廣告 Ad

HKDA2020 DJ website banner 675x120 b_101

[中][Eng] 放眼舞林An Eye on Dance

 

臺灣舞蹈平台公開論壇,全體參與者合影。

Group photo of Taiwan Dance Platform Open Talk participants.

相片由高雄衛武營國家藝術文化中心提供。
Photos provided by Wei-Wu-Ying Center for the Arts.

攝影Photo Credit:陳長志 Chen Chang-Chih

 

 

2016衛武營藝術祭:第一屆臺灣舞蹈平台
2016 Wei-Wu-Ying Arts Festival: 1st Taiwan Dance Platform



近年,亞洲有很多新場館相繼落成投入營運:位於南韓光州的亞洲表演中心、上海國際舞蹈中心、臺中國家歌劇院等,未來五年還有更多新劇場陸續誔生。較少場館於落成啟用前舉辦活動,而衛武營國家藝術文化中心是少數之一。今年11月我應邀參加第一屆臺灣舞蹈平台的演出觀賞和公開論壇系列。衛武營國家藝術文化中心還在施工過程最後階段,未來將會有歌劇院、音樂廳、戲劇院、表演廳及戶外藝術廣場等表演場地,為亞洲最大的綜合劇院。

 

Recently, a number of new arts venues in Asia have been inaugurated, such as the Asian Culture Complex located in Gwangju, Korea, Shanghai International Dance Center, and the National Taichung Theater, with more coming in the next 5 years.  It’s rare for an arts venue to present programs before its inauguration, but the Kaohsiung Wei-Wu-Ying Center for the Arts is one that has. This November, I was invited to attend the 1st Taiwan Dance Platform Performance Program and Open Talk Series organized by the Center. Although still in the final phase of construction, soon its various venues will include an Opera House, Concert Hall, Lyric Theater, Playhouse, Recital Hall, and an Outdoor Art Plaza, which, when completed, will make it the largest art complex in Asia.

 

是次參與於高雄舉辦的第一屆臺灣舞蹈平台的機會,實在吸引。即使香港舞蹈界有很多機會與台北藝術家交流,但甚少到訪台灣其他地域。客觀而言,參與的台灣與會者和藝術家眾多都是立足於台北的。以高雄為駐腳點的藝術家或舞蹈團是少數中的更少數,這引發我思索當地藝術家與場地和觀眾的關係、藝術家和藝團的生態、觀眾與場地的關係和觀眾群的拓展等問題。

 

This opportunity to attend the platform in Kaohsiung was attractive. Even though the dance community in Hong Kong has frequent exchanges with Taipei counterparts, they are infrequent with those elsewhere in Taiwan. Objectively, I noticed that most of the participating artists and companies were from Taipei and only a few were based in Kaohsiung.  This situation triggered a series of questions about the relationship among artist, venue, and audiences; the ecology of artist and dance company; the relationship between audience and venue; and, audience development.

 

 

攝於高雄衛武營藝術文化中心建築期間。

Photo taken during the construction of Wei-Wu-Ying Center for the Arts.

相片由麥肯諾建築師事務所提供。

Photo provided by Mecanoo Architecten B.V.

 

 

 

策劃此平台的製作人期望可以透過活動,推廣台灣當代舞和連結其他亞洲地區的網絡,因此第一屆的核心討論都圍繞「亞洲」。開幕的公開講座先以「探討台灣當代舞蹈現在式」作題目,接著圓桌討論則探索東南亞國家的舞蹈,最後以「為何我們談論亞洲」為閉幕的公開對談題目。另外,平台還包括兩場劇場演出系列和戶外演出。交流活動亦邀請了多位來自東南亞國家、澳洲、美國、英國和歐洲的一些舞蹈專家製作人和策展人參與。我尤其喜歡以圓桌小組討論的方式與來自新加坡、菲律賓、馬來西亞、柬埔寨和印尼等地的製作人和策展人,從歷史、經濟、地理環境的角度介紹其國家的舞蹈發展和其影響。因為以小組形式,比較能夠深入去理解每一個所謂亞洲地區的差異和他們對交流上的看法。討論過程圍繞東南亞國家在傳統中如何從傳統身體語言發展當代舞蹈,亦同時探討亞洲各國的差異,無論在政治、歷史、地理環境上的差異和多元化文化景觀,藝術家及策展人可以如何詮譯亞洲?亞洲區的舞蹈網絡應怎樣連結來影響、帶動藝術發展?

 

 

Since the expectation of the platform producer was the promotion of Taiwanese contemporary dance and to connect it with various Asian networks, the focus, therefore, had an Asian context. The Open Talk series started off with the topic, “The Contemporary Dance Scene in Taiwan” followed by a roundtable discussion that explored the Southeast Asia dance context with a closing discussion, “Why Asia Matters and How”.  On the other side, the Dance Platform included two theater performance series and outdoor performances. It invited a number of professional dance producers and curators from Southeast Asia, Australia, America, Britain, and Europe.  Among all the programs, I was draw to the roundtable discussions that invited producers and curators from Singapore, Philippines, Malaysia, Cambodia, and Indonesia and introduced the development of dance and its influence through the perspectives of historical, economical, and geographical environments, respectively.  This mode of group discussion allows an in-depth understanding of the differences of each participant and their options for exchange.  The discussion was on how Southeast Asian countries develop new languages of contemporary dance from artistic traditions while at the same time investigating differences among Asian countries in regards to political, historical, geographical differences and their multicultural landscapes, in other words how do artists and curators interpret ‘Asia’?  How to connect the diverse dance networks in Asian and how do they affect the development of arts in Asia?  

 

 

過程中留下很多有趣的提問值得我們再反思:為何亞洲地區總是喜歡與歐美國家交流?是否殖民地的遺證?所談的「亞洲」,是否只局限於東亞洲已發展的地域?亞洲有否被限制於西方定義下的「亞洲」?可否廣闊地包含其他地域?我們所談的的「亞洲」是什麼呢?最後,香港或西九又能否策展香港舞蹈平台或推動、促成亞洲區的舞蹈網絡?值得嘗試!

 

 

Many reflective questions emerged from the process that are worth pondering, such as why Asian countries favor exchanges with Europe and America? Whether that is evidence of colonialism? Is the term ‘Asian’ limited to developed East Asian countries? Has Asia been confined to the ‘Asia’ defined by the West? Can it contain a wider range of other regions? What is the ‘Asia’ we talk about? And finally, whether Hong Kong or the West Kowloon Cultural District will be able to curate Hong Kong's dance platform or promote Asian dance networks? I think it is worth a try!

 

臺灣舞蹈平台之《第二類化學反應》—《詭跡》(選段),編舞:羅文瑾(台灣)。
Taiwan Dance Platform Chemistry II – Dripping (excerpt), Choreographer: Luo Wen-jinn (Taiwan).

相片由高雄衛武營國家藝術文化中心提供。
Photos provided by Wei-Wu-Ying Center for the Arts.
攝影Photo Credit: 陳長志 Chen Chang-Chih

 

臺灣舞蹈平台之《第一類化學反應》—《Play me》(選段),編舞:董怡芬(台灣)。
Taiwan Dance Platform Chemistry I - Play Me(excerpt), Choreographer: Tung I-feng (Taiwan).

相片由高雄衛武營國家藝術文化中心提供。
Photos provided by Wei-Wu-Ying Center for the Arts.

攝影Photo Credit: 陳長志 Chen Chang-Chih

 

 

 

Please reload

相關文章  RELATED ARTICLES

Please reload

 編輯推介  HIGHLIGHTS

[中] 探索舞蹈的邊界 — 預覽賽馬會藝壇新勢力

November 6, 2019

1/10
Please reload

廣告 Ad