「COVID-19」疫潮席捲歐洲，歐洲多國實施「lockdown」（封城），千萬人須嚴守隔離令，留在家中。 Lockdown意味著「lights out」，實體劇院被逼「熄燈」，卻帶來了另一片星火璀燦──歐洲藝文界旋即以網上渠道，繼續為觀眾提供藝文節目。觀眾／網民／讀者只要鍵入特定關鍵字，便可在螢幕前一覽海量的表演藝術節目。
Rosas作為一個例子比利時著名舞團Rosas，早於1983年始便創作多齣舞蹈錄像，其中深入民心的《Rosas danst Rosas》於2003年時已製成線上教學，鼓勵各方編舞創作自己的版本。疫情一開始，Rosas也很快把這個作品帶回我們的眼光中，以「Dance in times of isolation」（中譯：舞在隔離的日子）為題，廣邀各方「make your own version of Rosas danst Rosas」（創作屬於你的《Rosas danst Rosas》版本），形成新的集體編舞（collective choreography）。
Rosas亦把多齣舊作放到網上限時免費分享，更有編舞課堂及交流等，詳情可在其臉書專頁找到。其他當代舞團如荷蘭舞蹈劇場（NDT）、Peeping Tom、艾甘．漢舞蹈團（Akram Khan Company）等世界知名劇場、芭蕾舞團及歌劇院也有如Rosas般串流播放舊作，在此不贅。
英國國家芭蕾舞團（English National Ballet）的YouTube頻道，有「Wednesday Watch Party」（中譯：週三觀看派對），逢星期三播放整齣舞作、「ENB at HOME」提供線上芭蕾舞課，還有「Short Dance Films」（短篇舞蹈影片）等欄目。倫敦沙德勒之井劇院（Sadler’s Wells Theatre）頻道更有「Dance Made Today」（中譯：今時的舞蹈創作）、「5 Things You Might Not Know About」（中譯：5件你可能不知道的事）等訪問欄目，介紹更多舞作背後的資訊。
德國ARTE Concert網羅歐洲表演，合作藝團有Latvian National Opera & Ballet（拉脫維亞國家歌劇院及芭蕾舞團）、Dutch National Opera（荷蘭國家歌劇院）、Finnish National Opera（芬蘭國家歌劇院）等等；小撇步是用不同語言會出現不同的節目推介，全部免費。Marquee TV為付費串流平台，較多著名劇目，並設艾甘．漢（Akram Khan）、亞歷山大．埃克曼（Alexander Ekman）、徹卡奧維（Sidi Larbi Cherkaoui）及依利．季利安（Jiří Kylián）作品集。
Ovid.tv是以錄像作品為主的收費串流平台，當中有不少舞蹈紀錄片，除翩娜．包殊（Pina Bausch）、崔莎．布朗（Trisha Brown）等著名編舞外，也有以地域或舞種出發，如古巴學舞的青少年、日本歌舞伎，展現主流舞台以外的不同風景。
打開IG，世界各地非常多舞者都在努力經營著IG帳戶，hashtags如 #contemporarydance、#dancehk、#dancechoreography 等，會領你往一個個不分上下，各具個性的舞蹈世界。
以色列巴舒化舞團（Batsheva Dance Company）也很活躍於IG，設有batshevadancerscreate及其他舞團成員的帳戶，策劃舞蹈攝影、錄像、編創、討論會等項目，與觀眾／網民的互動親近而多元化。
較奪目的是城市當代舞蹈團，除網上授課，又特設藝術家網路駐留計劃及網上研討會，回應當前的困境與展開討論；最近更推出了CCDC藝術頻道、「Post it for YOU」等等，充分顯示出舞團對當下轉變之敏銳度。其積極、進取的能量，及以藝術策劃回應世界的心思，是一個當代藝團時刻思考藝術與人的關係的證明。
更甚者，網絡能做到的資源共享、跨地域交流，作為拓闊討論、另一種創意策劃的場所與媒介，或如歐美的不吝分享、以藝術作為支援，其對開放資源、共享資源的容納，其藝團、藝術家的社群意識（sense of community），視藝術為社會的重要部分，都值得我們思考和學習。
Anne Teresa De Keersmaeker 於法蘭西公學院進行的演講：https://bit.ly/2AOdoE3
[ENG] When one door closes, another opens
Original Text: Chan Kwun Fee
COVID-19 has swept across the world, with many countries implementing lockdown. Millions of people have had to abide by orders of quarantine and stay home. ‘Lockdown’ means ‘lights out’ for theatres. Yet, while those lights may have gone out, another platform has come into the spotlight -- the arts and cultural circle turning to the internet and continuing to provide arts programmes online. When audiences/netizens/ readers type certain keywords into search engines, they are able to browse an abundance of performing arts programmes on their screens.
Rosas as an example
The famous Belgian dance company, Rosas, began filming dance videos as early as 1983. The popular work, Rosas danst Rosas, was incorporated into an online tutorial in 2003, allowing dance artists to make their own versions based on the online videos. At the beginning of COVID-19, Rosas revisited the work and brought it to the audience with a new theme, “Dance in times of isolation”. They invited the public to “make your own version of Rosas danst Rosas”, creating a new collective choreography.
Rosas has also put their past productions online and allowed the public free access for a limited period, along with choreography classes and exchanges on choreographic ideas. Details can be found on their Facebook page. Other contemporary dance companies, such as Nederlands Dans Theater, Peeping Tom or the Akram Khan Company, to name just a few, have also streamed past productions online in the same way as Rosas, along with numerous international theatre, ballet and opera companies.
Video Channels of companies
Numerous companies have also set up official channels on YouTube, curating online programmes.
These include English National Ballet, which launched Wednesday Watch Party where its dance productions are shown every Wednesday, while ENB at HOME provides online ballet classes and features such as ‘Short Dance Films’. Sadler’s Wells Theatre rolled out interview programmes, including Dance Made Today and 5 Things You Might Not Know About, introducing behind-the-scenes programmes on their dance productions.
These channels have strong curation and unique characteristics. The shorter items, such as the interview or educational programmes, fit the public’s day-to-day online browsing and are good for arts education and expanding audiences. The channels also include links where viewers can find more in-depth information and tailor-make their own learning approach.
Performing arts video streaming platforms
Numerous video streaming platforms, similar to Netflix, offer arts internationally.
Germany’s Arte Concert has a collection of dance performances from various European companies including Latvian National Opera & Ballet, Dutch National Opera and Finnish National Opera with recommendations in different languages. All are free. Marquee TV is a paid streaming service provider which offers relatively more selections of famous dance works including collections of work by the likes of Akram Khan, Alexander Ekman, Sidi Larbi Cherkaoui and Jiří Kylián.
Ovid.tv is a dance recording streaming service provider which offers quite a few dance documentaries. Apart from those on renowned contemporary choreographers like Pina Bausch and Trisha Brown, it has documentaries on different regions and dance genres, such as teenagers learning dance in Cuba or Japanese geishas, thus exploring areas beyond mainstream dance.
These primarily commercial platforms gather work by dance companies from different regions and genres, but have comparatively looser curation.
Dance world on Instagram, and the curation and making of online dance programmes
In addition to waiting to catch scheduled live streaming of dance performances, which is similar to the traditional way of watching performances, I frequently connect to online dance programmes on Facebook, YouTube or Instagram, platforms we visit frequently in our day to day browsing.
On Instagram, there are many dance artists actively running their accounts. They use hashtags such as #contemporarydance, #dancehk or #dancechoreography to take viewers into a world of dance where all dancers/works are equally unique in their own ways.
Instagram is visually-oriented, so it is particularly suitable for sharing creative dance videos and images. Active on Instagram, Nowness is specifically an online art curator and has many dance videos and crossover projects. It is visually striking and covers a wide range of areas, which makes it worth checking out.
Israel’s Batsheva Dance Company is also active on Instagram, having the official account ‘batshevadancerscreate’ as well as accounts for company members. They curate dance video shooting, recording, choreography and forums, employing a variety of approaches to get close to and interact with viewers.
Online curation is like theatre curation, which covers guidance on art appreciation, teaching of technique and creating new forms of art. The flexible schedules, the ability to offer programmes to watch for free or for only a small charge and the high degree of freedom offered by online dance programmes make them a good way to expand audiences. In terms of creative practice and transfer of knowledge, dance on the internet breaks geographical and temporal barriers, facilitating international cultural exchange. Moreover, online programmes stimulate new forms of art creation and appreciation, for example, collective choreography and the potential of dance in different kinds of spaces.
Response from the Hong Kong dance sector
Turning the focus to Hong Kong, while some past productions by the larger dance companies have been shown online, some small and medium dance companies have only a small production budget, thus leaving few resources to make good quality performance recordings.
City Contemporary Dance Company (CCDC) has done a good job in its online domain. Apart from online dance classes, it has an online artists-in-residence scheme and an online forum to respond to the current circumstances. It has also launched a CCDC Art Channel and Post it for YOU. CCDC has been quite sensitive and proactive to the change of situation. Its proactivity and use of art curation to respond to the change in society and environment is an example of how a contemporary dance company constantly considers the relationship between art and people.
Hong Kong Ballet has also actively engaged the audience through HKBALLET@HOME. It has online ballet classes, interviews with ballet dancers and Ballet 101, which is an educational series. ‘Our Moving Playground’, an independent body movement educational group, makes use of daily objects at home to bring parents and children together to play body games. They have even come up with the ingenious idea of providing an audio guide to solve the problem of having to move and focus on a screen at the same time.
Some people are worried that online dance programmes will diminish the audience for on-site live performances. However, I think the uniqueness of on-site performances is irreplaceable. Should the performing arts sector in Hong Kong consider using the internet to promote, educate, guide and engage with both old and new audiences? To break through the past marginal state where art is relatively distant from the general public, can the internet be seen as a new means to help us reconnect with art?
Furthermore, sharing resources and frontier free exchanges are also advantages of the internet. This is the starting point for expanding the scope of discussion, as well as an alternative venue and medium for creative planning. In Europe and the US, they share resources generously and support society with art. The accommodation to opening up and sharing resources, the sense of community of arts companies and artists, and their way of seeing art as an important part of society are worth looking into and learning from.
I think what is important is that, as an independent art practitioner, one has to be constantly sensitive to the relationship between art and people, and have the courage to discuss the changes brought about by new circumstances, adapting to and using new technologies with awareness. In the era of new media, a new form of art could be born but in addition, a new way of seeing could be found, to retrieve the age old, yet never out of date, core values of live performing arts, which are reflected and gain more prominence in the virtual world.
 Anne Teresa De Keersmaeker's lecture at Collège de France：https://bit.ly/2AOdoE3
(English Translation by Pomny Chu)
Original Text: Chan Kwun Fee
Theatre director, trans-disciplinary artist, curator. Travels and drifts through borders.Artistic director of Littlebreath Creative Workshop.Graduate of the School of Creative Media, City University of Hong Kong.
焦點 FOCUS (22-3): 幕上之舞 Dance on Screen
While all performing venues remain closed, in the spirit of “keep dancing and carry on”, dance companies and artists all around the world are striving to explore new channels to keep creating new work as well as staying connected with their audiences. Video sharing and social media platforms have become popular stages for dance, and dance on screen is therefore getting the most attention it has ever had.
In fact, presenting dance with moving images is not a novel idea, there were movies on dance right after film had been invented. And in the past two to three decades, video shooting equipment has become more popular and easier to manage, resulting in a diversity of content, form and style in the dance film/video and screen dance genre.
In this issue, we have invited two local dance video directors, Maurice Lai and Wilfred Wong, to share their experiences in creating dance video works as well as their insights on this particular art form; while Chan Kwun Fee, the artistic director of Littlebreath Creative Workshop, will share her observations on online dance programme curation from an audience perspective.
In our previous issue we learned how City Contemporary Dance Company have found ways to keep dancing through hard times and in this issue we have an interview with Heidi Lee, the newly appointed executive director of Hong Kong Ballet. She will tell us her ideas about promoting ballet through social media, and how she sees innovative ways of putting dance on screen as a great opportunity during the COVID-19 pandemic.