Hong Kong Dance Magazine December 2020 by hkdancemagazine

CONTENT

內容

創辦⼈兼總監林朗婷 Chief Editor 總編輯 Melinda Gaskin 簡美德

Founder and Director Lam Lon Ting

COMMERCIAL & CREATIVE &

廣告及創作

Photographer & Photo Editor

攝影師及相⽚編輯 Tang Tsz Ki

melinda@hkdancemagazine.com

Assistant Marketing Manager

Writers & Editors Artem Bronnikov, Jenny Chan, Josephine Cheung, Karl Yeh, Mandy Tse, Nadine Buys, Shelby Colona, Tiffany Shek

vincci@hkdancemagazine.com

撰稿及編輯翻譯

Translators Candy Tsang , Charmaine Tse,, Grace Jigme Choying, Ivy Tam, Jason Tang

曾敏翹

COVER PAGE

封⾯⾴

⼈物特寫伍宇烈 Photographer 攝影師 Photo Editor 相⽚編輯 Wilfred Yuen 阮威傑 Dance Apparel 舞蹈服裝 Featured Artist Yuri Ng

助理市場推廣經理 Vincci Lee 李穎詩

Kay Wong - Fashion Clinic

Sales & Marketing Executive

Hair & Makeup Cindy Lai - HK Makeup Artist by Karen Yiu

銷售及市場推廣主任 Christy Ng 吳妍穎

髮型及化妝

sales@hkdancemagazine.com

Winter is hands down my favourite season, it's not only because of all the cozy and inviting holiday festivities, but also because it brings the prospect of a new year, a fresh start. Allowing us to see the world of possibilities ahead. A true advocate for exploring new ideas while making something of the old ones is Yuri Ng, the Artistic Director of City Contemporary Dance Company(CCDC). In this one-on-one interview, we learn about Yuri’s latest initiatives and plans for CCDC, including his latest “upcycling costume project”. Being aware of our carbon footprint as artists is important, and sustainable production design within the performing arts is one that we hope to see more of. We’ve also wrapped some other special gifts in this issue, with stories centred around dance physiotherapy; an old ballet cookbook making its way back to the kitchen; tips on preparing for ballroom dance competitions; and so much more! The holidays are normally a time of year to be shared with family and friends, but it is also a time to reflect on how we can use our gifts in art, dance, or whatever it might be, to bring a little bit of light into this world. So from all of us here at Hong Kong Dance Magazine, we would like to wish you happy holidays and hope that this magazine brings the beauty and light of dance into your day!

冬天⼀向都是我最愛的季節，除了因為冬天有充滿歡樂氣氛的節⽇活動，還因為這季節能讓我們展望新的⼀年，期待另⼀個新開始，憧憬未來的無限可能。說到勇於探索新構想⼜善於活⽤舊物的⼈物，當要數城市當代舞蹈團藝術總監伍宇烈先⽣。專訪中，他跟⼤家分享了舞團最近的⽅向和計劃，包括其最新的「舞台服裝升級再造項⽬」。⾝為表演藝術家，我們應多留意⾃⼰的「碳⾜跡」，亦應多提倡「可持續」舞台服裝、道具設計。本期雜誌滿載各樣驚喜，⽐如關注舞者健康、以物理治療為題的⽂章，還有重返舞者廚房的⼀本昔⽇「芭蕾⻝譜」、準備標準舞⽐賽的⼩貼⼠等，內容豐富，未能盡錄！節慶是我們與家⼈朋友共享美好時光的時候，亦是我們思考如何運⽤⾃⼰藝術、舞蹈或其他⽅⾯的才能去為世界帶來點點亮光的時候。Hong Kong Dance Magazine團隊在此祝願⼤家佳節快樂，期盼本雜誌能將舞蹈藝術的光采帶給⼤家，點亮⼤家的歡樂假期！ Chief Editor

總編輯

HONG KONG DANCE MAGAZINE | 1

SOLOIST FEATURE

個⼈專訪

4 A Stitch in Time: City Contemporary Dance

Company’s Artistic Director Yuri Ng Talks About Upcycling

把握時機，事半功倍：城市當代舞蹈團藝術總監伍宇烈暢談如何將服裝道具升級改造 MIND & BODY

⾝⼼健康

10 Dance Accessories Then and Now

舞蹈⽤品今昔⼤不同

12 Let's Get Physio! Physio! Discussing the

Importance of Physiotherapy with Jenny Chan

舞者健康伙伴︰與物理治療師陳麗雅對談

CENTER STAGE INTERVIEWS

星級舞台專訪

16 Spotlight Exchange: An Interview with RAD’s Artistic Director Gerard Charles

聚焦舞蹈教育︰專訪英國皇家舞蹈學院藝術總監Gerard Charles STUDIO SESSIONS

舞蹈教與學

21 Rumba Ready: Pre-Performance Rituals for Ballroom Dancers

標準舞⽐賽選⼿進場前的「⼩準備」 24 5,6,7… What’s Next? Tips for Picking Up Choreography

你不可不知的學新舞⼩貼⼠

FROM THE EXPERTS

專家分享

26 In the Flash: Wilfred Yuen - The Photographer Behind the Untitled Dance Project

從幕後⾛到閃光燈前：阮威傑 -- Untitled Dance Project 攝影師 WHAT’S IN A DANCER’S BAG

舞袋裏的秘密

31 What’s in a Tap Dancer’s Bag with Mandy Tse

踢踏舞舞者謝敏婷細數舞袋裏的「⼩法寶」

DANCERS’ COOKBOOK

回味舞窮

35 What is Healthy Eating?

Tiffany Shek Shares Her Take

識「飲」識「⻝」︰營養師⽯芷因解構健康飲⻝

39 A Taste of the Past: Preparing Dinner

from The Ballet Cook Book with Karl Yeh Karl Yeh The Ballet Cook Book

尋味之旅︰發掘中的昔⽇味道

編輯⾄愛聖誕禮品推介

GLOBAL GROOVES

舞蹈⼤世界

42 Relevé to Russia: Josephine Cheung's Dance Career from Hong Kong to Russia Josephine Cheung

舞躍俄羅斯：俄羅斯的舞蹈⽣涯

53 Editor's Fa La La Favourites Gift Guide

從⾹港⾄

54 56

活動推介 DIRECTORY 名錄⼀覽 WHAT'S ON

46 It’s All in the Attitude: Ballet Hispanico’s

Shelby Colona Shares Her Dance Journey Ballet Hispanico Shelby Colona

⼼態決定⼀切︰的舞蹈歷程 EDITOR'S PICK

舞者

編輯推介

50 Just For Dance Teachers

為跳舞導師精⼼挑選的好物推薦

Want More?

visit www.hkdancemagazine.com

A STITCH IN TIME

CITY CONTEMPORARY DANCE COMPANY’S ARTISTIC DIRECTOR YURI NG TALKS ABOUT UPCYCLING

把握時機，事半功倍

城市當代舞蹈團藝術總監伍宇烈暢談如何將服裝道具升級改造

⼈物特寫: Yuri Ng 伍宇烈 Photographer 攝影師: Wilfred Yuen 阮威傑 Hair & Makeup 髮型及化妝 : Cindy Lai - HK Featured Artist

Makeup Artist by Karen Yiu

舞蹈服裝贊助商 :

Dance Apparel Sponsor Kay Wong - Fashion Clinic

SOLOIST FEATURE

Forgotten and stored away are countless sets and costumes from years past, a reality amongst performing arts companies that is all too common. Redefining the way design elements are created and used in productions is City Contemporary Dance Company’s (CCDC) Artistic Director Yuri Ng.

很多演藝團體在演出過後，通常將佈景和服裝等存放在倉庫內，多年內累積無數的物品，⽽且往往從此被⼈遺忘。針對這個情況，城市當代舞蹈團（ City Contemporary Dance Company, CCDC ）藝術總監伍宇烈思考如何新的⽅式來設計、製作及使⽤這些物品。 With not a moment to waste, Yuri has put tremendous devotion into his projects, plans and initiatives for CCDC since being appointed as the new Artistic Director. Some of which include the possibility of working with the Tai Po Arts Centre, West Kowloon Cultural District, creating opportunities for Resident Artists, and his latest passion project known as the upcycling project, or the “Kiss My Artistic Sustainable Stage” as Yuri calls it (but this is not the official name).

⾃從獲委任為CCDC的新任藝術總監後，伍宇烈⽴即全情投⼊，為舞團籌備演出，制定各種計劃及新路向等，⼀刻也不浪費。這些未來⼤計包括將會與⼤埔藝術中⼼及西九⽂化區攜⼿，為駐團藝術家帶來創作機會。⽽近⽇他本⼈最熱衷的項⽬，就是將物品升級改造，伍宇烈將這項⽬稱為「親親我的藝術可持續發展舞台」（不過這可不是正式名稱）。

got big ideas which he continuously experiments with to explore new possibilities.

伍宇烈正嘗試建⽴⼀個系統，讓CCDC 在製作中⽤過的服裝、佈景和道具均可循環再造或持續使⽤。他想出不少好主意，無論是使⽤現有的物料、布料、舊服裝，還是製作便於收藏的可摺疊佈景等，他不斷作出嘗試，探索各種可⾏的新⽅法。 How did CCDC’s costume upcycling project come about? It began when I was working with Linda at the wardrobe [department] for one of our previous productions, and realised “How interesting, you have kept all these costumes for 40 years”. At some point I realised that there were a lot of sequined costumes,

個⼈專訪

Once the productions are gone, the costumes just go into storage. So I thought, “why don’t we do something with it?” We invited some designers, costume and fashion designers to join hands with me, and we made one of a kind costumes for the dancers for the upcoming season. Not for any production, but more like an exploration between the designers and the dancers. They would pick pieces from a few different shows. They might find the fabric interesting, or the colour interesting. They will use what they have selected and make costumes for these dancers as an art piece. We will take pictures and hopefully you can see how designers see the body, and see movement. It’s really a conversation between the two parties. I think it’s very meaningful, because designers usually serve the choreographer. They make something according to the choreographer’s wishes. And I think if they can communicate directly with the dancers and make something with them, not just for them, I wonder what that would be like?

so I wanted to hear the stories behind these. Perhaps she wanted to see if one of these days, these costumes would sort of come back to life. Whentheproductions are gone, the chance of recycling or having these costumes go backonstagewould be very slim.

Yuri is trying to develop a system where the costumes, sets, and props created for CCDC’s productions are recyclable or sustainable. Whether it’s using existing materials, fabrics, old costumes, or creating collapsible sets that can be stored easily, he’s

SOLOIST FEATURE

個⼈專訪

How they see the bodies, movement, how they see space and time. I think the flow of the costume tells a lot about the concept of time. Extra long sleeves for example, Kay’s costume [the designer of the apparel in this interview] has an extra long sleeve, is it for play, is it for an extension?

的升級改造計劃是如何出現的？這個計劃始於有⼀次我與負責服裝的Linda⼀同為舞團⼀個製作籌備時，我發現她將這麼多服裝保存了40年，覺得很奇怪。後來我發現其中有許多釘珠⽚的服裝，於是我想知這些服裝的來歷。我想她也樂於⾒到，這些服裝在未來的⽇⼦裡也許有機會重⾒天⽇。當演出結束後，將這些服裝循環再⽤或在別的演出中再穿，機會微乎其微。演出結束了， CCDC

服裝只會被存進倉庫裡。於是我想：「我們何不好好利⽤這些東西？」我們邀來多位設計師、舞台服裝及時裝設計師⼀起攜⼿合作，為即將來臨的舞季製作供舞者穿著的特製服裝。不過這並⾮專為某個演出⽽設計，⽽是更像設計師與舞者之間的探索。他們從不同的演出中挑選多件服裝，可能是布料或顏⾊令他們感興趣。他們會利⽤選中的服裝，以創作藝術品的⽅式為舞者製作服飾。我們會拍照記錄，希望從中發現設計師如何看待⾝體及動作。這是兩個不同團體之間的對話。我認為這樣做很有意思，因為設計師通常都是為編舞者服務，按照編舞者的意思去設計東西。設計師若能直接與舞者交流，與舞者⼀同去做，⽽⾮只是為他們⽽做，我很想知道會有什麼結果？⽐如說特別⻑的袖⼦，Kay （為這個訪問設計服飾的設計師）的服裝有⼀隻袖⼦特別⻑，那是為了演出所需，還是帶有延伸的意思？

你是服裝設計師，也是舞者及編舞者，你如何參與這個服裝升級改造計劃？

Being a costume designer, dancer, & choreographer yourself, how have you been involved in the process of the costume upcycling project?

Speaking of dance costumes, the history of CCDC is woven into the fabric of the pieces. What are the stories you can tell us about some of the upcycled costumes?

I have chosen three—well I didn’t choose because everyone had priority to choose what they liked. So fate brought them to me. I noticed in the old days they still wore ballet tights. Girls used to wear pink tights for productions, they used to wear leotards and all that in the 70s and early 80s. Of course, they are not in fashion anymore. They have been sitting there, a lot of them, tons of them! I’m going to do something with these pink tights, you know they are more like knit, not lycra. I want to turn it into a different kind of fabric, but I can’t tell you what I’m doing now. I’m experimenting now, so you will see then.

One example is I have a yellow dress, which is a deconstruction of an old costume from the early 80s that Willy Tsao choreographed, and designed by Wong Kam-Kong a prolific actor, designer, and writer. We knew that he hand painted these costumes. It’s a big yellow cape, huge! It’s very epic. There are many of these pieces. And I said, “could we make a dress out of it?” We can make a Dior inspired, new look. You know, with the waist? I wanted to create a new look.

The point is that they are very useless, of course you can wear them, but nobody wants to wear them because they are not in perfect condition. They are deemed useless. So I want to make something out of it. The forgotten or the undervalued. I really think that there is still potential.

HONG KONG DANCE MAGAZINE | 6

我選擇了三件 ─ 其實不是我選的，因為其他⼈都可以優先選擇⾃⼰喜歡的服裝，所以是緣分將它們帶給我。我留意到往⽇他們仍穿芭蕾襪褲。⼥孩⼦通常在演出時穿粉紅⾊襪褲，1970 及80年代初她們都穿連⾝⾐等服裝。當然，這些東西現在已經過時了。它們⼀直放在那裡，數量⾮常多，簡直可以噸計！這些粉紅⾊襪褲並⾮lycra彈⼒纖維製造，⽽是針織品，我想好好利⽤它們。我想將它變成⼀種不同的布料，但現在不能告訴你我怎樣做。我正在做實驗，稍後你就會⾒到結果。問題是這堆襪褲真的毫無⽤處，它們當然還可以讓⼈穿，不過沒有⼈願意穿，因為物料的狀態並⾮完好。⼈⼈都認為這堆東西毫無⽤處，因此我想利⽤它們來做點東西。這些東西被⼈遺忘或低估，但我認為它們仍可發揮潛能。

⿈錦江

We opened the fabric of the costume which is hand painted. We turned to the back of it and there were newspaper printings, because he used to put newspaper on the table to hand paint it [the costume]. He painted a wall. One side is with the white and black paint, and the back side of it is plain yellow. So we use the whole entire piece of this costume to make this, and the hat is old, from another production, we trimmed it. That was a lot of fun, because it tested Linda’s patience and her sense of cutting the fabric to make the best of the pattern. And we made a mockup with another fabric, so we could fit the dancers first and then we cut it with this yellow costume. Even the underskirt is from an old costume, and old tutu.

SOLOIST FEATURE

個⼈專訪

then make it work. Then eventually it might inspire other designers, maybe inspire high school teachers who can make the best of their stock. It’s not just money saving, actually it’s not really money saving. It’s more artistic, or so that our minds keep being creative. We don’t just wear the old costumes, we try to make something out of it. I want people who don’t believe they’re dead. There must be somewhere, a point where we can sort of crack and pry open a brighter future. But I can’t do it alone. I feel it’s the right time to do that, because I have been wanting to do this. And suddenly, I see there are a lot more people who actually are doing it, so let’s get together!

說到舞蹈服裝，CCDC的歷史可說與這些服裝息息相關。可否告訴我們⼀些經升級改造的服裝背後的故事？其中⼀個例⼦是我有⼀條⿈⾊裙⼦，是將⼀件舊服裝改頭換⾯⽽成。這件舊服裝由多產演員、設計師與作家⿈錦江設計，⽤於1980年代初⼀個由曹誠淵編舞的作品內。我們知道這些服裝是由他⼿繪的。其中⼀件是巨⼤的⿈⾊⽃篷，⾮常巨型！看起來很壯觀。這種⽃篷有很多件，於是我說：「我們可否⽤來造⼀條裙⼦？我們可以Dior的⾵格為靈感，創作全新的款式，嗯，就是那種腰⾝收窄的裙⼦。我想以此創作⼀個新款式。」我們將服裝的⼿繪布料拆開，翻到背⾯，發現上⾯印上了報紙的字跡，因為他常⽤報紙鋪在桌⼦上，然後再將服裝放在上⾯進⾏繪畫。他畫了⼀道牆壁。其中⼀⾯是⽩⾊和⿊⾊顏料，背⾯則全是⿈⾊。於是我們⽤整件服裝來造成這裙⼦，⾄於帽⼦則是來⾃另⼀個製作的舊物，我們將它略作剪裁⽽成。這件事⾮常有趣，因為這是對Linda的耐性和判斷⼒的考驗，

她要思考如何將布料剪裁成最佳式樣。我們⼜⽤另⼀種布料製成樣板，供舞者⽤來試⾝，然後再剪裁這件⿈⾊⽃篷。就連這件襯裙也是⽤舊服裝和芭蕾紗裙造成的。 How do you hope this project will impact the development of dance, design, art and performance? I think I will start with this company, I will start with the wardrobe, I will start with people who work closely with me. I don’t know how far we can go, I don’t know that I am trying to change other people. I want to try and change the people who are next to me, not necessarily “change”, because sometimes I hear from Linda that she says “Good that you’re using these, I wanted choreographers to use these old costumes for a long time, but no one seems to want to do that”. I think that the idea is not new, you just have to try and identify these people who are willing to just band together and

你期望這個計劃如何影響舞蹈、設計、藝術和表演的發展？我想我會由本團開始做起。我會從服裝開始著⼿，我會和跟我有緊密合作的⼈⼀同起步。我不知道我們可以⾛多遠，我也並⾮想去改變其他⼈。我只想嘗試改變⾝邊的⼈，其實也不⾒得是「改變」，因為我不時聽到 Linda說：「你肯⽤這些東西就好了，我⼀直希望編舞者會使⽤這些舊服裝，但從來沒有⼈肯這樣做。」我認為這種想法並不新鮮，只需找出有共同想法的⼈，⼤家聯⼿合作，就能成事。最終這可能會為其他設計師帶來靈感，⽽向來善於運⽤⼿上現成物料的中學⽼師，可能亦會獲得啟發。這樣做不但省錢，其實真正⽬的不在省錢，⽽是從藝術⻆度出發，令我們內⼼⼀直保持創意。我們不但穿舊服裝，還嘗試利⽤它們做出新的東西。我要找來那些不相信舊物已無⽤的⼈。我們⼀定會在某個地⽅找到⼀個缺⼝，從此打開⼀個更光明的未來。但我無法獨⼒去做這件事。我覺得現在是個適當的時機，因為我⼀直都想做這件事。然後，我忽然⾒到有很多⼈已經在做，那就讓我們⼀起來做吧！ With new and upcoming dancers and choreographers who have emerged in the company, how have they shifted or reshaped CCDC? The last program we did was called Project NEXT Wave. Three up-and-coming choreographers worked with the dancers of the company who are about the same age as they are. So I guess they communicate more

HONG KONG DANCE MAGAZINE | 7

SOLOIST FEATURE

個⼈專訪 I still think there are ways to share things, besides money. And the way to share things, is not just by putting shows on stage. There are a lot more; the internet, dance films, some other projects, some residencies, and just by plainly taking classes, we can give classes, we can just sit and talk. We do productions, productions, productions! And we do it because we need to tell people how much we have done. We forget about the growth of the artists is of first and foremost importance. If the artists don’t grow, they don’t become something.

directly. Common background, common sense of value, or habits. Of course there are dancers from China, from Hong Kong and their backgrounds are slightly different, but it doesn’t mean that they cannot work together. All the young moving flexible bodies, they can always communicate without having said too much. And I notice that they try to overcome their obstacles, their way. They will talk about it more openly than me. Time is crucial, whether we can spend time for both parties. I think that will make a difference, I think if we spend time on it, it will grow organically. And there are a lot of young choreographers who need to work with professional dancers. When I say need, it’s that their potential has not been fully explored yet because they don’t have a big group of dancers who can work with them full-time for four weeks or something like that. And if they have the opportunities to do that, I think we can see different things from them. We should provide that, we should work with them, it’s both ways. I was given chances by Willy, by CCDC, I was able to do anything I’d like and I sort of want to continue this generosity or his vision. At least in those days, it was his vision.

It takes time. I tell you, it’s so easy for me to just lay it out, but when it comes stepby-step I need a lot of support from the people I work with. I think it also has something to do with the system, our habits too. You do this and it’s not bringing in audiences, if there are only three people attending, only the three artists are benefitting from it. So is it worth spending that time, or that budget? Sometimes I will encounter this, I’m sure. But what’s got to be done, has got to be done. I still believe in what I see is the possibility of these people.

舞團內新⼈輩出，這些新加⼊的舞者和編舞者為 CCDC 帶來甚麼改變或影響呢？我們最近演出的節⽬名為《流轉X思浪潮》，由三位前途無限的年輕⼈負責編舞，與年紀跟他們相若的本團舞者攜⼿合作。他們有共同的背景、共通的感受和價值觀，甚⾄習慣，我想他們可以更直接地溝通。舞者有些來⾃中國，也有來⾃⾹港，背景當然略有不同，不過這無礙於他們彼此合作。這些年輕⼈以靈動的⾝體作交流，不⽤講太多說話。我也留意到他們會⽤⾃⼰的⽅式來克服困難，會⽐我更加坦⽩地討論問題。無論我們能否在雙⽅⾝上花時間，時間都是⾮常重要的。我想這會帶來改變，若我們肯花時間，舞團就會⾃然地成⻑。

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有很多年輕編舞者需要與專業舞者⼀起合作。我說需要，是因為他們尚未完全發揮本⾝的潛⼒。他們沒有機會與⼀⼤群專業舞者全時間在⼀起，專⼼排舞四星期，或類似的機會。若他們有這種機會，就會出現很多不同的作品。我們應該提供機會，與他們⼀起合作，這是雙⽅⾯的。曹誠淵和CCDC曾經給我機會，讓我能夠做⾃⼰喜歡的事，我想延續這分慷慨寬宏的氣度，這也是他的願景。最少在以往的⽇⼦裡，那是他的願景。我依然認為除了⾦錢之外，還有許多分享事物的⽅式。⽽分享事物，並不限於在舞台上表演。除此之外還有很多⽅式：互聯網、舞蹈電影、其他活動、邀請駐團藝術家，還有直接上課；我們可以授課，可以坐下來侃侃⽽談。我們不停地做製作，做製作，做製作！我們這樣做是因為想告訴別⼈，我們做了許多事。我們忘記了藝術家的成⻑才是最重要的。藝術家須時刻求進步，否則將無法成為真正的藝術家。這需要花時間。⽼實說，我講出來很容易，但要逐步實踐的話，需要⾝邊的同事⼤⼒⽀持。我認為這也關乎制度，還有我們的習慣。你做了這個演出，但吸引不到觀眾，只有三個⼈出席，只有三位藝術家受惠。花了這麼多時間和⾦錢，是否值得呢？我相信未來必定會⾯對這個問題，但是應該做的就必須去做。我依然深信，我所⾒到的，是這些⼈的潛⼒。 Stitching together artifacts from the past to upcycle a new future for CCDC, Yuri Ng brings such creativity and positivity to his visions and endeavours. Be sure to catch CCDC’s one week residency at West Kowloon’s Freespace in December 2020. Preparing three programs, this exciting project is all about being watched in this day and age of surveillance cameras and CCTV. Taking new risks, and opening Hong Kong’s contemporary dance stage to new possibilities CCDC has an exciting line-up of projects ahead!

伍宇烈將昔⽇的舊物升級改造，同時為 CCDC帶來全新的未來路向，也為他的願景與事業注⼊創意和積極性。CCDC於2020年 12⽉進駐西九⽂化區⾃由空間⼀星期，讀者萬勿錯過。舞團為這個項⽬準備了三個節⽬，主題是活在監控鏡頭及閉路電視充斥的時代。CCDC作出⼤膽新嘗試，未來將推出連串令⼈期待的新節⽬，為⾹港的當代舞蹈界帶來⼀番新氣象！

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THEN AND NOW

舞蹈用品今昔大不同 Just as technology is changing the way we live, the advancement in dance accessories and tools have changed the way we dance. Let’s take a look back on some of our everyday dance accessories, and how they've evolved over time!

科技正逐漸改變我們⽣活的⽅式，⽽舞蹈⽤品的發展亦為我們跳舞的⽅式帶來了不少改變。讓我們來看看⼀些⽇常舞蹈⽤品以前和現在的樣⼦吧！ Oversplits Stretchers

「超級劈叉」拉筋⽤具

Well before the Flexistretcher existed, most dancers loved to tell their old tales of stretching techniques practiced by their dance teachers, and the word torturous would come up pretty often when describing these techniques. Whether it consisted of stacking up books, or executing splits between two chairs, or downright human force. Nowadays, it’s great to see that there are dance accessories out there that can still help achieve the same results without risking serious injuries. Our joints and muscles would most definitely have to agree!

拉筋帶還未出現的時候，舞者之間經常都會「熱烈談論」⼀個話題——練「超級劈叉」的⽅法。他們有的⽤兩⼤疊書或兩張椅有沒有⼈記得⼀本本厚厚的電話簿是⽤來做甚麼⼦來練，有的「借助旁⼈強⼤的⼒量」來練，的？還⽤說，當然是⽤來練「超級劈叉」的啦！每次談起這話題，「艱苦」⼆字總離不開他們 Does anyone remember what phone books were used for? Why oversplits stretching of course!

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的嘴邊。現在有了新的拉筋⽤具，舞者再不⽤冒着受重傷的⾵險練習，⽽且拉筋的效果亦不⽐從前差，這對舞者 (還有舞者的關節、肌⾁) 來說絕對是⼀⼤喜訊！ Leg Warmers

保暖襪套

Sweatbands, Jazzercise, perms and leg warmers, the 80s were a time of feeling the heat while moving to the beat. Before becoming an iconic fashion trend, leg warmers were first used by dancers to keep their muscles warm during a warm-up or stretch. More often than not, dance teachers would not allow students to wear leg warmers during the class or anytime after barrework. Though you can still find some dancers wearing leg warmers, they have been quickly taken over by a whole new generation of warm-up wear. From dance booties, to warm-up

dance overalls, to warm-up pants aka “garbage bag pants”, the amount of products out there to keep us warm are endless. Of course, a proper warmup routine with a bit of cardio, strengthening, mobility and stretching are some of the best ways to prepare your body for a dance class, rehearsal or performance!

吸汗腕帶、Jazzercise運動、燙髮造型還有保暖襪套——80 年代絕對是「熱」舞的年代。保暖襪套最初是舞者熱⾝、拉筋時⽤來保持肌⾁溫暖的⽤品，那時舞蹈⽼師⼤多都不容許學⽣在課上或扶把練習後穿保暖襪套；之後，保暖襪套才逐漸發展成時尚潮流。到了現在，雖然仍有些舞者會穿著保暖襪套，但保暖襪套的地位早已被新⼀代保暖⽤品取代了，從保暖靴、保暖舞蹈連⾝褲，到保暖褲 (⼜叫「垃圾袋褲」)，保暖⽤品新寵真的多不勝數。不過當然，舞蹈課堂、綵排或表演前做適當的熱⾝(包括帶氧運動、⼒量和靈活度訓練、拉筋)還是⾮常重要的！ Sweatband

Pointe Shoes

⾜尖鞋

For many dancers, their first experience en pointe is often a painful one. But eventually our feet adapt and we develop the proper strength and technique to practice pointe safely. Now imagine if we didn’t have the support, structure and ergonomics of our current day pointe shoes. Well the first form of shoes that were used to get ballerinas up on their toes were pretty much like ballet slippers. Though they had leather soles and a bit of darning, they didn’t provide a whole lot of support. Therefore dancers could only be up en pointe very momentarily. It wasn’t until dancers and shoemakers really started to study and reshape pointe shoes that a wider selection of shoes started appearing on the market. And the evolution of pointe shoes continues to change and redevelop.

很多舞者第⼀次穿⾜尖鞋跳舞時腳都會疼，但隨着時間我們的腳會慢慢適應過來，⼒量和技巧亦會逐漸提升，我們也就能安全地練習⽤腳尖跳舞。現在試想像⼀下︰如果我們要⽤腳尖跳舞，但沒有現今⾜尖鞋的承托、構造和⼈體⼯學設計，那會怎麼樣？其實，芭蕾舞者最初開始⽤腳尖跳舞時，她們所穿的鞋和普通的芭蕾軟鞋差不多，雖然鞋底⽤⽪⾰製成，鞋的⼀些部分⼜有作額外加固，但整對鞋的承托⼒仍然不⾜，所以當時的舞者只能短時間⽤腳尖跳舞。後來，舞者和鞋匠開始研究改良⾜尖鞋的設計，市場上才漸漸出現各式各樣的⾜尖鞋供舞者選擇。現時，⾜尖鞋的設計仍在不斷演變。 Have you ever imagined what dancing will look like in 10, 20, or even 30 years from now? Well get to the chalkboards and start brainstorming, because maybe you’ll be creating the next big dance invention!

有否想過⼗年、⼆⼗年⼜或三⼗年後，我們跳舞的⽅式會變成怎樣？快將你的新奇想法通通記下來，說不定你將會創造出下⼀樣深得⼤家喜愛的舞蹈⽤品呢！

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談對

Y AP ER TH SIO HY FP O

擁有多年物理治療⼯作經驗的Jenny，若⼲年前觀看⾹港芭蕾舞團演出《天鵝湖》⼀劇，即被舞者超凡的⾝體⼒量和靈活度深深吸引，於是她開始去上舞蹈課、看舞蹈書籍、學芭蕾舞術語，讓⾃⼰更了解服務對象、更好地照顧他們的需要。這些年來，她的服務對象包括⾹港芭蕾舞團、巡迴演出舞團，還有標準舞和拉丁舞舞者，對於治療舞者，她累積了不少⼼得。

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服務過七⼈欖球賽和網球公開賽的運動員後，Jenny發現了這些運動員與舞者之間⼀些有趣的不同之處。

After treating athletes in the Rugby Sevens and Tennis Open, Jenny has come across some interesting differences between these athletes and dancers.

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With years of experience as a physiotherapist, Jenny Chan was first intrigued by dancers when she attended Hong Kong Ballet’s production of Swan Lake. Blown away by the complex amalgamation of hypermobility and strength, Jenny started taking dance classes herself, reading dance books, and learning the language of ballet so that she could better serve and understand her patients. Having worked as a physiotherapist for Hong Kong Ballet, several touring companies, as well as ballroom dancers, and latin dancers, Jenny gets right to the pointe when it comes to treating dancers.

舞蹈藝術令⼈歎為觀⽌，舞者做起動作來總看似毫不費勁，然⽽舞者的從容背後所需耗費的體⼒絕對不少。物理治療師指導舞者護理⾝體，是舞者的重要伙伴，柏康物理治療 (Perfect Pointe Physiotherapy)創辦⼈陳麗雅 (Jenny)將帶領我們了解更多舞者⾝體護理的相關知識！

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The artistry of dance can be so breathtaking and look just effortless to the point that we forget the enormous amount of athleticism that is required of a dancer. A physiotherapist is a dancer’s guide to keeping the body fine tuned. Perfect Pointe Physiotherapy’s founder Jenny Chan gets us on track for just that!

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MIND & BODY

In a straight leg raise test, raising your leg to 90° is already considered to be quite good. But of course dancers like to do things bigger and well bendier! So don’t be surprised to find that many dancers can reach 120° or more!

直抬腿測試中，如果你能把腿抬⾼⾄90度，那已經相當不錯。不過舞者總愛向⾼難度挑戰！能夠把腿抬⾼⾄120度或以上的舞者為數也不少呢！ One of the major differences in dancers is the prevalence of joint misalignments due to their hypermobility. The foot and ankle alone has 26 bones, which means a lot can go wrong and move out of place when we’re tapping away, up en pointe, or doing toe rises in jazz.

另外，關節錯位在舞者當中較為常⾒，原因是他們的活動量很⼤。⼈的⾜部共有26塊⻣頭之多，所以當我們踢踏、⾜尖站⽴⼜或做爵⼠舞的toe rise時，⾜⻣都可能會出現移位或其他異常的情況。 Speaking of our feet, compared to other sports and athletes, dancers are either wearing dance slippers, hard shoes with little support, pointe shoes, or are even barefoot. Which means that there really is almost no protection and support for our feet. And if you happen to be dancing on a hard floor with little to no shock absorbency, this can lead to some serious injuries.

To prevent injuries from happening in the first place, physiotherapists will conduct tests such as measuring a dancer’s plié range, turnout range, or their big toe extension range to see where a dancer might be weaker, and need to improve their range through stretching or strengthening exercises.

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With more methods to choose from that can better suit an individual dancer’s needs, the rehabilitation and recovery period can be shortened!

如果舞者真的不幸受傷，物理治療師就可為舞者提供治療。⾝處⾹港，Jenny採⽤的是中西醫結合療法，拔罐、刮痧和針灸等中醫為幫助舞者預防受傷，物理治療師會為舞者療法可改善舞者⾎液循環，紓緩肌⾁、筋膜做不同的測試，例如量度舞者的屈膝 (plié)、繃緊情況，⽽衝擊波治療等西醫療法則可處外開 (turnout)、⼤腳趾伸展幅度，以找出舞理⻣刺、黏連、肌⾁繃緊問題。療法選擇多者的弱項，讓他們透過拉筋或⼒量訓練改善⼀些，物理治療師就能更好地照顧每位舞者的個別需要，舞者復康所需時間⾃然亦得以相關幅度。縮短！ In the event that a dancer does experience an injury, a physiotherapist can then help treat the dancer. Being in Hong Kong, Jenny uses the best of both worlds with her East meets West physiotherapy approach. Using methods from the East such as cupping, scraping, and acupuncture to improve a dancer’s blood circulation after their muscles and fascia have tightened up. And with technology from the West, physiotherapists can use treatments such as shockwave therapy to break down bone spurs, adhesions, or muscle tension.

Some common dance injuries are toe flexor tendinitis, hip-flexor overuse, and turnout muscle overuse.

常⾒於舞者的傷患問題有腳趾屈肌肌腱炎、髖屈肌勞損以及外開肌⾁勞損。 So what can we do on our own to help prevent these injuries? Well first things first, know your anatomy! Jenny stresses the importance of dancers

再說，有別於其他運動員，舞者穿的是舞蹈軟鞋、承托不⾜的硬鞋、⾜尖鞋，有時甚⾄完全不穿鞋，因此⾜部並沒得到很好的保護和承托。如果舞者在不吸震或吸震少的硬地板跳舞，還可能會使⾜部嚴重受傷。 So it’s a no brainer that physiotherapists are necessary to helping us dancers get back on our feet. And it’s even better to have a physiotherapist who is familiar with dance; from knowing the vocabulary, to the technical nuances, and of course the common injuries in dance.

這就說明了物理治療師對舞者的重要性，如果有⼀個熟悉舞蹈的物理治療師就更佳，從舞蹈術語到舞蹈技巧細節，還有常⾒於舞者的傷患問題，他都清楚了解就最好。 HONG KONG DANCE MAGAZINE | 13

MIND & BODY

⾝⼼健康 far, as we’ll be bringing you another awesome article with Jenny Chan as she discusses Foot & Ankle Anatomy, and teaches us how to stretch the toe flexor properly to improve that foot arch!

我們還有無數問題想要請教柏康物理治療 (Perfect Pointe Physiotherapy) 創辦⼈Jenny，真期待她為我們帶來更多的建議和⼩貼⼠。她將於我們的另⼀篇⽂章中講解「⾜部及踝部結構」，更會教我們如何正確伸展腳趾屈肌、改善⾜⼸！記得密切留意！ Photos Courtesy of Jenny Chan Copyright © Perfect Pointe Physiotherpay Ltd. understanding anatomy because it allows them to better communicate with their physiotherapist to pinpoint the issues causing pain or changes in their technique. It also means that the dancer can apply the appropriate stretches, self-massage, exercises, or pressure points on their own as well! As a starting point for preventing common dance injuries, Jenny advises dancers to stretch their turnout muscles, hip flexors, and toe flexors everyday. These are the most prone to injury particularly for ballet dancers.

那舞者⾃⼰⼜可做些甚麼來預防受傷？⾸先要了解⾃⼰的⾝體結構！ Jenny 強調舞者應了解⼈體解剖學，這樣他們便可就⾝體疼痛的成因或舞蹈技巧的轉變，更有效地和物理治療師溝通，並可正確地⾃⾏拉筋、按摩、做練習或按壓⽳位！要預防常⾒於舞者的傷患問題，她建議舞者每天伸展外開肌⾁、髖屈肌和腳趾屈肌，這些部位都是舞者 ( 特別是芭蕾舞者 ) 最容易弄傷的。 One more tip from Jenny, is that if you’re dancing from home to make sure you are practicing safely. Dancing or

working from home can actually put you at a greater risk of injury, as many of us do not have the proper set-up at home. Most of us have hard floors, so if you don’t have a shock absorbent floor, you can look into purchasing portable dance floors for your living room. If that’s not an option, it helps to have a good pair of shock absorbent indoor shoes. So now might be the time to consider looking for dance sneakers, which often come in split soles too!

還分享了另⼀個⼩貼⼠︰在家跳舞⼀定要確保跳得安全。在家跳舞受傷⾵險其實較⼤，始終很多⼈家中都缺乏恰當的相關設備，例如地板太硬就是個問題。如果你家的地板不吸震，你可考慮購買便攜舞蹈地板，放客廳使⽤。若這不可⾏，那買⼀雙適合室內穿著、有吸震功能的鞋⼦也是個⽅法，現在或許是時候買對舞蹈運動鞋，這類鞋的底部通常都是兩點式 (split sole) 的呢！ Jenny

We have an endless list of questions for Jenny from Perfect Pointe Physiotherapy, which is why we’re excited to hear more of her advice and tips. Don’t venture off too

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Jenny Chan Perfect Pointe Physiotherapy Facebook: @perfectpointephysio Instagram: @jennydancephysio

Spotlight Exchange 聚焦舞蹈教育 Pointe, plié, tendu, these movements and terms belong to the vocabulary of ballet. Though the technique, repertoire and vocabulary of ballet is highly recognizable, the path to achieving this form can vary greatly. Ballet is like a language with different accents and idioms. And one of these streams within the ballet language can be found at The Royal Academy of Dance (RAD), a dance education and training organisation. Here to teach us more about the wonderful world of the RAD in this exclusive Hong Kong Dance Magazine interview is Gerard Charles, the Artistic Director of the RAD. Let’s jeté in!

、Plié、Tendu——這些都是芭蕾舞動作術語，芭蕾舞的技巧、劇⽬以⾄術語都⾮常容易認，但說到追尋芭蕾夢，則有很多條路可以選擇。同⼀種語⾔，由不同的⼈說出來，⼝⾳和⽤語都可能不⼀樣，同樣地，芭蕾藝術也有不同的流派，英國皇家舞蹈學院 (The Royal Academy of Dance, RAD) 為當中的⼀⼤代表。 Hong Kong Dance Magazine 很榮幸邀得 RAD 藝術總監 Gerard Charles 為我們作分享，想深⼊了解這世界知名的舞蹈教育及訓練機構，就快「跳」進下⽂看看專訪內容吧！ Pointe

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Could you tell us a bit about yourself and how your previous experiences have led you to The Royal Academy of Dance (RAD)? I began dancing ballet at the age of 5. I was lucky enough to have an excellent local teacher who, by way of the Royal Ballet School, set me on a solid path towards a lifelong career in dance. I was able to gain wide ranging experiences by dancing professionally in Europe and North America and was fortunate enough to work with many highly gifted choreographers and teachers. When I started teaching, and rehearsing dancers in

CENTER STAGE INTERVIEWS

ballets, I realised that was what I wanted to do after I retired from the stage. I became a ballet master for BalletMet Columbus and Les Grands Ballets Canadiens and later became Artistic Director and Administrative Director of different professional ballet companies. I was always very interested in how the dancers I worked with started out, as their early training was clearly fundamental in establishing who they became. When the opportunity to work at the RAD came up I knew it was something that I wanted to be part of, to help contribute to encouraging our next generation of young dancers and giving them as strong a foundation as possible.

We are responsible for providing access to students with a wide range of interests and abilities that is both challenging and also safe. As we become more aware of the benefits of dance for healthy living, our offerings are expanding to include non traditional ballet participants such as Silver Swans classes that are tailored to senior dancers.

為舞蹈社群帶來了甚麼影響？ RAD⼀百年的舞蹈教育，遍及世界每個⻆落，其影響是可想⽽知的，多年來，無數⼈得以受益於 RAD

星級舞台專訪

How does the syllabus and examinations prepare students for the dance industry? Our syllabus assures that dancers around the world are assessed in a uniform manner, on the same material, and to the same standards, no matter where they reside. Teaching students to achieve the skills to pass exams is the art of the local teacher working with the individuals in their charge. Participating in exams can help young dancers focus on understandable, age appropriate goals, and reaffirm their achievement

可否和我們分享⼀下你的個⼈經歷？你以往的經歷如何驅使你加⼊英國皇家舞蹈學院 (RAD)？我五歲開始跳芭蕾舞，很幸運能夠跟⼀位很好的本地⽼師學習，全靠這位⽼師，我⼊讀皇家芭蕾舞學院 (The Royal Ballet School)，為終⽣舞蹈事業打下了牢固的根基。之後我成了專業舞者，在歐洲、北美各地演出，得到了很多寶貴的經驗，過程中亦幸運地遇上了不少傑出的編舞家和導師。當我開始教舞、指導舞者排練時，我發現這就是我從舞台退下來後想做的事，於是我在美國舞團BalletMet Columbus和加拿⼤蒙特利爾⼤芭蕾舞團當芭蕾舞導師，後來⼜擔任不同專業芭蕾舞團的藝術總監和⾏政總監。我總是很有興趣了解舞團的舞者當初怎樣開展其舞蹈歷程，因為舞者的早期訓練對其⽇後發展⾮常重要。之後，當加⼊RAD的機會出現時，我就知道我想成為這個機構的⼀分⼦，去幫助新⼀代年輕舞者打好舞蹈根基、發揮潛能。 How has the RAD impacted and influenced the dance community? It is hard to overestimate the impact that 100 years of teaching, in every corner of the world, has had on accessibility to the benefits of good ballet training and the dance world in general. There is more ballet in more countries today on account of the pioneering teachers who started schools in so many countries around the globe. Many of today’s dancers, artistic directors and choreographers began their dancing lives with local RAD teachers, some developing them all the way to their professional careers. Our five founding teachers came together from 5 different schools of thought to improve the state of dance teaching in England at that time. In doing so they made people think differently about how to train dancers - a conversation we must keep going to this day as we learn, and ballet evolves.

芭蕾舞訓練，這對整個舞蹈世界的發展影響深遠。今天，芭蕾藝術教育之所以遍及全球更多國家，全因不同國家的舞蹈⽼師在當地開設學校。其實，不少舞者、藝術總監和編舞家當初都是跟他們本地的RAD⽼師學舞的，有些⽼師還⼀直伴隨他們踏上舞蹈專業發展的路。RAD 的五位創辦⼈分別來⾃五個不同的芭蕾藝術流派，當年他們⾛在⼀起，共同改善英國的舞蹈教育。他們的舉動令當時的⼈重新思考「我們該如何訓練舞者」這⼀問題。現時，芭蕾藝術正不斷演變，這問題就更值得我們持續去討論了。 RAD致⼒為不同興趣、不同能⼒的學⽣提供學習舞蹈的機會，讓他們能安全地體驗跳舞這項充滿挑戰性的活動。跳舞對健康有各種各樣的益處，因此我們特別將課程對象擴展⾄「⾮傳統」芭蕾舞學⽣，例如為較年⻑⼈⼠開設「銀天鵝」(Silver Swans)芭蕾舞課程。

of those goals. The RAD syllabus is ballet based and when taught correctly prepares a young dancer not only for proficiency in ballet dancing but for all types of dance movement. With stepped progress through the examination process, a student with appropriate commitment can follow a path that prepares them with the basic skills needed to be successful in a professional career. There is some danger that following a syllabus can lead to learning just to pass a test; therefore, it is our responsibility to keep in mind that the focus is to engage our students with the fundamentals of technique, artistry and the ideals of good ballet today. Such good work should be recognised with better exam results.

課程和考試如何幫助學⽣為投⾝舞蹈界作好準備？ RAD

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CENTER STAGE INTERVIEWS

星級舞台專訪

課程確保評核⽅式、內容和標準劃⼀，無論學⽣居於世界哪⼀個地⽅，這些全都保持⼀致，⾄於學⽣能否掌握舞蹈技巧、通過考試，就要靠當地⽼師的努⼒。考試能幫助年輕舞者專注於清晰、與⾃⼰年齡相稱的⽬標，⽽考試成績則印證他們的努⼒成果。RAD課程以教授芭蕾舞為主，如果教授得當，可為年輕舞者打好芭蕾舞以⾄各類舞蹈的基礎。層層遞進的考試歷程中，學⽣只要專注⽤⼼，便可⼀步步掌握各種重要的基本技巧，為將來的舞蹈事業作充分準備。既定的課程可能會令某些學⽣「為考試⽽學習」，因此我們要記住將重點放在動作技巧、藝術技巧的基本功上，引導學⽣以芭蕾藝術的理想標準為⽬標，⽽在這些⽅⾯均表現優秀的學⽣亦應獲取更好的考試成績。 RAD

What types of careers have students under the RAD gone on to pursue? We have a range of alumni who are now notable dancers, directors, teachers, choreographers (e.g. Ye Feifei who is a principal dancer at Hong Kong Ballet is a previous RAD Genee silver medallist). Of course, many ultimately pursue other careers. The benefits of learning to dance, the focus, achieving goals, learning to follow instruction while also having a degree of freedom to create, working as a team,

finding something you are passionate about, are all important life skills you acquire, and are of undisputed benefit whatever you may do. Many people who go on to allied careers in the theatre, stage management, design, teaching, sports medicine, etc. but there are also many more who credit their success in all walks of life to their early ballet training.

曾修讀RAD課程的學⽣的職業路向是怎樣的？不少學⽣成了出⾊的舞者、總監、導師、編舞家，例如曾獲RAD珍妮特國際芭蕾舞⽐賽銀獎的舞者葉⾶⾶現時為⾹港芭蕾舞團⾸席舞蹈員。當然，亦有很多最終選了其他職業。但無可置疑的是，學跳舞使學⽣學會許多東西——做事專注、為達成⽬標努⼒不懈、聽從指⽰、發揮創意、團隊合作、追尋⾃⼰熱愛的事……這些全都是⼈⽣重要技能，不管你的職業是甚麼，都會對你有所裨益。亦有相當多的學⽣選擇了戲劇、舞台管理、設計、教育、運動醫學等相關領域的職業，有更多的雖然選了其他職業，仍受益於其早期的芭蕾舞訓練。 What is the next step for the RAD and where do you hope this leads? On the eve of our centenary this is a poignant

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moment to reflect on our past achievements, but also to look forwards to build upon those successes and move us forward. Our mission has always been to ensure the highest possible standards of ballet teaching and that will not change, and must always be reinforced. The centenary is just to open the door to the next 100 years in a world that is rapidly changing, and with ever increasing expectations for dancers. We must work with the needs of this next century in mind. I want the RAD to be a conduit for positive change in our ballet world and to increase the ability for every type of student to find a welcoming place to study. I intend to work so that our teachers value their membership for the services and the professional inspiration we are able to give them.

下⼀步會做些甚麼？你對此⼜有甚麼期望？今年是RAD成⽴⼀百週年，這是我們回顧過往成就、展望將來的時刻，我們必須再接再厲，繼續向前邁進。⼀直以來，我們致⼒提供優質芭蕾藝術教育，未來亦會繼續以此為使命。百年過去了，下⼀個百年即將展開——我們⾝處的是⼀個瞬息萬變、對舞者期望愈來愈⼤的世界，因此，我們前進時定要時刻緊記這新世紀 RAD

CENTER STAGE INTERVIEWS

的需求。我希望RAD能發揮其作⽤，令芭蕾世界變得更好，並能為各類型學⽣提供良好合適的學舞環境。我亦希望凝聚⼀眾RAD⽼師，增加他們對RAD的歸屬感。 What words of wisdom can you share with other dance teachers out there? You never know the impact you have on a student, either in the moment, or at a later time in their lives, but what you say and do can, and does, have a significant influence on that student. We can never be sure which student will actually make it to a successful career, but we are in a position to draw the best out of each student and give them the best start they can have. Every student is different and has different needs, so I will paraphrase Michelle Groves (RAD Director of Education) by saying that we should develop the person and not teach the subject.

你有甚麼教學⼼得可以分享給其他舞蹈⽼師？你永不會知道你對學⽣此刻甚或往後的⼈⽣有怎樣的影響，但你的⼀⾔⼀⾏的確可以對學⽣影響很⼤。我們無法預知哪個學⽣最終會在事業上取得成功，不過我們可以幫助每⼀個學⽣發揮潛能，讓他們為將來作最好準備。每個學⽣都是獨⼀無⼆的，每⼀個都有不同的需要，容許我借⽤RAD教育總監Michelle Groves的說話，概括如下︰我們應協助學⽣成⻑，⽽⾮只教授知識和技能。

What is your mission or dream regarding the future of dance education? No matter how talented a teacher may be, the reality in a class is that only a certain percentage of the time can be given to any one student. I wish to see dance training grow beyond the instructor teaching the rules of a technique and providing all the answers - I would like us to be confident to encourage the student to be their own best teacher. The more involved a student is with understanding their realities, and that they are in control of how to improve, the more they will learn and adapt. I also want to underscore that we are teaching an expressive movement art form and that this must not be lost in a soulless march towards greater technical proficiency.

你理想的未來舞蹈教育是怎樣的？無論⽼師多麼出⾊，現實就是他只能花課堂的部分時間在⼀個學⽣⾝上。我希望舞蹈訓練不再只是⽼師向學⽣教授舞蹈技巧並提供所有問題的答案 —— 我希望我們都能充滿信⼼地⿎勵學⽣做⾃⼰的⽼師，其實，當學⽣清楚了解⾃⼰的弱項並明⽩⾃⼰能通過努⼒取得進步時，他們會更願意去努⼒學習和實踐。另外，我想強調，我們教授的是⼀⾨能夠傳情達意的形體動作藝術，因此我們絕不能⼀味只顧提升技巧⽽捨棄這藝術的內涵。

星級舞台專訪

What advice do you have for young aspiring dancers who are interested in pursuing a professional dance career? No matter how wonderful your school, or how naturally gifted you may be, your success will come from the work you put into your dancing. Listen to all the advice you receive, try it out, understand what you are trying to achieve, and if you have questions, ask them. There will be moments of challenge and times when success is not achieved, but what we learn from these moments and how we eventually overcome them build you up to make you stronger for the future. Perfection is an elusive ideal, but celebrate the successes along the way and keep the joy that is to be had from this beautiful art.

你有甚麼建議給那些有志於舞蹈界發展的年輕舞者？不管你就讀的學校多麼好、你多麼有天份，你都必須付出努⼒才能獲得成功。聽取別⼈給你的所有建議，然後試試看，另外，⼼中要有清晰的⽬標，有疑問就儘管去問。過程中你可能會遇上挑戰甚或挫折，但正正就是這些時候，你會學到⼀些東西，將來即使再遇上困難也能⼀⼀克服。「完美」或許遙不可及，但別忘了為途上的每個「⼩成就」歡呼喝采，享受這⾨美麗藝術帶給你的樂趣。 As dancers, we are all advocates of the power of movement. But it’s important to recognize the power of words and how they influence our journey in dance, whether it’s as a student, teacher, performer or writer. Gerard Charles not only inspires us with his movement and teaching philosophies, but also his words of perseverance, kindness and consideration. He reminds us that dance is but one piece in the bigger picture of our lives, but it is a piece that can have a fruitfully vibrant and artistic impact on our very being. From soutenus to soul, we want to give our deepest thanks to Gerard Charles and the Royal Academy of Dance!

⾝為舞者，我們頌揚舞蹈的動⼈⼒量，然⽽⾔語的⼒量亦是我們不可忽視的，不論為我們作分享的是學⽣、⽼師、表演者抑或作者，都可為我們的舞蹈歷程帶來重要啟發。RAD藝術總監Gerard Charles的舞蹈和教學理念深深啟發我們，他的話亦教我們獲益良多——他提醒了我們，舞蹈雖然只是我們⽣活的⼀部分，但卻對我們的個⼈成⻑和藝術發展有着重要影響。在此衷⼼感謝Gerard Charles以及英國皇家舞蹈學院！相⽚來源

Photo Credits : Courtesy of The Royal Academy of Dance (1) Genee 2019 (C) Bruce Zinger, (2) Silver Swans 2 (c) Matt Round, (3) RAD Exams (c) David Tett, (4) Genee 2019 coaching (c) Bruce Zinger

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Rumba Leading up to that moment when your number is called and the audiences’ cheers begin to fade away, there is an abundance of preparation that goes into slaying the dance floor. As performers and dancers, we all have our own pre-performance rituals. Some of which are common practice, while others are personal, unique, bizarre and superstitious. Peer behind the scenes as we delve into some preperformance rituals for ballroom dancers.

⼤會宣佈進場的選⼿編號，觀眾開始靜下來，屏息靜氣等待⽐賽開始……話說回來，參賽選⼿

進場起舞前其實有很多「⼩準備」要做呢。每位舞者或表演者都有⾃⼰⼀套上場前的「指定動作」，有些是⼤部分⼈都會做的，有些則屬於個⼈的特別習慣，當中甚⾄有點古怪或迷信成分。現在就讓我們到台後⼀探標準舞⽐賽選⼿進場前的「⼩準備」啦！ RITUALS BY THE RULES

Take it from Wonderland’s White Rabbit himself, and don’t be late! It is better to come a little bit earlier so that you have sufficient time to find your focus, or to review over important corrections and sequences. Competitions can get pretty busy and overwhelming, so it never hurts to give yourself more time to settle into the atmosphere.

Check your heats or entry time. /

別像《愛麗絲夢遊仙境》中的⽩兔般總是匆匆忙忙趕時間！早少許到場，給⾃⼰充⾜時間集中注意⼒、溫習⼀下舞序，還有提醒⾃⼰以往

基本「⼩準備」

留意初賽進場時間

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STUDIO SESSIONS

舞蹈教與學

常犯的錯誤。⽐賽場地時常都「⼈來⼈往」，或許會令你感到有點不知所措，所以還是給⾃⼰多些時間適應⼀下環境會⽐較好。 Dapper-Duo

裝扮搶眼⼜⾃信 It’s all in the details! Visual appearances really matter in the overall aesthetics of Ballroom Dance. Are you and your partner’s looks spot on? If you want that double take, then be sure to double check your looks. When you look the part, you can dance the part!

⼀切盡在細節當中！標準舞講求整體美感，因此舞者的服裝打扮不容忽視。你和舞伴的打扮是否搶眼卻⼜不浮誇？想吸引裁判、觀眾的⽬光，就記緊在⾐著打扮⽅⾯多花⼼思了，打扮⾃信，⾃然舞得⾃信！

For some dancers, it may be in their ritualistic practice to smile, joke or to have lighthearted conversations before stepping onto the floor. There is nothing wrong with having a chat before the finals of a championship, in fact, there are many successful couples who get prepared this way.

⼤笑⼀輪還是靜下來思考？每位選⼿進場前都要做好「⼼理準備」，⾄於怎樣做則因⼈⽽異。有些舞者習慣踏進賽場前笑瞇瞇、和⼈說說笑⼜或閒聊⼀會，即使那是錦標賽決賽，進場前和⼈聊聊天，其實也不成問題，很多成績優異的組合也是這樣「作準備」呢。

Take a Number!

別忘了你的編號！

Take your competition number that is! If you’re in a competition, don’t forget to pin on your number.

你的選⼿編號相當重要！⽐賽前，記得將號碼牌別在舞⾐背上。 RITUALS TO REMIND, REWIND & RELAX

其他進場前「指定動作」 Feel out the floor

感受⼀下舞池地板 Touching the floor is not just a symbolic action, but it’s also a chance to understand your environment and the surface you’ll be performing on. The first thing you’ll notice is whether the floor is sticky or slippery. It’s also a chance to meet and observe other couples to find your connecting points and work out the pathway of your routine.

踏⼀踏舞池地板並不只是象徵式動作，這樣做其實可以讓你了解⽐賽時的實際環境，你不但可留意到地板的順滑程度，更可趁此機會觀察其他參賽組合，想⼀想⾃⼰到時的舞動路線，避免和他⼈相撞。 Hahaha or Hmm?

哈哈笑抑或細細想？ To laugh or to think? All of us are different, and we have different ways of preparing ourselves mentally.

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At the same time, there are dancers who need time to themselves to find their concentration. Some dancers will warm up in silence, and run through their routines, corrections, and sequences mentally. Though memorising your routine by marking it through physically is effective, it can also be helpful to find a quiet corner and spend time meditating.

另⼀⽅⾯，亦有舞者進場前需要點時間獨處，集中注意⼒，他們當中有些會靜靜地做熱⾝，並在⼼中演練參賽舞蹈數遍、提醒⾃⼰⼀些舞序和以往常犯的錯誤。實質的練習確實可助你熟記舞序，但找個靜靜的⻆落思考⼀會也是個有效的⽅法。

Be Fashionably L—Right on Time! ——

不早也不遲時間剛剛好！

For some ballroom dancers, one ritual is to arrive on the floor right at the last moment, but at their own pace and with ease. Rather than being fashionably late, they’ll be right on time, so as to demonstrate just how calm they are. By doing this, they fulfill a natural confidence within themselves. It also means less time standing in a line, so that they can retain their energy and go straight into their routine as they arrive on the floor.

activity to balance out your energy levels before a performance.

另⼀邊廂，有些舞者卻會在進場前將過多的精⼒釋放出來。雖然⼤部分⼈都傾向保留或提升精⼒，但有些⼈卻感到⾃⼰精⼒過盛，擔⼼這會影響其發揮以⾄最終成績。所以說，進場前「放放電」，跑幾個圈，做點運動，或許能讓你平衡⼀下⾝體的能量⽔平呢。 Make Yourself at Home

令⾃⼰「⾃在」些

Let it go!

Naturally, we’re more comfortable performing in a space we’re familiar with. Though it’s not always possible to visit the floor ahead of time, it does wonders to get a chance to feel out the space. Get acquainted with the floor, interior, stage, and the audience arrangements. Seek out the small and possibly strange details so that you can understand and make this place feel like home. Get cozy!

On the other hand, some dancers will try and shake off excess energy before a performance. Though most people may think about conserving energy or powering up, there are some people that find themselves with too much energy which can ultimately impede their results. So sometimes you gotta let it go and run some laps or do some

說到要展現⾃⼰的舞技，熟悉的地⽅當然會令我們覺得⾃在些。雖然不是每次都能預先踏踏舞池地板，但親⾝感受⼀下⽐賽場地還是相當有⽤處的——觀察⼀下地板、內部環境、舞台和觀眾座位，多作了解，即使是最細微甚或奇特的細節，你都可留意⼀下。當你對⽐賽場地了解多了，這地⽅對你來說就會變得不那麼陌⽣，你就⾃然會感到更⾃在！

有些標準舞選⼿的賽前「指定動作」就是最後⼀刻才從容不迫地進場，他們不會「姍姍來遲」，⽽是會剛剛準時到達，以顯⽰⾃⼰有多鎮靜。這樣不但可加強⾃信⼼，同時亦可縮短排隊的時間，保留精⼒，不⽤站那麼久，⼀進場就可隨即起舞。

「放放電」！

There are a lot of pre-performance rituals, and what works for one dancer might not work for another. The best way to find an effective practice is to try out various rituals, and discover what works for you. This list can be your start!

進賽場前的「⼩準備」有很多種，有些適合你，有些適合我，想知道甚麼「⼩準備」適合⾃⼰，最好就是試試看，不妨參考上述幾點！

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5,6,7…WHAT’S NEXT? 你不可不知的學新舞⼩貼⼠ There are definitely a few pointers to take into consideration when learning new choreography, a sometimes intimidating experience. Take a look at these three useful tips to learning a new dance! Learning something new will always come with a fraction of nerves, as it presents changes which can be daunting.

KEEP AN OPEN MIND

⼼態很重要

Every choreographer approaches their work differently and as a result, keeping an open mind is the first key to learning. Know that new and different movements may feel awkward at first but remember to keep going.

學新舞有時的確會令⼈戰戰兢兢，因為你需要應付各種各樣從未遇過的挑戰——別怕，只要你每位編舞者的作品⾵格、表現⼿法都不⼀樣，細⼼了解學新舞要注意的地⽅，⼀切就不那麼所以學新舞的⾸要關鍵就是保持開放的⼼態，樂於接納不同事物。⼀開始學新動作時可能會難了。⽴即看看以下三個學新舞⼩貼⼠啦！ HONG KONG DANCE MAGAZINE | 24

感到有點不習慣、好像特別難，這⼗分正常，只要繼續堅持下去就是了。 NOW THE MOVING BEGINS… ……

正式開始舞動

Focus on learning smaller sections or phrases at a time; because we all learn at a different pace. How much information are you able to absorb at a time? If it takes you a bit more time, then it is imperative to stop and ask the choreographer necessary questions. Questions like clarifying

specific movement at points you are getting stuck on, breaking down the transitions between steps to allow for seamless execution and to understand the intention of movements. Never forget that dance requires both the use of your mind and body, so hone these skills in the learning process.

學新舞時，每次只專注於當中的⼀⼩部分會⽐較好，每個⼈學習的速度都不同，想⼀想︰每次你可以吸收多少資訊？如果你需要頗⻑時間才吸收得到要學的東西，就⼀定要在適當時候停下來，請編舞者解答你的疑難，例如請他再解說某幾個你常常做不好的動作、⽰範⼀下如何做好舞步之間的過渡，這樣你便能更了解各動作在整⽀舞中的作⽤，把舞更順暢地演繹出來。別忘記跳舞需要⽤到的不只你的⾝體，還有你的腦筋，所以學新舞時⼀定要好好加強相關訓練，提升⾃⼰這兩⽅⾯的能⼒。 AND THE FINAL TIP… ……

最後⼀個⼩貼⼠

It is time to dance! Learning a dance comes with the intention of performing, and to do that as effortlessly as possible. Now is your opportunity to give it your all. It may not be perfect, but remember that your performance only lasts for a short period, so try your best to enjoy it. Keep all the essential corrections in mind, like timing, intention, but most importantly fully embrace the performance.

是時候起舞！學舞的最終⽬的就是表演，表演時看起來輕鬆⾃如就最理想。現在正是你傾盡全⼒實踐所學的時候，雖然你的表現未必是最完美的，但表演時間只有短短數分鐘，何不好好享受當中的過程？牢牢記住⽼師之前糾正過你的東西，好像舞步跟⾳樂的配合、做某動作時應達到的效果等，不過最重要的還是全情投⼊表演當中。

If learning choreography is completely out of your comfort zone, do your best to learn it as thoroughly as possible to allow for a smooth performance. Remember that you enter the dance studio with prior knowledge. Remaining confident is essential to absorbing new information. Believe in yourself! Whether your performance is smooth or not, this learning experience is never wasted time. Enjoy and perform the dance with gusto!

假如學新舞對你⽽⾔真的很困難，那就盡⼒將該舞的每個細節都學起來吧，這樣做可令你的表演順暢些。別忘記你⾛進舞蹈室學這新舞前已有⼀定的舞蹈知識，⾃信⼼對學習新事物尤為重要，所以⼀定要相信⾃⼰！不論你最終的表演順暢與否，你所付出的時間都並沒⽩費，因為你已獲得寶貴的學習經驗！盡情投⼊表演，享受當中的樂趣吧！

專家分享

IN THE FLASH Wilfred Yuen - The Photographer Behind the Untitled Dance Project

阮威傑 -- Untitled Dance Project 攝影師 Out of the flash and in the flesh himself, Wilfred Yuen steps in front of the lens to tell us about his dance photography series, the Untitled Dance Project.

放下鎂光燈，阮威傑(Wilfred)親⾃⾛到鏡頭前介紹他的舞蹈攝影特輯Untitled Dance Project。 HONG KONG DANCE MAGAZINE |

從幕後⾛到閃光燈前

FROM THE EXPERTS

A self-taught photographer, Wilfred owes his early beginnings to his studies in Fashion Design at The Hong Kong Polytechnic University where he first started taking photos of his fashion homework as part of a basic photography course. When he later became the Visual Director for a company, he got involved in their in-house photography. Opening his eyes to new artistic possibilities, Wilfred began freelancing as a photographer on the side of his regular day job.

在⾹港理⼯⼤學唸時裝設計出⾝的 Wilfred，因課程要求拍攝⾃⼰的作品⽽開始接觸攝影，繼⽽因個⼈興趣⾃學成為攝影師。投⾝社會，他輾轉成為公司的視覺總監，負責品牌形象設計，並參與公司的內部攝影⼯作。 Wilfred從⼯作中重拾對攝影的興趣，認為可以將其當作副業，因此以⾃由⾝的⾝分踏上攝影路。 After watching a street dance performance, Wilfred found his gateway into dance photography. Through the infectious beats, vibes and atmosphere of street dance, he immediately turned to the idea of asking dancers to do photo collaborations with! Working with street dancers, Wilfred found that the true nature of their movements became subdued on camera. Which is when he turned to Ballet, and came across Hong Kong Ballet’s Corps de Ballet Dancer Forrest Rain Oliveros who agreed to do a collaboration with him. After their collaboration, Forrest suggested that Wilfred reach out to his colleagues, and the rest is picture perfect history!

因觀賞朋友的街舞表演，被現場鮮明的節拍和氣氛吸引，⽽膽粗氣壯邀請街舞舞蹈員合作，展開他的舞蹈攝影之路！可是街舞動作⽐較細緻，難以透過鏡頭展⽰它的本性。因此，Wilfred把焦點轉到芭蕾舞，並 Wilfred

與在拍攝街舞特輯時認識的⾹港芭蕾舞團群舞員Forrest Rain Oliveros 合作。合作後，Forrest提議Wilfred 聯繫他的同事，尤其是⼥舞蹈員，成就Wilfred拍攝芭蕾舞蹈照的完美開端！

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FROM THE EXPERTS

專家分享

What specific skills and techniques are required of a photographer when capturing dance? When taking dance photos, it actually involves a lot of elements which the photographer must execute all at once. The basic skills would be speed and accuracy, because there is a very short window between the time that a ballet dancer prepares their movement to the time that they reach the completion of their final pose. Photographers have to capture the

perfect moment, especially when it takes place outdoors, because the environment is constantly changing. All while capturing the dancer in their best light and finding the right angle, photo composition, lighting, avoiding passerby etc. You have to react super fast, and simultaneously apply all the skills you have learnt before. The skills themselves aren’t abstruse, but it's doing the right thing at the right time and place that requires experience and a lot of practice.

攝影師須具備甚麼特定技巧來捕捉舞蹈動作？在拍舞蹈照時，攝影師需要施展渾⾝解數與時間競賽。芭蕾舞蹈員的每⼀個動作，從準備到完成只不過數秒，因此最基本的要求就是快和準。攝影師若要於不斷變化的室外環境捕捉完美瞬間，時間掌握就變得更加重要。除了要捕捉舞蹈員最優美的姿態，也要考慮⻆度、構圖、光線、盡量避開途⼈等，在彈指之間發揮畢⽣所學，按下快⾨。雖然並不是⼀些深奧的技巧，但要當機⽴斷，就需要較多經驗和練習。 What’s the story behind this photo? This is Forrest in front of the Xiqu Centre. My initial plan was to take a few shots in front of the centre and then get some inside the theatre. However, once we got to the entrance, security kicked us out because Forrest was shirtless. They would not allow anyone who was not fully clothed to take pictures inside the centre. After going back and forth, letting the staff know the photos were only for social media purposes, they finally let us stay. This was my first ever ballet photography collaboration. Thanks to Forrest, I went from knowing nothing about ballet to learning the basics of what makes a good dance pose.

這張照⽚背後有甚麼故事呢？這是戲曲中⼼前的Forrest。當時希望先在⾨⼝，然後再⼊內拍攝。誰知我們還沒到達⾨⼝，就被保安員以Forrest⾚裸上⾝為由驅趕！由於保安員並不允許任何⾐冠不整的⼈⼠進⼊戲曲中⼼拍攝，我費盡唇⾆，表明照⽚只⽤於社交媒體，終於得到批准。這是我第⼀次正式拍攝芭蕾舞蹈員，我要感謝 Forrest ，讓對芭蕾舞零認識的我略懂怎樣才稱得上⼀個好動作、好姿勢。 What’s the story behind this photo? This photo of Jessica Burrows was taken at the Jumbo Floating Restaurant in Aberdeen. That was quite a challenging shoot. I usually go location scouting before the photoshoot to make sure everything goes as planned, however the day of our shoot was really cold and the dancer did not have enough clothes to keep warm as she was just wearing a sheer ballet costume. The lighting did not go

HONG KONG DANCE MAGAZINE |

FROM THE EXPERTS

專家分享

as planned, because the shoot took place at night it required more professional lighting gear which I could not bring with me because we were outdoors. So we spent a lot of time setting up the lighting. With limited resources and the chilly weather, everyone was so anxious to get the photoshoot done quickly. Luckily the photo turned out okay in the end. And I really like this iconic background.

這張照⽚背後有甚麼故事呢？這是與Jessica Burrows於⾹港仔珍寶海鮮舫拍的照⽚，是次頗有挑戰性的拍攝。我通常會於拍攝前視察環境，確保能達到預期效果。可惜當⽇天寒地凍，⽽舞蹈員更只有芭蕾舞⾐，沒有禦寒⾐物！雖然是在晚間拍攝，但由於是室外，我並不能帶太多專業器材，以致燈光設置沒有預期中順利，⽐平常花了更多時間。在有限資源及刺⻣寒⾵下，⼤家⾮常焦急，希望盡快完成拍攝。幸好最後拍到不錯的效果，⽽我亦很喜歡這富代表性的背景。 What’s the story behind this photo? This is with Reina Sawai at Wo Lok Estate in Kwun Tong. In my spare time I like to scout and capture photos of mysterious new places or spots that are rarely seen in Hong Kong. There was a time when I was alone in Kwun Tong and I came across this tiny gem that was quiet, remote, and had its

own character. This site kind of brings out that iconic Hong Kong vibe, with the “old building look”, but at the same time the architecture of this estate is not common here.

這張照⽚背後有甚麼故事呢？這是我和Reina Sawai到觀塘和樂邨拍的。我喜歡在餘暇時四處探索，發掘⾹港鮮為⼈知或神秘新奇的地點。某天我在街上閒逛，無意間發現這有點⽼舊、但寧靜且有特⾊的遺珠。這個地⽅不單帶出⾹港「古建築」的獨有韻味，更展現出獨特的建築⾵格。 Though Wilfred first set out to make the Untitled Dance Project a photography series that captured all styles of dance, he found his niche in capturing the beauty and elegance of ballet dancers. The iconic neon-like glow of Wilfred’s dance photography is likely to catch your eye the next time you scroll through dance images on social media. As mesmerizing as the photos and their subjects are, it is equally riveting to learn about the person behind the viewfinder.

相⽚來源

阮威傑承蒙⾹港芭蕾舞團允准參與是次製作。謝茜嘉⾙露澤井玲奈

Photo Credits : Photography by Wilfred Yuen With the kind permission of Hong Kong Ballet. Dancers : (1)Forrest Rain Oliveros (2) Jessica Burrows ‧ (3) Reina Sawai

舞蹈員

奧利華

雖然Wilfred當初期望攝影特輯Untitled Dance Project能涵蓋各式各樣的舞蹈，但他從捕捉芭蕾舞蹈員的優雅美態找到合適⾃⼰的發展⽅向。Wilfred 的舞蹈照⽚如霓虹般斑斕多姿，絕對能在社交媒體上吸引你的⽬光。正如照⽚和被拍攝者令⼈看得著迷，躲在取景器後無名英雄的故事同樣讓⼈讀得⼊迷。 HONG KONG DANCE MAGAZINE |

Never miss a beat Read Hong Kong Dance Magazine wherever you go!

Available on

visit www.hkdancemagazine.com

IN A TAP 踢 WHAT'S DANCER'S BAG? 踏舞舞者謝﹁敏婷 With Mandy Tse

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HONG KONG DANCE MAGAZINE | 31

WHAT’S IN A DANCER’S BAG

舞袋裏的秘密

Making music with her feet, Hong Kong based tap dancer Mandy Tse puts rhythm and soul into every flap, shuffle, riff, glide and stomp. What does it take to make it as a tap dancer? Let’s start by taking a look into Mandy’s dance bag!

擦、踏、曳、滑、跺……⾹港踢踏舞舞者謝敏婷 (Mandy)⽤雙腳奏出獨特⾳韻，將節奏與韻味注⼊每⼀個舞步當中。如何才能成為⼀位優秀的踢踏舞舞者？揭曉答案前，讓我們先來看⼀看 Mandy舞袋裏的「⼩法寶」吧！ What do you put in your dance bag for a rehearsal? And for a performance?

你通常會帶些甚麼去綵排？表演⼜會帶些甚麼？

As a tap dancer, tap shoes are like a part of my body, it's a must-have for rehearsal. I also have a screwdriver in case I’ll need to adjust the tightness of the screws on my tap shoes for producing different sounds. During the creative process and rehearsals, a notebook and camera are essential. They help me refine my ideas and

review my dance performance. Last but not least, I have a water bottle to keep me hydrated!

我是個踢踏舞舞者，踢踏舞鞋就好像我⾝體的⼀部分，所以每次綵排我都⼀定會帶。另外，我亦會帶備⼀個螺絲批，以便調整舞鞋底部螺絲的鬆緊，令舞鞋能發出多樣的聲⾳。創作和綵排時，⼀定要有記事本和照相機，這兩樣東西是我構思創作意念和檢討⾃⼰跳舞表現時的好幫⼿。最後⼀樣東西當然是⽔瓶啦，⽤來補充⽔分！ For a performance, I have my makeup bag and earphones. I like listening to music before a performance to help beat those pre-performance butterflies. Most of the time there’ll be a long wait between stage rehearsals and the actual show, therefore, a zip-up hoodie is perfect for keeping myself warm and at the same time, won’t mess up my make-up and hair. Sometimes I’ll bring along my portable tap board depending on the venue.

HONG KONG DANCE MAGAZINE | 32

⾄於表演呢，我就會帶化妝袋和⽿機，我喜歡表演前聽點⾳樂，這會令我沒那麼緊張。舞台綵排後⼀般都要等⼀段⻑時間才正式開始表演，所以帶件連帽拉鏈外套就最合適不過了，可以保暖的同時，⼜不會弄花妝容或搞亂髮型。有時我亦會帶便攜踢踏板，視乎場地⽽定。 What’s the one item in your bag that you could not live without, and why?

哪樣東西是你⾮帶不可的？為甚麼？

In terms of dance, it would be my tap shoes, my important “dance partner”!

如果說舞蹈⽤品，那⼀定是我的踢踏舞鞋—— 對我⼗分重要的「舞蹈拍檔」！ What advice do you have for those who want to be a professional dancer?

你有甚麼建議給那些想成為專業舞者的朋友？

Never give up on what you love! A dancer’s path is not easy especially in Hong Kong. You may go through some hard times such as getting injured, having an unstable salary, or

things just not working as planned even though you’ve worked so hard on it. In situations like these, I’d suggest giving yourself a break in order to find some inspiration. If you want to be a professional dancer rather than just dancing as a hobby, please remember to never ever give up! Good things always take time!

千萬不要放棄你熱愛的事！舞者的路不易⾛，尤其在⾹港，你可能會經歷⼀些艱難的時期，譬如說受傷、收⼊不穩定，⼜或者雖然你很努⼒但事情結果卻不似預期。遇上這類情況，不妨給⾃⼰⼀段時間好好休息、找些靈感。如果你不想只把跳舞當成興趣，⽽是想成為專業舞者，那請你務必要記住無論如何都不要輕⾔放棄！要實現⼀件美事是需要時間的！

Also, be open-minded and keep learning. Study the history of what you’re learning. Different styles of dance can help you know more about your body and improve your musicality.

還有，要保持開放的⼼態，不斷學習。了解⼀下你正在學習的東西的歷史吧，另外，學習不同⾵格的舞蹈可讓你更深⼊了解你的⾝體、增強你的⾳樂感。 My last advice would be to always work hard and enjoy the journey of being a professional dancer!

最後⼀個建議就是時刻努⼒向上、享受專業舞者專屬的美妙旅程！

Don’t lose the beat, and stay in the groove. Every successful dance class, rehearsal and performance begins with good preparation. So pack your bags and start tapping the day away!

隨着節拍繼續舞動，可別掉拍⼦啊！不論是舞蹈課堂、綵排抑或表演，要取得成功，就得先做好準備。現在就開始收拾你的舞袋，準備「踏」出你的舞蹈路啦！ Photos courtesy of Mandy Tse

WHAT IS

HEALTHY EATING?

識「飲」識「⻝」 DIETITIAN TIFFANY SHEK SHARES HER TAKE

營養師⽯芷因解構健康飲⻝

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HONG KONG DANCE MAGAZINE | 35

DANCERS’ COOKBOOK

回味舞窮

Naturally, dancers take health and nutrition seriously as their careers depend on their bodies performing at their very best. It can be difficult to pinpoint what healthy eating looks like, tastes like, and smells like. To give us a better idea about healthy eating for dancers, Hong Kong based dietitian Tiffany Shek shares her take on the topic.

舞者的⾝體是其舞蹈⽣涯的關鍵，因此每⼀位舞者都⾮常重視個⼈健康和營養攝取。不過「健康飲⻝」的樣⼦到底是怎樣的呢？味道、氣味⼜是怎樣的？似乎很難說得準。本地營養師⽯芷因將為我們解構舞者的「健康飲⻝」，加深我們對這⽅⾯的了解。 WHAT IS HEALTHY EATING?

甚麼是「健康飲⻝」？

In general, a diet that focuses on a wide array of fruits and vegetables, wholegrains, lean protein and healthy fats is the way to go. However, individual nutritional recommendations should be personalised. It is particularly important for a dancer to meet his or her nutritional requirements because adequate nutrition plays an integral role in optimal sports performance, conditioning, recovery and to minimise the risk of sport-induced injuries.

⼀般來說，進⻝不同種類的蔬果、全穀物，以及含精益蛋⽩質、好脂肪的⻝物是最好的⽅法，但我們應該根據每個⼈的實際需求來制定飲⻝建議。就舞者的飲⻝⽽⾔，滿⾜個⼈營養需求是尤為重要的，想在體育運動、體能訓練和復原⽅⾯有最佳表現，以及將運動時受傷的⾵險降到最低，充⾜的營養可謂⾄關重要。 TIFFANY SHEK’S NUTRITION TIPS FOR DANCERS

營養師⽯芷因給舞者的營養⼩貼⼠

Fuel every 2-3 hours. Healthy snacking prevents us from over-eating during main meals, and thus prevents us from post-meal slumps and helps maintain our energy levels. Balance a light lunch with mid-morning and mid-afternoon snacks to meet recommended nutritional intake, to keep your blood glucose levels steady and to provide regular boosts of energy. A good snack option includes both carbohydrates and protein, for example fruit with a handful of nuts or nut butter, chopped carrots with hummus or low-fat Greek yoghurt with berries.

每兩三個⼩時補充能量適時吃點健康⼩⻝，能夠防⽌我們正餐時吃得太多，這能⼤⼤減低我們飯後的睏倦感，亦有助維持我們體內的能量⽔平。建議⼤家早上中段、下午中段吃點⼩⻝，中午就吃個輕量午餐，達到建議的營養攝取量之餘，亦能穩定⾎糖⽔平，為⾝體定時補充能量。好的⼩⻝應包含碳⽔化合物和蛋⽩質，⽔果加少許果仁或果仁醬、胡蘿蔔條配鷹嘴⾖蓉，⼜或者低脂希臘乳酪配雜莓都是不錯的選擇。 Fluid intake. Good hydration status is crucial for optimal dance performance and mental functioning. Dehydration may cause tiredness, headaches, cramps and muscle soreness, which may have a dramatic effect on your performance*. Rehydrate 125-150% of your fluid loss, for example replenish 1.25 – 1.5L of fluids for every 1kg of weight loss from fluids within 2-4 hours after training. You may weigh yourself before and after a workout to monitor your fluid loss. For moderate or high intensity training of more than 60 minutes, opt for a sports drink to replenish both fluid levels and electrolytes.

補充⽔分⾝體⽔分充⾜對舞者的跳舞表現以⾄腦部運作均⾮常重要。脫⽔或會引致疲勞、頭痛、抽筋和肌⾁疼痛，對你的運動表現可能會有重⼤影響 * 。

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要注意，補⽔量須達體液流失量的 125 ⾄ 150%，例如，訓練後2⾄4⼩時內，體重因體液流失⽽下降每 1 公⽄，你就要補充 1.25 ⾄ 1.5 公升流質。你可在運動前後磅重來監察⾃⼰的體液流失量。如果你的訓練屬中⾄⾼強度且超過 60 分鐘，你就應在運動後喝運動飲料，以補充⽔分和電解質。

DANCERS’ COOKBOOK

Remember your calcium and vitamin D Bone stress injuries are frequently seen in dancers. The risk of developing a bone stress fracture or stress reaction is highest when one’s body weight is low, bone density is low, caloric intake is low and exercise is high. To prevent bone loss, dancers should optimise calcium intake by consuming calcium-rich foods, such as cow’s milk, calcium-fortified soy or nut milk, low-fat cheese, dark leafy greens and firm tofu. Getting enough Vitamin D is also crucial for maintaining bone health; it helps absorb calcium efficiently. The best way to obtain Vitamin D is to expose our skin directly to sunlight. Vitamin D is also found in oily fish, such as salmon, sardines and mackerel, liver, mushroom and egg yolks.

鈣質、維他命D不可少壓⼒性⻣骼創傷在舞者⾝上很常⾒，當⼀個⼈體重低、⻣質密度低、卡路⾥攝取量低⽽運動量⼜⾼的話，有壓⼒性⻣折或壓⼒反應的⾵險就最⾼。要避免⻣質流失，舞者應多注意攝取鈣質，多吃些富含鈣質的⻝物，例如⽜奶、加鈣⾖奶或果仁奶、低脂芝⼠、深綠⾊葉菜和硬⾖腐。攝取⾜夠的維他命D對維持⻣骼健康亦⾮常重要，因為維他命D有助鈣質吸收。獲取維他命D的最佳⽅法是多曬太陽，讓陽光直接照射我們的⽪膚，另外亦可從⾼油分⿂類 (如三⽂⿂、沙甸⿂、鯖⿂)、動物肝臟、菇菌類和蛋⿈等⻝物獲取維他命D。 Iron. Insufficient iron intake may lead to fatigue and suboptimal immune function. Iron from animal sources, known as ‘haem’ iron, such as organ meat, is absorbed more readily than ‘non-haem’ iron from plant origin. Pair non-haem iron rich foods with Vitamin C to enhance absorption of iron from plant sources, for example, enjoy your spinach salad with strawberries and fresh lime juice, or prepare a Chinese-style wood ear salad with finely chopped bell peppers. Remember to refrain from drinking tannincontaining beverages such as tea and coffee with iron-rich meals as tannins hinder iron absorption!

鐵質鐵質攝取不⾜或會引致疲勞和免疫系統功能下降。動物性⻝物 (如內臟)中的鐵質，即「⾎紅素鐵」，⽐植物性⻝物中的鐵質 (「⾮⾎紅素鐵」)更容易被吸收。將富含「⾮⾎紅素鐵」的⻝物配以維他命 C ⼀起⻝⽤，能促進鐵質吸收，譬如說，菠菜草莓沙拉配鮮榨⻘檸汁，⼜

或者中式⽊⽿彩椒沙拉。吃這些含豐富鐵質的⻝物時，記得不要喝茶、咖啡等含單寧的飲料，因為單寧會妨礙鐵質吸收！ WHAT ARE SOME “KEY FOODS” AND “FOOD GROUPS” THAT DANCERS SHOULD INCORPORATE INTO THEIR DAILY DIET? Don’t be afraid of carbohydrates. Though Low Carbohydrate High Fat (LCHF) diets have been in the spotlight in recent years, there is no long-term evidence that such a diet leads to a clear performance advantage**. Carbohydrates are the body’s first option for energy and are the key fuels in maintaining optimal cognition, motivation and motor skill performance. Choose unrefined carbohydrate sources, as these take longer to digest and thus they produce a more lasting elevation in energy compared to refined carbohydrates. They also provide us with additional fibre, vitamins and minerals. Good choices include whole grains, such as red or brown rice, oats, barley, quinoa (technically a pseudo-grain); root vegetables like sweet potatoes, carrots, as well as beans and legumes. These types of nutritious carbohydrates should be included in every main meal and snack.

回味舞窮

有些甚麼「重要⻝物」和「⻝物類別」是舞者的⽇常飲⻝中應該有的呢？不要害怕碳⽔化合物。雖然「低碳⽔化合物⾼脂肪飲⻝」近年備受注⽬，但現時尚無⻑期累積的證據證明這種飲⻝會為你的運動表現帶來好處**。碳⽔化合物是⾝體獲取能量的主要來源，亦是確保我們的認知、動⼒幹勁和肌⾁運動技巧表現維持在最佳⽔平的重要燃料。我們應多選擇未經精製的碳⽔化合物，這類碳⽔化合物需要較⻑時間才能被消化，因此相⽐精製碳⽔化合物，其能讓我們體內的能量⽔平較持久地逐漸上升。另外，未經精製的碳⽔化合物更能為我們提供額外的纖維、維他命和礦物質。全穀物 (如紅⽶、糙⽶、燕⿆、⼤⿆、「假穀物」藜⿆)、根類蔬菜 ( 如番薯、紅蘿蔔 ) 、⾖和莢⾖都是很好的選擇，每⼀份正餐和⼩⻝都應包含這些營養豐富的碳⽔化合物。 Eat a Rainbow. Think of all the vibrant colors of the rainbow when you are choosing your fruits and vegetables! The colors represent different nutrients and phytochemicals, which may act as antioxidants to reduce oxidative stress and promote recovery. Try to include a variety of colors on your plate, including dark leafy greens, frozen berries, canned tomatoes, eggplants, and even fresh herbs! These fibre-rich foods will also keep you full for longer periods of time.

DANCERS’ COOKBOOK

回味舞窮

把「彩虹」吃進肚⼦裏︰揀選蔬果時想⼀想彩虹的七彩顏⾊！不同顏⾊代表着不同的營養和植物化學成分，這些成分可⽤作抗氧化劑，減低我們體內的氧化壓⼒，促進復原。在你的餐碟上放些五顏六⾊的⻝物吧，可以是深綠⾊葉菜、冷藏雜莓、罐頭蕃茄、茄⼦，甚⾄新鮮⾹草！這些富含纖維的⻝物更可令你的飽⾜感維持更久。 TIFFANY’S MEAL PLANNING TIPS FOR REST DAYS V.S. DANCE DAYS Rest days It is a popular misconception that there is a need to stringently restrict intake on rest days, however, rest days are for recovery and adaptation. Therefore, proper refuelling of nutrients is important to facilitate such processes. Do not skip any food groups! Your body requires carbohydrates to replenish the glycogen stores depleted during your workout and needs protein to assist in muscle recovery. As a rule of thumb, a balanced meal on a rest day consists of half a plate of non-starchy vegetables, such as salad, cooked vegetables; approximately a quarter of your plate with whole grains or starchy vegetables and the rest with lean meat or alternatives, such as eggs, tofu, fish.

⽯芷因的預備膳⻝⼩貼⼠ ——休息的⽇⼦ vs. 跳舞的⽇⼦

休息的⽇⼦不少⼈誤以為休息⽇⼀定要嚴格限制⻝物攝取量，但其實休息⽇正正是⾝體復原和適應調整的時候，要這⼀切都順利進⾏，適當補充營養⼗分重要，⽽且任何⼀個⻝物類別都不能少！你的⾝體需要碳⽔化合物來補充運動時耗掉的糖原儲備，還需要蛋⽩質來幫助肌⾁復原。讓我來說說休息⽇⼀份營養均衡的膳⻝⼤概是怎樣的︰⾮澱粉類蔬菜 ( 如蔬菜沙拉、煮熟的蔬菜 ) 佔半碟，全穀物或澱粉類蔬菜佔⼤約四分⼀碟，剩下的就是瘦⾁或其替代品 ( 如雞蛋、⾖腐、⿂ ) 。 Dance days For days of moderate to high intensity training, it is important to increase your carbohydrate intake up to half a plate full of carbohydrates, preferably from whole grains, such as wholewheat pasta or potatoes to intake sufficient

energy to meet the rigors of training. This is necessary to achieve optimal training benefits and peak performance.

跳舞的⽇⼦

在中⾄⾼強度訓練的⽇⼦裏，增加碳⽔化合物的攝取量是⼗分重要的，攝取量要增⾄半碟，⽽且最好是全穀物，⽐如全⿆意粉或⾺鈴薯，這樣你才能獲取⾜夠能量，應付⾼強度訓練，還有得到最佳的訓練效能，將⾃⼰的表現提升⾄最⾼⽔平。 On the other hand, protein intake remains more or less the same between dance and rest days, as it is based on body weight rather than energy requirements for activity. Dancers should meet the general guidelines of 1.2 to 1.7g protein per kg body weight each day(g/kg/d). Female dancers should aim to achieve at least 1g/kg/d, whilst male dancers should aim for 1.5g/kg/d and up to 2g/kg/d if they are aiming to increase muscle mass***.

and evidence, this is useful information that can keep you dancing stronger and for longer. A special thanks to Tiffany for her amazing research and tips. For more advice from Tiffany, visit her website at http://www.tiffanyshek.com/.

社會上可⾒很多所謂的健康飲⻝⾵潮，營養師⽯芷因這次運⽤科學證據，給我們簡要解構了「健康飲⻝」，更特別為舞者提供了⾮常合⽤的相關資訊，讓各位舞者能舞得更有⼒、更持久。在此我們衷⼼感謝她提供的實⽤研究資料和⼩貼⼠。如想獲取更多健康飲⻝建議，可瀏覽她的網站 http://www.tiffanyshek.com/ 。 Photo Credits: Images 1-4 by AK47Division

⾄於蛋⽩質攝取量⽅⾯，跳舞的⽇⼦和休息的⽇⼦⼤致相同，因為蛋⽩質攝取量取決於個⼈體重，⽽⾮能量需求。舞者的蛋⽩質攝取量應達到⼀般標準︰每天每公⽄體重 1 . 2 ⾄ 1 . 7 克蛋⽩質 ( 克 / 公⽄ / 天 ) 。⼥舞者應以最少 1 克 / 公⽄ / 天為⽬標，⽽男舞者則應以 1 . 5 克 / 公⽄ / 天為⽬標，如果想增加肌⾁量，就應該要有⼤約 2 克 / 公⽄/天***。 Dancers are reminded to drink regularly throughout training to ensure that no more than 2% of their weight is lost from fluids. A simple way of monitoring your hydration status is to observe the color of your urine. A pale yellow color indicates proper hydration status, whereas anything darker is an indication of dehydration.

舞者在訓練期間應定時補充⽔分，以確保其體重因體液流失下降不多於 2 % 。要監察體內⽔分是否充⾜，最簡單的⽅法就是觀察尿液的顏⾊，淡⿈⾊表⽰體內⽔分充⾜，較深的顏⾊則反映⾝體有脫⽔的情況。 Providing her insight into a topic that tends to be bombarded by health fads and diets, Tiffany Shek gives us a more realistic overview of what healthy eating looks like, especially for dancers. Supported by science

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TIFFANY SHEK

Registered Dietitian (HCPC) Facebook: facebook.com/tsheknutrition Instagram: instagram.com/tsheknutrition Resources: * Sousa, M. et al. (2013) Nutrition and Nutritional Issues for Dancers. Medical problems of performing artists. vol 28, 119-23. ** Burke, L. M. (2015) Re-Examining High-Fat Diets for Sports Performance: Did We Call the ‘Nail in the Coffin’ Too Soon? Sports Medicine vol 45, S33- S49 ***Challis, J. et al. (2016) Nutrition Resource Paper. International association for Dance Medicine& Science. https://cdn.ymaws.com/www.iadms.org/resource/resm gr/resource_papers/d ance-nutrition-2016.pdf [Accessed on 15th April, 2020]

A Taste of the past

DANCERS’ COOKBOOK

回味舞窮

PREPARING DINNER FROM THE BALLET COOK BOOK

Karl Yeh 尋味之旅發掘 The

Ballet Cook Book 中的昔日味道

Just as each historic ballet has a story to tell, our favourite recipes also hold memories near and dear to us.

the kitchen while learning about the riveting stories and delectable dishes of the dancers that took the stage before them.

每齣具歷史意義的芭蕾舞劇都有⼀個獨特的故事，同樣地，每份我們喜愛的⻝譜皆載有⼀段珍貴的回憶。

紐約市芭蕾舞團 (New York City Ballet, NYCB) 前⾸席舞蹈員Tanaquil Le Clercq因不幸患上⼩兒⿇痺症⽽被迫結束其專業舞者⽣涯， 1966 年，她出版The Ballet Cook Book，將她對芭蕾和烹飪的熱愛之情結合在此書當中。這位傳奇舞者在舞蹈世界留下了美麗⾜跡，⽽她分享的⻝譜亦為今天的我們帶來了不少啟發——Karl Yeh和他的NYCB朋友正按照⻝譜重新炮製當年的味道，要好好細味⼀眾舞蹈界前輩的⾄愛美⻝，還有他們的動⼈故事。

Matching her love of ballet with her love of cooking, the former New York City Ballet principal dancer Tanaquil Le Clercq published The Ballet Cook Book in 1966 after she had contracted polio which subsequently ended her dance career. Not only to have a legacy in dance live on, but her recipes too, Le Clercq’s cookbook has inspired Karl Yeh and his friends from New York City Ballet to get cooking in

For many years, Karl was an avid competitive

ballroom dancer. Foxtrotting his way into New York’s vibrant dance community, he eventually became a Steering Committee member of New York City Ballet’s (NYCB) Young Patrons Circle. Over time Karl has cultivated wonderful friendships with dancers, artists, curators, and patrons across various dance genres. With many of his NYCB dancer friends being passionate about cooking, they decided it’d be a fun challenge to recreate dinner menus from the recipes of NYCB’s earlier generations of dancers.

熱愛標準舞，活躍於標準舞⽐賽多年，後來縱⾝跳⼊充滿活⼒的紐約舞蹈社群，更成為 NYCB Young Patrons Circle 的督導委員會成員。慢慢地，他結交了不少好友，當中有舞 Karl

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DANCERS’ COOKBOOK

回味舞窮

者、藝術家、策劃⼈和贊助⼈，⽽且還不限於⼀個舞種。他的NYCB舞者朋友中，很多都喜歡烹飪，於是他們決定接受這麼⼀個有趣的挑戰︰根據NYCB早期舞者留下來的⻝譜，重新製作當中的晚餐美⻝。 “Balanchine passed down his dance wisdom through generations of teachings, perhaps through food we could travel back in time and feel closer to some of their early inspirations.” -Karl Yeh

Which dishes from the book did you cook? And which recipe was a crowd favourite? Diana Adams’ "Pork Chops Diana" and "Pecan Pie" were crowd pleasers. We tried quite a few others such as Balanchine's "Franks in Sauerkraut", Tanaquil Le Clercq's "Swordfish Tarragon", Jerome Robbins’ "Spinach Sneden's", Robert Joffrey's "Stuffed Eggplant", Melissa Hayden's "Potato Latkas", Allegra Kent's "Walnut Apple Cake", and Maria Tallchief's "Romaine Salad".

「通過⼀代⼜⼀代的舞蹈教學，Balanchine 你製作了書中哪些美⻝？哪⼀款最受⼤家將其舞蹈智慧傳了下來，或許透過⻝物，我喜愛？們可以回到過去，更深⼊了解⼀些他們當時⼤家最愛Diana Adams的豬扒菜式「Pork Chops 的靈感來源。」——Karl Yeh 」和「⼭核桃批」。我們還嘗試製作了另⼀些美⻝，好像Balanchine的「法蘭克福腸配德國酸菜」、Tanaquil Le Clercq的「⿓蒿汁劍⿂扒」、 Jerome Robbins的菠菜菜式「Spinach Sneden's」、 Robert Joffrey 的「釀茄⼦」、 Melissa Hayden 的「薯餅」、Allegra Kent的「核桃蘋果蛋糕」和 Maria Tallchief的「羅⾺⽣菜沙拉」。 Diana

Did you happen to come across any kitchen mishaps when cooking these dishes? We ran out of canned bouillon while making Tanny's Swordfish Tarragon and someone had to run to the bodega to get more, but then the dish turned out to be way too salty though precisely following the recipe. Either canned bouillon had much less sodium in the 1960s or the can was smaller, I suppose like dance instructions, even recipes need to adapt over time.

你製作這些美⻝時有否出甚麼岔⼦？如有，當時的情況是怎樣的？

做Tanny (Tanaquil Le Clercq暱稱)的「⿓蒿汁劍⿂扒」時，罐頭⾁汁清湯 (bouillon)⽤光了，於是我們就找了個⼈跑去雜貨店買，但最終做出來的成品還是過鹹，雖然我們已經依⾜⻝譜來做。可能六⼗年代的罐頭⾁汁清湯鈉含量較低，⼜或者那時的罐頭⽐現在的⼩吧，我想⻝譜就像舞蹈教學那樣，需要隨時代變遷作出調整。

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DANCERS’ COOKBOOK

此書有否給你些甚麼製作晚餐派對美⻝的新靈感？ Let's go with odd trivia. Tanny gave her husband 由於當時是六⼗年代，所以此書逾250篇⻝譜中 Balanchine space for as many as 27 recipes in 只有3款亞洲菜式，3款都是當時American Ballet the book, now we know he was quite the chef. In Theatre的⼥⾸席Ruth Ann Koesun提供的，她的 contrast, Jerry Robbins only got three. Maria ⽗親是中國⼈。今天，如果有⼈出版⼀本新的 Tallchief who was married to Balanchine before 「芭蕾⻝譜」，或許菜式會多元化些，正如舞蹈 Tanny was allowed to contribute eight. 藝術也隨着時間演變了不少。若我們能將現代的你覺得The Ballet Cook Book 最有趣的地⽅是甚多樣菜式和昔⽇的主⻝融合在⼀起，不是很有意思嗎？麼？ What did you find most intriguing about The Ballet Cook Book?

最有趣的地⽅在⼀些不起眼的細節當中—— 整本書中，Tanny給丈夫Balanchine⾜⾜27 篇⻝譜的版⾯位置，我們現在知道他廚藝還挺了得，Jerry Robbins (Jerome Robbins)只得短短 3 篇，⽽ Balanchine 的前⼀任妻⼦ Maria Tallchief則有8篇。 Do you have any ideas or a new inspiration for your next dinner party? Understandably this was the 1960s so out of more than 250 recipes in the book, there were only three Asian dishes by Ruth Ann Koesun who was a principal with [American] Ballet Theatre and her father was Chinese. If someone publishes a new ballet cookbook today perhaps we'd see a much more diverse menu as dance has also evolved over time. Wouldn't it be interesting to mix some contemporary dishes of variation with old staples side by side?

回味舞窮

What's the next recipe you would like to try from The Ballet Cook Book? Perhaps a couple desserts. Sir Frederick Ashton liked his housekeeper's cake because it was simple, wellpresented and pleasing to the eye as well to the palate. "A good ballet is only a good ballet," he once said, "when all the ingredients are right and, like a cake, unless there is enough baking powder it doesn't rise". Alicia Alonso's Cuban dessert, Coquimol, on the other hand would be a nice exotic challenge.

你下次想嘗試製作TheBalletCookBook的哪款美⻝？或許幾款甜品吧。SirFrederickAshton覺得他管家做的蛋糕雖然簡單，但賣相和味道都⼗分好，所以很喜歡。「⼀齣好的芭蕾舞劇只是⼀齣好的芭蕾舞劇⽽已，」他曾說，「道理就跟做蛋糕⼀樣，即使所有『材料』都正確無誤，若然你放的『泡打粉』不⾜，出來的成品還是無法取得成功。」另外， Alicia Alonso 的古巴⾵味甜品 Coquimol相信也會是個有趣的挑戰。 Though Karl no longer competes in ballroom dance, he continues to enjoy dancing with his friends and family particularly during ball season in Vienna, and being actively engaged with various genres of dance whether it’s for NYCB’s programs and events, or hosting a dinner party to cook up delicious meals from the recipes of celebrated dancers.

現在沒再參加標準舞⽐賽，不過仍舊喜歡與家⼈朋友⼀起跳舞，特別是維也納舞會季節的時候。他亦繼續積極投⼊NYCB各個舞種的項⽬和活動，當然不能少的就是舉辦晚餐派對，重新炮製各位知名舞者的「昔⽇味道」。 Karl

Richly filled with ballet history and culture, Russia is a dream for many dancers around the world to visit, to train or even perform in. Dancing her way from Hong Kong to Samara, Josephine Cheung reflects on her experience as a Ballet Artist with the Samara Academic Opera and Ballet Theatre.

俄羅斯芭蕾舞的歷史⽂化⼗分濃厚，是全世界不少舞者夢寐踏⾜的地⽅，希望可以於當地接受培訓，甚或⼀展舞藝。Josephine Cheung就成功將⾃⼰的舞蹈從⾹港帶到薩瑪拉，憶及昔⽇在薩瑪拉歌劇及芭蕾學術劇院擔任芭蕾舞藝⼈的種種經歷。 Josephine owes her strength and tenacity to her upbringing and training in Hong Kong. Her journey in ballet has not always been the smoothest, but through her training at the Jean M. Wong School of Ballet she learned the importance of hardwork and determination, as well as how to overcome

hardships and the harsh realities that exist within the dance industry. Fortunate enough to have the support of her family, Josephine was granted the opportunity to further her ballet training in Russia.

⾃⾝的⼒量與堅韌來⾃⾹港的成⻑經歷和受訓經驗。雖然⼀路⾛來 Josephine 的芭蕾歷程並⾮⼀直都順遂無憂，可是在王仁曼芭蕾舞學校受訓期間，她學到了勤勉與決⼼的重要，也學會如何克服困難並⾯對芭蕾舞界的殘酷現實。很幸運， Josephine 得到家⼈⽀持，最終取得遠赴俄羅斯深造舞藝的機會。 Josephine

Why did you decide to pursue a dance career in Russia? I always loved watching Russian ballerinas,

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especially because of their insane physique. I was born with hyperextension especially in my knees and I noticed that in almost every Russian ballerina. Therefore I was intrigued to study ballet in Russia. I had done tons of research on the internet on how to use my hyperextension correctly and there weren't any concrete answers. When I received the offer from the Bolshoi Ballet Academy, I knew right away that it was my chance to learn how to control my knees and use my body to its full potential.

你為什麼選擇到俄羅斯追求⾃⼰的舞蹈⽣涯呢？

我⼀直都很喜歡看俄羅斯芭蕾舞者表演，特別欣賞他們⼀流的體態⾝姿。我的膝部天⽣就有反⼸現象，也留意到幾乎每⼀個俄羅斯芭蕾舞者都有這個特徵，驅使我想要到俄羅斯學習芭

蕾舞藝。在網上做了⼤量資料搜集，了解正確運⽤膝反⼸的⽅法，可是都沒有找到確切的答案。在得到波修⽡芭蕾舞學院錄取時，隨即就知道這是⼀個學習怎樣運⽤膝反⼸的機會，將⾃⼰的⾝體優勢發揮⾄極。

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What are some of the differences between dancing in Hong Kong and Russia? The biggest difference is for sure the language. In Russia, everyone treats you as if you speak their language. It was very hard for me at the beginning, but my friends and classmates helped me a lot with it. The ballet studio in Russia has a raked floor which means that it is on a slight angle to make your lines appear longer on stage. It was very hard for me to get used to and re-adjust my balance so that I could dance and not fall over in class! Last but not least is definitely the technique. The Bolshoi School has their own technique and all my classmates were trained there for 5 years before me, so naturally it was very hard at the beginning to get used to their technique. The way you move your arms and head, as well as the coordination are all a little bit different from how I used to dance.

在⾹港跟在俄羅斯跳舞⼀些最⼤的區別是什麼呢？

毫無疑問，語⾔是其中最⼤的區別。在俄羅斯，當地⼈似乎都假設你會說他們的語⾔。開始的時候，確實感到很困難，幸好得到朋友同學的幫助。俄羅斯的芭蕾練舞室地板有傾斜設計，微微上升的⻆度有助台上舞者的⾝姿線條看起來更加修⻑。對我來說，要習慣很困難，需要重新調整⾝體平衡，才不⾄於在班上練舞時失⾜跌倒！最後不可不提的就是舞蹈技術的區別。波修⽡芭蕾舞學院⾃有⼀套技術，同學們在我來到之前都已經接受了5年訓練，剛剛開始的時候我⾃然很難去適應他們的獨有舞技。不論是移動⼿臂和頭部的⽅式，抑或是⾝體協調，都與我此前的跳舞⽅式稍有不同。 What were some of the things you had to adapt to and get used to in Russia? At the start, I had to adapt to living on my own without my family and my helper. I was always a pretty independent girl but I had never lived away from my family before leaving for Russia. Having to handle my own laundry, make my own food sometimes and take care of every aspect of my life was definitely a challenge and took a while to get used to. Going from a part

time ballet student to a full-time ballet student in a professional school and dancing up to 8 hours a day was very challenging for the body as well, so naturally I have learnt how to take good care of my body and also how to deal with injuries.

在俄羅斯⽣活，有些什麼是你需要適應的？

開始的時候，我必須適應⾃⼰⼀個⼈⽣活，沒有

家⼈和⼯⼈姐姐的陪伴。雖然我⼀直都很獨⽴，但在前往俄羅斯前都從未與家⼈分開。來到俄羅斯後，我需要⾃⼰洗⾐服，⾃⼰下廚，⾃⼰打理⽣活⼤⼩事情，無疑是⼀個挑戰，需要時間去習慣。從兼職芭蕾舞學⽣搖⾝⼀變成為專業舞蹈學院的全職學⽣，每天跳舞8個⼩時，對於⾝體來說也是⼀個挑戰，所以⾃然⽽然我也學會照顧好⾃⼰的⾝體，懂得處理創傷。

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舞蹈⼤世界

The best thing about living and working in Samara: The best thing about living in Samara is that it is a city with an extremely long and clean beach! In the summer, it is very nice to take a short 10 minute walk down to the beach, have lunch and unwind before our evening rehearsals. The best thing about working in Samara is that I am given a lot of opportunities to dance and explore! I am now preparing for my debut in the Pas de Trois of Swan Lake! The other big plus is that colleagues here are very friendly and helpful! I'm very lucky to have a lot of good friends here with a few familiar faces from the Bolshoi School!

在薩瑪拉⽣活與⼯作最好的地⽅：

在薩瑪拉⽣活最好的莫過於這裏擁有⼀個⽔清沙幼的⼤海灘！夏天的時候，步⾏10分鐘⾛到海灘是很不錯的體驗，可以在午後排舞前吃午餐放鬆⼀下。⽽在薩瑪拉⼯作最好的就是可以得到很多跳舞和探索的機會！⽬前，就在為我的《天鵝湖三⼈舞》⾸演做準備⼯作！另外，這裏同事之間都⼗分友好，樂意彼此幫助！我很幸運，能夠在波修⽡學院結識如此之多的好朋友，鮮有不認識的臉孔！

The top 3 things you miss most about Hong Kong: Definitely the fooooood! I didn't appreciate Hong Kong as much before I left. Hong Kong is really a vibrant city with a mix of different cultures. I'd love to have some bubble tea and home cooked meals now (my grandpa is definitely the best cook ever!). And that brings me to the next thing I miss the most - my family! Although I go home every summer to see them, this year due to the pandemic, I haven't had the chance to visit home. My family is planning on visiting me when the border opens again, but we'll have to see when that is going to be! Last but not least I miss my friends! Most of them now are working and are crazy busy so we don't have too much time to call each other and catch up. Summer used to be the time for us to catch up with each other and talk for hours! I miss them a lot and we're trying to make good use of the self isolation period to squeeze in time to talk to each other since we couldn’t meet up this year.

最掛念有關⾹港的三件事情：

⾸數美⻝！離開⾹港前，我也不怎麼喜歡這個城市。可是，⾹港確實是⼀個集合多元⽂化的繁華

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都會。現在，我就想來杯珍珠奶茶以及吃點家裏的飯菜，我外公是最出⾊的廚師！接著帶到最讓我掛念的家⼈！雖然每個夏天我都會回港看看他們，可是今年由於疫情的關係，未能回家。家⼈正在計劃在邊境重開時到俄羅斯與我⾒⾯，但也不知道是什麼時候的事了！最後是我的⾹港朋友！他們很多⼈現在都投⾝⼯作了，⼗分忙碌，都沒有太多時間聯繫⼤家。以前每逢夏天，我們都會聚在⼀起，聊上好幾個⼩時！實在很想念他們，由於今年不能⾒⾯，我們就嘗試在⾃我隔離期間擠出時間跟彼此聯繫。 How do you stay connected with Hong Kong? I stay connected with people in HK usually by WhatsApp texting and calling, as well as updating my Instagram.

你是如何跟⾹港保持聯繫的？

我⼀般會使⽤WhatsApp傳短訊、打電話，以及更新 Instagram 狀態與⾹港的朋友保持聯繫。

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舞蹈⼤世界

Going through leaps and bounds to make her dreams possible, Josephine is the definition of a dedicated dancer. We can all take away something from her amazing story, and we can even take online ballet classes with her as she teaches groups and private classes! Her relevé to Russia reminds us that dreams can become a reality with the right amount of work, risk taking, and perseverance.

⾛過⾼低跌宕，Josephine最終得以圓夢，體現出⼀名舞者的敬業精神。我們不僅可以從她的傳奇故事裏得到啟發，亦可報讀由 Josephine親⾃執教的線上芭蕾舞班，她素有教授⼩組和私⼈舞班的豐富經驗！Josephine 舞躍俄羅斯的故事提醒⼤家，只要勤於功、不懼險，堅持到底，夢想可以成真。 Photography Credits: Dancer Josephine Cheung Photos by Alexander Krylov

BALLET RECIPES Giving tips on ballet technique in a creative way! A ballet book for everyone aged 8 and over Available NOW! Amazon.com www.balletstudiolereve.nl

It's all in the attitude BALLET HISPANICO’S SHELBY COLONA SHARES HER DANCE JOURNEY

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⼼態決定⼀切

，

Shining bright on stage is one thing, but bringing a good attitude to everything you do both in and out of dance is the key to staying passionate and driven.

在舞台上發光發亮固然重要，但保持良好⼼態就更為重要——無論是跳舞還是做其他的事，有良好的⼼態，我們才能⼀直保持內⼼的熱情，繼續奮發向上。 Currently in her 6th season as a company member with Ballet Hispanico, dancer Shelby Colona has got the right attitude.

在舞團Ballet Hispanico的演藝⼯作現已踏⼊第個舞季，這位舞者⽤她的親⾝經歷教曉我們何謂「良好⼼態」。 Shelby Colona 6

Having grown up just outside of Houston, Texas, every decision Shelby has made has been for her love of dance. This eventually led her to attend The Ailey School in New York City, and later become a company member of Ballet Hispanico. Being with the company for several seasons, Shelby has accumulated lots of riveting, funny and emotional stories.

在美國德克薩斯州近休斯敦⻑⼤，⼀直以來，她總是依從⾃⼰那愛舞的⼼去作每個重要決定——⼊讀位於紐約的舞蹈學校The Ailey School以及後來加⼊舞團 Ballet Hispanico。現在，Shelby已在這舞團⼯作了幾個季度，有趣、動⼈的故事也累積了不少。 Shelby

Practically an extreme sport, dancing can be very intense. This is Shelby’s wildest experience on stage: My wildest performance experience would definitely have to be the week at The Joyce Theater 2019 with Ballet Hispanico. I ended up being casted in all three works every night for six days totaling seven shows, which meant dancing 21 pieces in a week. I was so honored to be part of every piece in each show, but it was an absolute challenge both mentally as well as physically. My body was exhausted, and I had a few hard times throughout the week. Thankfully, I had some amazing co-workers and we kept the support and energy going for each other throughout every step of the week.

跳舞可稱得上⾼強度甚或極限運動，Shelby最瘋狂的⼀次舞台經歷是這樣的︰我最瘋狂的⼀次表演經歷，⼀定是去年跟Ballet Hispanico 在The Joyce Theater演出的那個星期。6天裏我參與了 7場表演，每場全部3部作品都有我的份兒，亦即是說，我⼀星期演出了總共21次！能夠參與每場表演的每⼀部作品，我感到⾮常榮幸，但這無論對體⼒還是精神都絕對是⼀⼤挑戰。那個星期，我全⾝都累得很，有些時候感覺好像熬不住了——幸好我有些好同事，每天我們都互相⽀持⿎勵，最後終於順利完成整個星期的表演。

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舞蹈⼤世界

A lot can happen behind the scenes, or even right on stage. Even though mishaps and mistakes can be daunting in the moment, they make for great memories and funny stories afterwards. What’s Shelby’s funniest performance experience? A few years ago, I was performing a piece about the Roma migrating across the land. The piece was filled with struggle, hope and was very emotionally charged. The theater had a very shallow wing space, so when you prepared to come on you had to move as close to the wall as possible. At this point in the piece there was no music. My partner and I had prepped for him to carry me on stage and when we got into position and turned the corner my feet had hit a large wooden pole that was resting against the wall and it made a huge clanging noise that echoed through the whole theater. In addition, about 30 seconds later, we were face to face and he had to catch me under my armpits. There again, in silence, our connection made a loud farting noise. We had to keep ourselves together and continue like nothing happened but knowing that the audience heard it all, I couldn’t stop laughing on the inside.

表演期間，不論在台前抑或幕後，隨時都可能發⽣⼀些令舞者措⼿不及的事，萬⼀出了甚麼岔⼦，當刻舞者⼼裏⾃然是不痛快，不過事後這些⼩瑕疵或許會成為他們記憶中有趣⽽美好的故事呢。Shelby最有趣的⼀次表演經歷⼜是怎樣的？幾年前，我參演關於羅姆⼈遷徙的舞蹈，該舞情感激昂，飽含「掙扎」與「希望」。那劇院舞台兩側空間狹⼩，所以我們準備出場時⼀定要盡量貼近牆壁。我和舞伴出場的⼀刻是沒有⾳樂的，他抱着我出場，正當我們就位並轉彎時，我的腳不知怎的撞到了⼀根靠在牆邊的⼤⽊柱，「砰」的⼀聲響遍了整個劇院。這還不夠，約30秒後，我和舞伴⾯對⾯，他要接住我、托着我腋下—— 誰知道，我們再次在⼀⽚寂靜中製造了⼀聲巨響，真是尷尬！我們只能像沒事發⽣過⼀樣，繼續緊靠在⼀起跳下去，但我知道所有觀眾都清清楚楚聽⾒了，所以還是忍不住在⼼裏笑了個不停。 When everything falls into place right before the audiences’ eyes, these are the moments we live for as dancers. This is Shelby’s take on her most gratifying performance: The MOST gratifying performance I’ve ever had was performing the role of Carmen in Gustavo Ramirez Sansano’s,

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CARMEN.maquia, in Edinburgh, Scotland. Of course, when you go to a foreign country, you’re never sure how the audience will react. We performed in a colossal theater that was packed every night. It was also the first time my parents and fiancé saw me perform Carmen. Naturally, it didn’t go “perfectly” every night, but each night I was able to find a different reaction, a different way to relate to the company on stage and find more consistency throughout the week. Each night that I took my bow, I was so proud of myself and what I had accomplished personally as well as making my family proud of the growth that the role had given me.

表演前⽤⼼準備的⼀切最終都能完美地展現在觀眾眼前的時候，就是舞者最快樂的時候。以下是令Shelby最為滿⾜的⼀次表演︰令我最為滿⾜的⼀次表演，是我在英國蘇格蘭愛丁堡參演GustavoRamirezSansano所編的CARMEN.maquia 那次，我在當中飾演卡⾨⼀⻆。當然，每次去外國表演，我們都不肯定觀眾會有甚麼反應。那次我們在⼀個⼤劇院表演，每晚都坐滿了觀眾，我⽗⺟和未婚夫還都是第⼀次看我演卡⾨這⻆⾊。我們每晚的表演當然並⾮「⼗全⼗美」，但值得⾼興的是，每晚觀眾的反應都不⼀樣，⽽我對舞團的歸屬感也愈來愈⼤，表演時，我亦感覺愈來愈得⼼應⼿。每晚向觀衆鞠躬致謝時，我都為⾃⼰以及⾃⼰的⼩⼩成就感到⾃豪，因為這個⻆⾊，我成⻑了許多，我很⾼興家⼈都為我的成⻑感到光榮。

⾝處這瞬息萬變的時代，每⼀位舞者都不斷努⼒找⽅法追上時代的步伐，找⽅法運⽤舞蹈表達其想法。你有甚麼建議給那些想為舞蹈社群帶來改變的舞者？⼤多數⼈都會怕⾃⼰提的意⾒不恰當，不過如果那件事對你來說有很⼤意義，那麼那事⼤概也有⼀定的道理吧？想為社群帶來改變，就⼀定要勇於提意⾒。很多⼈之所以不敢提意⾒，就是因為擔⼼這樣做會禍及他們⾃⾝，例如令他們失去現有⼯作或將來獲聘的機會。我覺得如果你真的很想為舞蹈社群帶來改變，就⼀定要拿出勇氣。我是個很敢於發表意⾒的⼈，⼈們⼤多都會聆聽、接受我的意⾒，但我也試過意⾒不獲接納。我的建議是，提意⾒時千萬不要拐彎抹⻆，但要注意表達⽅式。恰當地表達意⾒並不是那麼容易，要知道⼀句說話很容易就會遭到誤解，所以⽤詞⾮常重要。不是所有⼈都習慣堅定地道出⾃⼰的意⾒，這絕對可以理解，但若然你⼼中那團⽕正熾熱燃燒，那麼這或許是你該開⼝的時候了。

What advice do you have for those who want to be a professional dancer, especially during these uncertain times we live in?

What are some of the challenges you are facing now in the midst of the pandemic? And what have you been doing to cope with these challenges?

Living in a day and age of change, dancers are constantly finding ways to update themselves and use movement as their voice. What advice do you have for dancers out there who would like to help make a difference in the dance community?

you, how mentaland things

There’s definitely fear behind saying the wrong thing, but if it means enough to you then how wrong can it be? If you want a change, you need to be vocal. I think a lot of people get nervous bringing up change because they’re worried it’ll backfire on them.

Possibly losing a job or potentially not getting hired for a future job. I truly believe you can’t be timid about the change or actions you crave to change in the dance community. I’m a very vocal person and most of the time I’ve been heard and understood and other times my point wasn’t taken as well. I would suggest never sugarcoating your point, but you must always be respectful about how you approach it. It’s a hard thing to do. Words can often be misconstrued. Your choice of words are important. Not everyone feels comfortable being vocally assertive about change, which is okay. But if the fire is burning inside you, it’s probably time you speak up.

你在疫情之下⾯對着甚麼樣的挑戰？你⼜怎樣應對？疫情之下，我遇到的最⼤困難就是不能回舞蹈室去。現時美國這裏，⼤家各有各的狀況和困難，幾乎不可能步調⼀致。我們舞團⼀向是巡迴演出的，但現在某些州份疫情嚴重，到那些地⽅表演的話並不安全，既然無處可去，我們也就暫停了綵排。於是我就留在家裏跳舞，有時卻感覺好像快要瘋了，在家裏跳舞始終遠遠⽐不上在舞蹈室跳，但這是「新常態」，我告訴⾃⼰︰即使感覺不太好也不要緊，在這樣的情況下，我已盡全⼒做⼀切可做的了。

The hardest part about the pandemic is not being in the studio. Here in the United States, it’s been nearly impossible to get every American on the same page. Because we’re a touring dance company it’s not safe to tour to certain states with high outbreaks, which in turn, leaves us not rehearsing because there’s nowhere to go. Sometimes dancing in my apartment can drive me insane and does not feel as good as being in the studio. But this is the new normal and I have to tell myself that it’s okay that it doesn’t feel great. You’re doing the most you can with the circumstances given and that’s all you can do.

HONG KONG DANCE MAGAZINE | 48

My advice would be to keep going. Even though the world feels like it has come to a stop, that doesn’t mean that you’ve come to a stop. Things will eventually get better. If you’ve kept going and striving, when that time comes,you’llbeready.Continue findingdifferentwaysofinspiring yourself. It could be a different style of dance class, meditation, writing in a journal. Now is the timeto experimentonwhatworksfor tomanageyour time,andimprove physicalskills thatwillhelp when startto comebacktonormal.

在這個充滿未知的時代，你有甚麼建議給那些想成為專業舞者的朋友？我的建議是「繼續前⾏」，整個世界的確好像停了下來，但這並不代表你也停了下來。事情終必會變好的，若然你在這期間繼續前⾏、繼續奮⾾，那麼當時機來臨時，你就已經準備就緒了。繼續找不同⽅法去啟發⾃⼰吧，學習另⼀種⾵格的舞蹈、冥想、寫⽇誌都可以，現在正是試驗甚麼東西適合你、學習怎樣管理時間、提升⾝體和⼼理素質的時候，當⽣活回復正常時，這期間所學到的⼀切都將發揮作⽤呢。 Let’s turnout those legs and find the right attitude as we take on the dance world with this motivational and inspiring advice from Ballet Hispanico’s Shelby Colona.

聽畢Ballet Hispanico舞者Shelby Colona⿎舞⼈⼼的⼀席話，就讓我們⼀起保持良好的⼼態，向着美麗的舞蹈世界繼續邁步前⾏吧。

Photo Credits: Photo by James Diaz @jamesdiaz_photography, Dancewear by @fromartisttoartist by @rachelcamilleriart

編輯推介

為跳舞導師精⼼挑選的好物推薦

Dedicating their time, focus, and energy to helping their students grow as artists, dance teachers deserve a little pampering themselves. So whether you are a teacher treating yourself to some new dance apparel, or a student looking to get your teacher a thank you gift, check out these perfect products just for dance teachers!

各位跳舞導師付出時間、精神和汗⽔，含⾟茹苦培養學⽣成為藝術家，實在值得好好獎勵。不論你是正在尋找跳舞服飾的導師，或是想以⼩禮物答謝恩師的學⽣，我們都可以幫你找到你想要的產品！ BEST DANCE SKIRT NO MUSS, NO FUSS

讓你無憂無慮的跳舞裙 KeithLink - Stretch Mesh Skirt $480NT

新台幣

Forget about having to stop in the middle of a dance class to adjust your wrap skirt! KeithLink’s Stretch Mesh Skirt is not only stunningly gorgeous with it’s autumn purple rose pattern, but it’s also practical because it's an easy stretch and slip-on dance skirt. And if you’re feeling like something new and blue, it also comes in a blue and red poppy flower pattern available in either a short or medium length skirt.

s ' r o edit pick JUST FOR DANCE TEACHERS

Lightweight and breathable, the Stretch Mesh Skirt adds just the right touch to your teaching look. Add a splash of colour to your teaching day with KeithLink’s striking line of dance apparel.

厭倦了在跳舞中途停下來整理裙⼦？ KeithLink的Stretch Mesh Skirt秋季紫⾊玫瑰花紋設計美輪美奐之餘，獨特的剪裁更是⽅便穿著，彈⼒⼗⾜。這條漂亮的裙⼦更有藍⾊和紅⾊，以及中、短⻑度，任君選擇。 KeithLink Stretch Mesh Skirt 以輕巧透氣的物料製作，絕對能讓你的課堂錦上添花。 BEST WINTERY LEOTARD

最佳冬季緊⾝⾐

Dance Elite - Pia Leotard $197.45HKD

港幣

緊⾝⾐

Velvety and elegant, this ¾ sleeve Pia leotard by Dance Elite offers pure sophistication and comfort to get you through your dance classes.

HONG KONG DANCE MAGAZINE | 50

Feel like royalty in this deep purple colour with a sweetheart bodice, mesh yoke and a high neck collar. The epitome of fashion meets function, Dance Elite’s Pia leotard will make your wintery teaching season merry and bright! Dance Elite is a UK owned company which handles local Hong Kong returns. They even have stage costumes available at DivaCostumes.co.uk. And here’s a little added bonus for teachers, you can gain up to a 30% discount when you sign up with Diva Costumes!

這款由Dance Elite設計的¾袖Pia緊⾝⾐柔軟

⽽優雅，精緻度與舒適度配合得恰到好處，讓你的舞蹈課順暢無⽐。貴族般的深紫⾊配以胸前的網狀甜⼼設計，配合⾼領剪裁，更顯⾼貴典雅。Dance Elite的Pia緊⾝⾐集時尚設計與功能於⼀⾝，讓你以美麗動⼈的服飾點綴你的冬季舞蹈課堂。來⾃英國的Dance Elite於⾹港設有分公司，專⾨處理⾹港的退貨事宜。另外，Dance Elite更於DivaCostumes.co.uk 售賣舞台表演服飾。為答謝各位導師的⽀持，現凡於Diva Costumes登記成為會員，可於購物時享有7 折優惠。 BEST LIGHTWEIGHT LIPSTICK

最輕盈唇膏

MAC Cosmetics - Lustre Lipstick $160HKD

港幣

⽔漾潤澤唇膏

A day of teaching dance can easily feel like you’ve just hosted a radio talk show for 5 hours straight, so it’s no surprise that a dance teacher’s lips can go from hydrated and bright to dull and dry. Give your lips a lustrous finish with MAC Cosmetics’ Lustre Lipstick! This lightweight lipstick formula glides easily and cleanly onto the lips with sheer-to-medium buildable coverage. Forget about heavy lipstick that smears on your teeth, as this weightless Lustre Lipstick provides clean precision and leaves your lips feeling nourished! It’s important to let your dance students shine, but don’t forget about letting your lips shine too!

跳⼀整天舞就有如主持⼀個五⼩時的電台節⽬般疲累，因此，當你看到你的舞蹈⽼師的雙唇由⽔潤閃爍變得乾燥蒼⽩時，不要感到驚訝。MAC的⽔漾潤澤唇膏為雙唇帶來光澤動感，這輕盈的唇膏配⽅，具有清透光澤和中度遮蓋，讓雙唇持久豐盈動⼈。不要再擔⼼⽛⿒沾上厚厚的唇膏，這⽔漾潤澤唇膏輕巧柔和，為你的雙唇注⼊光采。⽴即讓你的雙唇發光發亮，就正如你引導學⽣們在台上發光發亮吧！ BEST EYELINER TO KEEP A SHARP LOOKOUT

最佳眼線筆，讓你雙眼保持明亮 L’Oréal Paris - Super Liner Flash Cat Eye

持久貓眼濃⿊眼線液港幣$115HKD

Keep a sharp eye on your students with L’Oréal Paris’ Super Liner Flash Cat Eye eyeliner, to make sure your eyes are fierce and striking as ever! As dance teachers, we love precision which is why the traceable tool attached to the cap is truly ideal for making an instantly flawless wing. This luminous liquid liner is long lasting so you won’t need to even think about reapplying during your busy days in the studio. The fine and flexible brush makes it easy to apply eyeliner to the contours of your eyes. Make those eyes stand out!

使⽤L’Oréal Paris持久貓眼濃⿊眼線液，讓你的雙眼明亮有神！我們絕對明⽩作為跳舞導

DIRECTORY

名錄⼀覽

DANCE DIRECTORY

Dance Apparel Shops in Hong Kong

⾹港舞蹈服裝店

Alice Costume de Danse Far's Latin & Ballroom Dance Store

Piu Ngai Fashion Supply Co.

Snow White Dancewear

Dance Sensation Studio

Sparkle Dance Apparel Company Three Star Dancing Supply Co.

三星舞蹈⽤品公司 feloSOPHIE

飄藝舞蹈服裝⽤品公司

AUMNIE

2576 9722 piungai@yahoo.com.hk

Caelum Greene

Room 2203, Island Beverley, 1 Great George Street, Causeway Bay 1 22 03

Asia Yogies

號⾦百利樓室

霏影舞蹈⽤品中⼼

Vivre Activewear Hong Kong (Warm Up Girls)

9207 4429 dancesensationhk@gmail.com Flat 26, 15/F, Metro Centre 2, 21 Lam Hing Street, Kowloon Bay

Gourami lululemon Sweaty Betty Easyyoga Hong Kong Rising Lotus

Dance Schools in Hong Kong

⾹港舞蹈學校

DIA - Dance in Attitude Donna Ngan Ballet & Jazz Academy

MULTIPLE DANCE STYLES (Ballet, Jazz, Contemporary, etc.) JW Talent Costumes Margaret Dance Workshop Paul's Ballet Supplies Centre

保祿芭蕾舞⽤品中⼼

Tutulamb 6608 6689 info@tutulamb.com Central: 403, 801, Lansing House, 41-47 Queen’s Road Central. Causeway Bay: 9/F, Capital Commercial Building, 26 Leighton Road. Wong Chuk Hang: Shop 311, One Island South, 2 Heung Yip Road.

多種舞蹈⾵格

（芭蕾舞，爵⼠舞，當代舞等）

顏夢亭芭蕾及爵⼠舞蹈學院 Edge‘n Pointe Dance Centre Emi Yeung Dance Academy

楊詠珊舞蹈學院

Glenda Allen Dance Academy G-Kids Dance Academy

Academy of Dance

Herman Lam Dance Studio

Agape Dance Studio

H.K. Camy Academy of Dancing

星培舞蹈藝術教室 Balletbean Dance Academy 卓藝舞蹈學院 Balletsia Dance Centre 芭蕾世家舞蹈中⼼

⾹港佳佳舞蹈學院

Island Dance School Hong Kong

Carol Bateman School of Dancing

Jean M. Wong School of Ballet

CenterStage Studios HK

Karen Leung Dancing Academy

嘉露⾙⽂芭蕾舞學校

Channy Stage Arts Workshop

春蕾舞台藝術⼯作坊

王仁曼芭蕾舞學校梁⽟潔舞蹈學院

Karensiu Dance Academy

Chong Wai Sze Academy of Ballet

莊慧思芭蕾舞學校

⽑妹芭蕾舞學校 Cindy Dance Academy 仙迪芭蕾舞學院 Clara School of Ballet 嘉麗芭蕾舞學校 Christine Liao School of Ballet

Kids Arts HK

藝兒舞蹈

倩舞坊

舞藝傳奇 Les Danseurs Dance Academy 陳綺婷舞蹈學院 L.D.A (Legendary Dance Arts)

Les Petites Ballerina Dance Academy

藝苗舞蹈學院

Crystal Dance

Lisa B Academy of Jazz

DANCETRINITY Dance Company

Little Duck Dance and Arts Academy

Dance Assemblé Academy

Little Star Academy of Dance

DMR School of Ballet

HONG KONG DANCE MAGAZINE | 56

匯藝舞蹈學校

Little Star School of Dance

⼩明星舞蹈學校

名錄⼀覽

DIRECTORY

滶姿舞蹈

Mabel Fong School of Ballet and

OG Dance

Music

Parsons Music Academy

紫蝶芭蕾舞及⾳樂學院

Unit 2511, 25/F Tuen Mun Parklane Square, no.2 Tuen Hi Road, Tuen Mun 2 25 2511

室

MotiveforMotion by Evelin Keller

Petite Princess Academy of Dance

9535 0666 evelinmfm@gmail.com

POINTES Musique et Danse

Flat F 10th Floor Siena Two Discovery Bay Lantau, Hong Kong

⼩公主舞蹈學院

2458 9234 swmabel@gmail.com

屯⾨屯喜路號栢麗廣場樓

柏斯⾳樂藝術學院

Prince Dance Studio

太⼦舞坊

名錄⼀覽

Red Shoe Dance Company SDM Jazz & Ballet Academy

爵⼠芭蕾舞學院

SDM

Serein School of Ballet Shelly Lo Jazz & Ballet School

羅逸雅芭蕾舞爵⼠舞學校 Show Dance HK

Elegant Dance Arts

Teens Sport and Art Centre

Emma Tse Elite Dance Academy

Tina's Dance Studio

First Step Ballet School

⻘躍體藝中⼼ T.Art Dance Center 千藝舞蹈中⼼⼩苗芭蕾舞學校 Nancy Chiu Ballet Studio 趙蘭⼼芭蕾舞學校 Monica Ho School of Ballet Nicole & Dance

Twinkle Dance Company

臻雅舞集

Studio Assemblé

謝慧玲舞蹈學院

Viva Dance Academy

培藝芭蕾舞學校 Glamor Ballet School 纋雅芭蕾舞學校 Gloria Law School of Ballet 羅培丹芭蕾舞學校 Gravity Ballet 成⼈芭蕾舞學校

Vivian Kwok School of Ballet

HM Ballet

Southern School of Dance

Ho Ballet

Regina Proietto Dance Pro Venessa Dance Theatre

Hong Kong Youth Ballet Academy

芭蕾舞

⾹港⻘年芭蕾舞專業訓練中⼼

6608 6689 info@twinkledance.com

BALLET

Central: 403, 801, Lansing House, 41-47 Queen’s Road Central.

Agnes Huang School of Ballet

Causeway Bay: 9/F, Capital Commercial Building, 26 Leighton Road.

Alice Cheng School of Ballet

6681 8108 firstpositionhk@gmail.com

Artiste Star Elite Dance School

Room F, 26/F , Maxgrand Plaza, No.3 Tai Yau Street,Kowloon

Wong Chuk Hang: Shop 311, One Island South, 2 Heung Yip Road.

First Position Ballet Academy ·

壹芭蕾舞蹈學院

⿈雅華芭蕾舞學校鄭健敏芭蕾舞學校

藝智星精英舞蹈學院 Avant Dance Studio Ballet Blanc

思藝舞蹈中⼼ Cherry's Ballet Academy 卓爾芭蕾舞学院 CB Dance Studio

Dance with Me Ballet Academy

崔藹璇芭蕾舞學校 Dreamer Dance Academy 童夢舞蹈學院 Doris Chui School of Ballet Elegance Ecole de Dance

HONG KONG DANCE MAGAZINE | 57

名錄⼀覽

DIRECTORY

Howan Ballet

DANCE DIRECTORY

可允芭蕾

Dream Dance and Art Studio

Isla School of Dance

鍾詠賢芭蕾舞學校 Josephine School of Ballet 張秀芬芭蕾舞學校 La Muse Studio 繆斯藝術 Le Studio Ballet 曾眉芭蕾舞學校 Ivy Chung School of Ballet

L&S Art Music Dance Studio Lynne Ballet School Mabel Cheung School of Dancing N’ Dance

營動舞

Nessa Dance Studio

．

2Live Dance Studio Alive Dance Studio

6060 3175 dreamdanceandart@gmail.com

⾹港元朗宏業南街22號，虹⽅商業⼤廈地下2A及7樓710室

Shop 2A, G/F & Shop 710, 7/F, TheRainbow,22WangYipStreetSouth

BE Dance Academy BeDREX 2Live Dance Studio Alive Dance Studio BE Dance Academy BeDREX

蝶韻舞蹈學校

Billy Chan Dance Concepts Bloom Dance Academy

舞藝舞蹈中⼼

Cool Kids Dance Academy

PAULINE dance art

Dance @ Central

Phoebe's Ballet Studio

Danz Avenue HK

Regine Wong School of Ballet

⿈⽇之芭蕾舞學校

Defender Studio

RL School of DanceRussian Ballet School

俄羅斯芭蕾舞學校

Shelley D’s Academy of Ballet & Dance

莎莉芭蕾舞蹈學院

CHINESE DANCE ARC

藝·牽

SJ International School of Ballet Springtide Ballet School

GEA Dance 2 Gather

Viva Ballet School 5482 2197 VivaBalletHK@gmail.com 11/F 30 Hollywood Road, Central, Hong Kong 30 11

荷李活道號樓

Hong Kong Dance Company

韵情舞坊

Gear Attic

Little Dance Moon Studio

⾹港舞蹈团

⼩舞⾨

Melodies Dance Studio

美諾諦詩舞蹈⼯作坊 Mica Dance 雲舞團中國舞舞蹈課程 Sha Tin Arts 沙⽥⽂藝協會 The Flying Swallow Dance Studio The Sprout Dance

苗徽舞集

Wan Zi Qian Hong Dance

萬紫千紅藝術團

World of Dancing

⾶舞天下

Zephyr Art Inspiring Center

盈楓藝術啟發中⼼

HIP HOP & URBAN DANCE

嘻哈街頭舞 HONG KONG DANCE MAGAZINE | 58

藝閣⼯作室

⼩⽔點舞蹈團

Iconic Dance Studio Infinity Dance Studio Jam City HK Ltd.

Kiwi Studio

⼩燕⼦舞蹈團

Friends Junction Dance Co.

HIBISCUS DANCE COMPANY

凝舞薈影舞蹈團 Kidance

EG Dance Funky Dance Centre

新維空間

Dream Dimension

春天芭蕾舞學校 Trend Stage Ballet Academy 尚賢芭蕾舞學院 Ulian Chun Academy of Ballet 秦懿欣芭蕾舞學院 Venus So Ballet School 嘉瑩芭蕾舞學校 Virtuoso School of Ballet 名師芭蕾舞蹈學院

中國舞

EDF Dance Studio

Neverland Kids Academy

兒童流⾏舞蹈藝術學院 Metro Yoga and Dance

Mini A Dance Studio / Mini.ii.kids Nine Lives Dance Company Ones to Watch Dance Company Proudance

⾹港⻘年協會賽⾺會紅磡⻘年空間 Russ Dance Factory Sano Dance Studio SGM Dance Production Sky Dance Avenue SO Dance Studio

專業街舞⼯作室

Studiodanz XD Kids Dance School Yaya Kids Dance / The Yard

兒童流⾏舞蹈課程

名錄⼀覽 Zeekers Danz Production

舞蹈館及製作公司

Ziberty Sports Studio

JAZZ DANCE

爵⼠舞

Danza A'more Stage Dreamworld

憙舞臺

Inspiration Dance Center

靈感舞蹈團

J SEASON DANCE & FITNESS

DIRECTORY

BOLLYWOOD/ BELLY DANCE /

寶萊塢舞肚⽪舞

IRISH DANCE

愛爾蘭舞

Echoes of Erin -School of Irish Dance Melissa McDermott School of Irish Dance

Cosmic Dance

O’Connor Barton Irish Dance

Ellumination Dance School Feel the Beat Dance Studio

Dance Companies in Hong Kong

Trio Spin Studio

⾹港舞蹈團

Yannes Belly Dance

City Contemporary Dance Company

Oasis Dance Centre

城市當代舞蹈團

NattyBop

E-Side Dance Company

Dance for Joy HK 9264 8597 info@danceforjoyhk.com Shop 10, 1/F The Visionary Commercial Area, 1 Ying Hong Street, Tung Chung

RHYTHMIC GYMNASTICS/ACROBATICS /

藝術體操雜技

Cher Dance & Rhythmic Gymnastic Institute Kings Rhythmic Gymnastics Ballet Academy

⾹港藝術體操芭蕾舞學院 Trybe

TAP DANCE

踢踏舞

Asia Society Hong Kong Center Association of Hong Kong Dance Organizations

⾹港舞蹈聯會

CHILDREN'S LEARNING CENTRES OFFERING DANCE

Michel Dancing Studio

The Beat

⽶雪爾舞藝坊

拉丁舞學校

FLAMENCO

⽂化節⽬組 Hong Kong Arts Centre ⾹港藝術中⼼ Cultural Presentations Section

Hong Kong Arts Development Council

⾹港藝術發展局

⾹港藝術節 Hong Kong Dance Alliance ⾹港舞蹈聯盟 Hong Kong Dance Federation ⾹港舞蹈總會 Hong Kong Arts Festival

HongKongFederationofYouthGroups

⾹港⻘年協會

Spring Learning

Hong Kong Swings

Step Up Dance Studio

Atom Academy So Educational Centre

Dee Dream Life

Move for Life

提供舞蹈課的兒童學習中⼼ Kids' Gallery

Dance Zing

⾹港舞蹈團 Hook Dance Theatre 舞合劇場 Hong Kong Ballet ⾹港芭蕾舞團 Unlock Dancing Plaza 不加鎖舞踊館 Y-Space 多空間 Hong Kong Dance Company

ArtisTree

踢躂舞教室

Dance Star Academy

Folded Paper Dance and Theatre

⾹港舞蹈及表演藝術機構

SMK

拉丁舞社交舞搖擺舞

東邊舞蹈團

Performing Arts Organisations in Hong Kong

R & T (Rhythm & Tempo) Tap

LATIN/BALLROOM/SWING / /

名錄⼀覽

佛朗明哥舞

HongKongYouthArtsFoundation

⾹港⻘年藝術協會 Tai Kwun ⼤館

Clara Ramona Danza Flamenca Ltd

UNITY SPACE

Esencia Flamenca

West Kowloon Cultural District

西九⽂化區

HONG KONG DANCE MAGAZINE | 59

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