舞蹈手札 dance journal/hk 1-9 by Hong Kong Dance Alliance

HONG KONG DANCE ALLIANCE 香

港舞

蹈

聯

盟

香港藝術發展局資助

從狨豸法

Supported by the Hong Kong Arts Development Council

歡迎投稿，請於每個月的，之前送交有關資料•中英不限。稿件可電郵或傳真至本會。如來稿獲刊登.作者可獲得稿費、

We welcome submission of unsolicited articles for the Dance Journal/ HK. Deadline for submission is the 1st of each month. The article can be either in Chinese or English. Submission can be made through e-mail or fax to Hong Kong Dance Alliance. Authors of articles selected for publication will be paid for their work.

本刊物所表達之恵見或觀點及其所有内容•均未經香港S術發展局作技術性認可或證明確冨無誤•耶並不代表香港耍術

發展局之立場。 The judgement and opinions expressed and the content

included in this publication do not carry technical endorsement or authentication by, not necessarily represent the views of, the Hong Kong Arts Development Council.

刊登康者

舞盟會員 Member 非舞盟會員 \^Jon-member

編輯部：

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香港舞蹈聯盟

Published by :

Hong Kong Dance Alliance

白朗唐朱絜曹誠淵

Editoial Board :

Tom Brown Chu Kit Willy Tsao

舞蹈手扎盟友：湯布力鄭煥美潘少輝龍植池吳偉碩王廷淋楊春江

白朗唐鄭志銳劉自荃馬才和曹誠淵吳易珊余仁華

設計及排版：

黃翠玲

Contributors : Tom Borek Anna Cheng Pun Siu-fai Edwin Lung Andy Ng Andy Wong Daniel Yeung

Tom Brown Afa Chiang Paris Lau Victor Ma Willy Tsao Wu Yi-san Jacky Yu

Design & Layout :

Scarlet Wong

香港灣仔告士打道一?虎香港演藝學院舞蹈學院副院長辦公室

c/o Office of the Associate Dean School of Dance, Hong Kong Academy for Performing Arts, Wanchai, H.K.

電話：2584 8753 傳真：2802 3856 電垂［5 : hkdalli@netvigator.com

Tel: 2584 8753 Fax: 2802 3856 E-mail: hkdalli@netvigator.com

COHT,rtzkiTO i L。 Editorial Board

Press Clippings

.剪報服務

編輯部

Editor : Chu Kit

9期

大公報

編輯：朱絜

□

閒話「西南風」之三

作者：珈珈

Hong Kong Standard

専論

Spirit of the Bird

Author: Kevin Ng 傳説

Hong Kong Standard

作者：金默姬

Dance in City of Calm

Author: Georgina Lee

Master Dance - Makers

Author: Ock

童眼、童心和童趣

i____ 演出節目表|_

（看一場兒童舞後有感）

作者：鍾秉瑜

□ 十二月份演出節目表

Merde! Suzie Wong?? Author: Ock

□

一月份演出節目表

愛之火、勇氣之焰、理想之光

—「我舞愛滋」觀後感 —

Dance Alliance News

作者：小棕

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

s the 20th century approaches an end and the 21st brings us into the next millennium, this

issue of Dance ]ournal/HK concludes the past and opens

up the future. One of the key matters of concern to Dance ]ournnl/HK is to examine the growth and

development of dancing in the next century. With the encouragement and support from members and readers, each issue of the Dance Journal/HK has gone

to print and met its readers at regular intervals since

its first publication. Although Dance Journal/HK is of 期的「舞蹈手扎J正是送舊迎新的一期一送走 1廿世紀.迎來廿一世紀。探討未來廿一世紀的舞蹈長展•也將是「舞蹈手扎J的重點之一。「舞蹈手扎J 出版以來•得到會貝和讀者們的鼓勵和支持•每期都能順利出版，定時與讀者見面。「舞蹈手扎」雖然篇幅不

a smaller scale and does not provide the broadest coverage compared to some other periodicals, the Editorial Board will continue to make every effort to

strengthen the journal both in scope and in depth, with

a view to giving it weight in the dancing community.

大•和其他期刊相比.她只是薄薄的一本•但編輯部仍

Dancing is a diverse profession. Different genres

努力使她在内容的深度和廣度上不斷加強■使之成舞蹈

of dancing find their ways to different venues of

界有份量的刊物。

舞蹈是一個百花齊放的專業 •舞蹈種類之多•活曜

performance such as theatres, halls, centres, and communities. It is our hope that each of these many

在不同的劇院、會堂、中心、社區。我們希望各類型不

different genres of the dancing profession receive a

同的舞蹈專業在我們的刊物上取得平衡的反映。編舞者

balanced share of reflection in our publication. We

的構思和排練•演員的表演心得■公開演出的評論■以

eagerly welcome articles on idea conception and

及探討舞蹈藝術美學上的文章等等•我們均熱烈的歡迎

rehearsals of choreographers, on the experience of performers, of reviews on performances, as well as on

賜稿。

the art and aesthetics of dancing and much, much 作為一個中西交匯的城市 •藝術的發展具有很大的空間•「舞蹈手扎」立足於香港而面向世界•来來的廿

more.

一世紀是資訊的世紀。世界性的藝術交流將更直接更廣

In a city that has both eastern and western cultural

泛•更快速。「舞蹈手扎j將準備迎接這廿一世紀的曙

heritages, art has an enormous potential for

光！

development. Founded in this place—Hong Kong,

Dance Journal/HK beats to the pulse of the world. The upcoming 21st century, being an era of information, 編輯

will be a time when international art exchange takes on a wider, faster, and more direct scale. Dance Journal/ HK is ready for the brightness that the 21st century

has in store!

Chu Kit Editor

锝

從來都喜歡看小朋友的節目•喜

説服力■三小舞中.最好的是＜楂屍蹦蹦跳＞。他們的

歡它的直接、簡單和目標明確•

服飾很可愛.而編排也很順暢。＜落雨天＞中•台中的

沒有成年人節目中的轉弩抹角•

手就比較失色•動作變化不大•發展不足•而＜一二

拖足半天也未談到主題。再者•

三、三二一＞從頭到尾都是小朋友蹢蹦跳的舞。

作為父母•看著旁邊的小朋友全

神贯注地觀看，不時隨著台上舞動，又或與旁邊觀眾開懷大笑• 能與他們一同分享藝術的美麗•

這已是最大的收獲•至於演出的贸素•往往變成次要了。

＜梁祝随想＞是螨得最好的。一個為人熟悉的故亊.由兩位小朋友的對話開始.先來一齣孔子曰.再來

一齣花蝴蝶•孔子曰的音樂本身已有鮮明的節奏，易記的旋律•结構簡單而玄覆■是非常適合作為兒童舞的音樂選曲•動作本身其實很簡單•文竑用了很多編舞技巧，多變的舞台走位，另舞變得順暢•有層次。它尤其

話分兩頭説•既然買了票•一

能取悦我那三歲女兒的心.她的兩眼盯著舞台.随著音

定希望能得到最好的回報。其

樂和台上的舞蹈負•時而點點頭、時而飛飛舞■她早已

實，今次看＜傳説＞寄望很高■

是台上那粉紅的小花蝴蝶了。小朋友是最直接的•能攝

三位.編舞中•有兩位是非常熟悉

取她的心，已是成功了一半。

的，他們以往的作品都很有水

準.我亦很喜歡。更何況今次有三位編舞一同合作.在舞独上一定很豐富。结果.舞種的確很豐富•也因它太豐富■令全晚缺乏完整和統一

性•给人鬆散的感跫•在舞蹈風格上.三人都明顔的不同•廖美燕的中西合壁■軺文慧的偏向中國舞，而顧笑

葸的就比較西式•驟眼看來■以為自己正在看某舞蹈比

赛優勝者演出晚會吧了！综觀來説，如果能在小舞與小舞，及舞因與舞因之間的連接上多加功失•便不會浪費了备小舞的精彩了。

＜一二三、三二一•掐以子•齊齊坐低聽古仔＞是廖

美燕所鵠的，共分三小節。我很喜歡她的風格，要形容

曾有一個神話中的勇士要把九個太陽射下來 ■今次

他可煩了•因在＜太陽精靈＞一舞中•台上足足有幾十

個小太陽。金光閃閃的精靈在台上也邊唱邊跳•很有兒童劇的味道。可惜小朋友實在大忙了，口中的歌詞也唱

得不大清楚•到了全舞完结•我還不知道太暘究竞發生了甚麼問題！和美燕的舞一樣■太陽精靈分四段.如果

在结構及承上接下上加油.這定是水準以上的作品。

最後■很高興能看到一個專為小朋友創作節目的螌

術因體誕生■小朋友是我們的將來•亦是我們的希望•

無诒他們將來會否成為舞蹈 M•只要他們喜歡舞蹈•支持舞蹈•那我們的將來必定是光明的。

她的舞■我會用

「中國舞現代

文：金默姬

化」•可能由於

傳説-喧圈小劇囲

她先學習中國

十一月二十一曰

舞•及後到外國

藝術中心壽臣劇院

深造.每次看她

的作品都有淡淡的中國母影子•

儘管在她的編舞技巧上是多麼的西化。今次的作品■略嫌舞與舞

中間的連接牽

強•就算是説書人的對白都欠缺

Ho. 9

Master Dai ce-makers ........... Master H ince-makers ...........

CCDC bid farewell to the end of the 20lh century with - Re: Vision '99, A Modern Dance Expo by 6 Master Choreographers. Two nights of triple bills were presented as Dance Theatre on 26 Nov 99 and Kinetic Exhibition on 27

possibly I was caught in the hum-drum. After the intermission, the setting transformed the

stage into a holding area of a railway station. A hot, lazy afternoon wait for the train was the first image in

Helen Lai's

Vie en Rose- Loose Pages from a Woman's

Diary.

Nov 99. The dance was constructed like a movie. Frame

after frame of short dances to different French songs, created a highly nostalgic and laid-back atmosphere. Character development and exploration of the complex mind of the woman were accomplished

through intelligent movement creation and the intriguing use of a chair throughout the piece. A garbage lady who disrupts the silence in the first frame

leaves a pot of fern, an excellent set, before setting off on her train. This immediately gives the piece a touch

of sensuality and a poetic frame. Six of Hong Kong's master choreographers* works

choreographers such as Willy Tsao, Mui Cheuk-yin,

Men in the piece were highly dehumanized and stereotyped, the macho, chauvinistic, and selfish

and Zhang Xiaoxiong's works were featured in the

characters were shown as deliberately avoiding

second evening and dance theatre based works by Helen Lai, Yuri Ng, and Pun Siu-fai set the audiences

making eye contact with the women.

off in the first evening.

yearning, heartbreak, being forsaken, in abundance

formed these two evening of re-runs. Star

Flashbacks of woman in different stages of

The gala began with Yuri Ng's award winning

provided images

choreography - Boy Story. This piece was again

that were nice to

featured and re-run for the company's repertory in

indulge in. With

Sheung Wan. This reviewer has seen this work

excellent dancing

performed by CCDC a dozen times in many different

from the women,

versions. The work comes together best in this latest

one could easily

version (it was previously named le beau which was

fall in love with the

the version that won the Prix d'auteur du conseil general

piece and

de la Seine-St.-Denis, France)

drawn into its feelings

The nuance demanded by this work constantly evolves and the dancers need to demonstrate maturity when performing it. On that night the energy of the

piece was not as good as when I've previously seen it. Perhaps, it has become a routine for the dancers, or

and

emotions. But

something bugged me about this wonderful work -

why French songs? Suddenly my world turned upside down with this question. The last piece of the first night was Pun Siu-fai's -

Ln Dolce Vita 1960.

virtuosity of h i s choreography

always

It was unbearable. I think the only time that this

pushes the

piece truly worked was its performance at the Sam Tung Uk in Pun’s Environment dance series. I have to

body into unknown

say that I am not amused by the careless use of heavy

territories. The

symbolism throughout the piece. The choreography was just too conceptual and did not come through in physical performance. The rigorous digging into that process that each master choreographer needs to

M紅

anticipation of excitement in seeing the work, on that night, went unfulfilled. The piece seemed under-rehearsed and the

embark on was amiss. It ended ridiculously with no

cogwheel-like partnering unpolished. The strain of

curtain call or whatsoever. I didn't even realize that it

preparing six different works for two consecutive

was over. However, I applaud the dancers' excellent

performances showed in the performance of Unexpected Wind. Each preparation taken for each

work. The second night was a real treat for audiences who

breath-taking moment spoiled the work's surprises.

like kinetic movements. Mui Cheuk-

It is not easy to perform Zhang's *s

yin’s Water Music explored the very

work, not easy at all.

flow, texture, and the happenings of water. Danced to homemade music by

director Willy Tsao's Wanderings in the

John Chen, the dancers transformed

Cosmos. Dancers were dressed in subtle

their bodies into rippling waves, spiraling currents, and frothy caresses.

beige costumes and there were slide

The use of a giant fan was truly

the entire dance (the slide projector made far too much racket.) Wanderings

The closing number was the artistic

projections which practically destroyed

unconventional at the time of the work's

inception, (this piece was made years

in the Cosmos' choreographic structure

ago!)There is always a special feeling after watching Mui's works. Something

was basic. Wholeness and division,

that lingers, it's a nice feeling though I

Like the title, the dance wandered away

do find Water Music unresolved

with the dimming of the lights.

coming together and moving away.

choreographically. But what is the

The title of Master Choreographer is a

resolution when one watches the

mantle difficult to uphold. Though we know that

movement of water, one might ask. The next exciting work, Unexpected Wind was an

masters are far from perfect, still the weight of the title is like a symbol. A symbol that one has reached

explosion of breath-taking partnering and high-speed

maturity and enlightenment, through rigorous probing

moves by Zhang Xiaoxiong. Though it was just an excerpt of

of the choreographic art. CCDC choreographers, both

the original

whom we hope will continue to excel in making more

w o r k 7

dances for the new millennium to come.

Zhang's choreography

is highly movement based and

residents and guests are highly talented dance makers

TEXT: OCK Re: Vision - CCDC 26 & 27 November 1999

Sheung Wan Civic Centre Theatre

DanceJ^JlHlSis/J^K No. 9

童眼、童心和童趣

（看一場兒童舞後有感）十一乃廿一日•看了一場兒童舞蹈"傳説 "•像這樣的

科學上的真靠引證規律，而人的真在於本來面狁和自然

兒童舞蹈•在香港少之又少•給我的感觉是：它是屬於

的統一。美燕的舞蹈•能感受到孩子那種自得其樂的

孩子的。盡管有這樣那樣的不足，但它仍有濃烈的孩童

真•文慧選用了兩個孩子的對話作引子，對話生動帶有

味•這是難得的•單憑這留給觀眾的印象 •作為蹁導的

兒童的生活氣息•笑慧的舞蹈世界保留著孩子味 •流露

美燕，文慧、笑蕙已無愧於心了•我不是一位舞評人•

著一份自然美。

只是從個人的角度談談我對兒童舞的看法。

一•童真表達自然美

二.兒童舞要有一套有别於成人的身髏語言

三部份的舞蹈語匯■都沒有強孩子所難•因此•能

兒童舞杨兒童•這是一個很基礎的課题，一個很重

感梵到孩子那份樂意和沒有負擔的壓力 •語匯是表達的

要的課题■也是我們最容易冷不防就失去的。在兒童的

工具和手段•孩子有獨特語言表達他們的內心世界■切

舞台上要表達什麼.客觀地反映了編導的內心世界，有

勿把孩子

童心的藝■術工

當成我們

作者•往往較

的鷄鹉•

偏愛表達一份"

重覆我們

真"•有一句很

的意圈和

有名的撣話："

説話•笑

一花一世界"，

蒸的舞箱

套用一下就

善用了歌

是："一舞一世

詞■有助

界".那是一個

於身體語

兒童的世界•

言的恰當

有屬於他們的喜、怒、哀，

運•用•文學错言.

樂的世界•有

音樂符號

一位好朋友

和身微律

說•看兒童舞

動融匯一

要有點"錯"才

體•大大

好看•"錯"的 —刻.是最真的一刻•記得多年前■力行劇社演兒童歌

舞劇"反斗為食滿天星”其中一場舞蹈•在舞台上放了

干冰■因為干冰較贵•平時練習未用上•到了正式演出•滿台干冰•站在台側的孩子•已被吸弓I得忘乎所以•孩子發现自已的腳"不見了"■又试囲用手抓一

強化了舞蹈的魅力三•讓孩子成為舞台的主人

兒童舞的主人是孩子•它源於兒童，最後也歸於兒童•正因為兒童舞具有強烈的純真性，派是••主人"還

把，有的用裙去捞……剔時間混亂起來，音樂饗起，忘

是"鹤鹉"，在那兕天生就要説話的眼睛和那副由心而

記了出場•位置也錯了•舞台成了一個仙境大樂©，而

發的面容.表露無遺，我曾為舞台上小演員被編導塑造

觀眾也被他們的樂和”亂"吸引住了•不時發出笑聲、

的"一號笑容"、"二號笑容"而感到悲哀.她們那張強

掌聳和以共鳴•我并不是説要製造一些混亂•然而•這

顏歡笑的臉•抑壓在我心戚多年•耿耿於懷•不時憂

•往往吸引觀眾的•正是那個真實的未經修

成■好端端一鮮可愛的小孩•被功利的所謂"舞台效果

自然的錯

飾的童話世界。明代哲學家李贽的「童心説」説過：

"糟蹋了•相反每當在舞台上看到小演員那副自立自

"夫童心者•絕假純真■最初一念之本也"。所謂「童

主.自如自在.把握自己表達自己.清醒知道自己做什

心J就是「真心J或「赤子之心」（葉朗中國美學史P.228>

麼的表現.又使我興奮無比.谢嘆不絕•笑蕙的舞台. 孩子們洋溢著一種"雛形"的自我•小主人清醒地意識

社會•孩子提起筆來給我舄信是一

件大事"他是那麼珍惜孩子的勞動•那麼尊重別人的感党■就在孩子的身上•作家得到了最可責的滋

養，「一顆童心未泯的心J就是最好的回報，阿濃的作品流露著那份爛

漫童趣•叫人看了發出會心的微笑•他多次謙虚地説：••是孩子灌溉

著我”。在兒童的兩世界

•發现"童趣

"•靠的是一顆返老還童的赤子心 • 美燕舞蹈中耶班快樂的礓展和小朋

友聚精會神技伯伯講故事的場面•

帶有渡厚的梆村兒童生活意味•孩自己的存在•这是難能可贵的■美燕的舞蹈：小朋

友是那樣樂意去跳■大部份小演員的全债投入 •足以説

明這锢舞蹈是舞蹈貝所歡迎的。四■童心、童眼和童趣明代公安派袁宏道有一段很值得深思的話："夫趣之

得之自然者深•得之學問者淺■當其為童子也不知有

童時代聽鬼故事，既怕又愛聽•聽了又害怕的情形•就散發著许多人都經歷過的••童趣

•• •難得的是礓死并不嚇人•娩們是樂於交朋友的快樂飱屍•從扮相、音樂、動作都视切可人.文慧的梁祝也

攝取了兩個孩子充滿童真有趣對話•笑蕙的太陽精靈• 亦以兒童的"話"作主軸•整個舞蹈相當順暢•孩子的

臉上充滿了自娛、自在的樂趣。

趣•然無往而非趣也，面無端容•目無定晴•口喃喃而

一場兒童舞•我較多從孩子的角度去看問題•高興

欲語.足跳躍而不定•人生之至樂.真無逾於此時者。

的是年輕的編導那麼疼愛孩子、出錢、出力花時間作了

孟子所謂不失赤子■老子所謂能嬰兒•蓋相此也•趣之

大城的嘗试•這是一個很好的間端•讓我們走進孩子的

正等正党最上乘也……迫夫年漸長.官漸高.品漸大•

世界•用"心"去聆聽•用••心"去體味•用••心•'陪著

有身如桎•有心如棘■毛孔骨節俱為見聞知識所缚•入

他們成長•用孩子的”真""趣"去灌溉我們的心靈•兒童舞台是一片廣閟的关地.讓微笑的小翅膀高飛吧！

理愈深，然其走趣愈遠矣。""童心的表现•赤子之心的表現，人的天性的表现•就是「趣之正等正覺最上乘」。人的聞見知識越多•「性靈J就被極束缚得越厲

文：鍾秉瑜

害•因而難間「趣J就越迫。•《葉朗中园美學史P.241)

傳説-喧圈小劇團

一個好的兒童格術工作者，要有童心•才有童眼•才能

把握"童趣"。

十一月二H■—日藝術中心壽臣劇院

名作家阿濃送我一本”童眼看世界"•這是一本很有

味道的書•它使我返老還童了•思考了良久•忍不住打了個長途觉話去加拿大，請敎阿滾先生關於••童眼"的

問題•我問他是怎樣取孩子的角度看世界•原來內有乾坤•他長期與小讀者通信 •他给孩子回信•與他們交

流•花费了相當多的時問•而與小朋友文字往來•也速

速超出了寫書的字數•這是一位名作家背后默默耕枉的真實寫照，他隆而重之地處理每封信.他说"快速功利

Dansej2g.HKUJSK.No. 9

sets the background for the entire night's plot:

snapshots of memories, happenings in a hotel.

Merde! Suzie

The dance introduces characters rather briskly, sometimes too quickly for the eye to catch.

Luggage is rushed onto the stage by dancers manoeuvreing the boxes into a graphic arrangement.

One Hotel guest with bleached blond hair dances a slow intricate duet with her luggage, and is then

rushed off by the rest of the luggage toting dancers striking in; the stage transformed into a frenzy of

luggage on parade.

This was followed by an announcement from a nerdy looking announcer (David Leung). More props with dancers were rushed onto stage. First came a

pair of formidable chopstick sisters demonstrating their chopsticks dance, a short number with an

unexpected finish ~ chopsticks turning into flying darts. Mr. Announcer hit the stage again, this time

with an explicit recital of the uses of the chopsticks in

a hilarious pseudo British accent. The plot was further enhanced by three Chinese

teacups used for gambling. Time allocated for each

prop dance was deliberate and meticulous, Leung then moving on to a trio with tea cups, clicking their way through.

T t was a full house with the audience excited to be

The careful arrangement of a Western tea set

part of this performance by one of Hong Kong's most talented choreographers. The foyer of the Hong

contributed to deepening the story line. A glamorous Madamoiselle (Emily Cheung) breezed through the

Kong Art Center was packed with familiar and new faces all in anticipation of part-taking in Yuri Ngâ&#x20AC;&#x2122;s

stage wearing an eye catching black bustier and tight pants in ever so high heels, totally arresting everyone's

first full-evening of dance works.

attention and filling the stage with a mysterious aura,

Yuri Ng is an award winning dance maker. Since

his early days in dance, Ng has managed to bag numerous awards and scholarships, of which the two most prominent are - Artist of the Year Choreographer from Hong Kong Artists' Guild (1997) and the prestigious Prix d'Auteur from the 6"'

Choreographiijues Internationals de Seine-St-Denis

(1998). Known widely fora highly personalized style that he uses extensively in his choreography, until this production Ng had yet to attempt a complete evening

and the question ~ who is she? Mr. Announcer then danced a wonderful duet with

this glamour puss. Leung's execution of Ng's choreography was excellent. The careful relationship between the two characters was highlighted

beautifully through the use of the cup and saucer. The

physicality and the nuance demonstrated by the

dancers were really wonderful to watch. The desperate seeking of SUZIE WONG continued through a myriad of short dances.

of his own works. His work had previously been

Appearances by the bell boy, cutting into scenes

commissioned by dance companies and dance institutions or for private functions and openings.

clearing plates, setting the table; and, by Madamoiselle

-ciao ciao SUZIE WONG- began with an

Glamour catwalking in and out of the scene wearing

plastic bag fashion served, to unify the work.

androgynous looking bellboy, all in white, neat and

The red, blue and white striped plastic material

smart. This key character opens the main door and

used for handbag and evening gown was really

appealing and telling. An explosion of ideas and symbols and multiple stages of metaphor helped reveal Ng's dan< e ideas.

The dance was whimsical but effective in Ng's signature style. It is always exciting to catch Ng’s

dancers interacting with props, the choreographer is naturally talented and provides layers of hidden

The men use the edge of the stage to dance a quartet

meaning when using

props in his uniquely clever way.

with a handkerchief and

exploit the gender issue by folding it into brassiere. The

■ rJ

night’s energy heightens with Vicky Chen en singing excerpts fromn Miithmic

What had worked in

other pieces like Made in China (for HKAPA), Boys Story (for CCDC),

^■^Hb

Butterfly Lovers (for Hong Kong Ballet) and

Butterfly and T u r a n d o t.

Another loop

for smaller works

in the mystery

such as the opening of expression Magazine —

-where is SUZIE? The builtup energy was

deflated by

Wong Thien Pau dancing with

newspaper — were all legendary. All these works have one thing in common,

they are evergreen, one never becomes bored watching them. Each new

Ong Yong Lock

viewing provides the chance to discover something new about the work. Its

and Albert

Tiong's solos. The dancing

exciting to see them.

the solos were not strong

I wish that I could say the same about ciao ciao

choreographically and seemed totally out of place.

SUZIE WONG, but the work is not substantial in its orchestration of movement development, nor are the

was fine but

Just when the work began to gel, these solos came

along and almost undid it all. Hey, SUZIE are you there?

ideas properly worked out. One can’t just use symbolic

The ending was weak. Yuri and company

about the logical progression of the plot, if there is any?

props, colors, gesture, and music flippantly. There are

wonderful moments and beautiful dancing but what danciNG did not manage to resolve what they started.

Possibly the lack of rehearsal time is the murderer of

Instead, more gimmicky prop dances, presumably

SUZIE WONG. I hope to see SUZIE again in a better version with a resolution of dance ideas and the work's

with codified semiotics were presented. Giant fans, Chinese hats with attached pigtails, and even a

coronation parade for Mademoiselle Glamour in a wonderful dress did little to pull the show together.

rich content. I can see it coming with Yuri and company danciNG. Merde! SUZIE…

Where is SUZIE? Who is SUZIE? Ciao ciao SUZIE WONG or does it really means Merde! SUZIE!

Finally, everyone on the stage froze, SUZIE

TEXT: Ock Ciao Ciao Suzie Wong- Yuri and Company danciNG

appeared, she sang, or rather, she lip sang, ripped off

22 & 23 October 1999

her wig and what have we got? A drag queen in red cheongsam?

Shouson Theatre, HK Arts Centre

The bellboy took his time and finishing his cup

noodle and the fire curtain came crashing down.

愛之•欠、勇氣之破、理想之先

— — 「我舞愛滋」觀後感

■

壽—~

後有了愛、勇 4人氣和理

其是那震耳欲聾的「大聲公噪音」！》•她仍不斷朴

想•這會是一個什

然而■她卻沒有發現•只要她再勇敢一點.主動一點■

i麼樣的世

手向後一摘•光明大道不就在自己掌握之中嗎？燃點勇

扎、不妥協、不斷往前跑•缢續走過人生的各個旅程。

氣之焰絕對是自救之途。

界？十二月-

■為「世界愛滋病 ■曰J •在前― 晚藝術中心的臣劇院內•「葵術力抗愛滋」活

第三個舞蹈作品《花衫》•調子則輕鬆得多了 •編

舞橫惠美依铒使出戲謔和鬼•馬的好本领•不乏駑喜。「花衫J從青衣與角色扮演■當中

動之一的「我舞愛滋」燃點起這三独令世界發热發亮的

無論我們熾热的

苗頭，火勢烈烈，心中灼热。

全倩投入•仰或

動盤的《一刻》是兩個境遇各自迴異、時又感觸相

花旦的行當引

申為人生中不同的

格然的無奈傷

同的生命剪影，你我路上有緣相遇相知•要珍惜乎？要

神■我們總算好

離棄乎？舞者偶拾之相片、信纸都印記著某一時刻的

好活過一場。放

真、某個階段的情•要愛惜、要捨棄■悉隨尊便：莊宇

膽大聲呼叫心中

維的鋼琴和Tim Adam的大提琴音樂及歌曲"Sunrise

的所感所想•發

Sunset"都能將這種情懷表露無遺•舞者優美而感性的躍

党人生原是非

動也充份突颅他們用情的真摯■看到他們舞蹈的原動力

常過癌："YES"

全憑那關懷、憐惜的愛火•叫愛滋病患者，受傷的 '軟

是舞者對各独

荒謬絕倫的人

弱的都得著力量：世界美麗•自是不容置疑。多空間的《「舞」可能！?》開首•我們看到一個蒙著

雙眼的女子小心翼異的摸索前行.她膽顫失措是因為她

處於黑暗.亮光並不在她跟前•而是在她身後（有一個發光器繫在她的頭後＞ •這個小裝置巧妙地叫我們看清

楚自己■照見自己對愛滋病患者或弱勢群的忽視' 甚至歧視心態。雖然她眼不能看•卻仍跌跌撞撞的堅持到底•永不

放

棄•説

生百態所作出的回應：•'我要"、11我想"、

"我係•’則為自己的未來點出理想之光。要活得精彩•

演好人生中每一個角色■用愛去醫治•以勇氣去面對•

更要有理想去追！沒有了愛，®氣和理想•真的很難想像這會是一個什麼樣的世界！註：是次「我舞愛滋」尚有一項戲劇演出•為戲燄

的就是

之《「滋」乎者也》■唯本文只著重談論三篇舞蹈作品 •

勇氣这

敬希垂注。

回事•

文：小棕

縱然面

我"舞"愛滋一

對煩擾

青少年愛滋敎育基金

難耐的外在壓

迫（笟

十一用三十日

棼術中心壽臣劇院

率

Sredor: Jiang Hua>

香港文化中心大劇院 Hong Kong Cultural Centre Grand Theatre

周展

Msicco-ordi

何應豐

if J

i n g &

呂

Choreography.

Chin-hing

JIANG H f l s n

h §': C H A U

gfung

-r

曇 SDesign:H

To avoiddhliirbitnce to theperformers on stage and other members ofthe audience, lattcomtrs will only be admitted into the aiidiloriiim until the iniennisiion.

sd&

為免打接台上演山及埸內觀眾，题到人士須待中垛体息方可入座。

SS CSIDesign:Taurus塗

集體購票優惠最高可達七折 Group booking discount up to 30%.

• ■ flj

鑑

節目查詢 Programme Enquiry: 28532642 訂票熱線 Booking Hotline: 27349009 (10am-8pm)

* • • 32

番

7.12.99

Hi—

Tickets will be available for sale from onwards at all URBTIX outlets.

服裝設計：華文

t0起於

門票於九九年十二月城市電腦售票網發售

編舞：

$80 $100 $130 $150

音樂統籌

佈景及道具設計

票價 Ticket Price:

1 1

編劇

21.22.1.2000I星期五、六 Fri-Sa(8:00p.m. 22-23.1.2000I1IBA'0 Sat-Sun| 3:00p.m.

, -

■

1 ,

主

香港賴•網坡Web Sile: http://ww.usd.gov.hk/hkdc

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辦

IWkBwa)rJcr.h o!!)--i ptrotmoicedofioi rcp-cicn! v^ofliwhan^Eil^fCaBcl

uncil

1、務大公報

一九九九年 ■一月三+白

vZ. /

厶闐話r西南風j i

之三

魯迅説第一個把螃蟹煮而啖之的人實在很勇敢.我看把

各族舞蹈風格拿捏稍弱.但明期看見他們的熱情投入。

內地一級演員與本港業餘舞者並列於「西南風之三」的

舞蹈源於歡騰喜樂，這些業餘的舞蹈资就把白族、僳僳

監製也勇氣可嘉。是次演出以舞者楊麗萍為重心。除了

族、瓦族、景颇族的都融匯成喜氣洋洋熱關非常的場

她六個自騙的獨舞和雙人舞外，她還跟香港演員合演了

面，而這份喜樂不但感染了台下的觀眾，也為揚麗萍的

一個由她編排的小品•其餘三分一的節目則由本地演員

獨舞篇章留白•使演出的氣氛既神秘又明快，既凝重又

擔纲。

歡愉。

楊麗萍的演出具強烈的個人風格■她上半身的語彙

尤其豐富。華者也曾看過別的獨舞晚會•由一位舞者獨

「西南風」之三以暗影獨舞開始■卻在眾■多演員穿插

回轉的热閫中结束•自有深意。

力演出•很多時舞者會滿場游走•或者借助道具為作品添枝葉•但楊麗萍有時連她自身少數民族的特色都不輕

文：珈/加

易表露•誓如在《月光》這作品中■觀眾連演員的臉孔

西南風一臨時市政局

和服裝也看不見•舞者的演區也只框在近天幕的平台

十一月十九日及二十日

上•可是光看剪影已突顯了層次多變的演出效果。觀乎

香港文化中心大劇院

她著眼的主题多是大自然的種種— —風、火、明月•她對大自然的歌頌、留戀和聯想•都是以自己的頭、頸、

肩膀、哽臂*手指以至腰肢的動作來刻釗•在舞台燈先

的映照下•不但細緻清晰•更帶一種沉鬱的低逛•幻人入勝。本地演员的節目則是以流暢的編排取勝 ■也許他們

的動作難度不高•雙人舞的組合不算成熟 •演貝對雲嶺

HONG KONG STANDARD 18 NOVEMBER 1999

Spirit of the Bird An acclaimed Yunnan choreographer shares her magic, writes Kevin Ng

T7 ollowing the box-office successes of the first two presentations in its South-westerly Wind Series, dating back to 1997, the Ho Ho Chuen Dance Organisation will present Part 3 this weekend, this time featuring 10 ethnic dance works choreographed by Yang Liping.

Having explored ethnic Sichuan dance in the opening production and traditional Yunnan performance in the second, prominent mainland choreographer Yang stars in the final episode.

The Ho Ho Chuen dance troupe boasts both a school and a semi-professional company specialising in the mainland's southwestern provinces - Yannan, Sichuan and Guizhou - and the territory of Tibet. The company, subsidised by the Provisional Urban Council, performs a major production each year, and boasts 48 members who will participate in ensemble pieces for this weekend's program.

Meeting at the company's premises near Jordan Road, Yang immediately impressed this writer as a beautiful lady with elegant poise. She arrived in Hong Kong for rehearsals on 6 November, her first visit since last autumn's Asian Arts Festival, when she danced with the Yunnan company. Yang has toured a great deal in recent months. October found her soloing in Moscow, and in July she performed in Tokyo.

A native of the Bali tribe of Dali in Yunnan, Yang never received any formal dance training, but has managed nevertheless to create ethnic dance works bearing a unique personal style.

Ho Ho Chuen was Yang’s teacher in Yunnan . As early as 1979, she was presented with a Class One Performance Award by the province for her title performance in The Peacock Princess. Her 1986 work Spirit of the Bird won her a Class One Award in choreography. Yang prefers to dance solo, which is why most of her output of choreographed works is performed only by her.

The past decade has taken Yang to America, Canada, Singapore and the Philippines. In 1992, she triumphed in Taiwan, becoming the first mainland dancer to perform there. And in 1997, she was presented with a grand award for artistic achievement by the Osaka International

Exchange Centre in Japan. Asked about her future performance plans, Yang said she will participate in the handover celebrations in Macau next month and has also been booked to perform on a Central TV program in February to celebrate the Lunar New Year.

Last year, Yang tried her hand at filmmaking too. She directed and starred in a 100-minute movie, Island in the Sun, which won the Jury's Special Prize at the Montreal International Film Festival. Let's hope the film will reach Hong Kong in the near future.

Preferring not to discuss her private life, she claimed to have no other interests outside dance. This writer turned therefore to her method of choreography.

Yang explained that she normally develops the work conceptually in her mind before going about choosing the right music, which can sometimes be quite contemporary. Does she know other prominent Chinese choreographers? Yang said she knows Willy Tsao, artistic director of the City Contemporary Dance Company in Hong Kong, and is also friendly with Lin Hwai-min, artistic director of Taiwan's Cloud Gate Dance Theatre, which is to appear at the Hong Kong Arts Festival 2000 in February.

This writer is curious to know if her own style has been influenced by these choreographers, or perhaps any Western choreographers. "My main source of inspiration is nature ew animals, landscape," she replies somewhat unexpectedly.

Yang said she is pleased with the studios and stage facilities she has access to here in Hong Kong, calling them "as good as those in China". The program this weekend will mostly feature Yang’s solo works.

Spirit of the Bird is characterised by her vivid hand and arm movements imitating the airs and the pride of the bird. Moonlight features the strange beauty of movements enhanced by lighting effects.

Other solo dances include The Drizzle, which uses rippling fingertips to express spring rain, and Fire, which emphasises the primordial fire of life. Other dances include the homage to love Two Trees, the dazzling Red Temptation, the primitive Everest and the romantic Wings of the Heart.

— —

No. 9

HONG KONG STANDARD 13 NOVEMBER 1999

Dance in city of calm The new head of the Academy of Performing Arts' dance school finds Hong Kong

a safe, friendly place to fit into and settle down in, writes Georgina Lee

ust like Hong Kong's physical environment, the

new head of the dance school of the Academy for Performing Arts, Susan Street, says the dance

community in the City of Life also has its own ecosystem that needs to be protected and nourished at all times.

A healthy dance scene, she says, needs different 'layers' of dance to support it. "We have our talented independent artists, (and)

professional dance companies as the next layer; and in turn these two layers are supported and served by

performing venues of different sizes,â&#x20AC;? Street says.

architecture that is so concentrated and so much alive."

As the younger, talented and independent artists

As she was making her point, a gleeful melody from

are promoted and invited to join the bigger

the piano next door rosea pitch or two, and she grinned

professional dance troupes, this succession within the dance ecosystem will fuel the dance scene and enable

on that.

it to flourish.

revolving doors of the building can be seen, and Street

Through the window of her office, the different

"That is why we want the whole range of activities

pointed to groups of teenagers from the school of film

to happen everywhere in Hong Kong to feed the dance

and television who were filming for their school

ecosystem as well as to spread this art form to the

general public," adds the comely Australian who is

project. Nearby young students in fancy drama costumes walked leisurely, ready for their next practice

also a board member of the Hong Kong Ballet.

session.

Born and trained in Australia, Street was a soloist

In another room dancers in smart street-wear were

with Melbourne's Kolobok Dance Company from 1977-80. In 1981 she joined Amsterdam's International

hopping to the beat of hip-hop music, standing in stark contrast to the elegant and fluid dance movement of

Folkloric Dance Theatre with which she toured

the ballet dancers next door.

extensively throughout Western and Eastern Europe.

"It is indeed a busy "happening place' here at the

She started her teaching career in 1983 when she

academy, which is so different from the Australian

joined the Queensland University of Technology as a

Council for the Art where I worked before coming

lecturer. Five years later she was promoted to head of

here," Street says. "Due to its huge size, the different offices were so distantly located and it was rather quiet

dance at the institution.

The pollution and noise in bustling Wan Chai has

not dampened Street's impression of what she calls "the big family" - the academy. "I enjoy very much working in this academy, " she

says. "As you can see this is one nice piece of

and isolated."

She also finds Hong Kong a friendlier place to settle down in than Britain, the country where she pursued

her masterâ&#x20AC;&#x2122;s degree in dance. "Hong Kong has its certain calmness amidst all the

energy and action around town," she observes. 'â&#x20AC;&#x2122;The

Street reckons that professional arts education in

people of Hong Kong are very focused on what they

schools is one element in Hong Kong's dance ecosystem is suffering from a lack of direction.

want to achieve, and generally I fit into Hong Kong very easily and I feel very safe here."

When asked about what she thinks of the local dance scene, she was equally positive.

"It is fantastic that a city of this size can support all

the different dance companies as well as dance festivals and activities that have so much quality/7 she says.

"As an outsider myself, I can see that the municipal

"In the future we do need specific teachers who

are professionally trained in different fields of art," she says. "We need our younger generation to be able to express themselves more than ever in our history."

Street says the city needs to focus on improving

this sector at this time, when advances in information technology will not only make life more simple but

councils are doing a lot to support professional dance companies, funding good performing venues and

also cold and detached. People are connected via a

encouraging audience to appreciate this form of art.":

will be reduced to "virtual" encounter in cyberspace.

Street says it is perhaps because of the size of Hong Kong that has enabled its residents to get easy access

young people usually have low self-esteem," she says.

to a whole variety of dance genres.

"Whereas in Australia you will have to fly from state to state to catch up with the show," she says.

mere phone line, she explains, and physical interaction

/zThis is especially important in Hong Kong, where

"The expectations of parents for their children to lead a demanding life- where being successful means being able to make buckets of gold - would further

demean the meaning of life. Humans are reduced to "Easy accessibility is definitely a luxury for Hong Kong."

mere money-makers who have no time to think about what to feed their own soul and spirit, and what makes

She praises the fusion of East and West cultures in the city which is expressed in its dances as well.

them so special human being that would set them apart

from the mammals." Even though Street does have her own lament

"It goes beyond the aesthetic value of dance," Street says. "The problem with Western dance is exactly that

about arts in Hong Kong, she would like to achieve

it is just about beautiful bodies moving in space. But

her own goals for the academy in her first term.

it is not saying anything beyond this point.

"With dance, we want more than the aesthetic value of human body movement; we want something that

"I want graduates from our academy to be able to

take a leadership role in the art scene. I also want to see our academy's international standing and position

conveys a message, and here in Hong Kong it is achieving this. The rather stagnant dance scene in the

being broadened and heightened."

West is buzzing about the style of Hong Kong for some

projects within the institution - in the year 2001 the

possible inspirations."

dance school will be collaborating with the music

She cites independent artist Daniel Yeung of the Y

She is also keen on seeing more cross-faculty

school on a big inter-school production.

D Theatre for exemplifying this "East meets West"

And most important of all, she wants to see

element. Yeung, she points out, often combines theatre art and video with dance.

academy dance graduates pushing the boundaries of various dance forms.

"Artists here are keen to communicate with the

"We need to instill a sense of inquiry in our

audience, and they actually prompt you to ponder on

graduate dancers so that they would not be afraid to

life: What is it to live here? What are the essence of

reinvent and be experimental," Street says. "We also

life?" Street says.

need to emphasise to them that their graduation from the academy is only the start of an exciting journey of

In her opinion, Hong Kong should not duplicate Western dance style and should find its own voice and identity in the international dance community.

And this takes us back to the nourishment of the

their dance life." Just like Street herself, who has led an exuberant lifelong journey in dance.

"dance ecosystem".

DanceJojaSKit^ No. 9

DECEMBERS EVENTS 8.00 pm

7.30 pm

藝穗會綜藝室 Star Alliance Studio, Fringe Club

躍舞編 Spring Peotry

形、影、動、靜 Four Elements

Choreographers 編舞

:Terry Tsui, Lonce Yu, Li Zihao :徐禕業、余世好及李志豪

香港演藝學院 HKAPA

舞匯‘9 9 Dance Extravaganza

-99

演藝學院.J院 Lyric Theatre, HKAPA

Choreographers : Graeme Collins, Liu Chun-wai, Zhao Xiao-gang, Willy Tsao, Aaron Wan, Mohamed Drissi & Shi Min 編舞

:高家霖、廖春慧、趙小剛、曹誠淵、溫玉均、謝漢文及史敏

10 - 12 .14 -•18

7.30 pm

香港芭蕾舞團胡桃夾子 Hong Kong Ballet The Nutcracker

11 - 12 18 - 19

2.30 pm

Choreographer 編舞

25 -26 27

7.30 pm 230 pm

7.15 om

22 -23

8.00 pm

10.00 am 5.00 pm

城巿當代舞蹈團 CCDC

CCDC舞蹈課程學生匯演"99 CCDC Student Showcase '99

Choreographers 編舞

:Dance Teachers of CCDC :各課程舞蹈導師

臨界角藝術工作室花木蘭 Critical Angle Art Theater Mulan

U.00 pm

牛池灣文娛中心劇院 Ngau Chi Wan Civic Centre

上環文娛中心劇院 Sheung Wan Civic Centre Theatre

:Pao Ling-ling, Carmen You :鮑寧寧、丘女紅

香港芭蕾舞團額及外展部假曰芭蕾舞課程

演藝學院8號舞蹈室

及香港演藝學院 HKB Educafa & Oulreadi Unit & HKAPA

Studio 8, HKAPA

Instructors 導師

:Stephen Jefferies :謝傑斐葵青劇院 Kwai Tsing Theatre

Choreographers 編舞 28

文化中心大劇院 Grand Theatre, HKCC

城巿當代舞蹈囲 CCDC Choreographers 編舞

Holiday Ballet Course

:Scarlet Wong, Tsang Mei :黃翠玲、曾眉龍瞭盛勢貿干禧齊歌共舞迎二干尖東百週年紀念公囲 You Tsim Efong District Millennium Celebration U.C. Centenary Garden : Victor Ma, Mandy Yim ：馬才和、嚴明然

JANUARTS EVENTS 1, 2

7. 8

8.00 pm

臨時市政局 Provisional UC

2000. 1. 1 檔案 www. 2000/ 1/ L Unknown

Choreographer 編舞

:Francis Leung :梁家權

東邊現代舞蹈團新潮流2000 E - Side Modem Danos Cd Choreographers 編舞

8. 9

8.00 pm

13, 14 21

7.30 pm 3.00 pm

16, 17

8.00 pm

21, 22 22, 23

8.00 pm 3.00 pm

香港文化中心劇院 Grand Theatre, HKCC

:Jiang Hua Xuan :蔣華軒

28, 29

7.30 pm

香港芭蕾舞團舞蹈創作工作坊2000 Hong Kong Ballet Choreographic Workshop 2KI0

230 pm

Choreographers 編舞

廣東實驗現代舞蹈團小劇場 Guangdong Modem Dance Co. Theatre

:Andy Wong, Yeung Chi-kuk, Daniel Yeung :王廷琳、楊志穀及揚春江

香港舞蹈團黃土 ■黃河 Hong Kong Dance Cbmpany Yellow River

Choreographer 編舞

香港演藝學院各地區 HKAPA

:Dance students of HK Academy for Performing Arts :香港演藝學院舞蹈學院學生

廣東寅驗現代f蹈團七星座現藝術小劇場展演節 Guangcfang Modem Dmce Ch Constellation of Seven Festival Choreographers 編舞

澳門文＜匕中/以 Macau Cultural Centre

:Stephen Jefferies :謝傑斐

香狐權舞購生會特區2000 HKAPA Site Specific 2030 Choreographers 編舞

西灣河文娛中心劇院 Sai Wan Ho Civic Centre Theatre

:Daniel Yeung, Roy Chun, Mandy Leung, Adelainde Leung, etc. :楊春江•秦卓勳、梁爾怡•梁惠珍等

香港芭蕾舞團胡桃夾子 Hong Kong Ballet The Nutcracker

Choreographer 編舞

上環文娛中心劇院 9ieung Wan Civic Centre Theatre

香港大會堂劇院 HK City Hall Theatre

:Stephen Jefferies, So Hon-wah, Frankie-m Lai, Selina Chau, Carlo Pacis, David Liu ：謝傑斐、蘇漢華、賴掁榮，周錦欣，白家樂及劉中達

瞧

••各自各舞蹈系列2000"籌備多時•我們曾收到不少建議。節目內容將刊於一月出版的《舞蹈手扎》內。

除此之外.我們現正籌辦舞蹈評論工作坊。應邀出席的知名人士 •除了來自美國的評論家瑪希婭■希格爾外• 還有中國的學者馮雙白先生。馮敎授是中國藝術研究院舞蹈研究所所長•他是著名的中國舞蹈理诒家暨評論者• 在世界备地發表過多篇文章。從一九八二年開始.馮敎授集中研究古代中國舞蹈、現代舞蹈思想、舞蹈評論，中

國民間舞蹈歷史等。工作坊除了邀請《舞蹈手扎》的編棋職员作為嘉賓之外 ■還歡迎大取人士參加。節目安排暫定如下：

三月五日

星期日

下午二時正至五時正

演講/討論

三月六日

星期一

晚上七時正至十時正

演講/討論

三月七日

星期二

晚上七時正至十時正

演講/討論

三月八日

置期三

晚上七時正至十時正

演講/討論

星期四

下午二時三十分至四時三十分

香港藝術中心的年輕編舞家

三月九日

三月十日

星期五

下午五時正至六時三十分

演講/討旃

晚上八時正

城市當代舞蹈困演出

下午二時三十分至四時三十分

香港葵術中心的年輕•編舞家

下午五時正至六時正

演講/討論

晚上七時三十分

香港演藝學院編舞工作坊

此外•可能還倉觀賞香港舞蹈聯a會F!音樂會和/或香港藝術節的演出。

市民大眾須繳的費用已把這些演出的票價計算在内，而香港舞蹈聯盟的會好則享有折扣饅惠。我們正與香港國際演藝評論家協會聯絡■球他們的會资可以參加。工作坊的演講/討論環節可能在上環文娛中心舉行'我們會盡黃把節目安排在工餘時間舉行•以便更多有意者可以參加。最終的詳情刊於一月出版的《舞蹈手扎》內。第二屆香港舞蹈年獎擬在二零零零年春季舉行 •提名程序和投票方法將在第一個月後郵寄給各會只。凡在一

九九九年舉辦的活動均符合參選資格。得獎者將會安排在一次特別慶祝晚會中領取獎項。是次慶典要成為舞蹈

界的盛事.就需要你們合力其釗。我們現誠邀各會貝和有意者為這佃晚會組織籌備委貝會 •有意者請與香港舞蹈

聯盟黄翠玲小姐聯絡（地址：香港涔仔告士打道一號香港演藝學院舞蹈学院副院長辦公室：電詁：2584-8755 : 傳真：2802-3856 :電郵：hkalli@nctvigator.com）。

香港舞蹈聯盟主席

一九九九年十二月

lanning for the All Independent Dance Series 2000 continues to go ahead. We have received many proposals and will publish programme contents in the January Issue.

The Dance Critics/Writers workshop plans are also proceeding. We are pleased to announce that in additional

to world renown critic, Marcia B Siegel from the United States, we have also received confirmation that eminent

scholar Fung Shuang-bai has accepted our invitation to be a participant. Professor Feng is the Director of the Dance Research Institute of the Arts Academy of China. He is a renown Chinese dance theoretician and critic

who has presented his work internationally. Since 1982 he has focused his research on ancient Chinese dance, as well as contemporary dance thought, dance criticism, and the history of Chinese folk dance. Staff writers of the Dance Journal/HK are also invited guest participants and the workshop is open to members of the public who wish to attend.

Tentative plans for the workshop include the following possible schedule:

♦ 5 March (Sun)

2-5PM - Lecture / Discussion

♦ 6 March (Mon)

7-10PM — Lecture/Discussion

♦ 7 March (Tues)

7-10PM _ Lecture/Discussion

♦ 8 March (Wed)

7-10PM 一 Lecture/Discussion

♦ 9 March (Thurs)

2:30-4:30PM — Young choreographers at HK Arts Centre 5:00-6:30PM _ Lecture/Discussion 8PM 一 CCDC Performance at Kwai Tsing Theatre Centre

♦ 10 March (Fri)

2:30-4:30PM 一 Young choreographers at HK Arts Centre 5:00-6:00PM _ Lecture/ Discussion 7:30PM — HKAPA Choreographic Workshop performance Additional attendance to HK Dance Alliance member concerts and/or HK Arts Festival performances may also be included.

Fees for the general public will include ticket prices for performances, those for Dance Alliance members will include generous discounts. We are also working with the International Association of Theatre Critics,

Hong Kong (IATA) to enable their members to attend. Lecture/Discussion sessions will probably be held at the Sheung Wan Civic Center and as many activities as possible will be scheduled after working hours to enable more interested participants to attend. Final details will be announced in the January issue of the Dance Journal/HK. The 2nd Annual Hong Kong Dance Awards are planned for spring 2000. Nomination procedures and ballots

will be mailed to members soon after the first of the year. Activities undertaken in 1999 are eligible for awards. Awards will be presented at a special gala evening and we would like to petition our members and interested

individuals to join the organizing committee for the Gala. We need your help to make this event the special

evening that our community deserves. Please volunteer by contacting Scarlet Wong, Administrator, Hong Kong Dance Alliance, c/o the Office of the Associate Dean of Dance, HKAPA, #1 Gloucester Rd, Wanchai, HK,

tel: 2584-8753, fax: 2802-3856 or e-mail hkdalli@netvigator.com.

Tom Brown Chairman December 1999

Members of Hong Kong Dance Alliance

A A A

奉 e

港舞

题會

囊

番

轚

個人會員簡麗珊女士郸健華先生宋孟胃女士何偉強先生黎倩樺女士李翠女士莫裕康先生

INDIVIDUAL MEMBERS Mr Jason Brockwell Ms Margaret Carlson Mr Billy Cheng Ms Wendy Chu Mr Ho Wai-keung Ms Amy Lai Ms Doris Li Mr Juergen Morhard Daryl Ries Mr Willy Tsao Ms Scarlet Wong

陳德昌先生錢秀蓮女士高家霖先生郭慧芸女士黎海寧女士陸國雄先生伍宇烈先生溫玉均先生許淑5英女士

Andrew Broomhead Mr Ringo Chan Ms Miranda Chin Mr Graeme Collins Ms Vivian Kwok Ms Helen Lai Mr Luk Kwok-hung Mr Yuri Ng Ms Indira Sawlani Mr Aaron Wan Ms Xu Shu-ying

白朗唐先生周全輝先生緊女士謝漢文先生劉玉芬女士羅詠芬女士龍植池先生

施素心女士黃國強先生

Mr Tom Brown Mr Chau Chuen Fai Ms Chu Kit Mr Mohamed Drissi Ms Medina Lau Ms Kim Law Mr Edwin Lung Ms Priyadarshini Ghosh-shome Ms Susan Street Mr K. K. Wong

團體會員

聯絡人

ORGANIZATION MEMBERS

Contact Person

方舟舞蹈劇場霹超啪嘞身體劇場陳紹傑舞蹈中心精舞準琴蹈學院城巿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露小姐

東邊現代舞蹈團基督徒舞坊蜉蝣舞囫步韶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蹈體育總會香港罱年堅術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暧動作樾維新約舞流絲路舞蹈文化協會躍舞翻南群舞子三分顏色原體系舞蹈菲場蒲窩青少年中心 X-劇場歪啲示体多空間

余仁華先生曾澳英女士黃恆輝先生宋絜女士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頌瑛女士揚惠美女士邢亮先生周佩韻女士帕戛吾粟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楊春江先生嚴明然女士

Ark Dance Theatre Bilibola Physical Theater Billy Chan Donee Centre Champion Ballroom Dancing Academy City Comlemporary Dance Company Contact Point DanceArt Hong Kong Dance HK / NY Dancing City Danseomanie DMR School of Bollel E - Side Modern Dance Company Evangelical Dancing Troop Fau Yau Dance Cirde The Harmonious Dance Troupe The Hong Kong Academy for Performing Arts Hong Kong Ballet Hong Kong Dance Company Hong Kong Professional Dance Sports Council Hong Kong Youth Arts Festival Association Ltd. ITS & TS Creative Jean M. Wong School of Ballet McMuiMui Dansemble Movement Fibre Passover Silk Road Cultural Society Spring Poetry South Asli Dance Workshop Three Colours Uncarved Block The Flying Works The Warehouse Teenage Club Ltd X-tonzIheatr y. d. Ihearter Y - Space

Ms Eve Cheng Mr Dominic Wong Mr Billy Chan Ms Diana Yau Mr Willy Tsao Ms Mui Cheuk-yin Mr Andy Wong Mr Tom Borek Mr Pun Siu-fai Ms Jocelyn Chung Mrs D. M. Wayburne Mr Jacky Yu Ms Tsang O-ying Mr Wong Hang-fai Ms Chu Kit Ms Susan Street Ms Helen Ng Ms Ophelia Lau Mr Chan Wai Ms Lindsey McAlister Ms Karen Suen Ms Anna Chan Ms Yeung Wai-mei Mr Xing Liang Ms Rewan Chow Ms Pasha Umer Mr Terry Tsui Mr Ong Yong Lock Mr Afa Chiang Ms Ling Lee Ms Phoebe Chu Ms Miranda Ng Ms Elina Liu Mr Daniel Yeung Ms Mandy Yim

普通會員

ASSOCIATE MEMBERS

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奠裕康先生

Ms Ms Ms Ms Ms Mr Ms

學生會員

STUDENT 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 Mr Ms Ms Ms

Cheung Sau-fan Fong Kit-ping Kwan Yim-Ian Kwok Shuk-yan Lai Siu-ling Juergen Morhard Asha Sawlani

Susanna Chon Cody Choi Candy Lo Chung Ching Audrey Wong

Membership Form

s員由諾表 Membership

會藉

Member1 s Information

（

）Individual

（

）Organization

（

）Associate*

（

）Student*

個人會員團體會員普通會員學生會員

$200 $600

$100

$50

會員資料

Name 姓名（English 英文｝___________________________ （Chinese Telephone

電話（Office 公司）________________________ （Home 住宅）_______________________________

Fox 傳真（Office 公司｝_______________________________________ Position

中文）_____________________________

（Home 住宅）_____________________________

職位________________________________________________________________ ____________

Name of Company 公司名稱________________________________________________________________

Afflicted Cultural Organization

所圈藝術機構_____________________________________________________

Address 地址____________________________________________________________________________

Organization Member's

Information

Name of the Organization

團體會員資料

團贈名稱___________________________________________________________

Person in Charge負責人姓名________________________________________________________________ Telephone

電話______________________________ Fax 傳真_____________________________________

Correspondence Address 通訊地址_________________________________________________________

Applicable Dance Category

所屬舞蹈類別

匚Contemporary 現代舞 Western Folk西方民族舞 Edueaficn教育界 Q Criticism寫作與評論 Cultural and Arts Administration 文化及藝術行政 Notation舞蹈記錄 I I Others其他芭蕾

I World Dance民族民間舞

| Ballet

| Eastern Folk東方民族舞

□ Ballroom國際標準舞

| Technical Arts 舞台技術

| Musical Theatre / Jazz / Tap Dance

Signature 簽署:_____________________________ Date

___

音樂舞劇/爵士舞/踢躂舞

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 Donee, 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。

• Non voting沒有投票權利

发知*