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[中] [ENG] 舞林積旅傾Dance Travelogue: 探訪新加坡Dance Nucleus Visiting Dance Nucleus in Singapore

舞林積旅傾
Dance Travelogue

 

探訪新加坡Dance Nucleus

Visiting Dance Nucleus in Singapore

 

翻譯 Translation: Pomny Chu

 

 

來自新加坡及鄰近地區的藝術家來到「SCOPE #6」, 展示他們創作中的半成品 Artists from Singapore and nearby regions taking part in Scope #6 and performing their works-in-progress;

照片由馮澤恩提供Photo provided by Jacky Fung

 

今年五月,我探訪了在新加坡的Dance Nucleus[1],也觀摩了他們名爲「Scope #6」的交流活動。同行還有獲邀參加藝術家駐留計劃的香港編舞家 ─ 盤彥燊(阿盤),我當然抓緊機會和他促膝長談,聽他分享這趟旅程中的「斬獲」。

 

This year in May, I visited Dance Nucleus[1] in Singapore and observed the exchange activity named Scope #6. Accompanying me was Wayson Poon (Ah Poon), who was invited to participate in the artist-in-residence scheme. I used the opportunity to have an in-depth talk with him and get him to share his insights from the trip.
 

 

「Scope」 和 「Element」

Scope and Element

 

在Dance Nucleus渡過的一星期裏,阿盤先後參與了兩個活動,分別爲「Scope #6」和「Element #4」。「Scope」系列是一個藝術家簡報平台,出席簡報的十二組藝術家包括Dance Nucleus 的協作成員,以及部分來自鄰近地區的邀約藝術家,介紹或展示自己正在研究、開發或者製作中的構思或半成品(work-in-progress),並由其他與會者作回應和提問,互相交流;「Element」系列則是為期一星期的藝術家駐留計劃,讓邀約藝術顧問帶領駐留藝術家審視自己的作品,引領他們從不同角度進行創作和相關的研究。

 

During the week in Dance Nucleus, Ah Poon took part in two activities, namely Scope #6 and Element #4. Scope #6 was a platform for artist’s presentation of their works and ideas behind their dance productions, in which there were 12 participating groups including the coordinators of Dance Nucleus and artists from nearby regions who were invited to join in the event. The artists introduced and explained their ideas for their works-in progress which were still being researched and developed. The other participants then responded to their presentations, raised questions and exchanged opinions. Element was a one-week curated artist-in-residence programme where mentors helped the artists to examine their creative works from new angles, and guided them towards different approaches in the processes of creation and research.

 

給自己一個淨化和沉澱的機會

A chance to clear his mind and reorganise his thoughts

 

每個藝術家駐留計劃都有不同要求、目標和實踐形式。阿盤認爲作為一個藝術創作者,決定參與駐留計劃前必須先認清計劃與個人藝術發展階段的關係,才能與主辧方達至雙贏。是次應邀參加「Scope #6」和「Element #4」,他想為其創作中的作品《Phonate》進行中期檢討,透過這個平台讓更多人(特別是從未接觸過他的創作的)給予意見和提示,好讓他繼續創作時更有方向感。

 

All artist-in-residence programmes offer different expectations, objectives and practices. Ah Poon expressed the view that artists should identify how the programme suits and helps the development of personal creative projects so that both the artist and the organiser can get something out of the programme. In Scope #6 and Element #4, Ah Poon hoped to reflect on his current work-in-progress, Phonate, to get suggestions and guidance from other art practitioners (especially those who had not seen or known his works before), so that he could improve on the artistic direction of his work.

 

創作,是一個漫長培育過程。創作者從自身生活中提取意念,然後經年累月去進行研究、梳理、建構、解拆又整合。在藝術家的眼中,作品從來不是貨品,而是一個生命。「藝術家需要從不同地方尋找養份,為創作灌溉,縱使作品的表達形式和種類已經定案,最後的成品的形態仍是未知之數。這次駐留計劃就是一個機會去整合資源,滿足作品成長的需要。」阿盤說:「這是一個讓我淨化思維、沉澱自己的過程,在作品開始成形時,需要累積更多知識和方法去打破框框,重新出發。我期望著這個被人撕破、解拆的機會。創作本來就是很個人的,而創作出來的東西需要一些當頭棒喝,然後經過重新整理,讓作品繼續有機地向前邁進。」

 

Creation is a long process of nurturing and cultivation. Artists often get inspiration from their personal lives. The inspiration become ideas for choreography that are then researched, reorganised, deconstructed, redeveloped and refined. For artists a work of art is not a piece of merchandise, it has a life force of its own. “Artists need to get nutrients from different places to water their creative crops. Even though I have selected the ways of expression and the genre of the work during the process of creation, the final product is still subject to change. This time, the programme allowed me to organise my materials and develop my ideas. It provided a supply of necessary ingredients for the growth of my creative work,” Ah Poon revealed. “This was also a process of clearing my mind and reorganising my thoughts. As the work was taking shape, I needed more stimuli, new experiences, knowledge and approaches, to start to think out of the box, and to reorient myself and the work. I was looking forward to the process of my work being dissected by the group. The process of creation is extremely personal. The artistic product emerging from this process requires external stimuli and guidance from others to be reformed and reorganised, so that it can grow further in an organic way.

 

 

 

 

阿盤在「SCOPE #6」展演了部分《Phonate》的片段Ah Poon performing snippets of Phonate in Scope #6;照片由馮澤恩提供 Photo provided by Jacky Fung

 

「飲飲食食」做交流

Exchanging ideas through “eating and drinking”

 

我和阿盤有一個共同感受,雖然在簡報後有相當充裕的時間讓與會者跟創作人即時交流,但更有機的交流,往往在「飲飲食食」時出現。阿盤一邊回味著星馬美食,一邊笑說:「我很珍惜這些與其他藝術家共處的時間,特別是去吃飯、小息的時候,我們無分高低,放鬆自己並談天說地,總會自自然然地說起大家的作品,慢慢鑽探出各人創作時的盲點,然後善意地提出建議互相支持。」主辦人郭奕麟(Daniel Kwok)說過:「比起視自己為學生,等待老師改正,我們更應該善意地解剖大家的創作意念,透過這些交流引申更多新思維和可能性。」這幾天的駐留計劃,無形中造就了一眾藝術家的持續交流和往後合作的機會。

 

I had the same feeling as Ah Poon. Although there was ample time for participants and artists to communicate and exchange ideas, it was during mealtimes that they could have in-depth conversations. Recalling the Singaporean and Malaysian delicacies, Ah Poon laughed and explained “I enjoyed the time with other artists, especially when we were having meals or breaks. During these times, there was no subtle rivalry between us. We relaxed and talked freely. In these conversations, we naturally brought up our works, revealed what hindered us in our thinking and creativity, pointed out each other’s blind spots, and offered friendly suggestions and support. The Artistic Director of Dance Nucleus, Daniel Kwok, pointed out: “Rather than seeing ourselves as students waiting for instructions and guidance from teachers, we should start to respect and respond to our colleagues’ creative insights and then articulate what we ourselves think. Such exchange would lead to further creative ideas and possibilities.” To the participating artists, the residence programme at Dance Nucleus was a starting point for future exchange and collaboration.

 

馮澤恩與阿盤一同參加「SCOPE #6」Jacky and Ah Poon attending Scope #6 together;照片由馮澤恩提供 Photo provided by Jacky Fung

 

 

小結

Conclusion

 

阿盤形容參與藝術家駐留計劃為一個洗滌思緒的過程,平日為謀生、為製作疲於奔命,藝術家需要時間去淨化自己的腦袋,騰出空間去思考、去創作。我想,這正好是一次充電的機會。充電後,創作動機滿盈,作品經過施肥,小樹苗將會更茁壯地成長。

 

Ah Poon described his participation in the artist-in-residence programme as a process of reviewing and reorganising his thoughts. In their daily life, artists work hard for their bread and butter just as they work hard on their dance productions. They need time to clear their minds so that they have space to think and come up with fresh ideas for their creative practice. I believe, the Programme was a chance for them to recharge. After recharging, they now have new creative ideas for their choreography. Fuelled by such an insightful and inspiring exchange, they are prepared for tackling their next choreography.

 

 

 

 

==

編者按 Editor’s note:

[1] Dance Nucleus是一個為獨立舞蹈而設的空間,讓藝術家進行實踐研究和創意發展。

[2] “Dance Nucleus is a space for practice-based research, creative development and knowledge production for independent / contemporary performance.” Direct reference from the official website of Dance Nucleus. http://www.dancenucleus.com/about.html

 

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