![[Eng] Dance and Technology in East Asia: A Synoptic Review on Infrastructure, Research, and (Speculative) Pathways Across Hong Kong, Japan, and South Korea](https://static.wixstatic.com/media/f99599_244b9a6be5c24f9f91eb1863d0f770e0~mv2.png/v1/fill/w_374,h_250,fp_0.50_0.50,q_35,blur_30,enc_avif,quality_auto/f99599_244b9a6be5c24f9f91eb1863d0f770e0~mv2.webp)
![[Eng] Dance and Technology in East Asia: A Synoptic Review on Infrastructure, Research, and (Speculative) Pathways Across Hong Kong, Japan, and South Korea](https://static.wixstatic.com/media/f99599_244b9a6be5c24f9f91eb1863d0f770e0~mv2.png/v1/fill/w_343,h_229,fp_0.50_0.50,q_95,enc_avif,quality_auto/f99599_244b9a6be5c24f9f91eb1863d0f770e0~mv2.webp)
[Eng] Dance and Technology in East Asia: A Synoptic Review on Infrastructure, Research, and (Speculative) Pathways Across Hong Kong, Japan, and South Korea
Text: Ian WY Leung, Jisun Park, Ahram Gwak and Akiko Takeshita The conversation surrounding dance and technology in East Asia has intensified in recent years, prompted in part by Hong Kong’s policy emphasis on “Art Tech” and its rapid expansion of digital performance infrastructure. When we look more specifically at choreographic practice, we observe a growing exploration of sensor-triggered interactive systems, generative AI, motion capture, augmented and virtual reality, a
![[Eng] SWEAT 2025: Hong Kong Unites East and West in Dance](https://static.wixstatic.com/media/f99599_eb8eb07e949b467dac3b555df7d88e39~mv2.jpg/v1/fill/w_444,h_250,fp_0.50_0.50,q_30,blur_30,enc_avif,quality_auto/f99599_eb8eb07e949b467dac3b555df7d88e39~mv2.webp)
![[Eng] SWEAT 2025: Hong Kong Unites East and West in Dance](https://static.wixstatic.com/media/f99599_eb8eb07e949b467dac3b555df7d88e39~mv2.jpg/v1/fill/w_343,h_193,fp_0.50_0.50,q_90,enc_avif,quality_auto/f99599_eb8eb07e949b467dac3b555df7d88e39~mv2.webp)
[Eng] SWEAT 2025: Hong Kong Unites East and West in Dance
Text: Michael Li (此文章是由香港演藝學院策劃及提供,《舞蹈手札》僅作為SWEAT 的友好夥伴刊登內容,並沒參與編撰。 This article is planned and provided by the Hong Kong Academy for Performing Arts. Dance Journal serves only as a friendly partner in publishing content for SWEAT and did not participate in its editing.) SWEAT Hong Kong International Dance Workshop Festival (SWEAT) 2025 included a Dance Conference co-presented by Hong Kong Academy for Performing Arts (HKAPA), World Dance Alliance and Hong Kong Dance Alliance
![[中][ENG] 舞蹈的體能訓練 Strength and Conditioning in Dance](https://static.wixstatic.com/media/786386_02ea779d02eb4a74bee1c349f5459c78~mv2.png/v1/fill/w_444,h_250,fp_0.50_0.50,q_35,blur_30,enc_avif,quality_auto/786386_02ea779d02eb4a74bee1c349f5459c78~mv2.webp)
![[中][ENG] 舞蹈的體能訓練 Strength and Conditioning in Dance](https://static.wixstatic.com/media/786386_02ea779d02eb4a74bee1c349f5459c78~mv2.png/v1/fill/w_343,h_193,fp_0.50_0.50,q_95,enc_avif,quality_auto/786386_02ea779d02eb4a74bee1c349f5459c78~mv2.webp)
[中][ENG] 舞蹈的體能訓練 Strength and Conditioning in Dance
舞動潛能 Optimizing Dancers’ Performance 舞蹈的體能訓練 文:敖君龍 照片由香港演藝學院舞蹈學院提供 舞蹈與其他競技運動一樣,是一項對技巧、體能和精確度有嚴格要求的身體活動。為了滿足表演需求,不論舞者所跳的舞步是屬於哪一種舞蹈風格,體能是不可或缺的元素,當中包括力量、爆發力、心肺耐力、靈活性、協調性和平衡等等。相比競技運動,舞蹈更要求參與者在複雜的舞步及極高體力需求下展示各式各樣的動作來表現獨特的美感,所以有學者將舞者定義為「表演的運動員 」。 一般來說,專業的舞者從外形上並不像一般常見項目的運動員那麼強壯,加上舞者大多追求身體及動作上的美態,這種氛圍漸漸使不少舞者潛移默化地認為進行肌肉訓練會使他們變得碩壯,因此他們並不太熱衷於體能訓練。然而,鑑於舞蹈表演在身體及體力的層面有極高度的需求,如果舞者的基本身體質素沒有良好準備的話,他們受傷的風險便會大大增加。近年有不少學者認為,舞者於表演時需要持續高強度活動,單靠平日的舞蹈技巧訓練可能無法提供足夠的體能以應付表演的需要。有見及此,現今一些舞蹈學院及舞蹈團也為舞者加入額
![[中][ENG] 舞者的抗逆力 The Resilient Dancer](https://static.wixstatic.com/media/b580ba_57dd0118ddfe413691cca47d3c63b3a4~mv2.png/v1/fill/w_444,h_250,fp_0.50_0.50,q_35,blur_30,enc_avif,quality_auto/b580ba_57dd0118ddfe413691cca47d3c63b3a4~mv2.webp)
![[中][ENG] 舞者的抗逆力 The Resilient Dancer](https://static.wixstatic.com/media/b580ba_57dd0118ddfe413691cca47d3c63b3a4~mv2.png/v1/fill/w_343,h_193,fp_0.50_0.50,q_95,enc_avif,quality_auto/b580ba_57dd0118ddfe413691cca47d3c63b3a4~mv2.webp)
[中][ENG] 舞者的抗逆力 The Resilient Dancer
舞動潛能 Optimizing Dancers’ Performance The Resilient Dancer Text: Brenton Surgenor Photo: HKAPA School of Dance The relentless pursuit of...
![[中][ENG] 新常態之下,我的回顧與展望 Looking back and looking ahead at dance in the ‘new normal’](https://static.wixstatic.com/media/7b4c47_c655db520d25460a8a569c4e19eeaa6f~mv2.png/v1/fill/w_444,h_250,fp_0.50_0.50,q_35,blur_30,enc_avif,quality_auto/7b4c47_c655db520d25460a8a569c4e19eeaa6f~mv2.webp)
![[中][ENG] 新常態之下,我的回顧與展望 Looking back and looking ahead at dance in the ‘new normal’](https://static.wixstatic.com/media/7b4c47_c655db520d25460a8a569c4e19eeaa6f~mv2.png/v1/fill/w_343,h_193,fp_0.50_0.50,q_95,enc_avif,quality_auto/7b4c47_c655db520d25460a8a569c4e19eeaa6f~mv2.webp)
[中][ENG] 新常態之下,我的回顧與展望 Looking back and looking ahead at dance in the ‘new normal’
新常態之下,我的回顧與展望 編按:為更了解疫情下大家的不同經驗,與及對未來的期盼,我們特別邀請了一眾背景各異,但同樣與舞蹈有密切接觸的朋友,來回答以下的兩條問題: 過去一年,在你自己的舞蹈創作/學習/表演/觀賞中,最大的挑戰/困難是甚麼? 面對要與疫症共存的新常態,你認為未來的舞蹈創作/學習/表演/觀賞會有怎樣的改變呢? (先後以受訪者中文姓名筆劃序) 朱永康及鄭勵 2011年亞洲區分賽及2014年中國賽區冠軍,並兩度晉身世界總決賽30強。他們於2006年在香港成立OtroTango Dance Studio,並曾獲邀到亞洲多個城市表演及客席授課。 阿根廷探戈是雙人舞,過去一年疫情下身體接觸的活動好像是犯罪似的…… 我們敎課的時候都緊守防疫措施,但還是有學生會擔心,在歌舞羣組出現之後,更多學生因為上司同事家人朋友等的壓力下也要暫停下來…… 部份涉舞未深的學生更放棄學下去…… 疫情下堅持下來的學生也只能練習一些單人技巧,Online Zoom課程或者視覺上更清晰又可以重溫,教學上被逼發展出將舞步編成獨舞來練習,但最終雙人互動直接身體接觸感受動力牽引

