[中][Eng] 放眼舞林 An Eye on Dance
來自香港和芬蘭的藝術家和機構。Artists and Organizations from Finland and Hong Kong at ICE HOT.
相片由陳頌瑛提供 Photo provided by Anna CY Chan.
ICE HOT 北歐舞蹈平台 ICE HOT Nordic Dance Platform
Nordic contemporary dance is relatively new to Hong Kong dance lovers, perhaps due to the fewer performances and exchanges from that region. In December 2016, I went on my second visit to ICE HOT Nordic Dance Platform.
因地理偏遠，亞洲對北歐的舞蹈認識不及歐洲的主流國家如法國、德國、荷蘭和比利時深厚，特別是當代舞蹈的發展。ICE HOT北歐舞蹈平台，由五個北歐合作夥伴發起，包括芬蘭舞蹈資訊中心、瑞典斯德哥爾摩的 Dansens Hus、 挪威的奧斯陸舞蹈劇場、丹麥哥本哈根的Dansehallerne 舞蹈中心和冰島的 Performing Arts Iceland。目標正是回應此弱勢現象，通過打造一個北歐協作概念和品牌，以雙年度展演和策劃促進北歐舞蹈藝術家和舞團的國際網絡，增強和擴大國際巡演工作和機會。ICE HOT 於2010年12月在瑞典的斯德哥爾摩舉行第一次北歐舞蹈平台作為試驗計劃。由於反應令人鼓舞，第二個平台相繼於2012年12月在芬蘭的赫爾辛基舉行。其後合作伙伴進一步開發和擴大合作範圍，並決定每隔一年在其他北歐國家主辦一次。 我便參加了2014年於挪威奧斯陸和今年在丹麥哥本哈根舉辨的 ICE HOT。
Because of the geographical distance, Nordic dance, especially contemporary dance development, is less known in Asia than it is in European countries such as France, Germany, Holland, and Belgium. ICE HOT Nordic Dance Platform was formed by five Nordic partners including Dance Info Finland, Dansens Hus Stockholm, Dansens Hus Oslo, Performing Arts Iceland, and Dansehallerne Copenhagen. Its aim is to counter this lack of recognition by building a Nordic collaborative concept and brand; developing a network between Nordic and international dance artists; and expanding international touring opportunities through a biennial platform. The pilot project, ICE HOT 2010, occurred in Stockholm, Sweden and had an encouraging reception. The second platform in 2012 took place in Helsinki, Finland. Afterward, its scale expanded and it collaborated with different partners; the decision was also made to organize the platform every other year, sharing its hosting among the Nordic countries. I attended the third platform in 2014 in Oslo, Norway and the last platform in 2016 in Copenhagen, Denmark.
東亞舞蹈平台宣佈成立。Announcement of East Asia Dance Platform. 圖Photo: Anne Mette Berg
此類跨國的舞蹈或表演藝術網絡平台在歐洲很普遍，成功例子如「國際現代表演藝術交流網絡」（IETM），「Aerowaves舞蹈創作網絡」和 「歐洲舞蹈劇場網絡」等，均於不同層面上提高了國際交流、巡演和協作機會。可是 ICE HOT 能引起廣泛的國際興趣，是因為它有別於其他網絡的獨特合作模式—五個來自不同國家的協作組織，各具不同的營運目標、金融模式和規模結構，卻可排除各異，共同打造一個品牌，集中資源、強大個體，成為世界其他國家試圖創造類似平台的靈感。今年於丹麥哥本哈根的ICE HOT便宣佈新成立的「東亞舞蹈平台」（East Asia Dance Platform）。 由三個亞洲的主要現代舞節目主辦機構組成：香港的城市當代舞團、首爾世界舞蹈節及日本橫濱舞集。經過數年的商談和 ICE HOT主要成員的經驗分享和幫助下， 將藉此平台緊密合作，將優秀的當代舞蹈作品帶到國際舞台。我期待第一屆「東亞舞蹈平台」於2017年在香港舉行的「城市當代舞蹈節2017」首次展示的作品，向香港觀眾、國際主要劇院及藝術節策劃人推介本地及亞洲舞蹈藝術家。
This type of intercountry dance and performing arts platform is common in Europe, successful examples are International Network for Contemporary Performing Arts (IETM) and Aerowaves – Dance Across Europe, European Dancehouse Network. These platforms improve international touring and co-production opportunities at many levels. But, ICE HOT gains wide international interest based on its unique cooperative model of merging five organizations from five different countries with different missions, financial models, and structures into one brand. Its centralization of resources at the same time strengthens each individual partner; it has become a model for other countries that try to create similar platforms. After years of negotiation and facilitated by the core partners of ICE HOT 2016 in Copenhagen, ICE HOT announced a new program of East Asia Dance Platform formed by three main contemporary dance festival organizations, City Contemporary Dance Company (Hong Kong), SIDance (South Korean) and Yokohama Dance Collection (Japan). I look forward to the first edition of the East Asia Dance Platform organized by CCDC that will take place in Hong Kong in 2017; it will present local and Asian dance performances to Hong Kong audiences and curators from international theaters and festivals.
當然，這一種網絡連結的好處是壯大聲勢，網絡之間已有應許的互動巡演和交流，亦可給予海外劇院及藝術節策劃人一個集中點，選擇某一地域的作品，減少外遊次數，資源更集中。但缺點亦可能是在互相平等的策展方向下，主辨機構面對在地的資料不足和集體决策系統，造成製作和作品水平參差，缺乏藝術策劃方向和主題，未必能將舞蹈節的最高水平呈現於國際同行之間。今年的 ICE HOT 較上屆就有此感覺，我五天内看了超過二十個作品，感覺並不及過去兩年北歐的佳作，略嫌遜色！
Certainly, the advantages of this kind of networking are that it helps to create momentum for touring and exchange within the network and it provides a centralized platform and resources for international theater and festival programmers to choose works from specific countries without much traveling. But, its disadvantages could be a compromised programming direction, an appointed organizer faced with a lack of ground information, and a collective decision-making system. This could result in uneven productions and works that lack artistic direction and themes that may not be able to demonstrate the platform's highest level to international counterparts. At the 2016 edition of ICE HOT, these disadvantages were more apparent than at the previous edition. I saw over twenty performances within five days, the quality was somewhat less than some great works from Nordic countries of the past two years.
我仍然期望參與下一屆 2018年 12月12至16日於冰島雷克雅未克