[中][Eng] 放眼舞林An Eye on Dance
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.
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.
Photo taken during the construction of Wei-Wu-Ying Center for the Arts.
Photo provided by Mecanoo Architecten B.V.
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 danc