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THE HONG KONG ACADEMY FOR PERFORMING ARTS LIBRARY
1 7 OCT 2刪 Commentary
評論
Press Clippings
釋
釋
服務 大公報
What Are the Characteristics of
愛自由的紫禁城小公主
Hong Kong Dance? Author: Willy Tsao
EE
作者：小拾
大公報 「舞盟」頒發舞蹈年獎
Articles
八位舞蹈工作者及四個團
專論
EB
體獲表揚
Dance Awards 2000
Author: Tom Brown
B
Events
演出節目表 StripTeaser Author: Ock
ES
六月份演出節目名單
我看《男人獨白》
作者：陽光
EE
評雲門舞集2000 作者：子超
EE
Dance Alliance News 舞盟快訊 香港舞蹈聯盟會員名單
會員申請表
封面設計：Lilia Ng
nn
七月份演出節目名單
胃 S3
「:n'v-i■么■祕
、
圖鬮
What Are the Characteristics of Hong Kong Dance? by Willy Tsao
What are the characteristics of Hong Kong Dance? This is a worthwhile subject for the
Hong Kong dance community to ponder. Because of our unique history as a colony, local artists were embarrassed whenever "Hong Kong characteristics" were mentioned.
Invariably, "Hong Kong Characteristics" were equated with some sort of "east-west" combination-that of a Chinese society under British rule. On the surface, it was taking --
场概 it.
.脉秘必-S
the best out of the traditions; actually it referred to an opus of second-rate work that belonged to neither tradition. These "east-west combinations" demanded no stri artistic standards, no logical aesthetic criteria, no philosophical thinking about cu Instead, we only looked for some elements of "east" and "west", combined in some novel
manner. Dance pieces exhibiting these "Hong Kong characteristics" were too numerous to mention.
Is
n the mid-eighties, the dance community began to
of "Hong Kong Dance Characteristics", so that we come
realize the inadequacies of this formulation. Apart
up 'empty-handed' whenever this issue is discussed.
from a few who still championed this "east-west
Is it really true that Hong Kong Dance has no special
combination", the majority ceased to bring up this
characteristics? I rather think that there is a lack of
issue of "Hong Kong characteristics”. Both seasoned
detailed study and research done on the subject. Before
workers as well as a younger generation in the dance
continuing to describe the characteristics of Hong Kong
I
2
as
community started to concentrate on developing
Dance, we need to mention its achievements: first,
individualistic styles instead in their output. They
Hong Kong amateur dance excels in the international
began to explore "individuality", "social issues" and
dance community, both in quality and quantity. By
"creative originality"; and although there weren't
rough estimates, weekly attendance in dance classes
drastic battle cries of "in search of aesthetics in the
(including ballet, Chinese ethnic, modern, jazz, various
Oriental body” as there was in Taiwan, or
"national", ballroom etc.) tops 10,000; far more than
"Modernisation of Chinese ethnic dance" as there was
total spectators at football games. As to professional
in mainland China; local choreographers nonetheless
dance: although there exists no absolute artistic
worked hard for the next ten years or more to produce
standards, and although even international accolades
a thriving dance scene that represented significant
contain a certain amount of subjectivity as well as a
progress and success. It is just a pity that there has
tendency to "over-praise"; nonetheless the following
not yet been any serious and in-depth study by any
three facts can serve to prove our achievement in the
Hong Kong dance critic into this subject
dance world. First, Le Beau by Yuri Ng was awarded
the grand prize in the French International
focused directly at their final 'artistic7 destinations.
Choreography Competition, which is considered to be
What happened on June 4th in Tienamen Square
the /Olympics, of the dance world. Second, Mui
captured the world's attention. I choreographed Hell
Cheuk-yin was invited by the legendary Pina Bausch
Scream in early August to vent my passionate feelings
to represent Asia to perform on the occasion of the 25th anniversary of her company. Third, the Modern
on this subject. Upon re-staging this piece in October,
Dance movement in Mainland China uses Hong Kong
much the anguish and tears, but rather the ridiculous
as its blueprint, and coVitinuously invites local teachers
development of events. In November of the same year,
and choreographers up north. Our dance culture has
when there was still a general mourning in society, I
significant impact on the long-term development of
liberated my heart and produced Wonderings in the
dance in China.
Cosmos^ based on Chuang-tze’s work, in which he
•
the piece had already been re-worked to reflect not so
explored the "time stops for no one, people part for So just what are the characteristics of Hong Kong
no reason” and "all things are one” principles. Three
Dance? It is not simply "east-west" Combinations, but
years later, I was confronted by a Chinese American
a distillation of our work for the past ten years and
choreographer who wanted to put her work Liu Yue
more. If re-unification with China in 1997 represented
Shue (June Snow) on a CCDC performance, a work
a turning point in our culture and history, and we now
which she had spent three years to produce. She
look back to inspect dance development from the
demanded to know if I had 'forgotten’ June 4. Little
eighties to this significant benchmark in history; we
did she know that the historical blow suffered deep
realise that this period represented one of total
within one's soul does not fade with time. However,
experimentation: and although it is easy to criticize
faced with the rapid pace of an ever-changing society,
based on some immature works, this is not particularly
Hong Kong choreographers never stopped to lick
important in our search for "Hong Kong Dance
their wounds'.
Characteristics". On the contrary, if we look closely at
the finer works by some of the more prominent local
LIGHTNESS
choreographers, it’s not difficult to conclude that
The second characteristic is lightness: referring not to
although there are a myriad of individual styles, they
emptiness, nor superficiality; but rather the ability to
share a common sense of 'class' and 'charm', exhibiting
appear effortless when dealing with weighty issues
both qualities on the outside and inside of our society
under tremendous pressure. The current group of
prior to re-unification.Hong Kong Dance has four
Hong Kong choreographers grew up under the
special characteristics: quickness, lightness, coolness,
colonial education system. They are generally
and sharpness.
considered to be 'deficient’ in a sense of ethnicity or history. Even the best among them cannot, nor are they
QUICKNESS
interested in producing works such as Taiwan's Survive
The first characteristic is quickness: this is not only in
or mainland China's The East Is Red; which are filled
dance action or scenery change, but rather quickness
with ethnic passion. The culturally-inclined public
of mind in most Hong Kong choreographers. The three
complain that there is no major dance opus here
professional dance companies in Hong Kong put on
exploring the unique history of Hong Kong, little do
fifteen new programs each season. Combining this
they know that some choreographers here are using a
with other programs put on by semi-professional and
light and 'rootless’ style to jofdown this city’s memory.
amateur troupes, we realise that this is a huge volume
Free of any historic baggage, they employ an agile
of work by a relatively small number of
technique to sculpt this city’s appearance. Even when
choreographers. There are those who say that because
faced with the disintegration and damage of this city’s
Hong Kong dance works are produced and danced in
culture, their relaxed attitude enables them to simply
a hurry, that there is a lack of in-depth exploration and
pick any topic at their whim - be it from the East, West,
serious interpretation. However, it is precisely because
historical, or current - and create something that is
local choreographers had to develop quick responses,
more real than reality itself. Witness Helen Lai's Loose
flexible thinking, and a penchant for details when faced
Pages in a Woman's Diary, in which she mixes Edith
with a rapidly changing society in the final colonial
Piaf's songs with Frida Kaldo’s paintings; or
days, that they could avoid side-tracking, and
Revolutionary Pekinese Opera (Millenium Mix), which
No.4
again mixes traditional Beijing Operatic
their works to analyze current events, or share their
elements with visions of Armageddon as
inner-thoughts, or examine tradition; in an attempt to
depicted in the Bible in a highly convincing and
carve a transparent and clear artistic space for their
yet almost inevitable way. Are these dances about
audiences. Pun Siu-fai utilized a three-tiered stage in
Hong Kong? Looking closely, it's not difficult to sense
his Lost in a Melodramatic City and revealed a lot about
the pressure of Hong Kong’s people and its events.
specific local personalities through the character of a
Yet under the choreographer’s skillful treatment, it
bystander; in Le Beau Yuri Ng employs six dancers to
appears light as a small boat sailing through stormy
show in a dispassionate and controlled manner life’s
waters. Another of Helen Lai’s dances, Invisible Cities,
different kaleidoscopic desires in front of a relentless
describes Marco Polo's voyage to ancient China. This
count-down clock; in Eulogy, Mui Cheuk-yin toys with
dance, based on Calvino’s novel of the same title,
a traditional oil-paper umbrella under rainy skies,
depicts people and scenes along Marco Polo's journey.
exploring the different meanings and interpretations
In the end, we realise that these depictions are actually
such an item invokes. These unique Hong Kong
a microcosm of his birthplace, Venice.
choreographers have very different concerns, and use
entirely different methods to explore their subjects. Yet COOLNESS
there is the common thread of choosing an austere
The third characteristic is coolness: this is an attitude
coldness over loudness or noisiness as their language.
that resulted from doubt in history and mistrust in
Today Hong Kong has once again become a part of
society. Being neither a part of European tradition nor
China, faced with a lot of patriotic slogans and 'hot’
wanting solely to be a part of Chinese tradition, Hong
propaganda, this 'coolness' expressed by Hong Kong’s
Kong remains aloof and withdrawn. Getting one foot
dance community appears even more precious than
in the door, and yet ready to get away at a moment’s
before.
notice, this is the best attitude in choosing topics for
choreography and methods of portrayal. In watching
SHARPNESS
fine Hong Kong dance pieces, audiences will not see
The fourth characteristic is sharpness: it is generally
unreserved, hysterical passion, whether the topic is as
agreed that Hong Kong people are highly inventive,
'large' as country, race, or as 'small' as everyday
adaptable under difficult circumstances, and often
happenings and emotions. We can say that Hong Kong
successfully surmount extremely adverse situations.
choreographers have never used their works to sway
It is equally daunting for dance to prosper and grow
public emotions, but treasure a certain 'coolness’ they
here. Resources are limited, and there isn’t a big
achieve from surpassing the actual 'facts’ - they use
market. Hong Kong is an open city, dancers from all
over the world seeking to make a living keep arriving upon our shores. This plus the annual graduates from
4
APA’s School of Dance: everyone seeks to establish a
and in a swimming pool in Wanchai; and in Dancing
foothold in Hong Kong. Competitions are indeed
City’s case, they invaded university campuses with
fierce, and it's not easy to survive. However, the
their dance; performing for an entire month within
advantage here is that no matter where you’re from,
elevators, in corners of stairways, and classroom
what style of dance you practise, or indeed what
entrances on the campuses of Hong Kong University,
language you speak; as long as you are willing to
Chinese University, and the University of Science and
become a part of Hong Kong’s dance scene, everyone
Technology.
is equally welcome. Within such a highly competitive
local dance scene, it’s little wonder that the best
Quickness, Lightness, Coolness, and Sharpness say a
choreographers develop a sharpness of mind and acute
lot about Hong Kong choreographers, and at the same
sense of observation in order to excel. Since the 90s, a
time represent this city's lifestyle. Once a colony, this
group of young choreographers arrived on the scene,
city of ours still doesn’t shy away from outside
bringing with them new topics, vying with each other
influences. While there are those who find it not deep
to be the best in everything. Breaking new ground,
enough, not profound enough, not passionate enough,
daring to be different, they are wild as untamed
and not encompassing enough; there are others who
stallions. Dancing City, Dance Art, E-side Modern
treasure it all the more because of its quickness,
Dance Company, South ASLI Dance Workshop, Ark
lightness, coolness, and sharpness. People ask why
Dance Theatre, Manna Dance, Danseomanie, Y-Space,
there is no Merce Cunningham, Pina Bausch, Kazuo
McMuiMui Dansemble, Dance Circle, Three Colours,
Ohno, or Lin Hwai-min here, and therefore no Post-
Wala Wala, Bilibala Physical Theatre. Just looking at
Modernism, Dance Theatre, Butoh, or Chinese Modern
the names of these new dance troupes and you get a
Dance? Yet if we are willing to exercise a bit more
feel for their one-upsmanship to capture your
thought, show a bit more concern, and dig a little
attention. Among their best works, one can always
deeper; then we will know that Hong Kong dance has
find a special quality, using a sharpness to pry and
its own characteristics, characteristics that no other
dig into the many levels of life and art, bringing a new
place has. We will understand that we 'possess' a
excitement to the audience. Examples include Ark
wealth of 'classy' choreographers who are uniquely
Dance Theatre's Are You My Type, which depicts
ours; not to be found anywhere else in this world: not
everyday events among members of a high-strung
even the United States, Europe, Japan or anywhere else
family, a tongue-in-cheek revelation of strange
in the whole of China.
phenomena in today’s society; Y-Space and Three
Colours breaking out of the confines of a traditional stage to perform respectively in the fields of Tai Po
LJjlqJ
2000
D^nce
by Tom Brown
n Tuesday, 27 June 2000, the Hong Kong dance
and commitment. Ballroom dance enthusiasts Charissa
community assembled for its second annual
Lee and Dobby Chan performed a fully professional
Dance Awards presentations. The Times Square Vogue
and exciting 'Cha Cha and 'Samba', while Hong Kong
In Paradise Restaurant (VIP) was the site for the gala
Academy for Performing Arts School of Dance
evening hosted by the Hong Kong Dance Alliance for
students performed Mandy Petty’s scintillating tap
its presentation of the Dance Awards 2000. The awards
dance trio 'Walking the Blues’•
O
honored outstanding contributions to the development
6
of the art of the dance made by individuals and
After members partook of the wonderful buffet of
organizations in Hong Kong during 1999. The
Asian dishes the Dance Awards 2000 were presented.
organizing committee chairpersons, Karen Suen and
This year, eleven recipients were honored. After each
Willy Tsao, prepared a spectacular evening for the
citation was read, video clips of work from each award
capacity crowd in the beautifully decorated and
winner, edited by Ringo Chan, were shown. The list of
sumptuously provisioned venue. Arrivals were
this year's recipients of the Hong Kong Dance Alliance
greeted by a film edited by Mr. Tsao which was
Dance Awards 2000 and their award citations are as
projected against the stage cyclorama of excerpts from
follows:
dance productions held during the year. The gracious
Mistress and Master of Ceremony for the evening were Linda Fung and David Liu.
The Hong Kong Dance Alliance chairman's welcoming speech was followed by a performance from the Billy Chan Dancing Centre group. This high-spirited company of hip-hop dancers was
invited back to begin the festivities this year after last year’s sensational appearance at the 1st Dance
Award ceremony. Other performers for the evening included the City Contemporary Dance Company Education and Outreach Department's
Scholarship Class. This group of young dancers presented their own choreography artfully
arranged and performed with panache
-- --------------------------------------------- ----------- ------------------- -
Willy Tsao and Scarlet Wong A
\
>
The Hong Kong Dance Alliance Dance Award 2000 is awarded to Willy
Tsao and Scarlet Wong for their pioneering work m establishing a monthly journal devoted to dance in Hong Kong. Mr. Tsao's vision and
Ms Wong's prodigious work and creativity in bringing the monthly Dance Journal/HK to fruition has given an enormous boost to the maturation of the Hong Kong dance culture. The Dance fournal/HK has
provided a regular public forum for local dance critics and dance wnters to engage in a dialogue with the dance community and its audience, has broadened the interest in dance to new audiences, and deepened the understanding of dance for its readers and the community. The hrm
foundation provided by Mr. Tsao^s and Ms. Wong's production of the Dance Journal/HK during 1999 has enabled the Journal to continue to
grow and reflect the needs of the community it serves. ---------------------------------- -
Mui Cheuk Yin
:
A A / > The Hong Kong Dance Alliance Dance Award 2000 is awarded to Mui
Cheuk Yin in recognition of her efforts to spread the news about the excellence of Hong Kong dance to the world. In 1999 Ms. Mui continued and intensified her touring and presentation of her work at festivals
and dance concert venues throughout the world winning acclaim for her own work and by reflection for Hong Kong dance; generating interest in Hong Kong dance among her audiences and among dance
professionals internationally. The reputation she has gained through her international touring has elevated her to a level achieved by only a
handful of other infprna一-u
-------------- ---------------------------------------------- Dance
A°u^< e Daniel Yeung A A.
>
>
The Hong Kong Dance Alliance Dance Award 2000 is awarded to Daniel Yeung for his highly inventive, masterfully composed, and exquisitely
performed work 'Dance Exhibitionist — a Paradise for the Natural Body'.
As the inaugural performance for his own y.d. thearter, presented during the Hong Kong Dance Alliance’s All Independent Dance Series ’99, Mr.
Yeung’s daring and complete integration of video and environmental
elements into his choreography is an outstanding example of the very best of Hong Kong dance. At the same time that Mr. Yeung was able to
shatter the audience's preconceptions of the possibilities of dance, solo dance, multimedia dance, dance in small spaces, dance humor, and
revelation through dance; he was also able to achieve a complete rapport and familiarity with his audience. Through his choreography,
Mr. Yeung enabled his audiences to learn more about themselves.
Yuri Ng
A A
>
>
The Hong Kong Dance Alliance Dance Award 2000 is awarded to Yuri Ng for his masterfully rich choreography of ‘Ciao Ciao Suzy Wongf. In
this arresting work, Mr. Ng beautifully weaves together elements that reflect the complex fabric that constitutes Hong Kong's unique cultural
voice. Mr. Ng's use of props in his choreography to develop extended
metaphors of the components that go into the intricate mixture that
are emblematic of Hong Kong’s diversity are utterly modern while being firmly grounded in tradition. In ‘Ciao Ciao Suzy 勵ng' he takes this tradition and thrusts it, uncompromisingly into the present, using
elements previously employed to reaffirm the status quo, instead, to pose new models and question the old. He accomplishes this while being sensitive to his dancers individual voices and allowing their concerns to emerge.
Hong Kong Academy for Performing Arts School of Dance A -K
/
The Hong Kong Dance Alliance Dance Award 2000 is awarded to the Hong
Kong Academy for Performing Arts School of Dance for its production of Willy Tsao's paean to modernism 'Birdsong'. In their performance of this
masterwork, by Hong Kong's most renown exponent of modern dance, the Hong Kong Academy for Performing Arts School of Dance
demonstrated its increasing prominence as an international professional
dance education center. The Academy joined a number of other
professional dance companies and tertiary professional dance education organizations that have also performed Mr. Tsao's poetic dance that depicts the rite of passage from realization of constraint to aspirations of freedom.
The Academy's modern dance students distinguished themselves in this eminent field through their fully realized and expert performance of the
work.
，ChefKeXXLlsjXTand11"
to
，Hong Kong Dance Compan^smD L 6ted Perf°rmance in choreography Wanderer's AL ^pr°ductlon of Helen Lai^s fluid Performance of Ms Lai's f 砌啄版 Lim'S eJo<Juent and H's -nlpulat^ vocabu]arywithd
version and commitment to theLT w drew his audience into the character^
of
total
K Llm，s Performance
landscape, and enabled us to experien'咖咖⑽ turmoit his inner
ofthe soul that occurs through catha^' T 也咖吨 and eI ⑽ion masterful artist. g tharsis^he mark of a mature and
Hong Kong Dance Company
The Hong Kong Dance Alliance Dance Award 2000 is awarded to the Hong Kong Dance Company for its re-run production of Jiang Hua Xin’s
exquisite choreography Ju Uou . In his translation into dance of Zhang Yi Mou's film masterpiece, Jiang Hua Xuan has choreographed his own fully nuanced and visually perfect dance masterwork. The Hong Kong Dance Company's remounting of the work in 1999 gave full measure to
the work in all its resplendent glory. Dancers excelled in their art,
exhibiting a full range of movement expertise, shifting fluidly from classical, to folk, to modern dance forms and enabling each part of the work to enjoy the exactly appropriate inflection within these broad stylistic
boundaries.
------------------------------------------------------------- No.4
c Helen Lai
The Hong Kong Dance Alliance Dance Award 2000 is awarded to Helen
Lai for her exquisite choreography of the production 'Summer Solstice' for the City Contemporary Dance Company. One of Hong Kong’s foremost choreographers, Helen Lai consistently creates highly innovative dance works that garner local and international acclaim. In
'Summer Solstice’, Ms. Lai re-interprets Sophocles’ ancient Greek tragedy
of 'Antigone' trough movement and sound, setting this sensational classic in the bustling piazza outside Hong Kong’s Cultural Center on the longest day of the year. By juxtaposing the timeless Western tragedy with contemporary Hong Kong, Ms. Lai re-invigorates and re-invents the work for modern audiences. In so doing, she once again reveals her
genius for sensitively incorporating the environment, capturing the heart of her literary sources, and fusing dance, drama and the here and now into compelling and authentic theater.
Wu Yi-san
xxiv x lung jKong Uance Alliance Dance Award 2000 is awarded to Wu Yisan for her poignant performance in the City Contemporary Dance Company's production of Helen Lai's masterwork 'Summer Solstice'. Within her petite physique, Ms. Wu embodies a powerful dance
instrument that she uses with consummate artistry in her exploration of dance roles. In 'Summer Solstice' the dual role of ancient Greek tragic
heroine, Antigone and the modern-day soul imprisoned by life are brought exquisitely to realization in Ms. Wu's stunning performance.
Though performed in the outdoor piazza of the Hong Kong Cultural
Center, Ms. Wu's riveting ten-minute solo served as a focal point for the
10
production, drawing the attention of passers' by and moving many to
tears with its depth of feeling. Ms. Wu’s performance is the distillation of the art of dancing into
City Contemporary Dance Company
Education and Outreach Department
The Hong Kong Dance Alliance Dance Award 2000 is awarded to the City Contemporary Dance Company Education and Outreach Department for their
all embracing and continuous efforts on behalf of dance education and the
promotion of all forms of dance to diverse audiences throughout Hong Kong. The City Contemporary Dance Company Education and Outreach Department
takes dance to primary, secondary, tertiary, and specialist schools, community
centers, centers for the elderly and handicapped, and performs in community events, and at special dance exhibitions in the Hong Kong community. In addition
to presenting special performances, the Department provides dance classes in all dance forms to the community at large, in special sessions at schools and venues,
and in its own studios. Through its efforts, interest in dance has blossomed and the appreciation and respect for dance as a multi-faceted and diverse cultural
expression, available to all, continues to grow.
s t)
without any choreographic transitions. Dancers went into duets, repeated the duets in different spaces,
胤v⑽1
dancers reiterating throughout a gunpoint hand gesture indicating assassination. There was desire in
the piece and thanks to Henry C.W. Lau for his
by Ock
sensuous leathery S/M suits that painted the crude image of a series of raging and fiery moments, other
than that, there was really very little to see. It is
It was a sell-out. The City Contemporary Dance
Company and four internationally
amazing to see how Lam’s choreography can be so
bewildering.
renowned Hong Kong Fashion
designers entertained a full house
A simple Chinese wooden chair sets the
audience in City Hall Concert Hall
work for Daniel Yeung’s work G-string.
on the weekend of 23-24 June 2000
A solo for Janet Chang semi-nude en
with their collaborative effort
pointe dancing to J.S. Bach's Air on a G-
STRIP TEASER.
string and an assortment of arranged
music by Millennium Mix. Six choreographic works by seven choreographers (Xing Liang and
The use of a purple Chinese fan during
Sang Jijia collaborated on their
a large part of the solo was excellent.
duet) dressed in a range of
One could see the dancer using the fan
exquisite fashions by Pacino Wan,
in the most traditional manner and also
Ruby Li, Henry C.W. Lau and
the crudest manner possible. The
Silvio Chan provided a rare treat
crudeness of the gesture when Janet
stabbed the fan between
for the audience.
her thighs was ecstatic. The set was an interesting cream backdrop
Silvio Chan’s costume
with sliding doors and an upper platform that
designs with Daniel
split the stage into a multi-tiered performance
Yeung’s choreography
space. An impressive runway extends the
were impeccable. The solo has its high moments
proscenium view into the audience.
when, through
the
The show started off with Rage of Desire
simplistic gestures and
choreographed by Allen Lam, an A PA
poise of the dancer, the fan,
graduate who received his MFA from the Tisch
and space; tension was
School of the Arts (NYU). Dancers were
created, but personally I
dressed in black leather with full masks,
would prefer development
whips, leather tassels, and silver studs
of the piece rather than
by Henry C.W.Lau.It was James Bond
dwelling too long on one
like from frame to frame as the
idea. It was a strong piece
choreography unfolded, but it was the
performed very well by a strong
interesting juxtaposition of lighting that
dancer.
created depth for the work. The choreographer's clever use of John
The soothing images and the
Corigliano's Symphony No.l- 1st
sounds of water dripping and
movement, was interesting as the music
flowing to images of water in a
itself has lots of pauses and transitional
washing machine swirling were
points that enabled the choreographer
the elements in a beautiful video
to move the dance from frame to frame
work by Hecto Rodriguez. It was
used to begin Upstream Downstream by Yeung Wai-mei.
To round up the show was
Five female dancers all dressed in elaborate cream
Abby Chan’s Disclosure. "You
gowns, sequined see-through dresses and each biting
are what you wear" an issue
on a rose paraded slowly down the "cat-walk" as the
raised by Abby was a late
video faded and Chopin's funeral march sounded. Big
icebreaker for the audience.
hair, frizzy giant balls of hair like "Afros" were worn
The piece was set to Invierno
by all five, which created an excellent image on stage.
del f96 by the New Tango
Thwarted movements from the dancers tensed the
Orquesta. Dancers were
atmosphere as they moved slowly down the runway.
dressed by Henry C.W. Lau
An installation of five hanging bags of water further
in innovative
enhanced the theme by both the choreographer and
dresses and
the fashion designer, visually. Dancers went into a
suits. The dance
playful girls’ fight by snatching each other’s wigs and
disclosed itself
eventually moved upwards to the tiered area to dance
when dancers,
with their high-heeled shoes in their hands, removing
piece by piece,
their gowns and flinging them around. Discovering
removed their
the water bags, the girls ran towards them, puncturing
costumes in a
them, drank from them, and sprinkling the bags' contents over the stage. Throughout the piece Wai-mei
effective
cleverly uses images and movements to display the
partnering
awkwardness that one faces either being upstream of
sequences. The
downstream of their lives. The piece ended beautifully with one dancer still hanging on the bag and four
invention was
others sauntering glamorously towards the audience
not rich but its
in wet dresses.
was
n l c ely
executed. The final was
still
After the intermission, I could feel the audience getting
scene
ready for David Liu’s work, Chicks' Quacks and the
ambiguous though,
Dresser, which was totally entertaining with Pacino
through the help of
Wan’s design. As the title of the piece suggests, one
video projection,
should not try to make any sense of this work. It is
showed the image of
pure entertainment with a whimsical touch. The plot
Abby walking and
was direct and throughout the dance miming gestures
fading away from her
were used to link the plot. There was a nice play of
physical body.
shadows and column space on the set. The audience
laughed and laughed.
Strip Teaser was a
tremendous effort The Illusion was a morbid duet by Sang Jijia and Xing
rounded up by the
Liang. Silvio Chan designed the metallic G-string for
CCDC and the designers. As Mr. Willy Tsao said in
Xing Liang and the suit-to-be-snipped for Sang Jijia.
the preface of the programme:
The tunnel vision of the piece sustained the work's high state of tension and the struggle of Sang to break free
"Strip Teaser is a continuation of Deca-Dance, with
from rubber strings attached to Xing's crotch added to
the emphasis shifted from solo dance to a theme that
the desperation. Eventually Sang opened a lighted box,
would tie the choreographies up.”
took out a pair of scissors and snipped his way free through his clothes. The brutal snipping was
Indeed, it has been a wonderful event of collaboration
interesting to watch but I guess many in the audience
and much has been achieved in this show. But it takes
felt uncomfortable. It was a poignant struggle for
more than a theme like Fashion to tie choreographies
freedom, however, not at all self-abusive.
together - at least now we know.
No.4
e Q
我看《男人獨白》
“
間那麼容易的失去了，日子卻要這麼艱辛的
過，特別是對有抱負.，有理想，有追求的人 來説，更加是一路心血，日夜兼程。人生的路只能在 心裡，心中茫然，即使有路就在腳下又能如何？ ”起
幕后的一段廷琳的獨舞，已舞起了我心中陳陳波瀾， 以上的幾句話，不期然而至，你相不相信這身體語
言，你佩不佩服舞者的魅力？！ 《男人獨白》一種對流逝歲月的壓迫感，一種對事業和
未來的緊逼感，一部展示內心世界千頭萬絮的作品 。 獨白著須繼續又有些惊慌的茫茫，想奮斗又缺乏動力
的無助，要創新又只能墨守成規的矛盾 。 追逐著太陽，為什麼又必須步步為營？尋找著光明，
卻總是有風雨同行，遠處是有一片天，但黑暗的遂
道，又讓我們歷盡狼辛，身旁腳步聲匆匆，而心中卻 時時感受著孤獨，太陽就在頭頂、然而太陽也只能在
我們頭頂。 矛盾無處不在，矛盾無時不有。 是朋友嗎？為什麼瞬間放開了牽著的手？是愛人嗎？
為什麽擰開了你的頭？是追求嗎？為什麽總有距離在
14
中間？是堅持嗎？為什麽卻表現得舉棋不定？你的腳 踩著我走過，我的肩頭扛起了你的身軀，你的眼神穿 越了我，我的手伸向你留下了空白.社會瞬息萬變，
令跟隨者失去了自己的空間，
曰子舉步艱難，忙碌又複雜的生活，拉開了人與人之 間的距離，甚至自己和自己也變得生疏。小小舞台，
濃縮的社會，夠了，不要背景的花巧，只要靜聽這1■南 喃的心聲，不用多餘的道具，想像的空間就在每個人
的腦子里，在這人生的舞台上盡情傾述吧，男人的獨
白也喚起了女人的深思。是該和自己對話的時候了。
在最后一幕的坪舞中，四個舞者的合拍舞步，營造出了 萬花筒般的大千世界，演釋了這變化多端，深不可測的 現實環境，時聚時散，時緊時疏，時剛時柔，時整時
零，令人倍感在這個無法控制，無法擺脱的範疇里，每
個單位，每個細胞都在不停的變化著，扭曲著，抨札 著。在人與人之間的縫隙中求自己的立足之地，在飛速 運行的局勢中平衡自己的重心，要與時間搏鬥，要與空 間搏鬥，要與人類搏鬥，要與自已搏鬥……
曲终，舞完；燈暗，人散。該消失的都消失了，只是這
矛盾依然，不！多了些思絮在痴纏。我認為，這正是現 代舞好看的地方，不管你欣不欣賞，你是否在思考？沒 有人给你説故事，也不要問自己看懂了什麽，只要問自
已一我想到了些什麽？
謂「雲門」？「雲門」是中國最古老的舞蹈，相
」傳於五千年前的黃帝時代，但早已失傳•餘
《焚松》的主題是「災難與救贖，困頓與奮起」，這正 好配合台灣大地震的災難。「災難」由天而
下美名。「雲門」被稱為是「當代台灣最重要的
降，景景作響的石頭滚進舞台，打亂原有的
文化」，林懷民輝煌地、成功地融合了東西
大小宇宙，石頭至此轉為人類相互攻擊的武
舞蹈文化、技巧與劇場觀念。
器，整座舞台頓時成為經歷戰亂、天災，哀 鴻遍野的場景：描繪出身處世紀末，人類所
在舞劇《焚松》中，雲門舞集
面臨的種種不確定與危機感。在這樣的氣氛
採取了佛法的音樂。焚松
下，舞者擊石作樂祈福便成為一種必要。
第一首音樂「大黑 天」，當忿怒的大
林懷民曾以《流浪者之歌》詮釋「先迷後得、
黑天護法聽到這段
情遍慧遍」的倍道歷程•由《焚松》中「追
音樂時，會高興。
尋」、「渴望」等標題可以窥見此一探索
人對不同的聲音亦
會有不同反應，哀樂
主題的延續•至於「守護神」、「神諭」 及最末一場「鐘聲」，則再次印證人生
會令我們哀傷•好聽
哲理與宗敎色彩兩者，於林懷民近
的話語會令我們開
年的創作中有其「致命」的必要。
心。因此人對聲音有反
此外，雲門舞者更強調靜坐與
應，有如跟護法所發出
「太極導引」的氣功•當中渗出
的效果一樣。
空靈的韻味，與現代舞取得 巧妙的躺合1增添一份入
釋迦牟尼佛説：「讓聲音
世的情懷。
如大海般」，像海浪般會 「起伏」，但這種浪般的音
聲會帶領到我們（亦即幂 生）到一個生命深層的玄
秘。因此，音樂雖是一種聲音，但透過它卻可以
表達很多情绪，令到台下的觀眾感受到那種普渡眾生、
慈悲為懷的感覺。那種所向披靡的力量只「雲門」這樣 深厚功力的唱誦者才能表達和發揮得淋漓盡致。
文：子超
L, -I 7
L'Li tL V
-I
L，
v
一
<
包
大公報
由的紫禁城小公主
二000年六月二十日
「禁城」是清代皇室的居所，同時亦是一個籠 I
牢，它「禁銦」著那有至高權位的皇族。這群
皇族雖擁一切權力，卻只能享受那片禁宮包圍著的天
地，若生為女兒身，自由的天地就更小，圍牆與花盆底 鞋的束缚.就是換取奢華生活的代價。可是天生俏皮、 活曜的小公主，卻要跑到自由的天地去。
香港舞蹈團的《紫禁城的公主》就以這禁閉的神秘地方 為背景，以一雙花盆底鞋為引子，用舞蹈去揭示一位小
公主的生活與夢想。開場的時候，台上是一幕大大的城 門，小公主就在大城門前，這一，］、一大的對比，更見生
活的盧空與壓迫。中國的小公主與西方的小天使就在這
裡相遇，穿著平底鞋的小公主與小天使玩得極痛快，可 見她一旦除去腳下那花盆底鞋的「枷鎖」，便感到自由
16
的歡樂。
迫穿回花盆底鞋時，她同様舞出精采的動態，編舞者更 藉此表現小公主的頑皮性格，讓她卜的n的噠健」地舞動
著，以這放任的反應去「踢踏著圍城中的禮敎」。
當皇后駕到，一幕宮女與皇后同樣穿著花盆底鞋出來因為清人較多與外國人接觸’編舞者便讓演出入一些
B寺，舞蹈員並沒有因那鞋子而影響表演，而當小公主被西洋味’如借用歌劇《卡門》的晋樂视托出一幕宮廷學 洋舞的場面，都令觀幂驚喜。而那些虚幻意象的運用，
更令舞蹈表演趣味無窮，如皇后的愁思懊惱，就以頭繫 蛛網的舞蹈員與她糾纏以表其「心跡」，而皇后與小公
主的「大鬥法」亦建構出趣怪的場面。 整晚的演出不乏趣意，怪不得約兩小時長的表演，能吸 引了不少小觀革，令他們乖乖坐好細看節目。
文：小拾
大公報 二000年六月二十九曰
「舞盟」頒發舞蹈年獎 八位舞蹈工作者及四個團體獲表揚
【本報訊】過去一年，香港有
黎海寧表示，這個獎項是對其作品的一個肯
不少舞蹈工作者在默默耕耘，
定。《夏至》是一次户外演出，需要考慮户
令本地舞壇百花齊放。為表揚
外環境的因素，是她編舞的一種新嘗試。她
他們的貢獻•香港舞蹈聯盟前
現正忙於為台北越界舞團十一月的演出編
晚頒發了 「二千年香港舞蹈聯
舞，這次她以女作家張愛玲小説的文字為
盟舞蹈年獎」予八位舞蹈工作
題材，編成約三十分鐘的舞段，作品名為
者，當中包括編舞、舞者、出
《愛玲説》。其他得獎者還包括：梅卓燕於
版人、教育工作者，以及四個有
去年頻頻參與各類型國際藝術節的演出 ，
關團體。
並與各地舞蹈界交流，不但為自己赢取聲
譽，更把香港的舞蹈文化成就傳揚國際藝 香港舞蹈聯盟前晚舉了晚宴，邀
壇：楊春江於去年「各自各舞蹈節」中首
請了本地多個舞團及藝術工作者
演其「歪。的示體」創業作《靈靈性性— —
出席，共聚聯誼。在會上既頒箱
天體樂園》，大膽創新，融動作、錄影
獎項，又安排各種舞蹈表演助興。
及環境元素於一爐。
各得獎者中，除了伍宇烈外，均有
出席頒獎禮，頒獎嘉賓是藝術發展 局委員陳永華、費明儀及張秉權。
伍宇烈編排創作的《Ciao Ciao Susie Wong
操操蘇絲黃》，亦獲頒獎項，該作品以香港形象變化出
新意，展示了香港編舞家的聰慧、活潑和巧思；林志傑 香港舞蹈聯盟副主席曹誠淵表示，這是「舞盟」第二年
去年演出由黎海寧為香港舞蹈團編排的《客途秋恨》，
頒發年獎，規模亦較去年大•各個獎項是由「舞盟」六
圓熟而誠摯地把現代舞語彙及傳統舞蹈身韻融為一體 。
十多個團體的會員投票選出。他説，香港其實很多人跳
舞，據估計每個星期都有二萬至四萬人跳各式各様的舞
另外四個獎項則頒予本地的團體，包括城市當代舞蹈團
蹈，但舞蹈界的凝聚力以往並不足夠，未能引起社會關
敎育及外展部，表揚該組織多年來在舞蹈敎育的工作，
注，有點孤芳自賞。他期望舞蹈年獎能每年頒發一次，
為香港培育了新一代舞者和觀眾■;香港芭蕾舞團去年進
讓社會人士多些關注香港舞蹈發展 ，也藉此鼓勵舞蹈工
行了規模宏大的中國內地巡迴演出，把香港芭蕾舞水平
作者。曹誠淵與黃翠玲去年合作創辦了《香港舞蹈手
和面貌全面地介紹至全國各地，提高香港舞蹈的文化地
札》期刊，為舞蹈評論提供公開園地，促進香港舞蹈界
位。
內的對話和溝通，因此也成為得獎者之一。
香港舞蹈團去年重新排演由蔣華軒創作的舞劇《菊 另一位得獎者是黎海寧，她於去年為城市當代舞蹈圑創
豆》，成為結合傳統風格與現代手法的舞台經典，亦獲
作了《夏至》•是把古希臘劇場《禁葬令》轉化為户外
得獎項：而香港演藝學院舞蹈學院去年重新排演由曹誠
廣場演出的一齣悲劇。而在《夏至》中表演的舞蹈員吳
淵創作的舞蹈《鳥之歌》，證明舞蹈學院學生具備成熟
易珊亦獲頒獎項，她在文化中心户外廣場上展現了這段
而專業的水平•亦在這次「舞盟」大獎中分一杯羹'
舞蹈的憂戚悲慟之情。
No.4
Date日期
Time時間
Group團體
Venue場地
Choreographer
編舞
Four Women on the Fringe”《藝穗四舞「雌」》 Alliance
Fringe Club, Star Alliance Studio
Tso Po Lin曹寶蓮，
香港藝穗會综藝室
Florence Lui
雷佩瑜，
Vanessa Sau Mui Cheung
Jocelyn Chung
張秀梅，
鍾碧霞
The Incompatible Humans”《人造衛星上的四隻夏娃》 ! 16/June
17/June
7:45pm
Danseomanie
Mcaulay
9:30pm
戀舞狂
藝術中
2:45pm 7:45pm
“Modem Dance Performance”《現代舞》 17/ June
4:00 pm
Spring Poetry
Shatin Town Hall, Foyer
Terry Tsui徐偉業
躍舞翩
沙田大會堂平台
Lonce Yu余世好
CCDC
Concert Hall, City Hall
Abby Chan陳敏兒
城市當代舞蹈團
大會堂音樂廳
Allen Lam林偉源
"Strip Teaser"《脱衣秀》 23-24/June
脱
8:00pm
David Liu劉中達 Sang川a桑吉力口
秀
Daniel Yeung 楊春江 Yeung Wai-Mai 楊惠美
Date日期
Time時間
Gro-up團體
Venue場地
Choreographer
編舞
•‘Paper Balloon” 《紙氣球》 07-09
8:00pm
Dance Art
動
Andy Wong王廷琳
《蠢動》
i“Dumb Move” 07&08
‘ Theatre, HKCC 化中心劇場
8:00pm
South “ASLI” Dance Workshop &CCDC
Theatre, HK City Hall 大i2'堂劇院
Ong Yong Lock 王榮祿
南游舞子
及城市當代舞蹈團
‘Live Show Dancing Machine”《真實舞戲一人肉跳舞機》
13-17
Y.D.theARTer=MCMUIMUI
Mcaulay Studio, Art Ce^Fre
Daniel Y
歪啲示体變雙妹唪
藝術中心麥哥利劇場
Abby Ch
楊春注
.“Journey to the West-The Monkey King Thrice Beats the Bony Ghost” 《西遊記一務悟空三打白骨精》 蔣華軒
“Environmental Dance Series by Pun Siu Fai - Programme 3 Somewhere in the Past by the Railway”
乂潘少輝環境舞蹈系列節目三一忘情列車》 5:30pm
CCDC
Piazza, HKCC
Pun Siu Fai
城市當代舞蹈團
文化中心廣場
潘少輝
CCDC
Autorium,
Joyce Au歐美儀，Eve Cheng鄭楚娟,
城市當代舞蹈團
Tuen Mun Town Hall 屯門大會堂演奏廳
Phoebe Chu 朱倩儀，Yvette Huang 黃45,
“Dancing in the Sun 2000” 3
:00pm
T
《舞出豔陽天 2000》
Ronly Kong 鄺韻，Alice Lam 林小燕， Elina Liu廖美燕，Mon Ling甯明敏，
Iris Sun 孫鳳枝,Yap Poo Meng 葦帝
2000 Members of -Hong Kong Dance Alliance 個人會員
INDIVIDUAL MEMBERS Andrew Broomhead
Mr Jason Brockwell
千 年
香 港 蹈
聯 盟
會 員 名
單
簡麗珊女士 鄭健華先生 宋孟青女士 局家霖先生 黃亞華女士 黎倩樺女士 李翠女士 雷佩瑜女士
Ms Margaret Carlson
Mr Billy Cheng Ms Wendy Chu
Mr Graeme Collins Ms Huynh a-hoa Ms Amy Lai Ms Doris Li Ms Florence Lui
陳德昌先生 錢秀連女士 秦懿欣女士 謝漢文先生 郭慧芸女士 黎海寧女士 陸國雄先生 伍宇烈先生
Mr Willy Tsao Ms Scarlet Wong
團體會員
聯絡人
方舟舞蹈劇場 霹靂啪獨）身體劇場 陳紹傑舞蹈中心 精舞門標準舞蹈學院 城市當代舞蹈團 接觸點 動藝 舞渡界 舞城 戀舞狂
鄭楚娟女士 黃狄文先生 陳紹傑先生 尤月興女士 曹誠淵先生 梅卓燕女士 王廷琳先生 湯布力先生 潘少輝先生 鍾碧霞女士
溫玉均先生 許淑嫂女士
Ms Helen Lai Mr Luk Kwok-hung
Mr Yuri Ng
Mr Edwin Lun Ms Priyadarshini Ghosh-shome |
施素心女士 黃國強先生
Ms Susan Street
Mr K. K. Wong
Ms Xu Shu-ying
Mr Billy Chan Ms Diana Yau
City Comtemporary Dance Company
Mr Willy Tsao
Contact Point
Ms Mui Cheuk-yin
DanceArt Hong Kong
Mr Andy Wong
Dance HK / NY
Mr Tom Borek
Dancing City
Mr Pun Siu-fai
Danseomanie
Ms Jocelyn Chung
DMR School of Ballet
Mrs D. M. Wayburne
Dua Space Dance Theatre
Mr Anthony Meh Kim-chuen
E - Side Modern Dance Company
Mr Jacky Yu
Evangelical Dancing Troop
Ms Tsang O-ying
Fau Yau Dance Circle
Mr Wong Hang-fai
The Harmonious Dance Troupe
Ms Chu Kit
The Boheme Dance Company
Mr Yuen Wai-tung
The Hong Kong Academy for Performing Arts
Ms Susan Street
Hong Kong Ballet
Ms Helen Ng
Hong Kong Dance Company
Ms Ophelia Lau
Hong Kong Professiond Dcnce Sports Council
Mr Chan Wai
Hong Kong Youth Arts Festival Association Ltd
Ms Lindsey McAlister
ITS & TS Creative
Ms Keren Suen
Jecn AA, Wong School of Bdet
Ms Anna Chen
McMuiMui Dansemble
Ms Yeung Wai-mei
Movement Fibre
Mr Xing Liang
Ones To Watch Dance Company
Ms Angela Hang
Passover
Ms Pewan Chow
Silk Road Cultural Society
Ms Pasha Umer
Spring Poetry
Mr Terry Tsui
South Asli Dance Workshop
Mr Ong Yong Lock
Three Colours
Mr Afa Chiang
Uncarved Block
Ms Ling Lee
The Flying Works
Ms Phoebe Chu
The Warehouse Teenage Club Ltd
Ms Miranda Ng
X-tanztheatr
Ms Elina Liu
y. d. thearter
Mr Daniel Yeung
Y - Space
Ms Mandy Yim
Ms Lai Siu-ling
Mr Makoto Matsushima Mr Juergen Morhard Ms Daphine Wong
Ms Asha Sawlani
STUDENT MEMBERS
Ms Audrey Wong
Ms Kim Law
Champion Ballroom Dancing Academy
Ms Kwok Shuk-yan
Ms Chung Ching
Ms Medina Lau
Mr Dominic Wong
Ms Kwan Yim-Ian
Ms Candy Lo
Mr Ho Wai-keung
Billy Chan Dance Centre
Ms Fong Kit-ping
Mr Cody Choi
Ms Stella Chung
Ms Eve Cheng
Ms Cheung Sau-fan
Ms Susanna Chan
Mr Aaron Wan
Ms Chu Kit
Bilibala Physical Theater
ASSOCIATE MEMBERS
陳雅芝女士 蔡嘉樂先生 盧幸賢女士 鍾晶女士 黃天華女士
Ms Vivian Kwok
Mr Chau Chuen Fai
Ark Dance Theatre
普通會員
學生會員
Mr Mohamed Drissi
Mr Tom Brown
Contact Person
新約舞流 絲路舞蹈文化協會 躍舞翩 南群舞子 三分顏色 原體系 sjs菲場 蒲窩青少年中心 X 一劇場 歪0的小体 多空間
張秀芬女士 方潔萍女士 關艷蘭女士 郭淑欣女士 黎少玲女士 松島誠先生 莫裕康先生
Ms Ulian Chun
白朗唐先生 周全輝先生 宋絜女士 鍾秉瑜女士 何偉強先生 劉玉芬女士 羅詠芬女士 龍植池先生
ORGANIZATION MEMBERS
馬金泉先生 余仁華先生 曾澳英女士 黃恆輝先生 宋絜女士 袁惠東先生 施素心女士 吳杏冰女士 劉志青女士 陳偉先生 麥蓮茜女士 孫名翠女士 陳頒瑛牡 楊惠美女士 邢亮先生 韓錦濤女士 周佩韻女士 帕夏吾賣爾女士 徐偉業先生 王榮祿先生 鄭志銳先生 李笑玲女士 宋倩儀女士 伍梁敏玲女士 廖美燕女士 揚春江先生 嚴明然女士
共享空間舞蹈劇場 東邊現代舞蹈團 基督徒舞坊 蜉蝣舞團 步韶舞蹈團 波希舞蹈團 香港演藝學院 香港芭蕾舞團 香港舞蹈團 香港國際專業舞麗育總會 香鯖年醐節協會有限公司 智才補習學校及創作天地 王仁曼芭蕾舞學校 雙妹曖 動作纖維
Ms Miranda Chin
Ms Indira Sawlani
Daryl Ries
曹誠淵先生 黃翠玲女士
Mr Ringo Chan
Membership Form
罾員申韻表
Membership
會箱
（
）Individual
（
）
（
）Associate*
（
）Student*
個人會員 團體會員 普通會員 學生會員
Organization
$200 $600
$100 $50
Member' s Information 會員資料
Name
姓名（English 英文）___________________________
Telephone
電B舌（Office 公司）________________________
Fax傳真（Office公司）_____________________________
Position
中文）
（Home
住宅）
（Home住宅）
職位____________________________________________ ___
Name of Company
公司名稱___________________________________
Affliated Cultural Organization
Address
（Chinese
所屬藝術機構_______________________
地址_______________________________________________
Organization Member1 s
Name of the Organization
Person in Charge
Telephone
團體會員資料
Information
團體名稱______________________________
負責人$生名______________________________________
電話_______________________________Fax 傳真 _______
Correspondence Address
通訊地址_______________________________
Applicable Dance Category
芭蕾
所屬舞蹈類別
現代舞 | | Eastern Folk東方民族舞 Western Folk西方民族舞 | | Education教育界 | | Criticism寫作與評論 [| Cultural and Arts Administration 文化及曇術行政 I I Notation舞蹈記錄 I I Others其他 |
| Ballet
Signature
|
| Contemporary
| World Dance民族民間舞
1
□ Ballroom國際標準舞 Technical Arts
|
|
舞台技術
| Musical Theatre / Jazz / Tap Dance
音樂舞劇/爵士舞/踢躂舞
簽署:_____ _______________________ Date 臼期：--- ---------------------------------
Please enclose cheque payable to THE HONG KONG DANCE ALLIANCE with this application form to c/o Office of the Associate Dean,
School
of
Dance,
Hong
Kong
Academy
for
Performing
Arts,
1
Gloucester
Road,
Wanchai,
Hong
Kong.
請填妥表格連同劃線支票抬頭寫：「香港舞蹈聯盟」寄香港灣仔告士打道一號香港演藝學院舞蹈學院副院 長辦公室轉交香港舞蹈聯盟收。
2
I
I
Non voting沒有投票權利
Dance
No.4