Battle Massive的街舞演出。Street dance performance at Battle Massive. 攝 Photo: Sarah Walker
澳洲墨爾本Dance Massive 2017
Melbourne Dance Massive 2017
2017年的第一季歐美、亞洲和澳洲等地都舉行了不少藝術節、研討會和展銷會，供國際製作人節目策劃人、藝術行政人和藝術家參與。如一月於美國紐約舉行了由 Association of Performing Arts Professionals主辦的國際表演藝術會議及市場（Global Performing Arts Conference and Marketplace），國際演藝協會（ISPA）舉辦的國際會議，同期還有COIL Festival， 雷達外藝術節（Under the Radar Festival） 和美國真實藝術節（American Realness）。二月有於英國布里斯托爾舉辦的兩年一度的 In Between Time - Bristol International Festival和日本的橫濱表演藝術交流會（TPAM）。三月有於澳洲墨爾本的第一屆亞洲 TOPA 和兩年一度的Dance Massive。因今年工作計劃，所以選擇了參與橫濱表演藝術交流會TPAM和Dance Massive，今期就主要分享澳洲之旅。
Many Art Festivals, Conferences, and Arts Market are held in Europe, America, Asia, and Australia in the first part of 2017. They provide platforms for international producers, curators, art administrators, and artists to participate. In January, the Association of Performing Arts Professionals organized APAP/NYC Global Performing Arts Conference and Marketplace and the International Society for the Performing Arts held the ISPA Congress in New York City. Going on at the same time were COIL Festival, Under the Radar Festival, and American Realness. In February, In Between Time - Bristol International Festival in Bristol, England, held biennially, and Tokyo Performing Arts Meeting in Yokohama (TPAM), Japan are convened. This March had the first edition of Asia TOPA and the biennial Dance Massive festival in Melbourne, Australia. Due to my work schedule, I could only attend TPAM in Yokohama and Dance Massive and for this issue, the focus is on Australia.
自2009年以來，澳洲藝術委員會和創意維多利亞便開始支持於墨爾本舉辦的Dance Massive舞蹈平台項目。每年都會邀請來自世界各地的製作人和節目策展人參與，觀看澳洲的當代舞蹈作品和安排不同活動給予藝術家和藝團建立對話和網絡的機會。我特別欣賞節目策展由一個以場地組成的聯盟共同策劃，包括 Arts House， Dancehouse 和 Malthouse Theatre。這些場地均由場地藝術總監按各場地藝術定位方向和各自營運不同大小的場地來策展節目。這樣的聯盟負責形式，既可分享資源、促進當地協作，亦可擴闊節目層面，整合規模，加深和突出澳洲藝術家和作品的多元性。
In 2009, the Australian Government Ministry for the Arts and Creative Victoria began its support of Dance Massive; a contemporary dance platform in Melbourne. The platform invites producers and festival curators from all over the world to attend a series of contemporary dance performances made in Australia and activities that provide opportunities to establish dialogue and networking for artists and arts group. I appreciated the co-curated programs by Melbourne arts organizations - Arts House, Dancehouse, and Malthouse Theatre. Each of the Artistic Directors of the three organizations has input into designing the programs based on their respective artistic vision, the different scale of operations, and the various venue sizes . This form of co-curating allows sharing of resources and promoting local collaboration. At the same time, it broadens the programing area and enlarges the scale of the platform, also, it deepens and highlights the diversity of work of Australian artists.
Dance Massive 的歡迎茶會。Dance Massive welcome brunch. Photo: Sarah Walker
Arts House 是墨爾本城市政府的藝術節目機構，駐北墨爾本城市廳，以支援和倡議獨立藝術家為主線，促進當代作品創意發展、呈現創新和多媒體藝術作品為主，推廣觀眾参與和帶領同行和業界發展為目標。藝術策劃以藝術總監和她的團隊負責，每年兩季，除了與其他場地伙伴舉辦 Dance Massive 和 Festival of Live Art 外，亦製作由Arts House 的 CultureLAB發展的新作品，和支援其他墨爾本主辨的文化藝術節。
Arts House is an arts festival organization of the City of Melbourne, located in Melbourne Town Hall. Its vision is to provide support and initiate independent art practice; foster contemporary work and the development of innovative, multidisciplinary works; and, promote audience participation stimulating peer sector development. Arts House offers two seasons a year besides co-partnering the events Dance Massive and Festival of Live Art. The artistic director and her team are responsible for producing new works through their in-house program CultureLAB and supporting other cultural festivals organized by the City of Melbourne.
Malthouse Theatre 前身是一座啤酒廠，改建於1986，現有兩個劇場，排練室和其他設施。團隊深信劇場是一個能成為倡議改變的媒介，因此藝術策劃以探索個人、社會和政治議題出發，鼓勵多元文化、多元語言、多元觀點、性別平等和共融等的核心問題。藝術總監和其團隊為核心領導之一，主辦和共同製作國內外的作品，而大多數的新製作均有 Malthouse Theatre 的藝術創作計劃孕育以成。
Malthouse Theatre, formerly a brewery, was renovated in 1986. It was transformed into a theatre venue with two theatres, a rehearsal space, and other facilities. The organization considers Theatre has the power to be an agent of change, therefore, the programing mainly focuses on works that explore issues that connect on personal, social, and political levels. It encourages cultural diversity, multilingualism, alternative points of view, gender equality, and communal discourse. Together, the artistic director and other organizations work as the core leadership and organize and co-produce international productions. Most of the new productions come out of Malthouse Theatre’s creative programs.
Malthouse Theatre; 攝 Photo: Belinda Strodder
Dancehouse 是一所支援和製作獨立編舞的舞蹈「家」，以當代舞蹈創作為主。過去香港舞盟於2011年的香港／澳洲文化交流：《對對舞之香港澳洲二、三事》製作，亦與此機構合作。Dancehouse 以藝術家為中心，提供藝術家進駐計劃，專業培訓、製作和節出。今年，西九亦與Dancehouse 簽訂協議書，亦於3月27日展開為期三年的「國際創意交流—香港X澳洲」計劃。
Dancehouse supports and produces works of independent dance choreographers, and is a house particularly for contemporary dance. In 2011, it co-produced HK/Australia Cultural Exchange: Perfect Pairs and Odd Couples in collaboration with the Hong Kong Dance Alliance. This artist-instigated organization provides artist-in-residency programs, professional development training, productions, and workshops. This year, the Performing Arts Department of West Kowloon Culture District signed a memorandum with Dancehouse to launch a three-years residency exchange program Creative Meeting Points: Hong Kong X Melbourne starting from 27 March 2017.
Dance Massive 今年共20個作品和多項活動。每次参與類似的舞蹈平台，除了看無數的演出外（五天共看了12個作品），我比較喜歡能與藝術家對話或觀看發展中的創作等。一個作品並不能全面代表編舞的方向和才華，閒談更能深入了解，並發掘其個人風格和特點。
In 2017, Dance Massive showcased 20 performances and many other activities. Every time, I attend similar dance platforms, besides attending numerous performances – I went to 12 performances in five days this time – I take every opportunity to talk with artists and see as many work-in-development creations as I can. Especially when a work can’t adequately represent a choreographer’s artistic direction and talent, conversation becomes a way to learn more about their personal style and characteristics.
Aeon, 概念與藝術指導 Concept & Artistic Lead: Lz Dunn. 攝 Photo: Bryony Jackson
回顧過去三年遊跑不同節目，並與無數藝術家和製作人傾談，自身亦提高了「論」舞能力。反思較多的香港舞蹈藝術家、藝術行政人、製作人真的要加強此方面的溝通能力。我深信問題不是只是語言或外語的能力，是信心、思考的邏輯、對自我（或是代表的藝術家）創作的理解、自身與當代舞台的定位和其好奇心的程度等。近年的觀察，欣喜已有很大進步。此溝通能力是需要段練的，就讓我們多説話，多討論吧！Let's have a conversation!
Thinking back, in the past three years, I have traveled to different kinds of festivals and talked with many artists and producers, all these experiences have enabled me to have a broader perspective of Dance. Reflecting on these experiences, I would say that dance artists, art administrators, and producers in Hong Kong need to strengthen their communication skills. Beyond language skills or foreign language abilities, I believe this involves confidence, logical thinking, understanding your own work or the work of the artist you represent, your personal standpoint on contemporary dance development, and your curiosity about it. Thankfully, there have been huge improvements in recent years. Let's start engaging in dialogues and discussions, communication skills need practice. Let’s have a conversation.