廣告 Ad

dancealliance3.gif

[中][ENG] 環亞舞略 Dance Curating in Asia: 有多少種身體,就有多少種策展 However many types of bodies there are, that’s

環亞舞略

Dance Curating in Asia










耿一偉 Keng Yi-Wei / 攝Photo:法國炸影像工作室 Frenchfries Photo Studio


耿一偉 Keng Yi-Wei

艋舺國際舞蹈節/桃園鐵玫瑰藝術節/花蓮城市空間藝術節策展人

[中] 有多少種身體,就有多少種策展

原文:耿一偉


當我在手機上看到這個邀稿訊息時,是剛走出台北市立美術館大門沒多久。我在這裡與策展人蕭淑文,共同策劃了一個結合臨場藝術(live art)的展覽《藍天之下:我們時代的精神狀況》,其中有兩個作品是與舞蹈相關。一是旅居布魯塞爾的舞者李貞葳的影像裝置《14種承擔的練習》,另一個是滯留島舞蹈劇場的《我在這裡》。我是去看滯留島的演出,他們在六天當中,每天都以不同的主題發展新作,而每一場演出的靈感又跟展覽中的其他作品有關。對我來說,這已經是把策展概念運用到舞蹈創作當中,把不同的演出置入某個框架裡,結果是這些作品之間的並列,會產生出更大的意義。


這有點像打麻將,你摸到一張牌,接著你會想這張牌在現有狀況下,要搭配哪張牌,才會更有效果。當然,你不見得每次都摸得到你要的牌,但是那個策展的動作趨勢就在那裡。一旦你做了第一個動作,挑了第一個節目,很自然會影響到第二個節目的運動方向——這也端賴你想打一副甚麼樣的牌。每個人想法都不一樣,有即興的部分,但結構也在即興中逐漸誕生。這就是策展。


開始我與滯留島討論時,他們並沒有提到會有類似策展的做法,但我一點都不在意,因為這個結果更令人驚喜。策展人不是製作人,藝術家有充分的自由去創作他們想要的。如果作品廣獲好評,那很棒;如果惡評如潮,那更好,因為我們可以說,你看,我們是一個如此包容而開放的藝術節。


在挑選編舞家或舞團的那一刻,信賴就存在那裡了,否則你就不要挑選他們。如果你選了,你就得接受他們也有可能失敗,或者不被當下的觀眾接受。只是從舞蹈史來看,首演的暴動,可能是新風格誕生的前兆。當然,一些想法或大方向的共識還是得有,畢竟我是策展人,我掌握了預算(而且很可能不是我的錢),我必須考慮策展主題(有時也可能只是藉口)。但是一旦有了基本共識(包含創作方向,還有預算規模),剩下的都屬於藝術家發揮的空間。策展有點像規劃一個百貨公司,你可以決定一樓賣甚麼,二樓展示甚麼,你甚至可以挑廠商,可是一旦簽了約,商家如何設計空間擺設,那就不是你的事了。


艋舺國際舞蹈節 Want to Dance Festival / 照片由曉劇場提供 Photo provided by Shinehouse Theatre (Taiwan)


之前我在台北藝術節擔任了六年的藝術總監,一開始的時候,舞蹈節目並非我專注的重點。主要原因是那時候台北還有一個舞蹈節叫「新舞風」,策展人是林懷民老師,而活動時間通常就在台北藝術節結束後不久。我覺得舞蹈觀眾是有限的,沒有必要把彼此互相競爭。但是當支持新舞風的新舞台劇院於2014年決定要拆除後,這個台北最重要的舞蹈節隨之也消失了。


2015年台北藝術節與墨爾本的Dance Massive舞蹈節合作一個節目叫《雙城交鋒》,就是兩邊的舞蹈家,一起合作在兩個城市排練與演出。我去參加Dance Massive的時候,很喜歡他們在很多非正式空間的演出氣氛,觀眾都是愛舞人,演出也是獨立編舞家的小型作品居多。之後我就有想要創立一個類似Dance Massive風格的舞蹈節的想法。這或許跟我對台北這個城市空間的感受有關,我們有很多摩托車,很多獨立的個體在四處衝。


2018年底,我在北藝大戲劇所的一堂課上提到這個想法,剛好曉劇場的藝術總監鍾伯淵也在,而他對舞蹈也很有興趣,於是我們一拍即合,不到半年的時間,就一起創立了艋舺國際舞蹈節。我與鍾伯淵還有曉劇團都不屬於舞蹈圈,但我們也不以為意,反而更沒有包袱,在有限經費下,去做我們可以做的事。我的想法是,辦舞蹈節跟開舞廳很像。開舞廳的人不一定要會跳舞,但要能創造吸引大家來跳舞的空間。


我們也試圖讓艋舺國際舞蹈節有點舞蹈交易會的感覺。我們會動用自己人脈,去邀國際策展人或劇院經理來看演出,希望為這些作品找到繼續跳下去的機會。最近我又擔任了花蓮城市空間藝術節的策展人,我對舞蹈如何協助探索都市空間很有興趣,委任了好幾個創作計畫。


每個身體都是獨特的。


有多少種身體,就有多少種策展。


因為舞蹈就是自由。


滯留島舞蹈劇場參展《藍天之下:我們時代的精神狀況》展覽作品《我在這裡》

Resident Island Dance Theatre’s Being There in Between Earth and the Sky: The Spiritual State of Our Times;

編舞 Choreographer:張忠安 Chung An,Chang / 攝Photo:陳啟瑞



===

文:耿一偉

艋舺國際舞蹈節/桃園鐵玫瑰藝術節/花蓮城市空間藝術節策展人

[ENG] However many types of bodies there are, that’s how many types of curation there will be

Text: Keng Yi-Wei


It was shortly after I stepped out of Taipei Fine Arts Museum’s front door that I got the message inviting me to write this article. With curator Jo Hsiao, I had just co-curated Between Earth and the Sky: The Spiritual State of Our Times, an exhibition integrating live art, in which two of the works are related to dance. One of them was 14 Kinds of Exercise with Endurance, a video installation by Lee Chen-Wei, a dancer currently based in Brussels. The other was Resident Island Dance Theatre’s Being There. As I watched Resident Island’s performances, during the six days they developed new works from a different topic each day, with the inspiration for each performance related to other works in the exhibition. To me, this is already adopting the concept of curation into dance creation, putting different performances into a certain framework. This results in producing deeper meaning by putting creative pieces side by side.


This is a little like the game of mahjong. When you draw a tile, you will think about the best way to combine the tiles to produce the greatest effect. Of course, you won’t get the tiles you need every time, but the impulse to curate occurs every time. Once you’ve made your first move, chosen your first programme, it naturally affects the direction of the second programme — this also depends on the tile combinations you are trying to create. Everyone has a different idea. There’s a certain amount of improvisation, but the structure is slowly built through improvisation. This is curation.


At first during our discussions, Resident Island did not mention their curation-like method, but that didn’t bother me at all, because this result was even more surprising. The curator is not the producer. Artists enjoy a sufficient amount of freedom to create what they want. If their works get favourable criticism, that’s great. If they get loads of negative responses, that’s even better, because then we can say: look, we are such an open and inclusive art festival.


I was the artistic director of Taipei Arts Festival for six years. At first, dance programmes were not my focus, the main reason being that at that time there was the dance festival Novel Dance Series, curated by Mr. Lin Hwai-Min, which usually started shortly after the closing of Taipei Arts Festival. I thought: the dance audience is limited, so there is no need to get involved in competition. But when the decision to demolish the Novel Hall for Performing Arts, the theatre that supported Novel Dance Series, was made in 2014, that also meant the end of Taipei’s most important dance festival.


In 2015, Taipei Arts Festival collaborated with Melbourne’s dance festival Dance Massive in a programme called eXchange, in which dancers from the two cities worked together to rehearse and perform. When I participated in Dance Massive, I really liked the atmosphere of many of their performances in informal performance spaces. All the audience were passionate about dance, and the performances mainly consisted of small-scale creations by independent choreographers. Later on, I had the idea to create a dance festival like Dance Massive. This might be related to my feelings for Taipei city’s urban space, since we have a lot of motorcycles, a lot of individuals rushing around.


At the end of 2018, I brought this idea up during a session at Taipei National University of the Arts’ School of Theatre Arts and it happened that Shinehouse Theatre’s Artistic Director, Chung Po-Yuan, was present. He was also very interested in dance, and we hit it off right away. In less than half a year, we established Want to Dance Festival together. Neither Chung nor I, nor Shinehouse Theatre, belonged to the dance industry, but we didn’t mind, instead that left us free, without pressure, to do what we wanted to do with limited funds. I think organizing a dance festival is largely similar to starting a dance hall. The founders need not know how to dance, but they have to be able to create a space that attracts people to come and dance.


We try to make Want to Dance Festival like a dance trade fair. We will use our own network to invite international curators and theatre managers to watch our shows, hoping to find chances for these pieces to continue dancing on. Recently, I became the curator of Hualien Performing Public Space Festival. I’m very interested in how dance helps explore urban space, and have commissioned several creative projects.


Each body is unique.


However many types of bodies there are, that’s how many types of curation there will be.


Because dance is freedom.


艋舺國際舞蹈節《一顆開花的樹》Want to Dance Festival -- A Blooming Tree;

編舞 Choreographer:張婷婷 Ting Ting Chang / 攝:林政億(照片由曉劇場提供)




===

(English Translation by Tiffany Wong)

Text: Keng Yi-Wei

Curator of Want to Dance Festival/ Taoyuan Iron Rose Festival/ Hualien Performing Public Space Festival

 編輯推介  HIGHLIGHTS

廣告 Ad

Harlequin_FLOORS_Logo_Limited_Horizontal
200x287-01.jpg

過往出版  Past Publications

其他文章 More Articles

相關文章  RELATED ARTICLES

© 2019 by the Hong Kong Dance Alliance