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[中][Eng] 放眼舞林 An Eye On Dance

我在西九的其中一項工作是為香港的藝術家和業界建立「橋樑」,因此過去兩年有很多機會受邀到外國參與和觀摩不同的藝術節、藝術交流會和會議,與同行的朋友和藝術家分享和建立網絡,推動和介紹香港舞蹈界,增加互動的機會。我亦藉此參觀和拜訪過不同表演場地、文化地標、舞團和舞蹈中心,了解當地表演藝術發展和運作的現況。擴闊個人視野之外,更令我思考香港未來舞蹈發展的藍圖和西九舞蹈中心的定位。每次工幹回來,總有無數的經歷想分享,面書變爲渠道之一,今年希望借《舞蹈手扎》一欄與讀者分享一些「出差」的所見所聞。

While the dominate focus of the West Kowloon project is on ‘hardware’ development, the performing arts department of West Kowloon focuses strongly on capacity development and sets core objectives to elevate Hong Kong performing artists and creations to the next level. We aim to achieve this by becoming the bridge between local artists and audiences, and the Mainland, Asia, and the world. This new dance journal/hk column is my personal sharing with readers of overseas festivals, venues, and organizations I visited and artists and people I met during my overseas networking trips.

1. (Clockwise from upper left) Santa Yamakawa (Odoru Akita Dance Festival), Yoshiko Swain (Fukuoka Dance Festival), Yi Chul-Jin (International Duet Dance Festival) and Anna CY Chan

(由左上順時針) 山川三太 ( “Odoru Akita Dance Festival”)、Yoshiko Swain (褔岡舞蹈節)、李哲珍(國際雙人舞節) 及陳頌瑛

2. Before performance at the International Duet Dance Festival: (left to right) Yuen Shenglun, Karen Kwong, Hua Chi-yu and Anna CY Chan

攝於「國際雙人舞節」演出前:(左至右) 香港舞蹈團代表袁勝倫、鄺嘉欣及華琪鈺,與陳頌瑛合照

南韓首爾「國際雙人舞節」

International Duet Dance Festival (Seoul)

剛在首爾舉行的「國際雙人舞節」顧名思義是一個以雙人舞節目為主打的舞蹈節。以雙人舞作節目安排,並不是什麼稀奇的橋段,但以傳統舞為核心,全部節目均在不到八十位觀眾的小劇場演出便富趣味。創辦人李哲珍先生(Yi Chul-Jin)本身是一名朝鮮無形文化遺產「僧舞」 (Seungmu)的第二代大師,亦是一個博士學者。早在五年前,他便在自己擁有的 The Sungkyun Theatre(位於南韓著名劇場區 Daehangno大學路的百多個小劇場中,唯一主打舞蹈演出的小劇場)以朝鮮傳統舞和兩位舞者為限的條件下開始了「雙人舞節」,並逐步加插一些當代和海外雙人舞作品,以拓闊觀眾群和建立海外交流平台。2015年受邀的作品以四個作品為一組,分為四組節目,每組節目演5天。在小劇場看傳統舞(並有四位現場樂師)確有一番風味,令人深深感受到那種聞歌起舞的自然反應。我觀看的第一組節目就有兩段以朝鮮傳統農樂為主的雙人舞、兩個分別由香港舞蹈團黃磊編舞的《身.影》選段和兩位南韓青年編排的現代舞。傳統衝擊當代,帶動對話和思考。同期,李哲珍和另一位南韓資深製作人金甡娥(Kim Shinah)亦主辦了一個研討會,主題為「 從藝術節活化傳統表演」。

International Duet Dance Festival held in Seoul was chiefly a showcase for duets. What was unusual was not that it included duets in the program. What made the event intriguing was that traditional dance made up the core of the show and it was held in a theatre that can hold an audience of no more than eighty. Yi Chul-Jin who initiated the Festival is a master of Seungmu (one of the most well-known Korean traditional dances that has been designated a South Korean important intangible cultural asset), as well as a PhD scholar. Featuring traditional Korean dance and allowing only duo works, the first Duet Dance Festival was held five years ago in the Sungkyun Theatre, owned by Mr Yi. Gradually, contemporary dances and overseas work were included, which attracted more audience and facilitated overseas exchange. In the first program I watched, there were two duets about a primitive North Korean farm, a selected performance of Passing Shadows choreographed by Hong Kong Dance Company’s Principal Dancer Huang Lei, and finally a modern dance performance choreographed by two South Korean youngsters. Tradition clashing with contemporary ideas triggers dialogues and reflections. Yi Chul-Jin and another experienced South Korean producer Kim Shinah organized a seminar with a theme “Vitalization of Traditional Performance through the Festival”.

3. Fukuda Tomokaza, founder & president of studio ARCHITANZ. 福田友一,一級建築士事務所創辦人及代表

東京之旅

Tokyo Adventure

充實的四十小時東京