[中][ENG] 環亞舞略 Dance Curating in Asia: 舞蹈策展：跳格的碎碎念 My Notes on Jumping Frames
環亞舞略
Dance Curating in Asia
葉奕蕾 Elysa Wendi
跳格國際舞蹈影節策展人 Curator of Jumping Frames
[中] 跳格的碎碎念
原文：葉奕蕾
加入「跳格」並與黃國威（Raymond）一起策劃這個由來已久的舞蹈電影節已有三年。2004年創辦至今，「跳格」或許是是全亞洲最主要的舞蹈影像平台之一，透過比賽形式，拓展公眾對舞蹈影像的興趣及鼓勵以影像重現現場舞蹈表演。我首次創作的兩部舞蹈影像亦曾入選2010年的「跳格」，為當時由全職舞蹈員及編舞轉型的我，打開了舞蹈影像創作的大門。
作為一個在電影世界遊走的舞蹈藝術工作者，我被當中無窮無盡的可能性吸引，熱切地去學習電影語言，在這藝術領域上不斷追求。2000年代初，我有幸與不同的電影製作人合作，後來成為舞蹈影像製作的推動者，並與夥伴在2015年共同創立Cinemovement，將舞蹈和電影工作者聚合於這新媒介中，成為了我長遠的藝術目標。
我不刻意標籤、証明或定義甚麼是舞蹈影像，但這跨領域的術語向來備受爭議。我認為一個舞蹈電影節有必要具廣泛的本質，以吸引廣大的觀眾層；同時，作為策展人，亦讓我為他們打開我的潘朵拉盒子，分享一些以編舞概念敍事及抽象的身體表達、景像和事件所聯繫的人類經驗。我在策劃節目時的考量，會看重作品的多元解讀，舞蹈的動作、身體、編舞、場面調度及紀錄闡述方式等各方面所呈現的多樣性和議論。2018年，我首次選了米羅斯拉夫‧史拉波斯比斯基執導的烏克蘭電影《性本無言》，這個考量最為明顯。電影講述聾人學校裡的小孩在暴力及罪惡中的生活，整齣戲沒有任何對話。電影僅採用烏克蘭手語，沒有任何配音及翻譯，整個故事完全依靠演員們以身體作溝通表達。同年，我選了四位來自不同界別的藝術家，並向每人收集三齣電影，以探究他們作品中的編舞角度如何體現及交錯。其中兩部備受曯目及帶來新鮮感的作品，一為新加坡視覺藝術家陳賽華灌的《素描空間》，他以橡筋在空間中的編排，透過攝影及剪接操作物件的實質移動，從而提出編排「舞蹈」的可能性；另一部是香港視覺藝術家莫頌靈的《如果生活沒有樂趣，才真的是一場悲劇》，她以電影拍攝及後期製作的介入，創作出有節奏性的群雀鳥飛翔。
《Being Jerome Bel》；攝：© La Huit – Centre Pompidou and ViàVosges
我策展舞蹈電影節最大的目標是將電影及舞蹈世界的創作者和觀眾放在一起。如要每個節目都能滿足電影及舞蹈觀眾，其實相當困難。在多數情況下，舞蹈觀眾通常會專注在身體與空間的建構、內容及表現；而電影觀眾不只注意舞者的身體與舞動，還會關注一切場面調度元素編排而成的電影世界，從而作出敘述及哲學性的解讀。因此，我的任務是為這個電影與舞蹈合而為一的共同體展現其不同方面的特點。也許好些年後，能為未來誘發更多有關動作、編舞在電影鏡頭內對身體的討論、交集及多元觀點。
關於「跳格」2020，我正嘗試在同一節目中，挑選就一系列像異卵雙生的雙聯畫或對聯一樣，不一致又彼此呼應的作品。我希望帶出一個對應點及將電影及舞蹈放在一起，呈現更多視點，帶來更多聯想和體會。在紀錄片《Being Jérôme Bel》中，我們看到有關紀錄片導演到底在紀錄編舞者還是舞蹈本身所引發的討論。如果我們認識Jérôme Bel，電影看似充滿矛盾，或許其實是反導演的表達方式，到頭來可能是這位編舞家最貼切的寫照。這齣戲與《Ferdinand Knapp》組成一對，《Ferdinand Knapp》是關於一名傑出的法國劇場演員在準備演出新劇目的過程中，他飾演的邪惡角色及自身性格的界線開始模糊。作為一名於參與節目策展的舞蹈工作者，我嘗試抱著編舞及創作人的想法，以跟上這領域的急速發展。節目策劃或許是我編舞工作的延伸，亦為展現我對舞蹈與其他藝術互動的興趣。我的策展計劃及電影創作反映了我的哲學——超越形式，透過微觀及宏觀的普世構造來觀察、吸收及感知。
（文章由Pomny Chu翻譯）
《Ferdinand Knapp》；照片由跳格提供
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（中文翻譯：Pomny Chu）
文：葉奕蕾
葉奕蕾是居港的新加坡籍舞蹈藝術家及電影製作人。2008年起，她開展了舞蹈概念的探索之旅，包括透過電影媒界、多媒體表演項目及策展等。她是Cinemovement平台的創辦人之一，該平台透過實驗創作及文化交流，推廣和輔助新的舞蹈影像製作。自2018年起，她以獨立策展人的身份參與跳格國際舞蹈影節，以及其他舞蹈／影像項目。
[ENG] My Notes on Jumping Frames
Text: Elysa Wendi
It has been three years since I started my role as a programmer at Jumping Frames, joining my colleague Raymond Wong in curating this long standing dance film festival in Hong Kong, perhaps one of most important dance film platforms in Asia since its inception in 2004. The festival started with a focus on developing public interest in video dance making and the filmic re-adaptation of live performances through a competition programme. The first two dance film works I made when I started to transition away from being a full time dancer and choreographer were selected by Jumping Frames in 2010, initiating my whole career of dance filmmaking ever since.
Being a dance practitioner dabbling in the world of film, I feel the rush of limitless possibilities and the urge to acquire the cinema language and further my artistic journey in this field. From having been able to collaborate with different filmmakers in the early 2000s to becoming a facilitator of dance film creations by co-founding Cinemovement in 2015, the idea of bringing film and dance practitioners together in this new hybridity has become a mission in my work at different levels.
While I do not attempt to label, justify or define what a dance film is, the terminology to describe this interdisciplinary art form is often discussed or debated. I see the importance of introducing a discursive nature to the festival in order to reach a wider audience, at the same time sharing my on-going Pandora’s box in discovering the human experiences connected to the narratives and abstraction of bodies, landscapes and events which are composed in the context of choreographic concepts. All considerations in my programming are subject to further interpretation and connection to movement, body, choreography, mise en scène and documentation of “dance” in its most diverse possibilities. This was most apparent when in 2018 I first programmed The Tribe, a Ukrainian film directed by Myroslav Slaboshpytskiy about the brutal life of Deaf teenagers involved in violence and crime, made entirely without dialogue. The film uses only Ukrainian sign language, and features no voice-over or translation, so the story is entirely dependent on what the actors are able to communicate with their bodies. In the same year, I featured four artists from diverse disciplines and collected three films by each of them to look at how the perspectives of choreography are embodied and intersected through their works. Two notable pieces to bring some freshness to the audience were Space Drawing by Singaporean visual artist Chen Sai Hua Kuan, who proposes the choreography of a rubber band in space through the physical manipulation of an object with cinematography and editing that create a composition of possible “dance”. The other work is the choreography of birds taking flight suggested by Hong Kong visual artist Jolene Mok in Life Would Be Tragic If It Weren’t Funny through her intervention in the filming set up and post production.
Being Jerome Bel； Photo：© La Huit – Centre Pompidou and ViàVosges
My biggest goal, to gather artists and audiences from both worlds, film and dance, is essential to my construction of a programme. It is always difficult to satisfy both audiences with every programme. In most cases, the dance audience generally looks into the craft, content and representation of bodies in space alone, whereas the film audience looks at the universe of film created by the choreography of all elements in the mise en scène that give a narrative and philosophical reading of the film in addition to the dancing body. Therefore, my task is to offer a spectrum of this hybridity, with different levels of manifestation. Over the years perhaps this may cultivate more discussions, intersections and diverse perspectives in addressing the context of movement, choreography and the body within the frame for the future.
For Jumping Frames 2020, I am trying to select films which echo each other via a non-identical diptych or couplet in a single programme. I hope to instigate a counterpoint and bring different perspectives of dance and film works together for a more introspective experience. In the film Being Jérôme Bel, we see the challenge of this discussion on how the filmmaker is documenting the choreographer rather than the dance. If we knew Jérôme Bel, this seemingly paradoxical project or possible anti-director film might end up being the most appropriate portrait of the choreographer. The film paired with it for this programme is Ferdinand Knapp, a film about a pre-eminent French theatre actor preparing for a new play, where the lines between his character's malevolent personality and his own begin to blur. As a dance artist working in the programming team, I try to participate on different levels and to actively engage my own choreographic thinking to keep up with the progressive developments that occur in the field. Programming is perhaps an extension of my choreography and reflects my interest in the way that dance interfaces with other arts. My work across curatorial projects and filmic works seeks to recall my own philosophy in looking beyond form, through the universal construction of parts and the whole to be seen, processed and perceived.
Ferdinand Knapp；Photo provided by Jumping Frames
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Text: Elysa Wendi
Elysa Wendi is a Singaporean dance artist and filmmaker based in Hong Kong. Since 2008, she has been experimenting with choreographic ideas through of film, performances and curatorial projects. She is the co-founder of Cinemovement, a platform facilitating the creation of dance films through a laboratory setting and cultural exchanges. She participated in Jumping Frames since 2018 as an independent film curator among other dance and film projects.
