典舞術元素作為啟發去創新，但卻鮮有舞蹈蹈皆注重外在的律動不同，故他更感興趣團或舞者願意投放兩年多時間去和武術去加以鑽研。

家作深度合作，先專注學習武術，然後

才去創作，而非隨便從武術中截取一些形態，以模仿的形式去發展作品。

15 — 觀察 Observation

舞蹈團藝術總監楊雲濤及白鶴師傅李剛攝：Henry Wong

楊指出，如果學習武術的目的純粹是交出了好成績。接下來進行中的第三階

要去做一個演出，那麼他們大可以日段「深化實踐及創作排練階段」才是真

常創作的思維去構想，不用花那麼多正挑戰，畢竟演出對研究 / 舞蹈員來說，

時間，尤其大家都已習慣了在數月間去排早已是家常便飯，但談到實實在在的體

研究項目面書 —— 搜尋「 hkdance.research 」

演新作，可是這正是他希望能夠作出改變現式研究（ Embodied Research）卻很與突破的。故此在首兩階段他都一直有提可能是第一次接觸。且看各研究 / 舞蹈

醒大家不要急着去研究，而是先把百分之員如何能將之前的習武經驗與啟發，作

九十的自己放下，避免太早開始去發展舞進一步整理與思考，並嘗試把其轉化成

作，盡量留一個較長的空白時間去感受習舞台上的演出創作，踏出舞蹈團在跨界武這回事。

研究上的第一步。

事實上，這類表演藝術範疇中的實踐式

研究（ Practice as Research ）項目，

在研究過程中的發現，往往比最後的演

出或展演部分更加重要。特別是計劃目的不是要將一班舞蹈員訓練成為武術

運動員，而是希望對身體控制有一定基礎的舞蹈員，能夠將習得的武術知識加

以消化，提升對肢體動作變化的理解，

為舞與武這兩種不盡相同但又有其共通處的身體表達方式，帶來新的啟示。所

以各研究員一方面要在過程中要求先忘記自己舞蹈員的身分，盡量去學習招式，

但另一方面也不能排除自己是舞蹈員的這個本質，善用對身體的敏感度去審視分析

當中的運動經驗，最後再以身體的方式去作研究結果呈現。

經歷了首兩個階段的工作坊及去年十月的一場階段展演，楊、趙二人皆認為即使眾

舞者實際習武時間不長，還要同時學習多種武術，但各人的身體狀態都起了不同變化，個別舞蹈員的武術水平亦相當高，其表演層次甚至超過不少在港習武

多年的武者，可見在學習上研究員們都

陳瑋鑫資深藝評人、媒體及劇場製作人，近年主要從事表演藝術研究及教育。

四月 APR / 五月 MAY 2020 — 16

有關《⃝》的圓與緣文：陳瑋鑫

從去年火紅的社會運動，到刻下的新冠太多東西，而不是單單做一個作品那麼簡肺炎疫情，香港人的生活無不大受影響。單，所以詳細考慮了七天後，他回應道：然而，面對眼前困境，藝術家又怎樣能「對不起，做不到。」夠以創作去回應當下呢？曾任城市當代

舞蹈團（ CCDC ）舞者及駐團藝術家的不過當 R a y m o n d 提議不如找來又一

舞蹈家邢亮，與跨界視覺藝術家又一山人一起創作，邢亮就決定接受這個山人（山人），繼三年前首度於舞蹈電影挑戰。山人跟 C C D C 合作十多年，曾為《冇照跳》中合作後，再次聚首，創作舞團不少作品做過設計工作，但作為演出

全新長篇形體劇場製作《 ⃝ 》，試圖導演還是第一趟。其實邢山二人認識不算打破常規，引導舞者從思考舞蹈開始，深，過去於《冇照跳》中乃首度合作，省思生活，為自己作出改變。

邢亮認為山人做事嚴謹而且很有計劃，

以一個圓為作品命名

定答允合作，最重要原因是他非常欣賞

二人合作也有莫名的默契；不過最後決

坦白說，這齣新作最讓我好奇的並非演出山人的包容性。邢提到山人當初找來龔志內容，又或者二人怎樣分工，而是作品的成為《冇》片作音樂，雖然最後做出來

名字《 ⃝ 》。它既不是英文字母「 O 」，的感覺與山人期望的不同，但山人在尊重

也不是數字「 0 」，而是簡單直接的一個對方的創作下照樣用上。他認為藝術

圓形。「如果要我直接解釋的話，這是家主觀性一般很強，若要在藝術創作上一個『包容』。」邢亮指出，從圓滿的角兼顧包容，尤為重要，所以這件事令他度來看，要真正做到包容，就必須要知印象特深。道所有東西背後的實相與及其真正的意

義，要做到真正的了解才能夠做到真正思考舞蹈為何

的包容，否則只是一種概念；從不圓滿「我過去只是一個觀眾，從來也不是跳

的角度來看，你並不了解的話，就會一直舞人，也並非編舞人。」山人強調若不是糾結在這個實相之上，不斷輪迴。而劇今次這個項目，他一直都只會是個觀眾，

名的「 ⃝ 」，就可以解讀為「圓滿」，現在就正好有一個機會，與邢亮一起去

「圓滿不代表所有東西都美好，真正的跟舞者們交流大家對舞蹈、生活與藝術圓滿包含好與不好。」

的看法。他倆都希望在創作這台節目的

過程中，可以為舞者的日常工作與思維

邢說他在構思這個作品時，同時也想了模式，帶到啟發，而其中一個他們認為一些題目，希望可以找到比較靠近包容這需要不斷思考的問題，就是「為什麼要個感覺的，好像是《心經》之文句，或者跳舞？」。是出自《六祖壇經》的「明鏡亦非台」

等。然而，任何文字都有其局限性，加上不經不覺，邢亮離開 CCDC 已經接近十

舞蹈始終是需要意會，難以用語言去清楚年，他表示過去九年多看了很多東西，《 ⃝ 》排練片段解釋，所以他後來跟山人一起商量過後，對藝術有了更深的體悟。「藝術有某一

大家就決定以一個比較抽象的符號來作種東西，如果你接觸不了生命的本質的為演出名稱。

話，它只是一種技術、技能；但是如果

二度合作的緣起

生命的本質的話，我就覺得更圓滿了。」

我們能夠通過這種技術、技能，碰觸到

談到這次創作的緣起，原來是跟去年因此他直言今次回港創作，最主要的考慮

香港風起雲湧的社會事件有關。話說是：能夠為 CCDC 帶來什麼？可以為這些去年八月，C C D C 的行政總監黃國威舞者帶來什麼？所以這次他和山人皆花了（ Raymond ）有鑑於當時的社會動盪，很多時間去與舞者們進行溝通，也希望

兩度主動聯絡身處北京的邢亮，希望能舞者了解創作這一台節目，並非單純是

邀請他回港創作一齣新作去回應社會。情緒表達，而是要回歸到個人的生命「作為藝術工作者，可以為香港做甚本體；不是要跳出優美帶勁的動作，而是

麼？」面對 Raymond 如此詰問，邢坦言從個人的經驗與情感出發，再延伸至與心情特別複雜，可是由於他十分了解香港社會的關係。的藝術環境、舞者狀態，以至舞團的運作方式，他知道若要回港進行創作，要照顧

17 — 觀察 Observation

攝：又一山人

《 ⃝ 》排練片段攝：又一山人

觀照生命本質

過去舞團一般會用三十天左右去排完一個作品，但對於一齣全新舞作來說，

其實並不足夠。這次《 ⃝ 》的創作，因著舞團其他活動而分成三個階段：先於

去年十二月開始，然後是今年二、三月，

再到四、五月至公演。雖然實際排練日子

未有增多，但中間創作團隊就可以有更多時間進行思考、整理及消化。

山人指這次的工作方式是希望給舞者作

更多理念上的滲透，在首八天的排練，舞者們都幾乎沒有跳過舞，只是在對話。「坦白說，（他們）很難捉摸我們想

怎樣。」他倆與舞者們分享了宗教、哲

學觀念及人的價值觀等，而這些都未必是他們日常會思考的，但經過了兩、三個月不斷自我拷問，在三月初剛完成的第二階段排練中，已經見證不少舞者在短短十八天後所呈現的狀態變化。

兩位導演坦言即使面對未可知的疫情

《 ⃝ 》排練片段攝：又一山人

發展，這台節目最終未能演出，對他們來

說已經不重要，最重要的是通過編創這個節目，能夠跟十五位舞者結緣，讓他們

得以重新去觀察、思考及體驗，並且理順一下生活與生命，最後演出怎樣，都只是

第二重要。邢最後提到，他作為導演，將嘗試以源自各舞者思維的元素，構建

出光怪陸離世界的現象，期望觀眾入場

閱讀後能夠好好思考，生命的本質到底是什麼。

陳瑋鑫資深藝評人、媒體及劇場製作人，近年主要從事表演藝術研究及教育。

四月 APR / 五月 MAY 2020 — 18

Dialogue on Dance

舞後對談

沒有演出的日子—— 莫斯科大劇院芭蕾舞團電影《羅密歐與茱麗葉》文字整理：《舞蹈手札》編輯部

在沒有演出的日子，我們由劇場轉戰戲院，欣賞 Bolshoi 對舞台中心（ centre ）有一股執著。

由莫斯科大劇院芭蕾舞團（ Bolshoi Ballet ）很多（演出）會在「台中」（ centre-centre ）完演繹，其藝術總監 Alexei Ratmansk y 編舞的結一幕。但在《羅》中，舞者被排至「台下」角落

《羅密歐與茱麗葉》2020 年現場演出錄影。（ downstage corner ），甚至澎湃地走畢四個這次我們請來資深藝評人、國際演藝評論家協角落，跑回「台中上」（ upstage centre ），會（香港分會）總經理陳國慧（Bernice），跟班才走上「台中」完結結幕，然後再到「台中下」

尼斯譜舞師鄧曉霖（ Iris ）作舞後對談，一起談（ downstage centre ）示意觀眾他們的離場

談有關舞蹈、戲劇及影像的邂逅。

（ exit ），對中心的執著可見一斑。

莫斯科大劇院芭蕾舞團的編排特色

舞劇劇場與文本選取

Bernice：Iris 看過《羅密歐與茱麗葉》的不同 B er nice：我一直思考在劇場裏，要將一個基

舞劇版本，有什麼不一樣的感受嗎？我實在沒有礎非常強的文本作品（發展）到一個舞蹈時，入太多看舞劇的經驗。

面的選取是如何（進行）。以在陽台上最經典

Iris：小時候還是一個「 Ballet 妹妹」時，有看過香港芭蕾舞團的版本。其後在 2016 年，我到伯明翰皇家芭蕾舞團（ Birmingham Royal Ballet ）當學生舞譜者（ Student Notator ）時，當時觀賞了由肯尼斯．麥克米蘭（ K e n n e t h M a c M i l l a n ）編舞的《羅密歐與茱麗葉》之

只靠身體去表達，如何知性地去表達到那個

的一幕為例，缺乏了本來詩意文字的描述，

場景，以及他們之間定情的氛圍。單憑身體語言、姿勢（ gesture ），可以處理如此詩化的氛圍嗎？

Iris：我想為這些舞劇版的故事解說。當然有很

製作，以及後來於 2 0 17 年受斯圖加芭蕾舞多詩意的部分真的很難去呈現（ por tray ）。團（ Stut tgar t

）邀約到新加坡濱海但我記起之前看約翰．克蘭科編的《羅》時， Ballet

藝術中心（ E s p l a n a d e ）看的約翰．克蘭科當時舞台布景不只有一間屋，還有一條直達屋子

（ J o h n

）版本，然後就到現在的的橋，慢慢由羅密歐與茱麗葉之間的距離推進， C r a n ko

「 Bolshoi 」了。

讓觀眾目睹由甜蜜到澎湃的關係發展，令你能慢

慢了解他們的心理轉變及經歷。雖然未必有詩的

Bolshoi 的特性，是他們非常著重明星的個人成分，但會更讓你去相信、明白這段關係。其實魅力，節奏很明快，動作包含很多轉圈，很澎（舞劇）處理可以很細膩，不過是 Bolshoi 的湃，就不會有太多細膩的（劇情）推進。其實風格偏向不斷澎湃及更澎湃的表達。我並不特別喜歡 Bolshoi，因為他們大多著重

在技巧、轉圈等；但在這次《羅》電影中，我很 Bernice：不過，觀看《羅》時，我也有發現一些詫異 Bolshoi 在一些情節上有細膩的描寫，如在情景以舞劇作為形式表達更好看。在最後以劍比

睡房的第三幕，茱麗葉被說服要跟帕里斯伯爵結武（ sword fight ）的那一段，盡是一些肢體的婚的時候，伏在床上抽泣時，母親卡帕萊特夫人呈現，透過身體延伸了打鬥中的張力（ tension ）

欲摸頭安慰，到最後還是把手縮回，展現了一種，還有劍與劍在碰撞時配上音效和音樂，所營造家族的「不可以儒弱」姿態，硬下心腸要女兒的緊湊節奏，正正是文字做不到的。換言之，在去嫁人的掙扎。

整個作品裡面，有一些部分語言會少了一些（詩

意的）處理，但又正正在另一些位置，身體能補

Bernice：那 Bolshoi 其實是不是三數年就會做足到某些場景。一個經典的復排（ re-stage），期間會不會經歷

《羅密歐與茱麗葉》編舞：Alexei Ratmansky / 舞者（由左）：Ekaterina Krysanova、Vladislav Lantratov / 攝：Damir Yusupov

19 — 專欄 Column

修改？

在舞蹈的世界裡，很多深層的情緒未必能仔細

I r i s：我也不太確定，但我覺得他們的舞步算是現代的（ modern ），比起很多外開（ turnout ）、很直的古典芭蕾（ classical ballet ）動作，《羅》的編排具有很多彎曲及「 in & out 」

跟文字作為語言的平衡。我想起鄧樹榮的《舞．

處理。我想編舞最大的挑戰，是如何拿捏身體雷雨》，也是一個複雜的故事，可能背後背景比

《羅》再複雜一點點，變相中間也刪短了很多情節，只集中在部分角色間心裡的描寫。當作

的元素，並不是典型的古典芭蕾，那些舞步組合品以舞蹈作為媒介時，導演／編舞的確需要取（ set ）的味道也不大相同。

捨他們想要的方式（ approach ），尤其一個複

雜的故事。

Bernice：那麼舞團會保留當中決定舞步的過 Iris：從一個舞劇看不同國家編舞的方式，你會程、不同選擇（ creative choice ）的決定？舞劇背後微小及重要的事

看到那個國家的民情。在這個俄羅斯舞團的版

本中，可見他們的情感很澎湃，羅密歐在深夜跟 Iris：可以在舞譜上的迎面頁（ facing page ）茱麗葉聊了幾句，茱已經立刻跑到樓下擁抱羅；上記下不同版本裡所作的不同選擇！平時表演會看到很多曖昧的推拉，但他們所有的表達都是「 All-in 」、「晒冷」。

Bernice：可以在所有舞蹈種類都應用到嗎？

Bernice：對！很直接、很快，沒有太多猶豫。

Iris：只要是動作都可以以舞譜的形式紀錄！

Iris：是 ! 所以有時候缺乏那些「起、承」的位我也常常想，究竟這些錄像除紀錄外，是否可

置，人物角色的關係發展可能會不太令人信服。

B e r ni ce：你看過的那些不同版本中，也有到最後羅與茱死之前有一刻相聚的嗎？

以代替現場的劇場表演呢？雖然一樣在漆黑中觀賞，但就被攝影師取決了我看什麼。

《羅密歐與茱麗葉》

Bernice：我很同意。我們看劇場時都可以看到編舞：Alexei Ratmansky /

一個全景，在全景中可以看到編舞在整個空間舞者（由左）：Vladislav Lantratov、Ekaterina

Iris：這是我看過最緊湊羅茱臨別的一幕。他們中，如何運用及突出某種氛圍，以及不同舞者之 Krysanova / 攝：Elena Fetisova 兩個都是死在對方的手中，用手把對方的手包間的互動。在神父為兩口子證婚的一幕，神父在

著要喝的毒藥，或是要插自己的刀刃。這個處理祝福這段關係，但就不斷被剪掉（在鏡頭外）。

很特別，包含著一點俄羅斯式的幻想，讓他們在鏡頭的取態說明這個角色不太重要，的確可能滿死前多跳一會，輕吻多數次，雖跟原著不一樣，足到一些觀眾看技巧／舞星的需要，但同時從紀但會覺得「最少他們能夠相見」。

Bernice：對我來說，這個故事雖然是個悲劇，

錄的層面檢視時，我會思考鏡頭的選擇上可如何調整，平衡整個演出的完整性（ totality ）。

但對於一個少女來說，在一段初戀如何自處、以及掌握自己的命運，兩個年輕人在其中如何擺脫體制／家族去尋找自己的前景，其實年輕人的

充權（ empowerment ）也是故事的一大主題。

其中一幕，三個成年人圍圈跳舞並說服茱答應這頭婚事，茱由不情願到答應並一起圍圈跳舞（實

際上卻只是吊在其中）。「年輕人嘗試充權而始

終被體制／傳統壓制」的這個意像，在當代的脈絡（ context ）下，為作品為增添了不同的層次。舞譜與錄像作為紀錄

《羅密歐與茱麗葉》編舞：Alexei Ratmansky / 舞者（由左）：Vladislav Lantratov、Ekaterina Krysanova / 攝：Damir Yusupov

Ber nice：舞譜的紀錄跟錄像的紀錄，有互相

補充的功能，還是那一種會比較適合重現這種復排？

I r i s：絕對是兩者都需要。很多時候，當我們要覆排一些形態（ pattern ），只用舞譜可能太

繁複，用影像的話一看就看明白動作了。但有時在影像中，舞者的動作難免被服裝掩蓋，不能看

清楚「你在推哪裡，你在哪裡幫她助力…… 」；

而舞譜就會清楚列明每個身體部分的動作，以及給不同條件的舞者（比如說比較高或是矮

的舞者）一些不同處理方法（ alternatives ），紀錄下來就很有用。

莫斯科大劇院芭蕾舞團電影《羅密歐與茱麗葉》編舞：Alexei Ratmansky 2020 年 3月 8日 16:00 Palace ifc (Pola House)

四月 APR / 五月 MAY 2020 — 20

旅歐舞記

Dance Travelogue

文：約翰（自鬼與約翰）

Text: FrancisJohn Chan from Ghost and John

左顧右盼後的藝術呈現

Presenting art as we look across

《 Meniscus 》編舞：鬼與約翰 / 創作舞者（由左）： Shum Pui Yung、Annie Knobbs、Keity Pook、Matt Bell、Alina Sakko、Jocelyn Mah / 攝：Dominic Farlam

「我發了一場噩夢。」《 Meniscus 》中的一位鬼和我相信要做「手機怪」、「低頭族」，才能但不以令人不安的形式出現。這不確定性反而吸表演者，在首演前兩週告訴我。「我發了一場噩跟得上在香港這個家所發生的事。只有透過引他們，邀請他們與表演者走得更近，並嘗試理夢，因為演了這部作品而不能在香港入境。」

屏幕，我們才能擺脫肉體上的限制去接收訊息；解主題。當身體和物品不斷移動時，房間的景觀

只有透過屏幕，我們才能感覺到自己仍然屬於香則不斷變化。通過參與及不斷發現的過程，觀眾

執筆當日，首相約翰遜（ Boris Johnson ）在電港。作品的其一重要畫面，是利用屏幕作一表可找到自己對作品的理解。

視發表講話：由於疫症大流行，民眾應該考慮面，顯示遠方傳來的訊息。表演者和觀眾在演

在家工作，避免到俱樂部、酒吧和劇院。疾病蔓出時都拿著手機，結合投映、鏡子、電訊工具等作品完結時，人們圍著圈走路，鬼和我從控制檯延，處處恐慌。今天下午，鬼和我去了一趟超市，運用，文字和圖像有系統地出現在各個表面上。加入人群，看到一位觀眾在哭泣，另一位給她

貨架已經空了，末日片似的。「 Corona1 ! 」人們鬼作為程式員的背景，加上不同藝術家集結的紙巾。「唔好喊啦。我哋一齊行。」我告訴她。喝駡。他們盯著我們，他們疏離我們，對頭髮的智慧，大大促成了這個作品的成功。顏色，眼睛的顏色，皮膚的顏色都感到厭惡。一

她哭得更厲害。

切都來得突然，感覺被離間，感覺被漠視，感覺人與人之間的信任，讓我倆得到解放。首演的場這作品確實有很多假設。它假定觀眾也來自手機

無人理解我們的掙扎，充滿恐懼和孤獨。然而，地是兩個打開了中間隔板的相鄰工作室，通常不文化的背景，對香港的情況有基本了解，並且對這種感覺自二零一九年六月起一直存在。

會用作這類表演。與大多數藝術項目一樣，投入講故事的作品感興趣。當考慮人們的審美偏好，創作和製作的工作量幾乎相同。我們在距離首演對舞蹈的期望，以及話題的敏感性質時，該門檻

我們對恐懼並𣎴感到陌生。但這是非常特殊的僅兩週時，邀請燈光設計師 Charles Webber 合就會更高。但是，我們試圖通過《 Meniscus 》

恐懼，具有多重的理解和意義。這是一種對不公作，他看過排練後說：「又一個雄心勃勃的作傳達出，藝術製作和呈現確實可以突破文化差義的恐懼，對危機未被解決的恐懼，對無助的恐品！讓我們看看這次能做多少。」懼。在地球另一端，我們目睹了苦難。作為香港

異並為交流開闢門戶。

藝術家，我們在這邊應該傳達怎樣的信息，以及經過一番討論，我們在整個廿九米乘廿二米的空在得到觀眾注目時，應該如何表達這些信息，都間鋪上黑色地膠。儘管倫敦市中心劇院的健康和

是我們一直在思考的問題。透過精心展示的藝術安全法規非常複雜，但表演期間我們依然可以飲

創作，我們試圖跨越文化差異和地域上的障礙，食，甚至可以拿刀切水果。一切一切都是來自各

回歸原始的情感，正如我們通過屏幕，凝視著一合作單位之間的溝通和積極態度，對彼此能力的個場景接一個場景，不知所措，充滿憤怒、苦惱、信任以及共同創造好表演的熱情。無能為力等等。也許是出於使命感，我們去年

十一月在倫敦，和二十六位藝術家合作，辦了觀眾可用自己的手機執行不同任務，並見證不三場多媒體協作演出《 Meniscus 》。 21 — 專欄 Column

同事情發生。一種不確定性一直在房間中漫延，

編按：「 Corona 」一字取自引起疫症大流行的新型冠狀病毒「 Novel Coronavirus 」。約翰（自鬼與約翰）約翰是為鬼與約翰的一人，專注研究藝術與社會的連繫性。網站：www.ghostandjohn.art

“I have had a nightmare.” one of the p er fo r m er s a t Meniscus tol d m e, t wo week s before the premiere on 1 November 2019. “I have had a nightmare that we won’t be able to enter Hong Kong because we have presented this work.” I am writing this ar ticle on the day that Boris Johnson has just announced that people in the UK should consider working from home and avoid clubs, pubs and theatres because of the Covid-19 pandemic. The disease is spreading and people are panicking. Ghost and I went to the supermarket this afternoon and the shelves had been emptied. It feels apocalyptic. “Corona!” people called us. They stared at us. They made us feel like aliens, that they were disgusted by the colour of our hair, the colour of our eyes, our skin, our facial features. It all came very suddenly, just like how everything has happened so suddenly. It feels like we do not belong. It feels like no one is hearing us. It feels like no one knows our struggle. It is fear and loneliness. However, being from Hong Kong, this kind of feeling has already been with us since June 2019. ‘It is not that fear is an alien thing in our lives. But this is fear that has very particular, though varied qualities1. It is the fear of injustice, the fear of unsolved crisis, the fear of helplessness. As we have been witnessing all the pain and suffering of our own people at home, on the opposite side of the planet, what kind of messages we should be delivering as Hong Kong artists and how we should express them when we get to put an audience in front of our work become the questions that we have on our mind all the time these days. Through these carefully displayed and presented artworks, we have attempted to leap the hurdles of cultural differences and geographical barriers and return to primitive emotions like the ones which have overwhelmed us as we’ve stared at scene after scene happening at home through our screens. The feeling is a mix of rage, distress, powerlessness, and more. It was with a sense of mission that we presented Meniscus, a multimedia ensemble work in collaboration with t went y-six other ar tis t s, in London last November.

screen. Only by being on the screen do we get to see what is happening at home. Only by being on the screen are we free from physical limitations in receiving information. Only by being on the screen can we feel like we still belong to where we came from. The screen, a reflective sur face that shows us information from far away, was one of the main items in this experimental work. Mobile phones were heavily used by both the performers and the audience members. Together with the use of projec tion, mirrors, telecommunication tools and more, we saw text and images emerge on various surfaces in a choreographed manner. Ghost’s background as a coder contributed greatly to the feasibilit y of making this work, along with the collective intelligence gained through collaboration with artists of all kinds, from cinematographers to dancers.

around the space as events happened. Uncer t aint y lingered in the room throughout the performance, but not in a way which would disturb people – instead, the idea was to intrigue them, to invite them to get closer to the performers and try to understand the subject matter. The landscape of the room was constantly morphing as bodies moved through space with objec ts and images. The piece presented itself as a showcase and demonstration of a fraction of this larger landscape that we live in. And through this process of discovery and engagement, the audience could come up with their own understanding of the work.

The work ends with ever yone walking joyfully in a circle round the room. Ghost and I came out of the tech-box and joined the crowd. We saw an audience member crying, with a companion handing her a tissue. “Don’t cry lah. Let’s walk together.” It was a liberating experience to see how I told her, and she cried even harder. things can happen through building trust between people. The space used for the The work did come with a lot of premiere was two adjacent studios with assumptions. It assumed that the the partition between them opened. It was audience also comes from this digital not usually used as a performance space, culture of heavy use of mobile phones, has or at least not for performances of our a basic understanding of the situation in format. As with most art presentations, Hong Kong and an interest in fragmented the amount of effort put into creation and storytelling. The bar was set even higher into production were almost the same. when you take into account people’s When we invited Charles Webber, who we aesthetic preferences, their expectations also collaborated with when we produced of what dance is and the sensitive nature I’M NOT SURE ABOUT YOU, BUT I NEED ..., of the topic we were tackling. However, to be our production manager and lighting if there is one thing that we are trying designer, it was just two weeks before the to convey through Meniscus, it is this: premiere. After watching the first run, he that making and presenting ar t really said: “Another ambitious one! Let’s see can be a way to break through cultural how much we can do this time.” dif ferences and open up gateways for communication. Af ter some negotiation, we were able to put a black floor covering over the whole 29 metre by 22 metre space. We were able to eat and drink during the 1 This is a play on a line from performance, despite the very complex Freedom Hi by Papergang health and safety regulations for theatres Theatre, a piece we in central London. We were even able performed on 10 – 15 Mar to use a knife to cut up fruit during 2020. the per formance. All this came about through communication and positive FrancisJohn Chan from attitudes between collaborators, trust Ghost and John in one another’s abilities and our shared FrancisJohn Chan is a Hong Kong artist, half of Ghost passion for the work, for presenting an and John, investigating the excellent performance.

Ghost and I believe in being on the The audience carried out different tasks phone, or more precisely, being on the with their own mobile phones and roved

reception and social efficacy of arts. Website: www.ghostandjohn.art

四月 APR / 五月 MAY 2020 — 22

舞蹈策展：來自印尼的經驗

Curating dance: An Indonesian experience 原文：Helly Minarti（印尼日惹）

Text: Helly Minarti (Yogyakarta, Indonesia)

「舞蹈策展」因著不同情況和個人理解可演繹接著是一輪密集的討論和協商。我發現團隊中這次經驗讓我們理解到創作過程是多麼脆弱，成很多東西，但在印尼的當代舞世界，這是一有著某種我不完全認同的工作文化、思考模式和我們需要投放更多心神、精力與關心去幫忙。個借用詞。這詞語跟「策展人」的關係大於「策工作模式。最後我在一個條件之下加入了，就是在 2018 年的第三屆，三位年輕編舞更能相互合展」這個工作，因為我認為歷史上一直有人在策舞蹈節要將焦點轉成給予空間讓人自我反思、作，而且慢慢適應了 IDF 的模式。我們提早為展（舞蹈），只是我們用不同的詞彙形容。

建立批判思考和增進知識，而非營造「喜慶」展演作計劃，並預留至少九個月讓他們發展。

氣氛 —— 就如大部分（若非所有）印尼表演藝術這次我們選了五位編舞和一位視覺藝術家與其

首先，至少在印尼舞蹈節（「 Indonesian Dance 節一般。當然，野心是很大，但值得一試。

中一位編舞合作，這樣便有五段短篇讓我們不

斷琢磨。（IDF））和「 Art Summit Indonesia 」 Festival 」（ ASI ）這兩個（皆在 90 年代創立的）大型藝術要從新定位，我們首先刪除了編舞比賽。舞蹈

節中，策展工作一直是一班叫做「藝術委員會」節每兩年舉行一次，簡單地分為一系列主要演我們以一個五天實驗營取代了工作坊，實驗營特的人的共同努力。這與經常出現在視覺藝術界出、一系列當地新晉編舞展演、一些較短的大別為這五位年輕編舞而設，外加一個由 Dance 的個人策展者不同。在印尼的藝術史上， Jim 師班和一個較長的工作坊和討論環節。以下我 Nucleus 帶來的新加坡年輕編舞。他們各自可

Supangkat 是第一位自稱策展人的藝術家，他會分享怎樣就著 ID F 的核心目標：支持及培養帶一位主要合作者到場，作為創作夥伴。三位

在 1991 年為自己冠上這個新名銜。視藝界的年輕印尼編舞去發展技藝，去重新策劃展演。策展工作／策展人的歷史還在編寫中，但未被

資深藝術家主持一個環節，我們則輪流當主持，

促進對話交流，小心翼翼地建立一個沒有階級

制度化。當我在 2014 年獲邀擔任 IDF 的聯合策作為觀眾，我留意到 2012 年的展演呈獻了大的基調。我們亦確保年輕編舞有足夠時間接觸

展人時，我很清楚自己正在踏上「策展作為協作量短篇（共十二段，每段長十五至二十分鐘）。實驗營舉行的地方 —— 日惹的藝術社群，例如實務」的傳統。

短篇由來自全國不同地方的編舞家創作，最後探訪藝術家社群或跟其創作方向相通的當地藝組合起來就變得混亂，思路不清。故展演打動術家見面。

由一班在雅加達藝術學院（IKJ）任教的舞蹈藝術我的是它的「共融性」— 它包含了不同地區與

家和學者於 1992年創辦的IDF，一開始是由一眾文化特色，而非一個集合不同編舞構思的宏大視大部分編舞都帶了一段在創作中的十五分鐘短創辦人自資營運。它為舞蹈學生提供了一個一年野。就 2014 的展演，我提議只精選三段短篇，編或一個持續的研究理念來分享。經過兩天的自一度展示自己作品的平台。

I D F 開始尋找包括本地和外地的外來資金，

和每一位編舞緊密地合作，並就每一個創作上的由討論、集思廣益，大家都有了一個繼續邁進的需要作出支援。

但不是每年都成功，所以活動並非經審慎策劃經過六年來的三次重整展演，逼使大家加速

藍圖，在數月後的五天藝術實驗營再見面之前，他們各自繼續創作。

實行，而是取決於當時有什麼可行。進入學習。在 2016 年的版本，我們從 ID F 策展工在這謹慎的過程中，建立一個激發思考同時讓人新世紀，I D F 捲土重來之前掙扎了好幾年；作坊邀請了 Linda Mayasari、Nia Agustina 安心發言和探索的氣氛是重要的，容讓他們不恥而在 2006 年，其中一位主要創辦人編舞家撒東和 Taufik Darwis 加入我們的策展團隊，連同我下問和承認自己的不確定。從這些經驗裡，我們

那邀請了鄧富權加入藝術委員會。在 2008 年，和鄧富權就是五個人了。三個新人的加入有效地了解到舞蹈策展是要靠一鼓流動的互通能量所

武藤大祐也加入了。這些合作都是憑著友好的導向我們離開原有以雅加達為中心的思維，他發展的實踐體驗，並會涉及很多別人看不見的邀請而成就，而不是透過專業的條款運作。

們分別從萬隆和日惹的角度去審視舞蹈，正好工作和終極的，關顧。

能互相補足。為準備 2016 年的展演，我們舉 2 0 1 2 年，官僚世界的一些改變令 I D F 從市辦了首個藝術研究工作坊，從十幾位參與的年政府拿到第一筆重大資金，但事後看來，這輕編舞中挑選了三位參與展演。為了尋找最有或沒有轉化為紮實、精彩的節目。這正好提效能協助年輕編舞去發掘和表達他們獨特的醒：縱使金錢是個重要資源，但它並不是全藝術之方法，我們作了不少試驗。我們的構思

部。一番檢討過後，聯合創辦人／搞手 Mar ia 本是想透過工作坊裝備他們，然後委派至少一

Darmaningsih、Nungki Kusumastuti 和位策展團員緊密跟進創作過程，可是 2016 年並不成功。最後年輕編舞們都沒有重構原來的 Melina Surjadewi邀請了我加入團隊。創作，而是另創新作。

23 — 專欄 Column

（中譯：《舞蹈手札》編輯部及 Tiffany Wong ）

Helly Minarti （印尼日惹）出生於雅加達的獨立舞蹈策展人／學者。自2018年末搬到日惹，一邊建立一個協作式編舞研究平台「 LINGKARAN / koreografi 」，一邊重整自己的檔案紀錄。

The words ‘curating dance’ can conjure up many things -- depending on context and one’s understanding -- but within the Indonesian contemporar y dance realm, this term is a transplanted one. It’s probably more to do with the figure of the ‘curator’ rather than the practice it refers to since historically, I would argue, the prac tice (of curating dance) has been always there, even if the name was different. For a start, at least as represented by two major international festivals in the country, Indonesian Dance Festival (IDF) and Art Summit Indonesia (ASI) (both created in the 1990s), curating has been a collaborative effort by a group of people identified as the ‘artistic board’. This is different from the visual arts where the solo curator f igure is more common. Within Indonesia’s arts history, the first person to call him/herself a curator was artist Jim Supangkat in 1991. The history of curators/curating within the visual arts field is still being written but is not yet institutionalized. When I was asked to be co-curator for IDF in 2014, I was aware that I was treading on this lineage of ‘curating as collaborative practice’. Founded in 1992 by a group of dance artists/scholars who were teaching at the Jakarta Arts Institute (IKJ), IDF started life modestly with those initiators chipping in their own money to fund it. Driven by a spirit of camaraderie it provided an annual platform for dance students to present their works. In those early days, thanks to the international network of one of its cofounders, dance scholar Sal Murgiyanto, the platform soon engaged with certain international bodies such as the World Dance Alliance (Asia-Pacific Chapter) and the Asian Cultural Council in New York City. Managed by this community, IDF started looking for outside funding (local and international) with varying, inconsistent results. Some years were good, others not. Thus, programming was not driven by conscious planning, rather by what would work at the time. Entering the new century, IDF struggled for some years, before resurfacing; and in 2006, choreographer Sardono (one of the key founders) invited Tang Fu Kuen to join the artistic board on a friendly basis. In 2008, Daisuke Muto joined too - more or less in the same

manner. These appointments were made 2014, I proposed to drastically cut down in a more social way (on friendly terms), the number, only presenting three short not through professional contracts. works but being really clear with the selection, consciously working with each In 2012, certain changes in the bureaucratic choreographer and suppor ting each world made it possible for IDF to get its particular artistic need. first substantial funding from the city, but in hindsight this wasn’t necessarily translated into solid, critical programming. This is a valuable reminder that although it’s an important resource, money isn’t everything. It was at this moment of selfref lection that co-founders/organizers Maria Darmaningsih, Nungki Kusumastuti and Melina Surjadewi invited me to join the team. A series of intense discussions and negotiations ensued. I was aware there was a cer tain work culture, ways of thinking and doing things which I might not necessarily share. I finally agreed to join on condition that the festival would La Danse Macabre shift its unconscious focus on privileging Choreographers: Gusbang and Natasha Tontey / the ‘festive’ side -- as seemed to be the Photo provided by IDF norm for most (if not all) Indonesian performing arts festivals -- into creating space for self-inquiry, critical/discursive thinking and generating knowledge. Indeed, a lofty ambition, but well worth a try. The f irs t consequence of such re positioning was to discontinue the choreography competition. B y then the festival was organized biannually and simply divided into a selection of main per formances, the showcase of local emerging choreographers, shor t master classes plus a longer workshop and discussions. Below I am sharing the experience of re-formatting the showcase as the actual core of IDF from its inception, i.e. how to suppor t and cultivate the ar tistic prac tice of young Indonesian choreographers. As an audience member, I had observed that the prev ious 2012 showc ase presented an over whelmingly large number of short pieces (12 of them, each 15 to 20 minutes long) by choreographers from all over the archipelago, that in totality resulted in an unclear, or even random line of thought. The showcase therefore struck me more as an ‘inclusivity’ projec t representative of geographic and cultural areas than a vision formed by a variety of choreographic ideas. For 四月 APR / 五月 MAY 2020 — 24

Re-formatting the showcase has proved to be a steep learning cur ve that has spanned three editions across six years. In the 2016 edition, we recruited three people from the IDF curatorial workshop to join our curatorial team, which in total became five with me and Tang Fu Kuen. Having the three curators’ assistants on board was an effort to de-centralize away from a Jakarta-centric point of view. They, Linda Mayasari, Nia Agustina and Taufik Dar wis, complemented each other ’s reading of the dance scene as seen from Bandung and Yogyakarta. To prepare the 2016 showcase, we organized our first Ar tistic Research workshop, in which just over a dozen young choreographers took part, with three of them selected to present their work. It marked our experimentation in search of the best model to support young choreographers in discovering and ar ticulating their distinc t ar tistic voice. We tried and obviously, trialed. The initial idea was first to equip the three choreographers through at least one particular workshop and then assign one of the curatorial team to closely accompany each further studio process. However, this didn’t quite work out in 2016, and this showed in the outcome when instead of re-working the initially proposed projec t s, the choreographers ended up creating new works that lost the edge shown earlier.

We replaced the workshop format with a f ive- day lab specif ically designed for these f ive plus another young choreographer from Singapore sent by Dance Nucleus. Each was allowed to bring a key collaborator as thinking partner into the lab. Three senior artists facilitated a session and we all took turns in moderating these conversations, carefully setting the tone to blur any hierarchy. We also made sure there were enough days for the young choreographers to draw on the arts community in Yogyakarta — where the lab took place — such as visiting artist collectives or meeting certain artists whose work resonated with their inquiry. Throughout this delicate process, creating an invigorating yet safe space for each to speak out and explore was paramount; allowing them to question and be unsure. If any thing, we all learnt how curating dance is an embodied practice rooted in f lowing, s ynergetic energy which eventually involves a lot of invisible works and ultimately, care.

This experience made us realize how fragile such a process could be, knowing now that we needed to put more attention, energy and care into it. In the third edition, 2018, the three young curators were more ready to work as a team, and slowly La Danse Macabre integrated into the specif ic dynamics Choreographers: Gusbang and Natasha Tontey / at IDF. We started to plan early for the Photo provided by IDF showcase processes, and allocated at least nine months for them to unfold. This time we selected five choreographers and one visual artist who collaborated with one of the former. So, there were five short choreographies to re-work and refine. Most of the choreographers brought a 15-minute work in progress or an ongoing research idea. For two days, they brainstormed, elaborating each choreographic idea and giving feedback to each other in order to produce a roadmap of the next steps before everyone met again in a five-day artistic lab a few months later. In between, they worked on their own. 25 — 專欄 Column

Helly Minarti (Yogyakarta, Indonesia) A Jakarta-born who works as in d e p e n d e n t da n ce curator/scholar. She moved to Yogyakarta in late 2018, reorganizing her archives in the process of setting up LINGK ARAN / koreografi, a collaborative choreographic research platform.

舞蹈節目表 Dance Listings 01 – 02, 09/05 @20:00 | 10/05 @15:00 《 ⃝ 》城市當代舞蹈團聯合導演：邢亮、又一山人舞蹈及形體創作： CCDC 全體舞者（陳藝潔、賀敏、柯志輝、鄺彥璋、黎家寳、林詠茵、李德、樂知靄、馬汶萱、吳卓烽、沈盈盈、譚之卓、朱天宇、黃振邦）葵青劇院演藝廳 ⃝ City Contemporary Dance Company Co-directiors: Xing Liang, anothermountainman Dance and Movement Design: C CDC Dancers (Chen Yi Jie, He Min, Felix Ke, Eric Kwong, Bobo Lai, Peggy Lam, Li De, Shirley Lok, Christy Poinsettia Ma, Jacko Ng, Maggie Shen, Zelia Tan, Zhu Tian Yu, Bruce Wong) Auditorium, Kwai Tsing Theatre

13/06 @19:30 | 14/06 @15:00 Chicos Mambo 舞團《蓬蓬》法國五月藝術節編舞：拉斐耶香港文化中心大劇院 Chicos Mambo — Tutu Le French May Choreographer: Philippe Lafeuille Grand Theatre, Hong Kong Cultural Centre

四月 APR / 五月 MAY 2020 — 26

Harlequin 在家練習系列 Harlequin 練習墊此產品讓舞者有機會在Harlequin Cascade上練習舞蹈動作，Harlequin Cascade是世界頂級芭蕾舞團的首選舞蹈地膠。這款這款1m x 1m的Harlequin練習墊可以放置在任何堅硬的表面（地毯除外）上，以保護現有地板，並且是在家中練習舞蹈動作變化的理想尺寸。

Harlequin踢踏舞板專為踢踏舞者設計，可提供出色的聲音，腳底下是結實的，是在家裡練習舞蹈變化的理想尺寸。 915mm x 800mm的18mm頂級樺木膠合板，一面進行了清漆處理，另一面舖設了Harlequin Reversible 乙烯基地膠，舞者可以按其需要在任何一面進行練習。

欲了解更多信息，請聯繫我們 +852 254 11 666或hksales@harlequinfloors.com