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[中][ENG] 放眼舞林 An Eye on Dance


Tanzquartier Wien, On Truth and Lie in an... by Peter Stamer (Denmark),  Frank Willens (Denmark/United States); Photo: eSeL


奧地利FEEDBACK和丹麥Aerowaves 舞蹈節

Dance Festival FEEDBACK in Austria and Aerowaves in Denmark


三月剛剛完成西九與芬蘭和澳洲的兩個舞蹈國際創意交流計劃(Residency exchange programme “Creative Meeting Point”)後,四月底特別抽空六天,參與了兩個於歐洲舉辦的舞蹈節,進一步拓展香港與海外未來合作的機會。今期會介紹奧地利維也納舞蹈館策劃的舞蹈節及一個於丹麥歷史悠久,專注新生代編舞的舞蹈節和平台。


After West Kowloon’s residency exchange program initiative Creative Meeting Point with Finland and Australia in March, and to continue expanding future collaborative opportunities with other countries, I had specially taken six days off at the end of April to attend two Dance Festivals in Europe, one organized by Tanzquartier Wien in Austria and the other, a historic Dance platform in Denmark.  Both focus on presenting emerging choreographers.


Tanzquartier Wien, o.T. | (Incipient Futures) by Ian Kaler; Photo: Eva Würdinger




現時於22個的歐洲國家中,合共有33個舞蹈館(Dancehouse), 組成一個龐大的歐洲舞蹈館網絡( European Dancehouse Network)。每個舞蹈館大小各異,各具特色,運作獨立,而舞蹈館網絡旨在團結力量,加強協作,共同為舞蹈發聲和推動發展。剛剛卸任維也納舞蹈館Tanzquartier Wien的藝術總監 Walter Heun,在其八年的任期中, 每兩年便聯同當地劇院 Brut,以兩個單位的觀點策劃主辦一個以奧地利當代舞蹈藝術作品為主的舞蹈節,命名為FEEDBACK。


今年四天的FEEDBACK舞蹈節,便一共呈現了15個我個人認為偏以語言、重劇場元素和概念性強的舞蹈劇場作品。 我欣賞 FEEDBACK「坦白具承擔」的策展態度,它以聚焦奧地利舞蹈為宣傳重點,但卻明確表明作品選擇是以藝術總監策展觀點的個人「口味」出發。觀看所有作品後,亦感到此乃選擇代表性作品,並不涵蓋奧地利的所有當代舞蹈作品。


Across twenty-two European countries, thirty-six Dancehouses form a huge network called European Dancehouse Network. In the Network, each Dancehouse operates independently on its own scale with its own specialty. The mission of the Network is to strengthen cooperation, to speak up for dance, and to promote dance development through solidarity. During his eight years in office Walter Heun, former Artistic Director of Tanzquartier Wien, a Network member, initiated FEEDBACK Dance Festival held biennially in collaboration with the Viennese theater, brut Wien, to focus on Contemporary Dance in Austria.  


From my point of view, this year, over the four days of the Festival, the fifteen dance works that were shown privileged language, theatricality, and were concept driven. I appreciated the Festival’s admission about programming; publicizing the idea of bringing dance from across Austria but with the clear proviso that selections were based on the personal taste of the director.  After seeing all the works, they seemed mostly representative of specific artists rather than including the whole range of contemporary dance in Austria.


Aerowaves Spring Forward於丹麥舉行 Denmark’s  Aerowaves Spring Forward;
圖片由陳頌瑛提供Photo provided by Anna CY Chan




離開維也納後,需轉乘兩次飛機才到達人口約30萬的丹麥第二大城市奧胡斯(Aarhus)。以香港城市人,甚至一些歐洲人的角度,奧胡斯看似一個小鎮多於大城市。但勿輕視此「小鎮」,她卻是2017年歐盟指定為的歐洲文化之都(European Capital of Culture),2017年的Aerowaves Spring Forward 三天密集的周末節,便於此城市舉行。


After Vienna and two connecting flights, I arrived in Denmark’s second biggest city – Aarhus, which has a population of a little over three hundred thousand.  Hong Kong people and even some Europeans would consider it a small town rather than a city. But do not underestimate this ‘small town’, it was appointed European Capital of Culture in 2017. Aerowaves Spring Forward 2017 took place there for three days over a weekend.


Aerowaves,Your Mother at the Door by Timothy and the Things, Photo: Gabor Dusa


Aerowaves是一個具二十年的悠久歐洲舞蹈品牌。由當時是倫敦The Place 劇院主任的約翰﹒阿什福德(John Ashford)與一小群歐洲舞蹈同事於1996年組成。目標為整合展演歐洲年輕編舞作品為主的平台,首於The Place 劇院展演。經過二十年的發展,此平台已成長為網絡,是接觸歐洲舞蹈的重要樞紐之一。Aerowaves現時有33個合作夥伴國家,網絡匯集了45位專業成員。每年十月,成員從600多個新生代編舞申請中投票選出其中最具潛力的20位歐洲新生代編舞,成為該年的Aerowaves藝術家。他們以對各地方和全國舞蹈的知識,見解和熱愛,在五天的密集會議上,共同觀看和討論數百個視頻後投票選出結果。Aerowaves會與支持合作夥伴,為新生代編舞創造更多巡演機會,提供資源,協助推廣和共享實踐知識,並助他們尋求新的合作機會和支援發展其國際職業生涯。Aerowaves每年更邀請來自世界各地過百多個舞蹈場館製作人和舞蹈節總監參與Spring Forward,一同發掘歐洲的舞蹈新血。今年台灣高雄的衛武營藝術文化中心同事,已率先與Aerowaves作國際交流,於Spring Forward 節中首次呈現台灣作品。


Aerowaves is a twenty-year old historic European dance label. It was launched by John Ashford, the former Theater Manager of The Place in London, and a group of European dance colleagues in 1996.  It aims to provide opportunity for young choreographers in Europe to be presented at The Place Theatre.  After twenty years of development, this platform has grown into a network that serves as a gateway to discover dance in Europe.  Aerowaves partners with thirty-three countries and has forty-five professional members. Every October, through a voting system, members of Aerowaves select twenty young European emerging choreographers out of six hundred applicants to be artist of the year. In the five-day intensive meeting, members actively share knowledge, understanding, and passion from their respective areas, they watch over a hundred videos from applicants and engage in discussion before casting a vote.  Additionally, Aerowaves provides support for co-produced touring opportunities, resources, promotional support, and the sharing of practical knowledge to facilitate young choreographers’ development of international career paths. Every year, it invites over a hundred Dancehouse producers and dance festival directors for SPRING FORWARD to discover new blood in the European dance scene.  For example, this year, Wei-Wu-Ying Center for the Arts from Kaohsiung, Taiwan initiated an exchange with Aerowaves and presented a Taiwanese performance in the platform.   





I believe Asia has the potential to develop a similar network with our own distinctive characteristics. It is acknowledged that dance festivals and artists in Asia have created projects with common ideas. Perhaps, we could synergize this dynamic to cooperate and to consolidate resources, joining forces to develop a diverse Asia Dance Network!


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