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[中] [ENG] 舞林積旅傾Dance Travelogue: 2019 橫濱舞集​ Yokohama Dance Collection 2019

舞林積旅傾
Dance Travelogue

 

2019 橫濱舞集

Yokohama Dance Collection 2019

 

翻譯 Translation: Pomny Chu

 

2019 橫濱舞集頒獎典禮 Yokohama Dance Collection 2019 Award Ceremony;攝Photo:塚田洋一 Tsukada Yoichi

 

衝出香港,踏上國際舞台,相信是不少舞蹈藝術家的目標。網路資訊的發展令藝術家更容易捕捉世界各地的演出機會。除了應邀到海外舞蹈節演出之外,也可主動出擊參加國際性比賽。每年日本的橫濱舞集(Yokohama Dance Collection)都會舉辦舞蹈比賽,其中Competition I 是開放給國內外舞蹈家參加的平台,今年香港舞蹈家王丹琦(WONG Tan-ki)和李思颺(Justyne Li)帶著他們的作品《分割》(Division),踏上了這比賽的舞台。為期兩天的比賽緊張刺激,我也把握機會在比賽過後與他們二人對談一番,分享一下這趟旅程的點滴經歷。

 

It is the aspiration of many a dance artist in Hong Kong to reach beyond their hometown and to present their work at an international platform. The advanced development of Internet and the consequent accessibility of information has made it easier for artists to locate performing opportunities around the world. Apart from being invited to perform overseas, artists can also participate in international competitions through their own initiatives. Yokohama Dance Collection (the Yokohama) is an annual dance competition in Yokohama, Japan. Competition I is open to local and international dancers. This year two dancers from Hong Kong, Wong Tan-ki and Justyne Li, took part in the competition with their work, Division. The two-day competition was intense and exciting. I had the opportunity to talk with Wong and Li and ask them to share their experiences of this journey.

 

不要讓「比賽」成為自己的包袱

Not allowing a competition to become a burden

 

很多藝術家都卻步於參加比賽。事實上,比賽會製定統一的評分準則及指標,但用以評價當代舞創作的優劣並不得宜;對於參加者而言,這些標準都令他們摸不著頭腦,甚至抗拒。Justyne和丹琦也坦言,對於這「比賽」的目的及準則,甚至自己的期望等等,都比以往的單純演出模糊。Justyne笑說道:「為編舞評分是一件很傻的事情,硬要從編舞方面分高低,是永遠都沒有一套統一的法則。」

 

Many artists find it stressful to participate in competitions. There are normally set rules and standards for the assessment of dance, which some artists feel are inappropriate in evaluating contemporary choreography. The participants do not always understand what appear as subjective criteria and do not see the point of being judged by them. Justyne and Tan-ki admitted that they were not fully aware of the objectives and the criteria of the contest. Unlike the expectations for a performance, they were uncertain about what to expect from this competition. “It seems ridiculous to have choreography graded. I don’t believe there can be a consistent and systematic set of criteria for assessing choreography,” Justyne laughingly said.

 

然而,撇開這些心理包袱,「比賽」也有著其正面作用,Justyne說:「因為要參加這個比賽,潛意識地推動了自己提升演出水平,在排練時不斷提醒自己要精益求精,一個簡單的動作稍有瑕疵也不能放過。」丹琦對於這個說法也表示認同:「始終是一個國際性的演出平台,先放低爭勝心態,反而要求自己做到最好。」演出完成後,他們也重新審視自己對待「比賽」的心態:「避免被『比賽』 或者個別評審的準則影響創作。」把這個活動視作為向來自世界各地的觀眾展演自己的作品的平台,也是忠誠地對待自己作品的最佳見證。

 

Although the idea of a “competition” can put pressure on artists, there can also be positive effects. “I was strongly motivated to improve myself in performance because of this competition. I told myself repeatedly in every rehearsal to do better. I did not like even the smallest mistake in a dance performance,” Justyne said. Tan-ki also agreed with her, “After all, the Yokohama was an international performing platform. It was so important to do our very best as professional performers rather than concentrate solely on winning the competition.” After the Yokohama performance, the two performers also evaluated their own attitudes towards “competition.” “It was good for us to let go the mindset of competing with others and to avoid being influenced by the competition criteria in the creation of our dances.” It was better to see this event as a platform to present our work to audiences from around the world. This seemed a positive way to approach this competitive experience.

 

不斷提升自己,精煉作品

Growing as artists and refining the work

 

Justyne和丹琦的參賽作品《分割》是繼其於2017年在澳門首演後的首個重演。這版本與首演不盡相同,Justyne指透過每次重演,創作者及舞者汲取經驗和元素,綵排時再次跟作品對話,令每一個細節變得更有根據、更精煉成熟。

 

This was the second performance of Justyne and Tan-ki’s Division after the debut in Macau in 2017. This version for the Yokohama was not the same as the first version. Justyne maintained that choreographers and performers learnt from every performance experience and discovered new elements that could then be reworked and integrated into the production. In rehearsals the two dance artists interrogated their work further and refined every detail, making every part more concrete and mature.

 

《分割》Division;編舞及舞者 Choreographers & Dancers(由上 from top):李思颺Wong Tan-ki,王丹琦Justyne Li;攝Photo:Gloria Ho

 

帶著舞蹈向世界出發,放眼世界

Exploring and seeing the world through dance

 

出發去日本前,Justyne和丹琦仍然未收到資助申請的結果,須自掏腰包墊支二人連同一位燈光設計師兼舞台監督的旅費,但他們仍然認為非常值得。姑勿論得奬與否,對他們來說是一個人生旅途的全新經歷,不但可以把自己的作品帶上世界舞台;同時由舞蹈也帶領他們放眼世界。「跳舞的確帶我到過眾多地方,如果只局限自己在香港跳舞或演出,將會落錯了很多東西......在海外看到好的演出或者認識到自己欣賞的舞者們是一件很愉快的事情。」丹琦說。

 

Before going to Japan, Justyne and Tan-ki still had not received the result of their grant application, so they had to pay for themselves as well as the travel expenses of a lighting designer and stage manager. But they thought it was worth it. Whether they were successful or not in the competition, it did not matter as much as the whole new creative and personal journey for them. Not only could they present their dance work to an international audience, but they could also broaden their professional horizons by participating in an international dance exchange. “I have been given opportunities to go to more places because of dance. If I only limit myself to dance performances in Hong Kong, I will miss out on many things. I feel very happy about seeing a lot of good performances overseas and meeting the dancers I admire.

 

《分割》Division;編舞及舞者 Choreographers & Dancers(左起 from left):李思颺Wong Tan-ki,王丹琦Justyne Li;攝Photo:Gloria Ho

 

珍惜演出機會,期望與更多藝術家相互交流

Getting on stage and meeting more artists

 

作為編舞和表演者,Justyne和丹琦都期望有更多海外演出的機會。「只要可以演出,已經是我所期望的事情」Justyne說道;丹琦則說:「我期望透過參加海外演出,與其他藝術家直接交流,互相觀摩和討論」。

 

As choreographers and performers, Justyne and Tan-ki both anticipated more opportunities to perform overseas. “Being able to perform on stage is all that I want,” Justyne said. Tan-ki expected more. “Through performing abroad, I want to interact directly with other artists, for us to observe each other and to engage in discussions.”

 

筆者總結

Comment from Jacky Fung

 

這些演出平台都聚集了來自不同地域的參加者,藝術家交流機會不僅是參與的誘因,更加是未來創作的基石,所以除了演出和觀摩之外,我也鼓勵藝術家們抓緊機會,參與討論和其他交流活動,趁機彼此認識,透過這些交流而孕育出新的靈感。

 

These performing platforms such as the Yokohama Dance Collection gather participants from different countries and regions. The opportunities for exchange are not the only incentive for artists to attend. Another motivation for artists is the chance to be inspired and challenged by fresh ideas for future choreography. Apart then from performing and viewing other works of dance, I encourage Hong Kong artists to seize opportunities like this and to get involved in discussions and other international exchange activities. Through interacting with more artists and having more conversations, new ideas will emerge and develop on the local dance scene.

 

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