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出版 Published by 城市當代舞蹈團有限公司 City Contemporary Dance Company Limited 編輯組 Editorial Team 節目及市場部 Programme and Marketing Department 英文翻譯 English Translation 陳靜文 Christine Chan 張菁 Gigi Chang

英文編輯 English Editing 張菁 Gigi Chang 攝影 Photography 陳德昌 Ringo Chan (除另有註明外 Unless otherwise specified)

封面 Cover 林詠茵 Peggy Lam 樂知靄 Shirley Lok 設計 Design




02 藝術總監的話 Message from the Artistic Director 03 頂尖舞者 The A Team! 04 關於城市當代舞蹈團 About CCDC 06 連繫你我的微觀世界 Micro Connection 10

《思纏想後》Second Thoughts

12 那一年.這一天 ―― 或曾經或繼續 Sang Jijia’s As If To Nothing 16

《那一年.這一天》As If To Nothing

17 CCDC海外巡演 CCDC Overseas Tours 18 歡迎來到購物狂的世界! Welcome to the World of Shopaholics! 21

《購人心弦 2.0》The Buying Game 2.0

22 四種編心 When Dancers Evolve into Choreographers 25


28 在神州大地中開天闢地 Awakening in the Land of the Dragon 31 城市當代舞蹈節 City Contemporary Dance Festival

《慾.望.西.九.》―― 九段慾望篇章 Journey to the West – Nine Chapters About Desire


CCDC媒體實驗室 CCDC Media Lab


道亦有「蹈」―― 訪《舞.聲.道》李勁松、邢亮、梅卓燕


Tao and Dance – Interview with Momentum’s Dickson Dee, Xing Liang and Mui Cheuk-yin 《舞.聲.道》Momentum


跳格十年 Ten Years of Jumping Frames


迸發異彩,始於3D《尋找大觀園》In Search of the Grand View Garden – Spectacularly Three-dimensional


第六屆跳格國際舞蹈影像節 The 6th Jumping Frames International Dance Video Festival


舞出香港之美 ―― CCDC舞蹈中心中國舞蹈發展計劃


Dance to the Beauty of Hong Kong – CCDC Dance Centre’s China Dance Development Programme 在國內舞蹈節中躍動的香港元素 Highlighting Hong Kong in Mainland Chinese Dance Festivals

指定刊物 Official Magazine

支持機構 Supporting Organisation

城市當代舞蹈團 City Contemporary Dance Company (CCDC)

CCDC舞蹈中心 CCDC Dance Centre

香港九龍新蒲崗大有街26至28號11樓 11/F, 26-28 Tai Yau Street, San Po Kong, Kowloon, Hong Kong 電話 Tel:(852) 2329 7803 傳真 Fax:(852) 2351 4199 電郵 網頁

香港九龍黃大仙沙田坳道110號地下 G/F, 110 Shatin Pass Road, Wong Tai Sin, Kowloon, Hong Kong 電話 Tel:(852) 2328 9205 傳真 Fax:(852) 2326 0220 / 2242 2363 一般查詢 General 課程查詢 Dance Courses

城市當代舞蹈團由香港特別行政區政府資助 CCDC is financially supported by the Government of the Hong Kong Special Administrative Region © 2014城市當代舞蹈團版權所有 CCDC All Rights Reserved




自1979 年成立 以來,城 市當代 舞蹈團已經 經 歷了



Message from the Artistic Director

遷,舞團面貌呈現著超 越性的轉化。從早 期的「建 立香港本土當代文化」到今天的「立足香港、胸懷中 國、放眼世界」,舞團在不斷調整目標的過程中,卻


莫嫣 Jennifer Mok


一直保持著對高藝術水平的要求,並毫不妥協地帶領 香港以至整個中國的現代舞蹈家們,在唯商業和市 場為尚的物慾橫流中,高舉展揚「個性、時代性、原

喬楊 Qiao Yang

創性」的旗幟。 在這第三十五年的日子裡,舞團預備了豐盛的演出項 目,讓經典與新作交相輝映。演出項目包括:(1)舞 團資深舞者黃狄文的最新爆炸性作品《思纏想後》、 (2)國際舞壇巨星桑吉加於2009年為舞團編排的經



黎德威 Lai Tak-wai


麥卓鴻 Kelvin Mak

的編舞家阮日廣展現奇妙新構思的《動靜》、(5)作 為慶祝三十五周年的重頭戲,舞團將於12月邀請來

For 35 years, since CCDC's founding in 1979, the Company has accompanied artists as they come of age and witnessed changes in society. CCDC’s nature has undergone a transcendental change. From our early motto, “building Hong Kong’s local contemporary culture”, to our present maxim of being “based in Hong Kong, with our heart in China and our sights set on the world”, we have continually adjusted our goals, while maintaining our standard of producing high quality art. In a materialistic world oriented to business and market forces, we have led modern dancers in Hong Kong and the whole of China uncompromisingly, waving the banner of “personality, contemporariness and originality”.

自香港本土和中國內地的藝術家們,聯袂獻上連續 兩周的「城市當代舞蹈節」精彩節目。 除了在舞台上馳騁三十五年之外,舞團為了探索新 媒體表演藝術而舉辦的「跳格國際舞蹈影像節」, 也進行到第六屆了。今年的舞蹈影像作品中,有來 自兩岸三地的全 新委 約短片及 強調與 觀 眾 即時互 動的《編舞之外》影像裝置展覽;而最特別的,就是 以我去年完成的舞台作品《尋找大觀園》改編的電 影,這是首個本地製作的 3D 立體舞蹈影像製作,效 果如何,真讓人期待。

黃振邦 Bruce Wong

林詠茵 Peggy Lam

On the occasion of our 35th anniversary, we have lined up a wide array of programmes, mixing the repertoire with new works. They include: (1) the latest sensation Second Thoughts by CCDC dancer Dominic Wong; (2) the revival of As If To Nothing, choreographed by the international acclaimed dance maker Sang Jijia for us in 2009; (3) The Buying Game 2.0 based on the critically acclaimed and popular work created by senior CCDC dancer Noel Pong last year; (4) the whimsical In-between conceived by three of our young dancers, Peggy Lam, Shirley Lok and Jennifer Mok, together with Vietnamese choreographer Nguyen Ngoc Anh; (5) a two-week City Contemporary Dance Festival in December featuring Hong Kong and mainland artists – the highlight of our 35th anniversary celebrations. In addition to stage performances over the past 35 years, we have also been exploring new media in performing arts by organising the Jumping Frames International Dance Video Festival, now in its sixth edition. This year, we have newly commissioned short films from the Greater China region, as well as a video installation exhibition Hyperchoreography that stresses audience interaction. A special highlight is the film adaptation of my stage work from last year, In Search of the Grand View Garden. This is the first 3D dance film in Hong Kong and we are all very excited about it.

城市當代舞蹈團創辦人及藝術總監 CCDC Founder and Artistic Director 曹誠淵 WILLY TSAO


樂知靄 Shirley Lok

黃狄文 Dominic Wong 林波 Lam Po

曾景輝 Terry Tsang

龐智筠 Noel Pong 譚渼樺 Malvina Tam

呂沅蔚 Evains Lui

李家祺 Lee Ka-ki

城 市 當 代 舞 蹈 團

City Contemporary Dance Company (CCDC)

“Artistic soul of contemporary Hong Kong”


South China Morning Post, Hong Kong Under the leadership of Founder and Artistic Director Willy Tsao, City Contemporary Dance Company has inspired and elated audiences in Hong Kong and around the world with superb modern dance performances over the past 34 years. Founded in 1979, CCDC has presented more than 200 original works to critical acclaim, including productions by Tsao and leading choreographers such as Helen Lai, Mui Cheuk-yin, Pun Siu-fai and Yuri Ng. CCDC has presented innovative collaborations with outstanding artists from other media and with artists from around the world.


1979 年由曹誠淵創立,以體現香港當代文化及推動現 代舞蹈發展為宗旨。三十五年來,舞團保留了超過二 百齣本土編舞家的完整舞碼,包括曹誠淵、黎海寧、 梅卓燕、潘少輝及伍宇烈等作品,也經常與其他媒介 藝術家合作,展現多元化的香港文化特色。每年演出 逾六十多場,參與人數超過五萬人次。

CCDC is renowned for reflecting the vigour and creativity of Hong Kong’s vibrant, multifaceted contemporary culture, presenting works to an audience of more than 50,000 people annually. It has earned over 230 overseas invitations from the world’s foremost dance stages and festivals in over 30 major cities, including New York, Washington DC, San Francisco, Los Angeles, Montreal, London, Paris, Lyon, Rome, Rovereto, Berlin, Munich, Stuttgart, Prague, St Petersburg, Moscow, Copenhagen, Karmiel (Israel), Delhi, Mumbai, Tokyo, Seoul, Busan, Singapore, Manila, Sydney, Brisbane, Beijing, Shanghai, Xining, Taipei and Urumqi.

自1980 年以來,舞團開展頻密的國際文化交流活動 及參與藝術節,先後代表香港在美洲、歐洲、澳洲及 亞洲共三十多個主要城市,包括紐約、華盛頓、三藩 市、洛杉磯、蒙特里爾、倫敦、巴黎、里昂、羅馬、羅韋 雷托、柏林、慕尼黑、斯圖加特、布拉格、聖彼德堡、 莫斯科、哥本哈根、卡米爾(以色列)、德里、孟買、東 京、首爾、釜山、新加坡、馬尼拉、悉尼、布里斯本、北 京、上海、西寧、台北及烏魯木齊等進行了超過二百三 十場巡迴演出,備受國際藝壇重視。 除了「立足香港,匯聚華人菁英,創造當代中國舞蹈」

CCDC’s commitment to education and development results in around 40 outreach performances annually, offering highly popular dance courses to more than 40,000 students and audience members each year. CCDC also helps to organise dance festivals in China, and since 1998, through its China Dance Development Programme, provides administrative and technical support to emerging Hong Kong and mainland artists. The opening of the CCDC Dance Centre in 2004 has given young artists, students and the community the facilities and programmes that ensure the ongoing development of dance as a vital artistic pursuit in Hong Kong.

的藝術路線之外,舞團也 積極推 動舞蹈教育工作。 於 2004 年成立的 CCDC 舞蹈中心,繼續發揚以往的 舞蹈教育、舞蹈外展計劃、社區表 演 及藝術推 廣等 工作。每年提供四十多場的外展表演、現代舞、芭蕾 舞、爵士舞及中國舞等不同類型的舞蹈訓練,受眾超 過四萬人。自1998 年開始,舞團在國內推展「中國舞 蹈發展計劃」,為國內正在萌芽的現代舞團體提供行 政與技術支援,並於內地與北京雷動天下現代舞團及 廣東現代舞團合辦多個極具影響力的現代舞節,鼓勵 內地新晉舞蹈家進行探索性創作。 4

願景 Vision 立足香港,匯聚華人菁英,創造當代中國舞蹈 CCDC is a Hong Kong-based professional dance company that endeavours to rally the best of Chinese talent to create dance in the contemporary context of China. 使命一 Mission

I 作為本港旗艦現代舞蹈團——立足香港,胸懷神州,致力為中國當代舞蹈注入創 新思維。

 As the flagship contemporary dance company in Hong Kong, CCDC produces innovative works in the context of China.

使命二 Mission


作為推廣及發展舞蹈教育的中介機構——舉辦全面的教育及外展項目,著眼於香 港及中國舞蹈的長遠發展。

 As an agency for dance education, CCDC organises the most comprehensive education and outreach programmes, with an emphasis on long-term projects in Hong Kong and in mainland China.

使命三 Mission


作為香港的文化大使——透過海外演出,在國際上肯定香港獨特的文化定位。 As a cultural ambassador of Hong Kong, CCDC helps project Hong Kong’s unique cultural identity through its extensive tours to different cities around the world.

使命四 Mission


作為中國當代舞蹈發展的核心動力——為華人編舞家提供行政、技術及藝術層面 上的支援,並於國內積極推動中國舞蹈發展計劃。

 As a catalyst for Chinese contemporary dance development, CCDC acts as an umbrella organisation offering administrative, technical and artistic support for Chinese choreographers. It is also the driving force behind the China Dance Development Programme in mainland China.


跳 到白血 球 努力 抵 擋外 界東 西 入侵 身 體 ……意 念

連繫 的 微觀 世界

一下子漫 天翻飛,然而未 至 於如斷 線 的風箏,因為

初,Dominic 拋出「關係」這個關鍵

《別有洞天》Blind Chance

黑白是黃狄文的衣着主色,原來他的衣櫃裡還有朱紅。 「它給我能量。」笑容燦爛的黃狄文說。 繼2012年創作《別有洞天》後的第二部長篇, 黃狄文Dominic的新作由熱情奔放、象徵喜慶、 暗示危險的紅色想起。 由朱 紅想到血,想到血 壓 高低 與 身心的關係,忽爾

詞,請舞者利用長短、彈性和粗幼不 一的繩子創作舞步,藉以尋出作品的脈 絡。他喜歡繩子那種隨意擺動,形態不能 固定及變化萬千,一如他對創作的定義 —— 想做就做,最緊要盡情。

© Cheung Chi-wai

Dominic 一早確定以自身作為起點。這一部絕對不 是醫學探索或人體 大全,而是 假借種種 進 入個人領 域的外來事物,呈現 Dominic 的生活感覺與某些情 緒狀態。Dominic 揚言﹕「作品可能比 較抽象,請觀 眾看表象下的我。」向來不介意公開自己,Dominic 覺得隱瞞內心反而會阻礙創作。「跟我的為人很有關 係,我一向說話直上直下,有時得罪了人,但這就是 我。」愛紅的人大多自信滿滿,不隨眾,不退縮。


《男人炒飯》Men's Chop Suey 《下一秒》What's Next

雖然自信十足,但 Dominic 亦在意別人的意見。「近 年創作愛請朋友來看排舞,而舞蹈方面則邀請黎海 寧和香港演藝學院的師兄師姐,另外找些熟悉劇場



不經不覺已加入C C D C 十八年,也累積了十 年編舞


經驗。由 20 03 年的《男人炒飯》、20 07年《歡樂今

的一句話有時能幫助我扭轉乾坤。」可見 Dominic 非



印象中的他一直是搞笑高手,作品輕盈,題材接近群 眾。直至第一部長篇《別有洞天》的出現,觀眾開始

構思中的佈景主要由橫向的繩索組 成,由本 地著名


時 裝 及 形 象 設 計 師 陳 刀繼《 脫衣 秀 2 012 》後再度 與 C C D C 合作,負責設計服裝,並首次 操 刀設計 舞


台。Dominic 透露,繩子與服裝一律紅。嘩!觀眾要



改 變,表 達 純肢體的創作,貪心 地想把人的感 情關

唯一肯定的是他到時會有對熊貓眼。Dominic 大笑

係 顯 現出來。今次 創作 沿用這個主 題,但 以 純 肢體




《忽然四季》Xtremely Four Seasons

黃狄文 小檔案 黃狄文曾任亞洲電視節目主持及演員,及後入讀香港演藝學院現代 舞系。1996年畢業後加入CCDC。於2001及2013年分別憑《Plaza X 與異變街道》及《畸人說夢》的演出獲頒香港舞蹈年獎「最值得表揚 男舞蹈員」,而其編舞作品《忽然四季》及《下一秒》則兩度獲《南華 早報》評選為「全年最佳舞蹈」。



© Jesse Clockwork

品注 重 戲 劇感,那是早 年的我,近 來我想暫時放下


From bright red to blood, to the relationship between blood pressure and well-being, to how white blood cells prevent external elements taking over the body… Ideas fly around but are never out of control, because Dominic uses his own experiences as the starting point. It is not a medical exploration or an encyclopedia of the body. Instead, through various kinds of external objects that enter the private sphere, it manifests certain feelings or moods of the choreographer. Dominic doesn’t mind making his own private life public. He thinks that hiding his thoughts will hinder his creation: “It has a lot to do with my character. I always speak my mind. Sometimes I offend people, but that’s me.” Most people who like the colour red tend to be confident, independent and forward.

Percy Mak

Dominic Wong always wears black and white. But he also has bright red clothes in his wardrobe. “It gives me energy,” says Dominic with a big smile. In his second full-length work after Blind Chance in 2012, Dominic starts with the colour red, which suggests warmth and boldness, happiness and celebrations as well as danger.

© Danny Wong © Danny Wong

© Danny Wong © Jaye Chan

Micro Connection

Hailed as “one of Hong Kong’s most promising choreographers” by the South China Morning Post, Dominic has been with CCDC for 18 years, choreographing for ten. From Men’s Chop Suey in 2003 and E.Y.T. in 2007, to Xtremely Four Seasons and What’s Next, he has proved himself a master of slapstick comedy, creating light-hearted works with wide appeal. It was not until Blind Chance that audiences saw another side of this comedian. “I feel I’m an eternal traveller. I have a great thirst for knowledge and always want to learn new things. My earlier works emphasise a sense of drama. It was the early me. Recently, I have decided to put that aside for the time being and look for new things. In Blind Chance, I tried to change by using pure movement to express the relationships between people. This work continues the theme, but movements of the body come first and are combined with feelings afterwards.” During the initial rehearsals of Second Thoughts, Dominic came up with the keyword “relationship” and asked dancers to create steps with ropes of varying length, elasticity and thickness to shape the development of the work. He likes using ropes because they can be swung around and they don’t take on a fixed form. Dominic may be confident, but he is also mindful of others’ opinions. “In my recent works, I like to invite friends to the rehearsals. From the dance profession, I’ll invite Helen Lai and my senior classmates at The Hong Kong Academy for Performing Arts. I’ll also invite friends from the theatre and music industry because their views are very important. When I’m concentrating, I easily miss a lot of things. Sometimes one word from them can help me turn things around.” This shows how serious Dominic is about his productions.

About Dominic Wong Dominic Wong was a TV artist for Asia Television Company. He studied modern dance at The Hong Kong Academy for Performing Arts and joined CCDC after his graduation in 1996. He received the Hong Kong Dance Award “Outstanding Performance by a Male Dancer” for his performance in Plaza X (2000) and The Comedy of K (2012). His choreographic works Xtremely Four Seasons (2008) and What’s Next (2009) were both hailed by the South China Morning Post as one of the "Best Dances" of their year.


The set will consist mainly of horizontal ropes. It brings together CCDC and renowned local fashion designer and image stylist Chen Dao for the second time after Strip Teaser 2012. Apart from costume design, he will make his debut as a set designer. As Dominic reveals, the ropes and costumes will all be red. Are the audience and the choreographer supposed to wear red too? One thing we can be certain: he will have dark circles under his eyes. Dominic laughs ruefully – he experiences serious insomnia whenever he choreographs a new work and can’t fall asleep until the early morning. 9

思憶,纏繞,隨想,觀後,擦肩而過…… Haunted by memories… You're close to me but can you feel my heartbeat?

CCDC Dance Generation

一卡在手, 讓你暢遊藝術花園 Lets you roam around the garden of art.

有說人的喜怒哀樂、感知以至意識狀 態,是大腦神經細胞之間溝通與聯繫的 神經遞質所產生的化學作用,箇中關係 千絲萬縷,如血管內的微觀世界,蘊含 不同崗位不同功能,看來細碎的事情也 足以牽一髮動全身,像生活在城市擁擠 的空間裡,周遭擦肩而過的你我,似近 還遠,當中的微妙互動深不可測。

黃狄文繼 2012 年《別有洞天》後再度 操刀,夥拍著名時裝設計師陳刀及音樂 達人沈樂民,新作將微觀起伏思潮、透 視身體結構,誓要衝擊你的視聽細胞, 一起探索錯綜複雜的後觀世界! Communication and connection between cranial nerve cells happen through neurotransmitters, of which there are a great variety of types, functions and formations. It is a lifelong journey to understand how our sensations, perceptions and ideologies are interlinked. The world we live in is bustling with noise and excitement. People are shuffling around all the time. We seem to be close to each other, yet we feel distant and lonely. Our intertwined relationships are just like blood, serving different functions. After his full-length debut Blind Chance, Dominic Wong advances his choreography in this followup piece. He collaborates with fashion designer Chen Dao to explore the microscopic world of sense and sensibility, with emotionally charged music by emerging composer Shum Lok-man.

編舞 Choreography

黃狄文 Dominic Wong

11~12.4.2014 8pm 12~13.4.2014 3pm 香港文化中心劇場 Hong Kong Cultural Centre Studio Theatre

舞台 Stage

音樂 Music

沈樂民 Shum Lok-man 佈景及服裝 Set and Costumes

陳刀 Chen Dao 燈光 Lighting

劉詩豪 Low Shee Hoe

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兩度獲頒香港舞蹈年獎,被《南華早報》譽為「最具潛質編舞新星」 Two-time winner of Hong Kong Dance Award. Hailed by the South China Morning Post as “one of Hong Kong’s most promising choreographers”

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牆面裝置,適時於舞作的幾個段落中將舞台切割成不 同區塊。其中一面的窗口,與另一面的門與桌,提供 一種家的氛圍。一開始,數位舞者穿梭於舞台空間, 其中或高喊著舞者 Noel 的名、或焦慮似地以廣東話 重複著「七點鐘……」、甚至有人大聲關上窗門,與傳 入耳裡的吵雜電子樂聲相抗衡。舞者們或三倆人於 舞台一角起舞,動作語彙多以身體關節之凹折所帶動 出全身的精力變化,因此呈現的肢體線條少有直立的 身軀,而是多屬臀部脫離中心或扭曲似的地板互動等 組合。 由於文化背景的不同,所 創作出的舞 作也會與西方 整晚的演出段落以暗燈區隔。首演版本的第二段中,


同樣出身中國第一代現代舞者並與桑吉加自1993 年


於廣東現代舞團相識至今,目前也是 CCDC 客席編舞












的特定舞句,應該是桑吉加受到佛賽的創作風格之 影響。畢竟桑巴(桑吉加的小名)也不避諱他從恩師


Bill(佛賽的小名)身上獲益良多,曾演出一隻自編的 獨舞《獻給 Bill》(2004)。

變化產生有趣的效果。由楊振業設計的影像,或局部 投射在白色裝置牆面或放大投在舞台背幕上。畫面的 處理也因舞者的節奏而變化,例如其中男舞者林波的 一段突出的獨舞搭配著斷斷續續的影像效果;而舞蹈 後段的場景又將舞者畫面以類似水波飄動般呈現,彷 彿呼應舞者們脊椎節節滾動 的特色動作。 全場演出舞者們分別展現自 己的特色,各個身懷絕技。資 深 的 喬 楊 依 舊 動人,但 印象 最 深 刻的,份量 也 最 重 的, 仍應 屬於 邢亮的戲份,尤其 是他接近結尾時的一段具有挑戰性的長獨舞。他全 身姿勢極端凹曲:頸後仰、挺胸、聳肩、臀部外俏、腳 外伸。在如此彆扭的狀態下,不斷持續流動地舞著, 甚至還以手推下巴,將頭後仰到極致,挑戰人體的極 限。汗流浹背的他,在燈暗後才得以休息。 桑巴曾表示這支舞創作的出發點源自他與 CCDC 數

眾所矚目的中國第一代現代舞編舞家桑吉加, 在隨德國法蘭克福芭蕾舞團藝術總監威廉.佛賽(William Forsythe)一起工作了四年後, 於2006年返回中國。近年來為曹誠淵於北京雷動天下現代舞團、 廣東現代舞團與香港城市當代舞蹈團(CCDC)分別 推出長篇舞作:《無以名狀》 (2007) 、《火柴人》 (2007) 、 《那一年.這一天》 (2009) 、《前定的暗色》 (2010) 、 《重置》 (2013) ,以及受邀為挪威Carte Blanche現代舞團編創的《不在,不再》 (2013) 。


年來合作的一些記憶。在一段段不同舞台場景的轉換 之下,觀眾也分享了舞者們的點點滴滴,彷彿細細品 味了一場視覺與動覺的饗宴。 註: 本文作者依據其於 2009 年觀賞《那一年· 這一天》首演 後,在香港《》發表之評論,再稍作更新。


Sang Jijia, a much sought-after choreographer of Tibetan ethnicity, is among the first generation of modern dancers trained in China in the early 1990s. Selected for the highly competitive Rolex Mentor and Protégé project in 2002, he was given the opportunity to work side-by-side with the influential American choreographer William Forsythe at the Frankfurt Ballet for four years. After his return to China in 2006, Sangba (Sang Jijia’s nickname) created a number of full-length works for dance companies associated with Willy Tsao – Hong Kong’s CCDC, Beijing’s LDTX and the Guangdong Modern Dance Company (GMDC). These works include Unspeakable (2007), Sticks (2007), As If To Nothing (2009), Standing Before Darkness (2010) and Layer Code (2013). In 2013, he was commissioned by the Norwegian dance company Carte Blanche to create Not Here, Not Ever. Text

Sang Jijia’s As If To Nothing

As If To Nothing has two large movable white panels on stage that resemble interior walls, complete with windows and doors. They are rearranged at different sections of the piece to create different spatial impressions. One panel has a table and a door opening and the other panel has a window; together they provide an impression of being inside a home. The work starts with several dancers crisscrossing the stage in no specific direction or order. A dancer shouts the name “Noel”. A voice murmurs “seven o’clock…” in Cantonese repeatedly. A performer slams the window and door loudly, as if to compete with the pounding electronic music. Eventually, groups of two or three begin to dance together, unfolding their limbs to initiate whole body movement in sequence. Bodies are often off-centre, with the hips pushed out, limbs twisted, rarely presenting straight lines in movement. The scenes are divided by blackouts. In the second scene of the 2009 version, veteran dancer Xing Liang, who is Sangba’s colleague from the early days of GMDC and later at CCDC, performs an eloquent solo interacting with a live video projection. He captivates the audience with a flowing energy that originates from disjointed movements. His “leg fold, floor drop” sequence, echoing an earlier excerpt performed by female dancer Chang Lan Yun, is one of the highlights of the show. This technique of relating to a dance phrase by a different dancer in a different space on the stage, reminds me of Forsythe’s well-known “counterpoint” technique, which Sangba must have picked up from working with him for an extended period of time. After all, Sangba once created a piece dedicated to his mentor, simply titled For Bill (2004). Perhaps due to cultural differences, As If To Nothing presents a different ambience compared to works from the West. The subsequent scenes – the relentless rush towards the window to look out, the use of silhouettes of a trio of dancers created by lighting designer Goh Boon Ann, the lyrical music mixed live by composer Dickson Dee – create a human aspect not often seen in Forsythe’s repertoire. The simple, sharp grey costumes designed by Charfi Hung are subtle and effective, blending in with the


Lin Yatin, PhD, Assistant Professor of Dance Studies, Taipei University of the Arts, Taiwan

work’s atmosphere. The occasional bright pink fabric on the costumes of Joann Chou or Jennifer Mok poignantly brings out the high contrast. Furthermore, the live action of dancers on stage interplays with their images, projected through live feeds from hidden cameras. Video designer Adrian Yeung sometimes projects images onto white walls, sometimes over the whole area above the stage. The rhythm of the projection echoes the dancers’ movements on stage. For example, when Lam Po dances his jagged solo, the images respond with a staccato-like feed. At other times, the projection ripples as if on the surface of moving water, perhaps in response to dancers’ rolling their spines. Throughout the evening, dancers exhibit their own unique characteristics. Veteran female artist Qiao Yang shines on stage. The biggest role is Xing Liang’s, which features extended solos, especially the challenging performance towards the end. With his body twisting in different directions – head back, chest out, shoulders up, hips curved, legs extended. In such an extremely uncomfortable stance, Xing Liang dances, using his hand to lift up his chin, pushing his own physical limit. Soaked in sweat, Xing Liang is only allowed to stop at the final blackout. According to Sangba, As If To Nothing is created based on the memories of his years working with CCDC dancers. Witnessing the scenes on stage, audiences are able to tap into the shared experience of this group of artists through their kinesthetic and visual collaboration. Note: This article was first published in Chinese in 2009 in Hong Kong’s a.m. post after its world premiere. It has been slightly updated since.


「充滿動力的舞蹈作品,當中無休止地流動的動作要求舞者扭曲其身體的每一個部分。」 ―― 香港《南華早報》 “The choreography is supremely kinetic, with endlessly flowing movement that requires the dancers to contort every part of their bodies.” – South China Morning Post, Hong Kong

「這群極之專業,技巧高超,身手一流的年輕舞者是 香港最好的文化大使。」―― 德國《斯圖加特報》

“Thoroughly professional, the young, technically brilliant Hong Kong Chinese with highly efficient acrobatic skills are the best cultural ambassadors of their city.” – Stuttgarter Zeitung, Germany

「亞洲最備受推崇的舞蹈團之一。」 ―― 英國《國際藝術管理雜誌》

“One of Asia’s most acclaimed ensembles.” – International Arts Manager, UK

CCDC自1979 年創團以來,一直以「立足香港,匯聚華人菁英,創造當代中國舞蹈」為宗旨,除致力製作原創節 目、推動教育與外展活動及支持中國舞蹈發展計劃外,並肩負文化大使的角色,於三十年間屢次獲邀代表香港參 與世界各地的藝壇盛事。 過去一年,舞團先後走訪意大利羅馬、南韓大邱、中國北京、廣州及深圳等城市巡演及參與多項國際交流活動, 包括舞蹈影像、舞蹈營及工作坊等,確立香港舞蹈文化於國際的獨立定位,並向世界展現當代香港藝術靈魂的獨 特魄力。 編舞及佈景 Choreography and Set

桑吉加 Sang Jijia 音樂 Music

記憶之門,在魔幻的時空中打開…… A breathtaking journey into the impermanence of memories… 破碎的記憶 如夢魘 般噴 湧,在 交 錯 時空 下,這些記憶孰真孰假?一眾舞者帶領觀眾 進入失衡的境界,在充滿張力的電子音樂 與互動錄像交織中,由譽滿歐美的編舞桑 吉加編創澎湃的肢體語彙,重新演繹這個 獲2010香港舞蹈年獎「最值得表揚製作」 與「編舞」兩項大獎並曾於北京、廣州、新 加坡及佛羅倫斯上演的作品。

13~14.6.2014 8pm 葵青劇院演藝廳 Kwai Tsing Theatre Auditorium

李勁松 Dickson Dee 首演燈光設計 Original Lighting Design

As If To Nothing is an adrenaline-packed and interactive multimedia work created by the internationally renowned choreographer Sang Jijia. This exhilarating work examines the passage of time in the stream of memories through an exquisite movement vocabulary designed by Sang. Having won two 2010 Hong Kong Dance Awards (“Outstanding Dance Production” and “Outstanding Achievement in Choreography”), the production was also invited to perform in Beijing, Guangzhou, Singapore and Florence. This tour-de-force returns for another breathtaking journey led by CCDC dancers and their extremely physical and emotional performance.

吳文安 Goh Boon Ann 執行燈光設計 Executive Lighting Design

劉詩豪 Low Shee Hoe 服裝 Costumes

孔德瑄 Charfi Hung 錄像 Video

楊振業 Adrian Yeung

As a leading Hong Kong performing arts company, CCDC has played its role with excellence since its establishment in 1979. It continues to gather the best of Chinese talent to create dance in the contemporary Chinese context. As a cultural ambassador for Hong Kong, CCDC has toured the world’s foremost dance stages and festivals over the past few decades. Last year, CCDC visited Rome, Daegu, Beijing, Guangzhou and Shenzhen, promoting Hong Kong’s unique cultural identity and contemporary artistic soul through stage performances and extensive cultural exchange activities, including dance video festivals, dance camps, seminars and workshops.

2014年 巡演日程 Touring Schedule:

6.2014 意大利佛羅倫斯2014歐洲法比加藝術節 Fabbrica Europa Festival 2014, Florence, Italy

7.2014 北京舞蹈雙周2014 Beijing Dance Festival 2014


挪威奧斯陸歌劇院 Oslo Opera House, Norway 舞台 Stage

此製作之音樂於2009年由城市當代舞蹈團委約,費用由香港 作曲家及作詞家協會轄下的「CASH音樂基金」贊助。


第十一屆廣東現代舞周 The 11th Guangdong Dance Festival

The music is commissioned by City Contemporary Dance Company in 2009 with sponsorship from CASH Music Fund.

▓ $250 ▓ $180 ▓ $140

主辦機構保留更改節目及巡演日程的權利 Programmes and touring schedule are subject to change.



© Cheung Chi-wai

對 Noel 來說,編舞的形式可以有很多種嘗試,但她對 自己有種默默的堅持,「我對作品的音樂、氛圍及動 作的配合有很強烈的要求和執著,這次的作品雖然有 點抽象,但那種對音樂和動作的切合,要很精準很精 煉,要與全宇宙最夾,仍然很堅持。」

對於「資深購物狂」龐智筠 (Noel) 來說,要排一隻講 「shopping」的舞一點都不困難。笑言從懂賺錢開 始就已經準備好這題材的她,被淘寶購物的網上體驗 所衝擊,當場決定要把「購物」搬上舞台。「這麼與日 常生活緊密聯繫的題目,讓我很有發揮呀。」當下,舞 蹈畫面已經一個接一個地浮現腦中,所謂的「思如泉 湧」,大概就是如此。卻沒想到,排完《脫衣秀2012》 中的短篇《一體兩面》,聽到有觀眾希望她在下一個 作品中展現不一樣的風格,她有些傻眼,旋即一咬牙 接下「戰書」,把之前腦中流光溢彩的購物畫面一下抹 去,換個方式重新再來——最後的《購人心弦》,就是 這樣煉成的。

今年,《購人心弦》換個場地,在香港葵青劇院再次登 場,之後更要到北京演出。雖是重演,對 Noel 來說卻 如同踏上全新旅程,有機會重新建構一個舊作。因應 不同的演出場地及安排,Noel 將整個舞作大幅度調 整,重新梳理自己一年前的創作邏輯,也嘗試放進新 意思,「多了很多東西玩」她興奮地說。 問 Noel 下次編舞會不會繼續這種知性的調子,她大 笑:「每次都變一變吧,次次都要很嚴肅,我也很辛苦 的。」

© Cheung Chi-wa

© Cheung Chi-wai

熟悉 Noel 作品的朋友,每每都被她的舞作逗得會心微 笑,無論是早期的《星期一(雨)》,還是後來技藝愈發 純熟的《案發現場》和《全院滿座》,那種輕巧新鮮加 上一些些鬼馬的黑色幽默,往往刺得人心癢癢。這次, 她「強迫」自己轉換形式,抽象一些、理性一些(只在第 六幕時忍不住犒賞自己似地安排了一場嘉年華群舞), 刻劃不一樣的購物狂。舞作一開場已先聲奪人,幕布拉 開,堆積如山的衣褲鞋襪幾乎佔滿整個舞台,舞者在這 「衣塚」中左穿右插,一段伴隨著Kerry Muzzey激烈音 樂的群舞卻被局限在台中三米乘三米的狹小空間中,一 種愛物至深卻又為物所困的窘迫感油然而生。接下來, 一個個片段式的情景加上富象徵性的舞台意象,《購人 心弦》的世界顯得熱鬧又疏離,滿溢又空虛,虛實交錯 得十分過癮。

© Cheung Chi-wai

然而,這是個批判消費文化的作品嗎?Noel 不是文化 研究學者,這也正是她的可愛之處。她熱愛平常生活 中的各種情緒,有為每個細節編寫故事的慾望。《購 人心弦》冷靜抽離,卻不板著面孔說道理。人與物的 關係,仍回歸到頗富生活情趣的層面,最終又落腳到 人和人的牽絆上,溫熱又真實。

龐智筠 小檔案 1997年以一級榮譽畢業於香港演藝學院現代舞系,同年加入 CCDC為舞者。2009年憑《案發現場》獲《南華早報》選為「全年 最佳舞蹈」,並憑《全院滿座》獲頒2012香港舞蹈年獎「最值得 表揚編舞」獎。



Welcome to the World of Shopaholics ! Text

Those familiar with Noel’s work are often tickled by her pieces. Whether it is the early Rainy Days and Mondays... (2006), or the later increasingly mature Crime Scene (2009) and Off Screen (2011), their lightheartedness as well as some elements of black comedy appeal to our sense of humour. This time, she “forces” herself into a more abstract but rational style (only in the sixth scene does she allow herself a treat by creating a carnival-like group dance) to depict a different kind of shopaholism. The dance opens with a striking image: when the curtains are drawn, we see mountains of clothes and shoes filling the stage. Dancers weave their way through this “tomb of clothes”. A group dance set to the rousing music of Kerry Muzzey is confined in a small area of three square metres in the middle of the stage, creating a sense of claustrophobia, trapped by the objects that one loves. This is followed by episodic scenes accompanied by symbolic stage images. The world of The Buying Game is simultaneously crowded and alienated, full and empty.

Wei Wei

For a “veteran shopaholic” like Noel Pong, it’s not laborious to choreograph a work about “shopping” at all. Having prepared for this subject matter ever since she started to earn a living and inspired by a recent extraordinary online shopping experience on Taobao Marketplace, Noel is determined to make “shopping” real on stage: “A topic that is so intimate to everyday life gives me room for imagination.” One dance scene after another sprang to her mind, like water gushing out. After premiering a short piece called Inside Out at Strip Teaser 2012, she was surprised by the audience feedback, encouraging her to adopt a different style in her next production. She took up the challenge and completely erased original dance scenes and started over with other ideas – that’s how the final The Buying Game caught the audience’s eyes.

And yet, is this a work criticising consumer culture? Noel is not a scholar of cultural studies, which is what’s endearing about her. She loves the various emotions in ordinary life and has a desire to write stories for every detail. While cool and detached, The Buying Game is not didactic. The treatment of the relationship between man and objects is still full of interest, and is ultimately linked to complex human relationships that are warm and real. For Noel, while the choreography can take many forms, there are some things that she insists on. “I have very strict demands when it comes to the coordination between music, mood and movement. Even though this work is a bit abstract, the music and movement must match very precisely and exactly. I still insist on that.”

© Cheung Chi-wai

This time, The Buying Game will be restaged at a different venue, Kwai Tsing Theatre in Hong Kong, before touring to Beijing. Even though it is a re-run, restructuring an old work is like embarking on a whole new journey for Noel. To match the different performing venues and arrangements, Noel has made major adjustments to the choreography, rethinking her own creative logic from a year ago and trying to introduce new elements. “There are many more things to play with,” she says excitedly. Asked if she will continue with this intellectual tone in her next work, she laughs, “I’ll change a little bit each time. It’s very hard for me to be serious all the time.”

About Noel Pong Noel Pong graduated from The Hong Kong Academy for Performing Arts with First Class Honours in modern dance and joined CCDC in 1997. Her choreographic work Crime Scene was selected by the South China Morning Post as one of the "Best Dances" in 2009 and Off Screen (2011) won “Outstanding Choreography” in 2012 Hong Kong Dance Awards.


「雄心勃勃之作,其中包括一些引人注目的編排,並顯示龐智筠成功地在她的編舞當中注入新元素。」 ―― 香港《南華早報》 “An ambitious work that includes some striking sequences and shows Pong successfully introducing new ideas into her choreography. ” – South China Morning Post, Hong Kong

是人在購物,或是物在「扣」人? Are you really buying the things you desire or being trapped by them?

獲頒 2012 香港舞蹈年獎「最值得表揚編舞」獎的 CCDC 編舞、舞 者以及作為當今最有前途的編舞家之一的龐智筠以購物經歷創 作《購人心弦》。遊走於石屎森林和指尖上的購物迷宮,被琳瑯 滿目的產品和翻天覆蓋的精美圖照所俘虜。當中的感情流向為 何,是單向的,還是雙向的,或是更錯綜複雜? 作品於 2013 年首演時憑緊貼生活的題材及舞者精湛的演出,令 演出叫好叫座,引來各方熱烈迴響。今年 7月,舞團特別將作品搬 至大舞台上演,龐智筠去蕪存菁,將賣物場上的你我購物經歷活 現觀眾眼前。

Noel Pong is one of today’s most promising choreographers. Winner of the 2012 Hong Kong Dance Award "Outstanding Choreography", she was inspired by a shopping encounter and created The Buying Game. Wandering between immersive shopping labyrinths in concrete jungles and virtual online shopping platforms, one is overwhelmed by a barrage of desirable things made more desirable by exquisite imagery. How do emotions flow in this world: one way, two ways, or crisscrossing? The Buying Game converses with everyday life and is realised by a cast of superb dancers, the premiere performances in 2013 were wellreceived and drew enthusiastic responses. This July, CCDC puts Pong’s renewed reflections onto a larger stage, once again analysing our shopping experience with humour and insight.

編舞 Choreography

舞台 Stage

龐智筠 Noel Pong

佈景 Set

10.7.2014 8pm

首演燈光設計 Original Lighting Design

服裝 Costumes

吳文安 Goh Boon Ann

孔德瑄 Charfi Hung

執行燈光設計 Executive Lighting Design

音響 Sound

劉詩豪 Low Shee Hoe

夏恩蓓 Ha Yan-pui

葵青劇院演藝廳 Kwai Tsing Theatre Auditorium

阮漢威 Yuen Hon-wai

▓ $220 ▓ $140

Anh 越南溫度

阮日廣 Nguyen Ngoc Anh

越南籍的 Anh 在越南習舞七年之後,離開了家,考入香港演藝學院。隨後去了歐洲,在一個環境截然不同 的世界生活了數年,讓多樣色彩的文化,灌溉體內的藝術種子。 多年來,他曾跟世界多個著名舞團及編舞家合作,「但無可否認,在倫敦跟韋恩 · 麥奎格 (Wayne McGregor)

工作的六年,啟迪至深。不是關於風格,而是Wayne 的工作態度。他是一個多麼清楚自己想要什麼的人,不會

舞者和編舞,是兩種同科但不同種的動物, 但兩者可以同體,亦可以經過演化,從舞者變成編舞。 跟往年一樣,CCDC今年邀請了幾位編舞新鮮人, 經驗不一,背景各異,在同一舞台上,釋放段段編舞心話。

猶豫不決而浪費了排練的時間。他的外表十分冷酷,對舞者也從不客氣,不管你跟他是多好的朋友,他也不會 感情用事,這是他成功的地方。」 當 年 A n h 在 八百名 舞 者 中脫 穎 而出,被 W a y n e 選 中入 團,「他 說,因 為 喜 歡 我 的 傲 慢!」哈!朋 友 眼

中,A n h 從來是個多麼沒 所謂的人。「我想,那是一種 反射,在 遴選的房間裡,你見到他那樣嚴 肅嚴格,

那能量自然地令我作出相對的反應。」然而,回到自己的作品,Anh 總毫不保留把心敞開,「不少人說,我


的作品,往往令他們流淚。我 相信不是傷感,亦非困惑,而是因為作品,流露出坦然和坦誠。編舞時我永 遠從個人出發,大概是那溫度,感動觀眾。」

Shirley 放自己一馬 「很多時外面陽光普照,我就要困在一個密室裡工作,香港人都是那樣,根本沒時間生活, 無時無刻被困於工作。沒有選擇。」樂知靄(Shirley)這位甜姐兒,一開口便講壓迫……嗯! 對!大家都被困在同一個壓力煲之中,不應感到意外。

Peggy 地下鐵碰著她

感覺如此強烈,Shirley 理所當然把它放入創作之中,「我想由個人的壓迫感說起,那些來 自環境也來自人與事的壓力。」慶幸她不是個太鑽牛角尖的人,既然外界無法改變,學懂自






最近,Shirley 十分喜歡電影《雲圖》的主題音樂,每次聽到,她都被觸動,都很想哭,同時

跟大部分香港人一樣,擠壓的生活,迫得 Peggy 幾乎窒息。

勾起很多生活中的聯想。「我喜歡跳 jazz funk,平時也常聽那類節拍強勁的音樂,對古



作品。反而,我希望創作可以提供一個出口,讓大家舒一口 氣。」縱 然 未有 確 實 的 計劃,P e g g y 的 腦海 裡,已浮現了


林詠茵 Peggy Lam

好些零零碎碎的畫面――「畫人像畫,一個畫人與一個被畫 的人;是兩者之間的關係,兩人的身體與心理狀態,都很有

樂知靄 Shirley Lok


Jennifer 遺傳驚恐症


自2007年加入CCDC,Peggy 遇上無數舞蹈啟蒙。「當年邢 亮的《沒有主義》,是我第一次參與那麼講求肢體的作品。他




高層次。至於黎海寧,編舞是一幅接一幅的畫面,很乾淨,很 漂亮;而龐智筠則是個轉數極高的人,跳她的舞,我要迫自己



麼?父母在價值被扭曲的時代中存活下來,今日我依然感受到他們昔日的痛楚,然後,我們又好像漸漸返回那個時代,恐 懼活生生迎面而來。」 作品已有雛形,可Jennifer 卻擔心,題材對於舞者,會否太沉重。「我想,我會跟他們從玩遊戲開始,因為遊戲時大家會進 入一個輕鬆的狀態,而且這個時候的創造力,通常都很強。」 莫嫣 Jennifer Mok


All photos © Faidias Hu


When Dancers Evolve into Choreographers Text

Yvonne Chan

© Faidias Hu

Dancers and choreographers are creatures from the same genus but of different species. But sometimes, the two species blend inside one body; on other occasions, evolution occurs – the dancer morphs into a choreographer. Following the CCDC tradition, four upcoming choreographers with different experiences and from different backgrounds are invited to share the stage and have a heart-to-heart with us. Peggy: A Subterranean Encounter When you ask Peggy Lam about the relationship between dance and everyday life, she will immediately Anh: Vietnamese Warmth think of a packed underground train. “When I’m Nguyen Ngoc Anh left his home Vietnam after seven years of dance training and entered queuing for a train, I’d use some contact techniques The Hong Kong Academy for Performing Arts. Then he moved to Europe. Having lived and to squeeze my way into the compartment.” Life’s that worked in completely different places for several years, the diverse, colourful cultures he practical, a 100% Hong Konger. encounters take root inside him. Like most Hong Kongers, Peggy is almost suffocated He has worked with many renowned dance companies and choreographers, “Without a doubt, by the oppressively crowded life. “I’ve been a dancer working with Wayne McGregor for six years in London has been the most enlightening. It’s for many years, but this is my first choreography. not about style, it’s Wayne’s attitude. He’s someone who’s very clear about what he wants. I don’t want to bring a negative message into the He never hesitates and wastes rehearsal time. He is very cool on the surface, and he doesn’t work. Instead, I want create something that provides dress things up for dancers. No matter how good a friend you are, he won’t mix emotions an outlet, so we can all let it out a bit.” Though she with work, that’s his success.” hasn’t got concrete plans yet, in Peggy’s mind, there are some fragments – “painting a portrait, the painter Anh was picked by Wayne to join his company out of 800 candidates, “He said, it was and the seater; the relationship between the two, the because he liked my arrogance!” Ha! In Anh’s friends’ eyes, he’s always easygoing. “I think physicality and the psychology of both of them, it’s that was some kind of reflection. In the audition room, you saw how serious and strict he is. all interesting.” That energy naturally made me response accordingly.” When he talks about his work, Anh

一思一感,凝於動靜之間 The distillation of emotions between motion and stillness

四位編舞新鮮人,CCDC 舞者林詠茵、樂知 靄、莫嫣及來自越南的阮日廣,以舞者的動 與靜,追溯舞蹈的最初! 年輕舞者莫嫣,將殘酷歷史刻劃出來的集 體恐懼,化為治癒系舞蹈;林詠茵抓著混 色畫板中的一抹艷紅,讓正能量躍動於五 體間;人,被困於圍城中,還是自我束縛? 樂知靄將打開困與被困的迷思;阮日廣探

always opens up, “Many people have told me, my work makes them tearful. I don’t believe it’s sadness or confusion – it’s because the work shows an openness and honesty. When I choreograph, I always start from myself, maybe it’s that warmth that moves audiences.”


Since joining CCDC in 2007, Peggy has met plenty of dance mentors. “Xing Liang’s Out Of The Box was the first time I took part in a work that has such an intense physical demand. His demonstration was perfect to the point of stunning, inspiring me to work Shirley: Let Yourself Off harder to improve myself, to move onto a higher Surely everyone would feel for this: “Often when it’s beautiful and level. As for Helen Lai, her choreography is a visual sunny outside, I’m stuck in a closed space, working. Everyone in after another visual, very clear cut, very beautiful. Hong Kong is like that – there’s no time to live, stuck at work at And Noel Pong is an extremely fast thinker, when all times. There’s no choice.” When the sweet-looking Shirley Lok I dance in her works, I have to force myself to think starts speaking, it’s about stress and pressure… Yes! We’re all stuck faster, to avoid gaps from appearing in the process.” in the same high pressure cooker. Her response is actually not that unexpected.

跳出一支獨特的韻律舞。 Four fresh choreographers –– CCDC dancers Peggy Lam, Shirley Lok and Jennifer Mok, together with Vietnamese dancer Nguyen Ngoc Anh explore the nature of dance by the movement and stillness of dancers. Jennifer Mok turns the collective fears that stem from a brutal history into a dance of healing. Peggy Lam takes the colour red from a painter’s palette and creates a dance full of positive energy. Shirley Lok breaks down the myths around the sense of feeling trapped –– by ourselves or by outside forces. Nguyen Ngoc Anh explores the complexity of the human body and its internal rhythm, expressing the body’s internal sound as if it were a musical instrument.

Since Shirley feels it so deeply, of course she puts it in her work. “I want to start from that personal sense of oppression, the pressures that come from the environment and also from people and things.” Luckily, she’s not someone who thinks herself into a dead-end. Since one can’t change the outside environment, the best way around is to learn how to unwind. “Recently, I’ve thought through it. Actually Jennifer: Inheriting Fears most of the time it isn’t the environment affecting you, it’s you giving “I’m going to start from my fears.” That’s the first thing Jennifer Mok said. Then, yourself pressure. Even when nothing at all has happened, you still she told a story. The protagonist is a comrade of her grandfather. find things to make your life difficult, causing worries to yourself.” “My dad told me, grandpa had a comrade, because he offended Jiang Qing, his punishment was to stand on a top of a ‘pyramid’ of chairs. As the stack wobbled, he fell, once, twice, three times… onto the ground, until he was paralysed and lost the ability to speak.”

At the moment, Shirley is very fond of the theme music to the film Cloud Atlas. Whenever she hears it, she feels moved and wants to cry. It also triggers lots of associations with life. “I like to dance jazz funk and I usually listen to music with a strong beat too. I don’t particularly feel much for classical music. But this piece of She wants to take this fear into the relationship between the three generations and symphonic work really strikes a cord with me, which is very rare, I’m put them into her first choreography. “Grandpa’s experience is passed onto me. thinking of incorporating it into my choreography.” What have I got from it? My parents survived from that age when all values were twisted, I can still feel their pain from that time, even today. Then it seems like we’re heading back to that time, fear is coming at us well and alive.” Jennifer’s work is taking shape, but she worries if the subject is too heavy for the dancers. “I think I’m going to start with playing some games. Because when we’re playing, we enter a more relaxed state, and at this state, our creativity usually grows stronger.” 24

編舞 Choreography


林詠茵 Peggy Lam 樂知靄 Shirley Lok

26~27.9.2014 8pm 27~28.9.2014 3pm

舞台 Stage

莫嫣 Jennifer Mok

香港文化中心劇場 Hong Kong Cultural Centre Studio Theatre

阮日廣 Nguyen Ngoc Anh 25

▓ $200 ▓ $140

舞者Dancer: 樂知靄Shirley Lok

攝影Photographer: 陳德昌Ringo Chan

設計Designer: 霍奕忠Kent Fok@tn PEACOCK




1979 年成立城 市當代 舞蹈團,19 92 年協助成立 廣 東 實驗現代 舞團,2 0 0 5 年建 立 北京 雷動天下 現代 舞團,到如今已經三十五年。當中風風雨雨,有時回 首,自己也免不了一陣驚訝,我這是在做了些甚麼? 就 像 海 綿 一樣,把 外 來 文化 好 的 壞 的 都 一 股 腦 兒 有 許 多朋 友 跟 我 一樣 喜 歡 舞 蹈,其 中 學 識 比 我 優

吸 進 肚 子裡。我 當 然 認 為 現代 舞 是 好 的 那 一 部 分


啦!1992 年廣東省政府成立全國第一個專業現代舞










某位國家領導人接見我的時候,語重心長地對我說: 如果不是改革開放,這就是不行的!

我有幸生長在中國改革變化最 好的時刻,目睹國家 我 雖 然 在 19 9 8 年便 到了北 京 舞 蹈學院 教 課,並 在


1999 年獲邀成為北京現代舞團的藝術總監,可是北 京現代舞團自1995 年建團時開始,便是屬於北京市 歌舞團管轄下的一個單位,在尚是傳統積集的老北 京裡,人事自然 複雜牽連,工作並不暢順。直 到踏進 二十一世紀,隨著申奧成功,國際目光聚焦北京,國 家的文藝政策改革也勢在必行。2005 年 6月,政府宣 佈中國公民可以私人註冊成立在國家體制之外的文 藝團體,因此在同年 9月,我才有機會和朋友們合作 建立了北京雷動天下現代舞團,成為新體制、新氣象 下,第一個沒有政府背景的獨立專業現代舞團,而我 便成為這個來之不易,卻又是水到渠成的舞團的藝 術總監。

地努力翻身,以至一切準備就緒,容許我全心全意地 跳我自己喜歡的舞。舞蹈的過程中當然困難不少,但 做藝術的有哪個是一馬平川毫無阻礙呢?因此每當 我像現在寫文章般的回顧過去,總會對社會,對時代 心存感激。三個舞團,分別見證著三個城市的經濟起 飛,也代表著中國改革開放的三個階段: 香港於���十世紀七十年代成為「亞洲四小龍」之一, 創造著一個又一個經濟奇蹟,整個城市一天變一個 樣,也孕育著城市當代舞蹈團的出現。1979 年我從 香港大學拿了個工商管理碩士頭銜,卻一頭鑽進了專 業現代舞的天地。剛好中國在打倒「四人幫」後,百 廢待舉,於同年宣佈改革開放。舞團翌年(1980 年) 便在開放政策的運作下,成為歷史上第一個被邀請



我 卻 從 開 始 便 沒 有 想 過 要 建 立甚 麼 舞 團,只 是 喜




想起來,又 是那麼理所當然地預兆著現代舞從香港

切,可是 這種分享也需要 有一定的社會基 礎和時 代



Guangdong Modern Dance Company Micro-visionary choreographed by Liu Qi

州,在北京找到和我分享舞蹈喜悅的同伴們,一起坐 九十年代是中國改革開放碩果纍纍的年代,隨著鄧


小 平 南 巡 講 話,南 方 沿 岸 地 區 的 經 濟 發 展 勢 不 可


擋。經 濟騰 飛伴隨的是 文化 上的需求,當時的廣 州

便非我所知了。 28

北京雷動天下現代舞團李捍忠及馬波編舞《滿江紅》 BeijingDance/ LDTX All River Red choreographed by Li Hanzhong and Ma Bo


Awakening in the Land of the Dragon Text

Willy Tsao, Founder and Artistic Director of CCDC

Many people love dance as much as I do. Some of them are more learned than me, wealthier than me or have better connections than me. There are plenty of them in both Hong Kong and mainland China. They have been trying for years, but they may not have accomplished a great deal, whereas a fool like me has miraculously created three modern dance companies. That’s why I think that it is not that I have consciously done anything great, but the task of developing Chinese modern dance has fallen on me by chance – as if dance had chosen me. I am lucky to live in a time when China is carrying out its best reforms. I saw how the country gradually rose from its most difficult times in the early 20th century, until circumstances allowed me to devote myself to the dance I love most. Of course there have been hard times in the process, but which artist has not encountered obstacles in his career? That’s why whenever I write an article looking back, my heart is filled with gratitude for society and the times. The three dance companies have witnessed the economic takeoff of three cities respectively and stand for three stages in the reform and opening up of China. During the 1970s, Hong Kong became one of Asia’s Four Little Dragons, accomplishing one economic miracle after another. The whole city changed from day to day, and became the breeding ground of a company like CCDC. In 1979, after taking an MBA degree at the University of Hong Kong, I tumbled into the world of professional modern dance. In the same year, China announced its policy of reform and opening up after the Gang of Four was toppled. In 1980, CCDC became the first modern dance group to be invited to perform in the mainland under the openingup policy. When I walked across the bridge from Lo Wu to Shenzhen with trepidation, everything seemed so strange. But in introspect, that step was a harbinger of the influence Hong Kong’s modern dance would have on China. The 90s was a period of rich harvest for the reform and opening up of China. In the wake of Deng Xiaoping’s southern tour and speech, economic development of the coastal areas of Southern China went ahead in full force. Economic takeoff was accompanied by a demand for culture. At the time, Guangzhou was like a sponge absorbing all the good and bad of foreign culture. Of course, I regard modern dance as the good part. In 1992, the Guangdong Provincial Government set up the Guangdong Modern

Dance Company, the first professional modern dance company in China, and hired me as Artistic Director. While it did not seem such a big deal to me at the time, I realised later that it was an unprecedented step for China to appoint a resident of Hong Kong, then a British colony, to head a Chinese arts organisation. When I was received by a certain Chinese leader, he told me it would not be possible if it were not for the policy of reform and opening up. In 1998, I went to teach at the Beijing Dance Academy and was invited to become Artistic Director of the Beijing Modern Dance Company in 1999. Since its inception in 1995, the company had been administered by the Beijing Municipal Song and Dance Company. In Beijing at that time where tradition was still deep-rooted, personnel affairs were complicated and my work did not go smoothly. As the 21st century began, all eyes were on Beijing when it won the bid to hold the Olympic Games; it became imperative for China to carry out reforms in its arts and cultural policy. In June 2005, the government announced that Chinese residents would be allowed to register and set up private cultural and arts organisations outside the state system. Thus, in September of the same year, I was able to set up BeijingDance/LDTX with friends. It is the first independent professional modern dance company without government background in the new climate, and I became Artistic Director of this company, which did not come easily but came into existence when the time was ripe. My friends asked me jokingly where I would set up the fourth company. Actually, I never planned to set up any dance company at all. I just love dancing and wish to share it with other people. But such sharing needs certain social conditions and the right time to make it happen. I was lucky to find associates in Hong Kong, Guangzhou and Beijing who share the joy of dancing with me. Together, we have jumped on the bandwagon of social change and listened to the sound of the wheel of history moving forward. As to where this bandwagon would take us in the vast territory of China next, I have no way of knowing. 30


葵青 Theatre g n i s T Kwai 佈

後公 留意日 e details 請 情 詳 mor ned for u t y a t S

城市當代舞蹈團由天台的排練室走到舞蹈中心,再跨越神州大地,走過十萬八千里。由開山祖師到當今 舞壇超新星,在排練室共度寒暑,努力的汗水所帶來的記憶像扶把一樣長。來自五湖四海的幾代同路人 將於舞台上共聚,透過展演為香港舞蹈史寫下值得紀念的一章。

From the humble beginning of a rooftop rehearsal to a Dance Centre today, for 35 years, City Contemporary Dance Company (CCDC) has been cultivating modern dance in the contemporary Chinese context in Hong Kong and across the vastness of China. Creativity blooms at our studios, with dance artists from East and West spending many days and nights dancing and creating 31 35th anniversary, showcasing their best in this feast of dance. with us. Now, generations of talent gather to celebrate CCDC’s

© Leecat Ho

“About this programme, it was a mind-blowing fantastic performance. I love all the dancing parts.” – Gurung Kabita

「如果可以出soundtrack就好啦!送外國朋友best gift, representing HK.」―― 阿 Po 「非常厲害!政府理應多加支持!表演可見本土情懷,期待下次表演。」―― Ah Fong 「比傳統劇場好玩,互動得好好,希望主辦單位多點舉辦類似活動,感謝你們帶給我們歡樂。」 ―― 無名氏

一切,源於對生活的渴求; 一切,源於對西方的憧憬。 《慾.望.西.九.》由此出發。香港舞壇鬼才楊春江 穿針引線,集齊各路英雄,在油麻地砵蘭街/文明里 休憩處搭起舞台,展示他拿手的多媒體多樣化舞蹈創 文

李敏儀 「CCDC媒體實驗室」項目經理

作;一眾街坊呼朋喚友,將小小的公園化身大笪地,延 續廟街的燈紅酒綠,彰顯油麻地的人情味,在帶點寒 意的初冬晚上濟濟一堂,本地人也好、南亞裔也好、 國內或外國遊客也好,總能在一小時東西共融的演出 中,得到一些歡笑、新鮮感、驚嘆,甚至認同。 總舵手楊春江身兼導演及編舞,不僅匯聚了多媒體藝

隨著變奏版的《帝女花》在半空中優美地伸展,然後, 高大的男舞者在飾有中國與英國國旗圖案的緞帶上轉 體、懸垂,背景音樂卻是《狂潮》和《乘風破浪》;當紅 衛兵、英女皇遇上穿著曾灶財墨寶 Tee 的「香港人」, 三人擦出不一樣的火花……尾聲,多媒體設計師利用

video mapping技術,將七八十年代的市貌投映到紅磚 牆上,光影交織間,男舞者唱出一首集合港人記憶的串 燒歌,當中包括《小太陽》、《祝福》、《似是故人來》、 《愛的代價》等,而舞台另一邊,舞者們用LED 燈砌出 一間屋,「香港是我家」是對舊日的緬懷?還是對將來 的聯想? 觀眾除可欣賞一場精彩絕倫的演出外,更有機會好好


認識油麻地這個饒富特色和活力的舊區。CCDC 在






歷 史地 標及體驗 廟街文化;場內則有聲音及 媒體 藝







觀眾,成功為「CCDC媒體實驗室」打響頭炮! 《慾.望.西.九.》突破既定的表演場地和演出形式, “Very good, outside the normal stage, closer to the community, easier for people to get access to performances. ” – CP Chong

「場地選擇非常恰當,內容能夠代表香港變化,讚!支持重演!」―― 伍麗儀 © Cheung Chi-wai

「戶外演出感覺很好,請多舉辦戶外演出,善用open area。」―― Cho Hoi Yee










平台;而香港藝術的發 展需要的不單是 傑出的表 演

討香港往昔、現在及未來。當中有很多crossover 的設








Journey to the West

CCDC 媒體實驗室

CCDC Media Lab

Nine Chapters About Desire Text

Miranda Li, CCDC Media Lab Project Manager

It’s all about lust for life It’s all about thirst for the West

dance; parkour practitioners dressed in the yellow tracksuit made famous by Bruce Lee in The Game of Death doing jumps and somersaults in the crowd; aerial hoop dancers stretching elegantly in mid-air to variations on music from the Cantonese opera The Story of Princess Chang Ping; an aerial dancer performing turns suspended on ribbons printed with the Chinese and British national flags, to the soundtrack of a Cantonese TV drama. And when a Red Guard, the British monarch and a Hong Konger dressed in a t-shirt printed with the calligraphy graffiti of Tsang Tsou-choi (or the “King of Kowloon”) met, they produced surprising sparks… At the end, using video mapping technology, the multimedia designer projected images of the city from the 1970s and 1980s onto a red-brick wall. Amid light and shadows, a male dancer sang a medley of pop songs that jogged Hong Kong’s collective memory; on the other side of the stage, dancers built a house with LED lights. Does the slogan “Hong Kong is my home” represent a kind of nostalgia, or hope for the future?

This was the premise of Journey to the West. Acting as a facilitator, the enfant terrible of Hong Kong dance, Daniel Yeung, brought together various artists on a temporary, purpose-built stage in the Portland Street / Man Ming Lane Sitting-out Area in Yau Ma Tei, presenting his trademark multimedia and pluralistic dance work. Local residents and their friends turned the small park into a night bazaar, echoing the colourful Temple Street and highlighting the friendly atmosphere of Yau Ma Tei. On a cool early winter night, the one-hour show, mixing East with West, brought a sense of novelty, amazement and much laughter to local Chinese, South Asian residents, as well as mainland and foreign tourists. Director and choreographer Daniel Yeung teamed up with multimedia artists, musicians, drummer and fashion designer, while experts in different dance genres came together to showcase their skills. There were modern dance, ballet, pole dance, aerial hoop, aerial silk, tap dance, parkour and fire dance performances (in the latter, naked flame had to be replaced by LED due to venue constraints). Some of these dance forms are rarely seen in local theatres, let alone at a free performance in an informal outdoor venue. This unprecedented collaboration was seen on two consecutive nights. A total of four performances attracted an audience of more than 4,000, making the CCDC Media Lab’s debut production a great success.

Other than a stunning performance, the audience also had the chance to get to know the distinctive and vibrant old Yau Ma Tei. Between two performances, CCDC organised a free “Guided Tour@ YMT” with Hulu Culture, taking audience members to historical landmarks of Yau Ma Tei and inviting them to experience Temple Street. At the venue, sound and media artist Samson Young presented his latest mobile media work Your very empty seat, or a delicate access, allowing audience members to “eavesdrop” on the sounds at different hours near the park through their smart phones.

Journey to the West was the first programme of the Contestable Funding Pilot Scheme of the Home Affairs Bureau. Yau Ma Tei was chosen as the performance site because this West Kowloon district is rich in indigenous flavour, boasting a grassroots culture and a mix of people from all walks of life and nationalities. Apart from highlighting Hong Kong’s pluralistic character, it was also a reflection of the West Kowloon Cultural District as a projection of Hong Kong’s desire for high art. Additionally, the production offered a chance to meditate on Hong Kong’s past, present and future. There were many crossovers in the performance: Chinese music clashing with Hawaiian fire dance and alluring pole © Cheung Chi-wai

By choosing not to work in established performance venues and forms, Journey to the West stimulated much discussion. While for some such a grassroots area is not the place to present “high art”, others feel that there should be more high-calibre outdoor performances for local residents. Art should provoke discussion and Journey to the West provided such a platform. Hong Kong’s arts development needs outstanding performers, dedicated arts administrators (with the assistance of colleagues in the field) and supportive audiences as well as the public’s endorsement, so art can be created and seen in public or private spaces outside formal theatres.

The CCDC Media Lab is a new initiative created by CCDC in 2013. Its goal is to develop the countless potentials between dance and multimedia, bringing exceptional dance experiences to our audiences. Supported by the Home Affairs Bureau’s Contestable Funding Pilot Scheme, the Lab has already made numerous breakthroughs for the Hong Kong dance scene: 1.  The Lab invited renowned Hong Kong dancerchoreographer Daniel Yeung and dance artists of different genres to collaboratively create an outdoor multimedia dance performance Journey to the West, which featured modern dance, ballet, pole dance, aerial hoop, aerial silk, tap dance, parkour and fire dance;

「CCDC媒體實驗室」是舞團於2013年成立的新品牌,旨在發掘舞 蹈與多媒體的無限可能,帶給觀眾非一般的舞蹈觀賞體驗。透過民 政事務局「具競爭元素的資助試驗計劃」的支持下,「實驗室」為香 港舞壇取得多項突破。包括:

1. 邀請香港舞蹈精英楊春江聯同香港不同舞種的藝術家,創作一 台結合現代舞、芭蕾舞、鋼管舞、空中呼拉圈、空中絲綢舞、踢 躂舞、跑酷及火舞的戶外多媒體舞蹈演出《慾.望.西.九.》;

2. 邀得香港音樂人李勁松與編舞梅卓燕及邢亮以道家思想結合 現代舞、聲音裝置及互動影像藝術,創作出環境舞蹈《舞.聲. 道》兩部曲,並與1a 空間合作,將舞蹈由表演藝術延伸至視覺 藝術;

3. 舞團製作香港首部 3D 舞蹈電影《尋找大觀園》,並於「第六屆 跳格國際舞蹈影像展」首播;

4. 促成中英兩地藝術家合作研發《編舞之外》舞蹈互動裝置展, 嘗試探索舞蹈、影像與互動裝置的表現形式;

5. 創立駐團聲音藝術家一職,為舞蹈創作及演出提供音效上的專 © Cheung Chi-wai

《慾.望.西.九.》網誌 Blog of Journey to the West: 34

業意見,更成立音樂資料庫,成為編舞、舞者及導師在創作和教 學上的豐富資源。 我們將繼續透過「實驗室」為本港的創作土壤灌輸養份,體現藝術 的實驗精神。敬請密切期待。 35

2. T he Lab invited Dickson Dee, a key figure in Hong Kong’s music scene, to create a two-part site-specific work Momentum with choreographers Mui Cheukyin and Xing Liang, uniting Taoist concepts with contemporary dance, sound installation and interactive video art. The project is also in collaboration with 1a Space, extending dance from the realm of performing arts to that of visual arts; 3. CCDC has made Hong Kong’s first 3D dance film, In Search of the Grand View Garden, which will be premiered at the 6th Jumping Frames International Dance Video Festival; 4. T he Lab has facilitated the collaboration between Chinese and British artists in developing the interactive dance installation Hyperchoreography, an attempt to explore the mode of performance at the junction of dance, video and interactive installation; and 5. The Lab has established the position of Resident Sound Artist, who will take part in conceiving productions, provide ideas for choreography as well as give professional advice on sound quality at performances. The established Music Lab will be a resource for choreographers, dancers and dance instructors in their work, be it creative or educational. CCDC will continue to enrich the ground for creativity in Hong Kong through the Lab, realising the experimental spirit of art. Watch this space!

C:CCDC X:邢亮 M:梅卓燕

架裡再去創作和自由發揮。」這是 Dickson 第一次

C: 這次表演的意念是什麼?道家的「五行八 卦」等自然哲學又是如何啟發你的編舞創 作?

M: 最初的想法是與大自然之間的互動。這次 給我們帶來的靈感非常新鮮,創作途中不







決定要用它來作多媒體裝置藝術,放在石屎 森林





X: 我認為,最初的意念是在環境中創造和諧



成。Dickson 認為其代表事物循環再生的過程,與



的包容性,正如梅卓燕所說的「人與大自 「聲音是這次創作的根源,而裝置是聲音的載體,當
















及聲音裝置設計師的 Dickson,利用石卵和木塊作






村的1a 空間舉行,以互動多媒體展覽為主,觀眾可

C: 這次的創作可說是將傳統文化融合當代

親身參與,在另一個九宮八卦的框架下感受道家自 然為本的思想。Dickson 的兩個版本均透過裝置藝



M: 作為生活在舊區的香港人,每天在相同或


不同的生活裡也不斷地接 觸這種傳統與 當代的結合,我覺得重新思考(兩者的關

© Leecat Ho




X: 其實 這次的創作並沒有傳統文化與當代






我 的 創 作更有一種 釋 懷 的 感 覺,非常之 好。至於化學作用,反而是更加啟發我去

曾與 CCDC 多次合作的著名香港實驗音樂創作人李


勁松(Dickson Dee)原來對道學甚有研究。在設計

個人 與 環 境 是 共 生依 存的關係,環 境 會 影 響人 的 生存,人也會影響自然的發展,人與自然和諧共生,




義。Dickson 構思《舞.聲.道》亦是想借「道」帶出




間越來越緊迫,自然環境越來越少,虛偽、破壞、冷 漠的內心膨脹造成對人們的重重壓迫。他希望人們

是次「CCDC 媒體實驗室」誠邀Dickson 夥同屢獲香


港舞蹈年獎、舞而優則編的邢亮及傑出舞蹈家梅卓 燕於城論「道」,合作一台集舞蹈、聲音裝置的環境



正能量,觀眾亦能感受祥和的氣息。Dickson 介紹: 「我按照道家哲學的九宮八卦和五行編排:聲音有



想,引伸出「萬物的相生、相續、轉化、發 展」,也



C: 你們這次的合作怎樣?對於觀眾,你們想

香港知名音樂製作人、實驗音樂界 的靈 魂 人物,從事音樂創作和推 廣逾廿五年。李氏涉足音樂類型廣 泛,從前衛音樂到實驗性、電子、 新古典、工業噪音、跳舞音樂到電 子世界爵士樂等;曾與眾多著名音樂人合作,演出足跡遍及 歐洲和亞洲。 © Leecat Ho

學院修讀平面設計與抽象繪畫的 Dickson,深受導


李勁松 小檔案 About Dickson Dee


M: 當然是十分的愉快。這次的主題,其實是 舞蹈融合環境的一次創作,也期待觀眾對 於一個陌生的又或是自然的環境願意接 受內心的好奇去探知這片土地。

X: 是的。這 次我們並 沒有注 重 編舞中的技

Renowned Hong Kong music producer and a key figure in experimental music, Dickson Dee has been active in music composition and promotion for more than 25 years. He works in many musical styles, including the avant-garde and experimental, electronic, neo-classical, industrial noise, dance and electronic world jazz. He has collaborated with many famous musicians and performed around Europe and Asia.

法,而 是 順 事 而 為,順 應 道 家「道 法 自 然」的精神而進行創作。一方面,舞蹈蘊 含著我們所賦予的能量,我們希望觀眾能 夠感受到其中的一些內斂的精神。另一方 面,他們也可以把這次的舞蹈看作是一次 生命循環的演繹。 37

Tao and Dance

C: CCDC X: Xing Liang M: Mui Cheuk-yin

– Interview with Momentum ’s Dickson Dee, Xing Liang and Mui Cheuk-yin


John Ng

to certain feelings. I create a large framework, within which the choreographers and dancers have the freedom to produce their work.” This is the first time Dickson has participated in the development and planning of a dance concept. Actually, he first had this idea six or seven years ago. When he saw some petrified tree trunks in Foshan, Guangdong, he was so struck by the beauty of their texture that he decided at once that he wanted to use them in a multimedia installation, first showing them in a concrete jungle, before “returning” them to a forest – nature – for display. These trunks are trees that have been buried in the mud. In the absence of oxygen and under high pressure, bacterial action takes place, where carbonisation transforms them over several thousand years. For Dickson, this represents the process of renewal and regeneration and coincides with the Taoist philosophy of nature.

Renowned experimental Hong Kong composer Dickson Dee, who has collaborated with CCDC several times, is actually quite an expert on Taoism. While studying graphic design and abstract painting at design school, Dickson was deeply influenced by his teachers and paid great attention to the balance of things. He draws inspiration from the Taoist jiugong (nine rectangle grid), bagua (eight trigrams) and wuxing (five elements), applying these concepts to graphic design and music composition. They have been influencing his way of life since student days. The CCDC Media Lab invited Dickson to collaborate with dancer, choreographer and winner of multiple Hong Kong Dance Awards, Xing Liang, and outstanding choreographer Mui Cheuk-yin to create Momentum, a site-specific dance performance combining dance and a sound installation.

X: Actually this work does not distinguish between traditional culture and contemporary art. This is a new understanding for me personally. Of course, the free spirit of Taoism also makes me feel more relaxed about creating. As for chemistry, it inspires me to observe and pay attention to the environment around us.

X: I think the original idea was to create a harmonious atmosphere with the environment. It’s about the spirit of environmental protection. But later, we found that the whole project actually covers many broad issues. As Mui said, it’s the “interaction between man and nature”. For us, the Five Elements and the Eight Trigrams are very challenging. Even though the Taoist philosophy of nature has more or less seeped into everyday life, it is still unknown to us. The greatest revelation has been how man interacts with different spaces. It’s a new perception of space to me. When we work with the dancers, we are also learning which of the Five Elements corresponds to which part of the body. After understanding our own structure, we apply the new knowledge to the treatment of the theme, such as dealing with happiness, anger, grief and joy, and the Five Elements (metal, wood, water, fire and earth), extracting the elements and then compiling them together.

C: How is the collaboration? What kind of message do you want to convey to the audience? M: The collaboration is of course great. The theme is the fusion of dance with the environment. I hope the audience will be curious and want to explore unknown or natural environments. X: Indeed. This time, instead of emphasising the technique of choreography, we take things as they come, just like the Taoist spirit: “the law of the Tao is its being what it is”. On one hand, the dance contains the energy given by us; we hope that the audience can feel its inner spirit. On the other hand, we hope the audience can see this dance as an interpretation of the circle of life.

梅卓燕 小檔案 About Mui Cheuk-yin 梅卓燕自八十年代活躍於香港舞蹈界,曾演繹及創作多齣佳作。她兩度代表香港應邀參與翩娜.包殊烏珀 塔爾舞蹈劇場紀念節演出,好評如潮。梅氏亦是多屆香港舞蹈年獎得主,現為CCDC客席編舞,並擔任香港 藝術發展局藝術範疇(舞蹈界)代表。 Mui Cheuk-yin has been active in the Hong Kong dance scene since the 1980s, interpreting and creating many outstanding works. She has represented Hong Kong twice in festivals, working with Tanztheater Wuppertal Pina Bausch to great acclaim. She is also a winner of multiple Hong Kong Dance Awards. Mui is currently an Associate Choreographer of CCDC and the Representative of Arts Interest (Dance) at the Hong Kong Arts Development Council.

© Leecat Ho

Momentum is a celebration of nature. The dance will fill the performance venue with positive energy, so that the audience can feel a calming atmosphere. Dickson explains, “I arrange the music according to the jiugong and bagua positions of Taoism, as well as the Five Elements – the sounds correspond to each of the Five Elements, while the dance movements also correspond

M:  A s a Hong Konger living in an old district, I constantly come into contact with this integration between the traditional and the contemporary in life. I think it is very important to think about the relationship between them.

M: The initial idea was about interaction with nature. The ideas that inspire us this time are very new to us, stimulating our self-understanding and self-awakening. Without going into the esoteric Taoist philosophy of nature, the idea that the Five Elements promote and overcome each other corresponds to the things we do to adapt to various changes in life, and to the close relationship between our dance and life.

© Leecat Ho

“Sound is the origin of this work. The installation is the carrier of sound. Dead branches, plants and urban trash express my idea of the cycle of life. The idea of balance represented by the use of jiugong and bagua is something new for the dancers. I hope this will be a new attempt for them, so that they and the audience will realise that traditional culture can also be contemporary, and that it needs to be understood from new perspectives.” Dickson followed his original idea and designed two versions – natural forest and concrete jungle. The former is set on the Peak. As the composer and sound installation designer, Dickson uses pebbles and pieces of wood to create the installation. The installation’s arrangement plus the flow and movement of dancers are placed within a larger framework of jiugong, bagua and the Five Elements. The concrete jungle version will be shown at 1a Space, Cattle Depot Artist Village in To Kwa Wan. It is an interactive multimedia installation where viewers can participate and learn about the Taoist orientation towards nature within another framework of jiugong and bagua. In both versions, Dickson reflects the environmental destruction caused by rapid urban development through installation art, while the dance is about harmony and co-existence with nature.

To “co-exist with Heaven and Earth and unite with all things” is a central idea of Taoism, from which the idea of “mutual promotion and continuation, transformation and development of all things” derived. This corresponds to the notion of the Five Elements – metal, wood, water, fire and earth – promoting and overcoming each other. Humans and the environment co-exist. The environment affects human existence, while humans influence the development of nature. Only when man and nature exist in harmony, then there can be sustainable development. This is why Taoism is relevant to modern society. In conceiving Momentum, Dickson uses “tao” to highlight the increasingly serious environmental problems caused by rapid globalisation. Social space is becoming more and more compressed, and the natural environment continues to shrink. Growing hypocrisy, destruction and indifference create a sense of oppression. He wants people to get closer to nature, listen to her sounds, be grateful and caring.

C: This work integrates traditional culture with contemporary art. Is there any chemistry between them?

C: What is the concept of this show? How does the Taoist philosophy of nature such as the Five Elements and Eight Trigrams inspire your choreography?

Xing Liang and Mui Cheuk-yin are exploring Taoism in dance for the first time. How do the choreographers find inspiration in Taoist philosophy and incorporate them into their work? Keep reading!

邢亮 小檔案 About Xing Liang 邢亮生於北京,畢業於北京舞蹈學院古典舞表演專業系。邢氏獲獎無數,從中國「全國十優演員」到國際性舞 蹈比賽金獎,從優秀演出到編舞創作。現為獨立編舞及CCDC客席編舞。 © Leecat Ho

Born in Beijing, Xing Liang graduated from the classical dance division at the Beijing Dance Academy. He has won numerous awards, including the Ten Best Performers in China and gold prizes at international dance competitions. He is both an outstanding dancer and a critically acclaimed choreographer. Xing is currently an independent choreographer and an Associate Choreographer of CCDC.



概念、作曲 聲音裝置

李勁松 編舞

梅卓燕 邢亮 服裝設計

李慧娥 道學顧問

知三道人 監製

黃國威 客席演出

陳俊夫 張天穎 招詠彤 禤天揚 李德 毛維 黃翠絲 孫鳳枝

編舞 Choreographer

邢亮 Xing Liang 多媒體設計 Multimedia Designer

楊振業 Adrian Yeung 燈光設計 Lighting Designer

劉詩豪 Low Shee Hoe 演出 Performer

黃翠絲 Tracy Wong 請注意:請勿攜帶酒精類飲品和玻璃瓶進入會場。主辦機構會因應節目場地情況,保留停止觀眾入場的權利,懇請市民遵從主辦機構的現場指示。 此外,主辦機構保留增刪、更換演出者或更改已公佈節目之權利。節目如有更改,恕不另行通知。 Note: Please refrain from bringing alcoholic drinks and bottles to the site. The organiser reserves the right to suspend or terminate admissions to the event depending on prevailing conditions. Please follow the on-site directions given by the organiser. The organiser reserves the right to add, cancel or substitute artists and/or vary advertised programme. Programme is subject to change without prior notice.



© Miranda Li


Raymond Wong, Curator of Jumping Frames International Dance Video Festival

《編舞之外》拍攝現場 Shooting for Hyperchoreography

跳格十年 不經不覺,跳 格國際舞 蹈影像 節已踏入十周年,自 2004年起每雙數年舉行,集委約創作、比賽及影展於 一身的盛事,加上單數年舉行的影像展,期間見證了 藝術家們從早期對藝術形式的探索、風格的建立,更 運用科技使作品更多元化,令舞蹈這個表演藝術能 以數碼媒體呈現,並於國際影壇上嶄露頭角。

《編舞之外》互動裝置構想圖 Visualisation of Hyperchoreography Interactive Installation

Ten Years of Jumping Frames





The ONE 百老匯戲院舉行,重頭戲有由CCDC監製、藝術 總監曹誠淵夥拍著名攝影師鍾有添的 3D 電影《尋找大觀 園》為開幕首映;此外亦委約了五個嶄新組合炮製原創作 品,在「本地一手播:舞蹈影像大中華」單元首播,包括曾 入圍「第十四屆釜山國際電影節」的許雅舒以唐代名家柳 宗元的警世寓言《哀溺文》借題發揮之作;廣州前衛藝術 家何二高以他的舞台作品《露西》發展而成的同名短片; 繼 2012年與「跳格」《慢動風景》後再度合作的比利時導 演 皮 亞.拉 許 沙,今 年 與 廣 東 現 代 舞 團 合 作 拍 攝《神 州大地的非人之旅》;早前勝出「一分鐘跳格舞蹈影像 比賽」的兩位香港導演:李德與霍柏濤,以及西班牙 的艾力克斯.帕琼,亦將分別呈獻他們的最新委約作品 《Let's Say》及《 You Will Fall Again》,期望帶給觀眾清 新之作。 競賽單元方面亦將來個新嘗試,因應去屆收得的作品極之 多元化,今年將設短片組及紀錄片組,入圍作品將於今年節 目內放映並讓評審團即場挑選得獎者,此外更增設「觀眾 之選」獎項,讓觀眾直接投選心水作品。


在戲院以外亦同樣精彩:今屆「跳格」首次聯同編舞桑吉 加及蘇格蘭導演卡特里娜.麥克弗森及西蒙.菲爾德斯研 發一個名為「編舞之外」的嶄新導演形式,觀眾可透過操 作互動裝置來編排存於系統內的舞蹈短片,創製屬於自 己的舞蹈作品,最後以六個電視屏幕串連出他們獨有的 舞蹈影像。這個項目既讓舞蹈藝術家檢視創作,亦讓即使 不諳舞蹈的觀眾由被動觀賞變成主動參與。 此外,「跳格」繼去年參與法國「康城影展」及意大利羅馬 的「Asiatica 電影節」後,正密鑼緊鼓安排海外及國內放映,

「一分鐘跳格舞蹈影像比賽」得獎作品艾力 克斯‧帕琼《CRACKS》 CRACKS by Spanish director Alex Pachon, winning work of the One-minute Jumping Frames Dance Video Competition

亦將歷屆的委約製作安排於世界各大電影節上登場,將香 港本地獨立創作呈現給更多的國際觀眾。 期望在今年「跳格」節目中遇見你。 42

This year, the Jumping Frames International Dance Video Festival celebrates its 10th anniversary. Held every two years since 2004, the Festival features commissioned works, a competition as well as public screenings. In the intervening years when the Festival isn’t staged, there is a special showcase. We have since witnessed many artists’ early explorations in the art form and their stylistic development, as well as the increased use of technology to make works more diverse. The showcase of dance as a performing art through digital media has emerged as a new force in international film festivals.

previous edition, we have introduced a short film category and a documentary category. Finalists will be screened publicly and a jury panel will select winners on the spot. There is also a new Audience Choice award, allowing audience members to have their say. Outside the cinema, the Festival programme is equally enticing. Choreographer Sang Jijia and Scottish directors Katrina McPherson and Simon Fildes have developed a new method of directing called “hyperchoreography” for this year’s Jumping Frames. Visitors can create their own dance works by operating an interactive installation that edits the short dance films stored in its system. The unique dance images created will be shown over six monitors. This programme allows dance artists to review their works, as well as turns those who cannot dance from passive viewers into active participants.

The 6th Jumping Frames Festival, like previous editions, encourages experimentation. This year, the Festival will be held at the Broadway Cinema at The ONE in Tsim Sha Tsui, opening with the premiere of the 3D movie In Search of the Grand View Garden. It is a collaboration between CCDC Artistic Director Willy Tsao and renowned cinematographer Henry Chung and is the first 3D production by CCDC. We have also commissioned five original works, premiering in the “Local Focus: New Productions from the Greater China Region” section. The commissions include: Elegy by Rita Hui, which is based on the parable Lament to the Drowned by Tang Dynasty writer Liu Zongyuan and Hui’s work was selected by the 14th Busan International Film Festival; Lucy by the Guangzhou avant-garde artist He Ergao, which is developed from his eponymous stage work; An African Walk in the Land of China, a joint production between the Guangdong Modern Dance Company and Belgian director Pierre Larauza, who was featured in Jumping Frames 2012 with Landscape Duet; and two works by winners of the One-minute Jumping Frames Dance Video Competition, Let’s Say and You will Fall Again, by Hong Kong directors Li De and Fok Pak-to and Spanish director Alex Pachon respectively. There are also new elements in the competition. Because of the diversity of works submitted to the

In the past year, Jumping Frames works were featured at the Cannes Film Festival and the Asiatica Film Festival in Rome. We are actively arranging screenings overseas and in the mainland. We are also entering commissioned works from previous editions into film festivals around the world, bringing local independent productions to international audiences. We look forward to seeing you at this year’s Jumping Frames Festival.

《神州大地的非人之旅》 An African Walk in the Land of China



In Search of the Grand View Garden

迸發異彩, 始於

《尋找大觀園》 © Danny Wong

Jaye Chan

Spectacularly Three-dimensional

陳依婷 © Jaye Chan

首部本土3D舞蹈電影《尋找大觀園》於去年十二月 劇場版公演後隨即開鏡,拍攝場地由劇場伸延到空 曠恬靜的草原、車水馬龍的鬧市、再回到CCDC的發 源地――天台排練室,除標誌著CCDC的歷史發展、 表現現代舞蹈的多元性外,更是一場震動藝壇的媒 體革命!

科技與舞蹈的完美結合 《尋找大觀園》以中國名著《紅樓夢》為藍本,由環境舞 蹈開始,改版為劇場表演,繼而發展成 3D 舞蹈電影。由資 深電影攝影師鍾有添掌鏡,採用與荷里活鉅製《哈比人》 同級的 3D 器材拍攝,將舞者動作的流麗以及場景空間的

透視立體地呈現於大銀幕上,實現舞蹈與 3D 電影的完美 © Jaye Chan


穿越古今,尋找生活中的大觀園 於電影版中,劇場的拍攝依然佔重非常,打破劇場中觀眾 與舞者的既定距離,同時加插不同具香港特色的場景, 如西九龍海濱長廊、南生圍、工廠大廈、石板街等,將現代 舞融入生活,配以中國評彈音樂,傳統與摩登、古典與現 代共冶一爐,成就 CCDC 非凡之作。 © Jaye Chan

3D 舞蹈電影《尋找大觀園》將安排於 9月「第六屆跳格國 際舞蹈影像節」作世界首映。躍動十年,撼動感官的最高 舞蹈享受,於初秋全面爆發! 44

© Danny Wong

Searching for the Grand View Garden in Everyday Life Through the Centuries

The first Hong Kong 3D dance movie In Search of the Grand View Garden started shooting shortly after the stage version closed in December 2013. The locations stretched from the stage into a quiet open field, the bustling city and CCDC’s rooftop studio – back to where the Company was first established. Not only does the movie symbolise the development of CCDC and the multifaceted nature of modern dance, it also represents a breakthrough in the dance film medium.

In the film version, shooting in the theatre still occupies an important place. Bridging the inevitable distance between audience and dancers in the theatre, the film is interspersed with distinctive Hong Kong locations, such as the West Kowloon Waterfront Promenade, Nam Sang Wai, factory buildings and Pottinger Street. Merging modern dance with everyday life and accompanying it with pingtan (classical Chinese storytelling and ballad singing), the film blends the traditional with the modern, and the classical with the contemporary, creating an extraordinary CCDC production.

A Seamless Combination of Technology and Dance Based on the Chinese literary masterpiece Dream of the Red Chamber, In Search of the Grand View Garden began as a sitespecific dance performance and was adapted for the stage. Now, it is turned into a 3D dance movie shot by veteran cinematographer Henry Chung with 3D equipment of the same standard as those used to shoot the Hollywood film The Hobbit. Projecting dancer’s fluid movement and the settings three-dimensionally onto the big screen, it is a perfect combination of dance and 3D technology.

The 3D dance film In Search of the Grand View Garden will have its world premiere at the 6th Jumping Frames International Dance Video Festival in September 2014. Don’t miss this cinematic dance spectacle this autumn!


CCDC三十五周年 暨 CCDC舞蹈中心十周年慶祝活動

CCDC's 35th Anniversary and CCDC Dance Centre’s 10th Anniversary Celebration


The 6th Jumping Frames International Dance Video Festival • • • • • •

開幕電影《尋找大觀園》3D Opening Film: In Search of the Grand View Garden 3D 本地一手播:舞蹈影像大中華 Local Focus: New Productions from the Greater China Region 競賽單元:短片組及紀錄片組優秀作品展 Competition Finalist Showcase: Shorts and Documentaries 舞影多面睇 Screendance Kaleidoscope 焦點導演 Director in Focus 桑吉加x蘇格蘭導演卡特里娜 · 麥克弗森及西蒙 · 菲爾德斯《編舞之外》互動舞蹈裝置展 Sang Jijia x Scottish Directors Katrina McPherson and Simon Fildes Hyperchoreography Interactive Dance Installation

百老匯The ONE戲院 Broadway The ONE Cinema 香港藝穗會陳麗玲畫廊 Anita Chan Gallery, Hong Kong Fringe Club

免費入場‧Free Admission • 免費舞蹈試點‧兒童/成人 Free Trial Dance Workshops‧Kids / Adults • 黃狄文編舞作品《思纏想後》公開綵排 Open rehearsal of Second Thoughts choreographed by Dominic Wong • 《編舞之外》互動舞蹈裝置展 Hyperchoreography Interactive Dance Installation • 舞蹈影像放映及座談 Dance Video Screenings and Talks • My Own Dance 2014‧舞蹈學員創作平台 Student Creative Platform (門票現於CCDC舞蹈中心有售 Tickets now available at CCDC Dance Centre)

節目詳情請留意8月出版之節目手冊或瀏覽「跳格」網頁 For details please refer to the Jumping Frames programme brochure or visit from August

媒體伙伴 Media Partner:

節目查詢 Programme Enquiries:

2329 7803

地點 Venue:

CCDC舞蹈中心 CCDC Dance Centre (九龍黃大仙沙田坳道110號地下 G/F 110 Shatin Pass Road, Wong Tai Sin, Kowloon)

場地伙伴 Venue Partners:

查詢 Enquiries: 2328 9205 /

舞出香港之美 CCDC舞蹈中心中國舞蹈發展計劃

Dance to the Beauty of Hong Kong

© Aerial Production


《浮花》由台北蔡博丞編舞(「中國舞蹈向前看2014」) Floating Flower choreographed by Tsai Po-cheng from Taipei at China Dance Forward 2014

CCDC Dance Centre’s China Dance Development Programme 文

© Aerial Production


隨著城 市的進步 和 發 展,在C C D C 舞 蹈中心 這裡也演繹著一個又一個關於舞蹈的傳奇故 事,同時也陪伴和培育著一代又一代舞蹈家 的成長。如果以現代舞來說,香港已經慢慢 地在世界的現代舞版圖上樹立了一面獨特的 旗幟。

團提供與國際策展人、藝術家的交流的機會,讓 成熟以至新晉的團隊邁向國際舞台。 值得一提的是由康樂及文化事務署與 CCDC 聯合 舉辦的《中國舞蹈向前看》,邀請香港、台灣及內 地舞者,將來更可能會廣邀其他地區的華人舞者 聚首一堂,彼此觀摩交流,也向香港的觀眾展示

2013 年本土電影《狂舞派》精彩混合舞蹈與多個










John Ng

Growing side-by-side with Hong Kong’s own progress and development, CCDC Dance Centre has created many dance legends and nurtured generations of aspiring dancers over the years. The city has come to occupy a special place on the map of modern dance internationally.

Co-organised with the Leisure and Cultural Services Department, China Dance Forward invites Chinese dancers from Hong Kong, Taiwan and the mainland (with the goal of expanding to other regions in the future) to get together to exchange ideas. The project also showcases the unique character of works by young Chinese dance artists to Hong Kong audiences, demonstrating how dance culture moves toward freedom and diversity, and how it manifests an original, contemporary and innovative spirit. The works selected are down-to-earth, revealing the concerns and attitudes of Chinese youth today.

The 2013 Hong Kong film The Way We Dance brilliantly combines dance with a metaphor for the city, mirroring Hong Kong’s mix of Chinese and Western elements. The production also reveals the difficulties faced by Hong Kong’s cultural sector: although cultural and recreational activities have become regular consumer products, those working in cultural organisations often have to jump through hoops to secure venues, performances and creative resources. Without a sustainable platform, works created often have a very short lifespan.

As we see contemporary dance thrive in this city, as we see artists creating new dance works in the city, the influence of CCDC Dance Centre is clear – extending from Hong Kong to Guangzhou, from Beijing to wider Asia. CCDC Dance Centre helps shape the unique character and image of Hong Kong. By setting distinctive contemporary Chinese dance against the backdrop of the world, CCDC reveals the chemistry of young dancers from different regions crossing paths. It is these young dancers who are paving the way for the blossoming of contemporary Chinese dance.

常消費的一部分,但是背後的文化工作者,卻總 是為了發掘更多空間、表演、創作資源而付出一



家從這裡出發投身創作,無可否認 CCDC 舞蹈中




亞洲……可以說,CCDC 舞蹈中心正塑造著香港 這座城市獨特的性格和形象。拿世界作背景,把

CCDC 是「立足香港,面向世界」的現代舞團,作 為香港政府資助的九大藝團之一,舞團的理念是 提供平台協助香港舞蹈業界發展,過去一年的項 目包括 CCDC 舞蹈中心的「舞蹈青年」、夥伴計劃 排練場地贊助;與香港兆基創意書院、東邊舞蹈 團合辦的「創意城市東邊舞蹈節」,以及夥同香港 舞蹈聯盟的「真演出新系列」等等,為一些小型、 實驗性的本 地舞蹈團體提供創作與生存的空間 和土壤,這種推動舞蹈生態的助力無庸置疑。其 中,CCDC 舞蹈中心的夥伴計劃排練場地贊助更 獲2012香港藝術發展獎頒發「藝術贊助獎」。

華人最具特色的當代舞蹈放在上面,讓人看到來 自五湖四海年青舞蹈家的足 跡,產生「化學」變 化,同時亦期待著華人當代舞蹈百花齊放。

© Aerial Production

除了對香港舞蹈的支持,CCDC 秉承「匯聚華人 精英,創造當代中國舞蹈」的願景,更在開拓內地 市場及文化交流上扮演著重要的角色。除鼓勵本 地及非本地團體創作外,CCDC 每年支持不同的 團隊及作品在中國舞蹈發展計劃中的「北京舞蹈 雙周」和「廣東現代舞周」進行演出。「北京舞蹈 雙周」匯聚全國及國際的舞蹈精英,是交流、培 訓、展演的平台;「廣東現代舞周」更為香港的藝 48

《身邊》由北京古佳妮編舞(「中國舞蹈向前看2014」) Side by Side choreographed by Gu Jiani from Beijing at China Dance Forward 2014

As a modern dance company “rooted in Hong Kong with an international outlook” and one of the nine major arts groups funded by the Hong Kong Government, CCDC is a platform that promotes the development of dance in Hong Kong. Over the past year, its projects included: CCDC Dance Centre’s WuDaoQingNian Podium Dance Performance; the Partnership Programme that sponsors rehearsal venues; the East City Creative Dance Festival, which is jointly organised by the HKICC Lee Shau Kee School of Creativity and E-Side Dance Company; and the REAL Showcase New Series, a collaboration with the Hong Kong Dance Alliance. Providing a space for small experimental dance groups to create and grow in Hong Kong, CCDC has helped expand the city’s dance ecology. CCDC won the "Award for Arts Sponsorship” at the 2012 Hong Kong Arts Development Awards for its venue sponsorship under the CCDC Dance Centre’s Partnership Programme. Following the vision of rallying the best of Chinese talent to create dance in the contemporary context of China, CCDC plays an important role in opening up the mainland market and facilitating artistic exchange. Apart from encouraging local and non-local groups to create new works, CCDC supports the presentation of different dance groups and works at the Beijing Dance Festival and the Guangdong Dance Festival under its China Dance Development Programme. A platform for exchange, training and performance, the Beijing Dance Festival gathers together top dancers from all over China and the world, while the Guangdong Dance Festival provides an opportunity for Hong Kong groups to come together with international curators and artists, giving both seasoned and upcoming groups a chance to enter the international stage.

© CCDC Dance Centre

「創意城市東邊舞蹈節」由CCDC與香港兆基創意書院及東 邊舞蹈團合辦,當中包括環境舞蹈演出和舞蹈影像放映等 多個精彩節目。 The East City Creative Dance Festival, jointly organised by CCDC, HKICC Lee Shau Kee School of Creativity and E-Side Dance Company, consisted of a wide variety of programmes including site-specific dance performances and dance video screenings.


© Jesse Clockwork


香 港 是 珠 三角地區現代舞 發 展 最早並 且 最 成熟的 地方,其舞蹈作品中情感的冷峻、觸角的銳利、心態 的輕鬆和敏銳的思維獨具本土特色,而讓這些風格 迥異並富新意的香港舞蹈節目在國際平台上展演, 亦是CCDC的使命之一。 回顧 2013 年,「北京舞蹈雙周」已逐步樹立品牌特色,成 為全國以及國際性的舞蹈盛事,並且是集合教育、研討 及展演的全方位交流平台。從 2004 年舉行至今的「廣東

現代舞周」,與往年相比則有了顯著的變化,它發展成為 舞蹈家的國際交流平台,讓成熟和新銳的舞蹈團隊邁向 「北京舞蹈雙周」:是集教育、研討及展演的全方 位交流平台,漸成為全國及國際性的舞蹈盛事。圖 為香港動藝的《M事件》。


Beijing Dance Festival has become an important national and international dance event, with an all-round exchange platform for education, research and performance. This photo shows M-cident by Dance Art Hong Kong.


瞻本色,在開展劇場演出的同時,更嘗試走出劇場,讓現 動,流動、相遇及蔓延,讓現代舞藝術與廣州本地有了一 個很好的連結。 過往由 CCDC 一直扶持的中國舞蹈網絡,如今已逐一發 展起來,它緊隨著大陸的藝術發展,順應城市的瞬息萬變 及對於藝術的投放,以北京、上海、廣州三地為代表的一 線城市,其文化地位也逐漸提升。因此,深化內地與香港 現代舞的聯繫,讓香港與內地現代舞藝術有更多交流合 作,無疑能夠讓香港現代舞的發展越多元,創作力和生命 力也因此而變得旺盛。

© Jesse Clockwork

2014 年,CCDC 在民政事務局「具競逐元素的資助試驗 計劃」的支持下開展中國網絡計劃,讓國內觀眾有機會 感受到香港獨特的文化特色,而「北京舞蹈雙周――香港 日」和「廣東現代舞周――聚焦香港」亦應運而生,它們向 國內乃至世界的觀眾展現香港舞蹈家的作品,也讓年輕 的香港舞蹈家認識來自世界各地的舞蹈家,爭取更多的 演出機會,促進香港與國內,甚至國際的現代舞發展。

「第十屆廣東現代舞周」嘗試走出劇場,讓現代舞 展演走向公共空間,如過渡景象舞蹈團的《都市變 奏》。


The 10 th Guangdong Dance Festival attempted to take modern dance out of the theatre and into public spaces, such as Urban Distortions by t.r.a.n.s.i.t.s.c.a.p.e .


相,詳情請留意: 「北京舞蹈雙周」網頁 50

© Li Jian-yang

在國內舞蹈節中 躍動的香港元素 Highlighting Hong Kong in Mainland Chinese Dance Festivals

© Li Jian-yang

「北京舞蹈雙周」:廣東現代舞團《運動邏輯移植報告》 Movement Logic Report by Guangdong Modern Dance Company at the Beijing Dance Festival 2013


John Ng

Hong Kong’s modern dance development has the earliest start and is the most mature in the Pearl River Delta region. Sober emotions, keen observations, a laid-back attitude and sharp thinking are some of the unique characteristics of modern dance created in Hong Kong. One of CCDC’s missions is to bring these diverse, original Hong Kong dance works to the international stage.

© Jesse Clockwork

Looking back at 2013, we saw the Beijing Dance Festival gradually establishing its trademark characteristics; it has become an important national and international dance event, with an all-round exchange platform for education, research and performance. The Guangdong Dance Festival, since its establishment in 2004, has undergone significant changes: it has developed into an international exchange platform for dancers, allowing sophisticated, cutting edge dance groups to take the international stage. In keeping with the open and forward-looking attitude of Guangdong Province, the Guangdong Dance Festival also attempts to take modern dance out of the theatre and into public spaces. One of its initiatives is setting up a stage in a residential neighbourhood, connecting local Guangzhou communities with modern dance through viewing, interaction, encounter and dissemination. The China Dance Network has gradually built up with consistent support from CCDC. First-tier cities – such as Beijing, Shanghai and Guangzhou – have increased in cultural importance as their commitment to art grows alongside China’s artistic development and rapid urban transformations. Thus, deepening the exchange and strengthening the cooperation between modern dance scenes of mainland China and Hong Kong would undoubtedly benefit the development of modern dance in Hong Kong, making it more diverse and helping to boost and revitalise its creativity. The China Networking project supported by Home Affairs Bureau’s “Contestable Funding Pilot Scheme” gives mainland Chinese audiences a chance to learn about Hong Kong’s cultural offerings. Events like the Beijing Dance Festival’s “Hong Kong Day” and the Guangdong Dance Festival’s “Focus in Hong Kong” introduce works by Hong Kong dancers to mainland and world audiences. They also allow Hong Kong dancers to meet colleagues from all around the world and get more performing opportunities, thereby contributing to the development of modern dance in both Hong Kong and mainland China, as well as expanding the horizons of the international contemporary dance scene. This year, the two most prominent Chinese dance festivals will showcase more than 10 groups of Hong Kong dance artists. Please see the following websites for latest information: Guangdong Dance Festival: Beijing Dance Festival: 51

「第十屆廣東現代舞周」:歆舞界-藝 術實驗室之《數據》 Data by Xin-Art-Lab at the 10 th Guangdong Dance Festival

© Wu Yi-chun

二高表演於「第十屆廣東現代舞周」上演《尋找過程》,選址 在一間西餐廳裡的古董火車車廂外。 Er Gao Production presented Label No Labels in front of an antique train carriage in a restaurant at the 10 th Guangdong Dance Festival.

城市當代舞蹈團自創團以來,屢有突破,舞蹈作品主題豐富多 變、舞台效果超卓、服裝設計新穎、舞者技藝精湛演繹淋漓盡 致,當中不少別樹一格的舞台作品經已成為香港現代舞發展中 的經典舞碼。多部舞作現已重新錄製成DVD,精細畫面及剪接令觀眾儼如身歷其境!如果那一年你錯過了,又或者想重溫當 年的感人演出,並同時收藏本地藝術家的一流作品,請立即把握機會,訂購心水影碟!(存貨有限,售完即止)


* CCDC Dance Generation卡、Dance Card及Kids Card持卡人優惠價 Special Price for holders of CCDC Dance Generation Card, Dance Card and Kids Card

CCDC 精品系列 CCDC Souvenirs 布袋 Tote Bag

CCDC always strives to better itself by creating dance works of rich and varied subject matter, with exceptional stage effects and avant-garde costumes, realised by dancers with superb technique. Many CCDC productions have become classic works in Hong Kong’s modern dance development history. They have now been remastered onto DVD, with improved visuals and new edits to make you feel like you are back at the theatre. If you missed a dance season, wish to relive a particularly moving performance, or simply want to collect works by superb Hong Kong artists, don’t miss this chance and order now! (Limited availability)

選購下列任何DVD兩隻或以上,可享有九折優惠! An extra 10% discount for purchasing two or more of the following titles!

《365種係定唔係東方主義》 365 Ways of Doing and Undoing Orientalism

《那一年‧這一天》 As If To Nothing

編舞 Choreography 曹誠淵 Willy Tsao 邢亮 Xing Liang 桑吉加 Sang Jijia

《非常道》 Dao · Extraordinaire

《Plaza X 與異變街道》 Plaza X

編舞 Choreography

編舞 Choreography

編舞 Choreography

桑吉加 Sang Jijia

曹誠淵 Willy Tsao 黎海寧 Helen Lai 邢亮 Xing Liang

黎海寧 Helen Lai





$88/ $68* 全新設計CCDC 35周年限定版布袋,以「城市」及 「舞蹈」為元素,創作出別出心裁的圖像設計, 將舞蹈融入生活,延續舞團的精神! CCDC 35th anniversary limited edition tote bag uses elements of "city" and "dance" to create a distinctive design, bringing dance into daily life and continuing the spirit of CCDC!

文件夾 Folder

$70/ $50* CCDC邀請紐約著名設計師Darren Olivero設計極富創意的「No Motion, Slo’Motion, Dance」系列黑色及米白色布袋,以脈搏跳動激發like舞蹈 的細胞。 CCDC invited award-winning designer Darren Olivero to creat "No Motion, Slo’Motion, Dance" series tote bags (in black and beige), capturing the excitement of dance through a beautifully minimalist heartbeat coming to life.

出版 Publication


《革命京劇——九七封印》 Revolutionary Pekinese Opera (Millennium Mix)

《證言》 Testimony

編舞 Choreography 黎海寧 Helen Lai


《霸王》 The Conqueror

《蘭陵王》 Warrior Lanling

編舞 Choreography

編舞 Choreography

編舞 Choreography

黎海寧 Helen Lai

曹誠淵 Willy Tsao 邢亮 Xing Liang

曹誠淵 Willy Tsao





DVD套裝 Box Sets 《舞者不憂——曹誠淵與香港舞蹈前行》 Willy Tsao on Contemporary Dance Vol. 2 (in Chinese) 曹誠淵 精選作品系列DVD套裝:

黎海寧 經典重溫系列DVD套裝:



Willy Tsao Choreography Series DVD Package includes Dao · Extraordinaire, The Conqueror and Warrior Lanling

Helen Lai Retrospective Series DVD Package includes Revolutionary Pekinese Opera (Millennium Mix) and Testimony


$150 52

全新磨沙文件夾用料厚身,加上舞者絕美姿態, 絕對是型格之選!

$120/ $90*

This brand new, extra thick, satin matte folder is as elegant as the dancer.

作者 Author:曹誠淵 Willy Tsao 出版及發行 Publisher:MCCM Creations

全線產品於CCDC 舞蹈中心及於CCDC演出之前台接待處有售。 All products are available at CCDC Dance Centre and reception counter at theatre entrance during CCDC performances.


CCDC 2014/15舞季特刊 CCDC 2014/15 Season Brochure