舞蹈手札 dance journal/hk 22-1 by Hong Kong Dance Alliance

二月 FEB / 三月 MAR 2020 Vol.22 No.1 ISBN 1999 – 6721

共融舞蹈教育

Inclusive Dance Education

專欄Column 新約舞流《活著》 — 演後暢談

焦點 Focus 談黃耀邦的「舞語」與共融 Jason Wong’s language of dance and inclusion 觀察 Observation 《香港當代舞蹈歷史、美學及身分探求》的啟後評論 Review Visions in the Lunch Hour

香港舞蹈聯盟 Hong Kong Dance Alliance

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香港舞蹈聯盟理事委員會 Hong Kong Dance Alliance Executive Committee 龍世儀 Shirley Loong 林偉源 Allen Lam 黃建宏 Kevin Wong 譚兆民 Paul Tam 韓錦濤 Angela Hang 許俊傑 Cyrus Hui 劉燕玲 Stella Lau 羅佳娜 Natasha Rogai 崔德煒 David Tsui 衛承天 Septime Webre 黃狄文 Dominic Wong 楊雲濤 Yang Yuntao 白朗唐 Tom Brown 陳頌瑛 Anna Chan 吳杏冰 Helen Ng 曹誠淵 Willy Tsao

主席 Chairperson 副主席 Vice Chairperson 秘書 Secretary 司庫 Treasurer 委員 Members 榮譽退休主席 Chairpersons Emeriti 《舞蹈手札》出版部 dance journal/hk Editorial Team

陳瑋鑫 William Chan 羅佳娜 Natasha Rogai 黃卓媛 Charlotte Wong 趙震銚 Ryan Chiu

編輯 Editor 英文編輯 English Editor 見習編輯 Editorial Trainee 設計及排版 Issue Design & Layout

封面圖片 Cover Photo — IMRC《 Lemia 》編舞 Choreographer: Iva Nerina Sibila 攝 Photo: K.Marinac

今期焦點 Focus of this issue : 共融舞蹈教育 Inclusive Dance Education

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香港舞蹈聯盟歡迎各界於《舞蹈手札》的印刷或網上版刊登廣告，本會會員及持續刊登者可獲折扣。詳情請向本會職員查詢。 dance journal/hk welcomes advertisement for both printed and online versions. Discounts are available for Alliance members and for ads in consecutive issues. Please contact the Alliance office for more information.

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《舞蹈手札》致力為本地舞評人提供出版平台。有興趣投稿者請於每月15 日前將稿件電郵至本會 ( admin@hkdanceall.org ) 。新晉舞評人的投稿亦將獲考慮。 dance journal/hk offers dance writers the opportunity to publish their work. Articles and reviews can be submitted in Chinese or English through email (admin@hkdanceall.org) by the 15th of each month. Work from new writers will also be considered.

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《舞蹈手札》是免費派發予香港舞蹈聯盟會員的刊物，非會員以個人名義可以港幣 150 元 ( 本港 ) / 200 元 ( 亞太區 ) / 300 元 ( 其他地區 ) 訂閱，以機構名義為港幣 300 元 ( 本港 ) / 400 元 ( 亞太區 ) / 600 元 ( 其他地區 ) 。請將支票連同姓名地址寄來本會。 dance journal/hk is distributed free of charge to members of the Hong Kong Dance Alliance. Yearly subscriptions are also available, non-member subscription prices for individual are $150 ( HK ) / $200 ( Asia Pacific ) / $300 ( others ) ; for institutions are $300 ( HK ) / $400 ( Asia Pacific ) / $600 ( others ) . Please send cheque, name and address to the Alliance office.

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特別鳴謝以下捐款人 :( 贊助人 ) 白朗唐及施德安、無名氏、 ( 香港舞蹈聯盟之友 ) 無名氏、黃建宏、 ( 捐助人 ) 黃國威 Special Thanks to following donars: (Patron) Tom Brown & Cecil Sze, Anonymous, (Friend) Anonymous, Kevin Wong, (Donar) Raymond Wong

香港舞蹈聯盟及香港藝術發展局全力支持藝術表達自由，本計劃內容並不反映香港舞蹈聯盟或香港藝術發展局意見。 Hong Kong Dance Alliance and Hong Kong Arts Development Council fully support freedom of artistic expression. The views and opinions expressed in this publication do not represent the stand of the Alliance or Hong Kong Arts Development Council.

舞蹈手札 dance jounral/ hk 香港九龍新蒲崗大有街 26 – 28 號 7 樓 7/F, 26 – 28 Tai Yau Street, San Po Kong, Kowloon, HK +852 2267 6728 admin@hkdanceall.org www.hkdanceall.org www.dancejournalhk.com

編者的話

作為《舞蹈手札》的長期讀者與作者，我非常榮幸能夠從去年10 月開始，正式接手本刊的編輯工作。對我來說，如何要為已經出版超過 20 年，本地唯一一本以舞蹈為主題的刊物帶來新面貌，絕對是個重大挑戰。為了集思廣益，編輯部去年底就分別約見了不同範疇的讀者群組，了解大家對《舞蹈手札》的看法與期許，讓我們檢討過去不足，並作出適時變革。在《舞蹈手札》踏入第 22個年頭的首一期，即現在大家手上的這一期 (22 – 1) ，我們就在固有的基礎上作出了一些改變，除了引入全新版面設計，也希望能在內容上為讀者帶來更多元的舞蹈資訊與評論。

當中最主要的革新，是新加「焦點」部分，於每期訂立一個主題，邀請海內外作者就相同議題撰寫專文分享其觀察及 / 或經驗，以及進行相關的人物專訪，務求透過不同角度，帶出更多觀點，拉闊視野。今期我們就以「共融舞蹈教育」為題，以兩篇專文及兩篇訪問，為讀者介紹共融舞蹈教育在香港、中國、克羅地亞及加拿大各地的發展與實踐面貌，希望可以帶來更多討論及反思。

而在「專欄」部分，就會有三個全新欄目。「環亞舞略」每期會邀請亞洲不同舞蹈策展人，跟讀者分享他 / 她們最新鮮熱辣的在地策展經驗，為我們打頭陣的是澳門「在地」藝術節策劃黃翠絲及毛維；「旅歐舞記」則由兩位目前旅歐的香港年青舞者鬼與約翰主理，分享他倆如何帶著舞蹈創作，於歐洲異地的遊歷。「舞後對談」則會選一齣舞蹈製作，邀請一位舞者 / 編舞 / 舞評人，去跟另一位不一定有舞蹈經驗或背景，但卻對該作品的主題 / 議題有一定認識的人，來一場演後對談。今期我們就選了向白朗唐博士致敬的《活著》，請來仍然在學的演藝舞蹈學生梁彩霞(Athena) ，跟曾跟白朗唐博士共事過的羅雪芬 (Georgina) ，一同分享觀後感。至於不變的除了是缺一不可的本地舞作評論文章，更有《舞蹈手札》一直以來推廣舞蹈藝術的初心。希望今次轉變能夠讓大家加深對本地舞蹈創作 / 發展的認識，並進一步擴闊( 舞蹈 ) 視野。若大家有任何建議或意見，也歡迎與編輯部聯絡，謝謝 ! 編輯陳瑋鑫

Editorial As a long-term contributor to and reader of dance journal/ hk, I was honoured to take up the role of Editor from last October. The biggest challenge for me is to bring new ideas to Hong Kong’s only publication with a focus on dance that has been published for more than two decades. Our editorial team met with focus groups consisting of readers from different professions and backgrounds at the end of last year, to listen to their diverse comments and expectations about dance journal/hk. This input has helped us to come up with ideas on how to improve and plan for changes. So this issue (22-1) , the first published in our 22nd year, includes a number of changes to our existing framework. As well as a new layout, in terms of content we are eager to bring more diverse features and reviews to our readers. The major change is the introduction of the brand new FOCUS section. For each issue we will select a theme/ topic, on which we will commission feature articles from local and overseas writers to share their observations and/ or experiences as well as conduct interviews with relevant artists, in order to offer a range of ideas and broaden readers’ horizons through different perspectives. The theme of the first FOCUS is “Inclusive Dance Education”, and we will present the development and practice of inclusive dance education in Hong Kong, China, Croatia and Canada through two feature articles and two exclusive interviews. In the COLUMN section, there will be three new columns. “Dance Curating in Asia” invites different Asian dance curators to share their latest experience in their local city with our readers - the first one comes from Tracy Wong and Mao Wei, curators of the On Site Festival in Macau. “Dance Travelogue” is written by two young Hong Kong choreographers based overseas, Ghost and John, who will share stories of their travels across Europe as well as discussing their dance creation. “Dialogue on Dance” picks a particular dance production and invites one dance professional (dancer/choreographer/dance critic) to have a post-performance dialogue with another person who may have no dance background or experience of watching dance, but has relevant knowledge of the work’s theme. This time, we have chosen Tenacity of Being which paid tribute to Dr Tom Brown, and invited HKAPA dance student Athena Leung to have a conversation with Georgina Lo, who worked with Dr Brown, after watching the performance. Remaining unchanged are our reviews of local dance premieres, as well as our original aspiration in promoting dance as an ar t form in Hong Kong. We hope this new ver sion of dance journal / hk c an deepen your understanding of local dance creation/development, and help to broaden your dance horizons. If you have any suggestions and comments, please feel free to contact our Editorial Team thank you!

Editor William W.Y. CHAN

目錄 Content 1 舞訊

Dance News

本地新作 Local New Works

3 焦點:共融舞蹈教育

Focus: Inclusive Dance Education

31 專欄

Column

文 : 黃翠絲、毛維 / 翻譯: Tiffany Wong

Behind On Site — Why it’ s important to popularize Contemporary Dance in Macau Text: Tracy Wong, Mao Wei / Translation: Tiffany Wong

Yuenjie Maru’s Inclusive Education Diary: from DanceAbility to Symbiotic Dance Text: Yuenjie Maru / Translation: Tiffany Wong

一探究竟：克羅地亞的共融舞蹈教育

文 : Nina Gojić / 翻譯:《舞蹈手札》編輯部、張煦澄、胡筱雯

Inside Out: on Inclusive Dance Education in Croatia Text: Nina Gojić / Translation: Editorial Team of dance journal/hk, Charmine Cheung, Surman Woo

Text: FancisJohn Chan ( from Ghost & John )

「我們都是超級巨星 ! 」 — 超能量街舞團以舞蹈燃點所有能量 — 專訪超能量街舞團團員 Lazylegz 、 Kujo和Redo 文 : 丘思詠 / 翻譯: 林韋彤

“WE ARE SUPERSTARS!” — ILL-Abilities moves to empower ALL abilities — interview with ILLAbilities’ team members Lazylegz, Kujo and Redo

25 25 27

《香港當代舞蹈歷史、美學及身分探求》的啟後文 : 李海燕

觀眾如何參與藝術家的創作探索？記「舞蹈共生」 — 國際舞蹈藝術家交流計劃展演文 : 袁潔敏

孟加拉海洋舞蹈節經驗分享 — 訪問白濰銘、何明恩文 : 容康頤、蕭恒

新約舞流《活著》 — 演後暢談

37 評論

Review

Visions in the Lunch Hour

欲辯已忘言 — 淺評香港舞蹈團「八樓平台」《境》

我們來告別，告別了誰

一匹布咁長之大大力跳與慢慢地轉

從《我的基因舞譜》淺說韋恩・麥葛萊格的編舞實驗

Text: Catherine Yau / Translation: Kristie Lam

觀察 Observation

舞後對談 Dialogue on Dance

文 : 四只 / 對談: 羅雪芬、梁彩霞 Dialogue: Georgina Lo, Athena Leung

丸仔的共融教育手記：由舞動所能到共生舞蹈文 : 丸仔 / 翻譯 : Tiffany Wong

微塵積聚。人群聚集。事件交錯。 Dust that accumulates. People who come together. Events that collide.

文 : 鬈毛妃 / 手語傳譯: Heidi Man / 翻譯: Pomny Chu

The voice of the deaf is a dance — Jason Wong’s language of dance and inclusion

旅歐舞記 Dance Travelogue 文 : 約翰 ( 自鬼與約翰 )

聾人的聲音就是舞蹈 — 談黃耀邦的「舞語」與共融

Text: Tomcatt / Sign Language Interpretation: Heidi Man / Translation: Pomny Chu

環亞舞略 Dance Curating in Asia

「在地」的背後理念 — 談當代舞蹈藝術平民化之必要

Text: Will Davis 文 : 程天朗文 : 賴閃芳文 : 林喜兒文 : 謝嘉豪

「 Lost in Translation 」 — 論「香港比舞」兩個獻給香港的閉幕演出文 : 小西

45 舞蹈節目表

Dance Listings

舞訊 Dance News 「 CINARS 國際演出交易會 — 2020 參加津貼及 OFF-CINARS演出」現正接受申請香港藝術發展局「 C I N A R S 國際演出交易會 2020 — 參加津貼及 OFF CINARS 演出計劃」現正接受申請，共資助最多8位香港表演藝術工作者，及最多 2 個本地演出參與於 2020 年 11 月 9 至 14 日在加拿大滿地可舉行的第十九屆 CINARS 國際演出交易會。

永遠懷念唐雁妮教授演藝學院榮休教授唐雁妮教授於 2019 年 12 月 8 日逝世。唐教授早於家鄉澳洲及倫敦展開其舞蹈教育生涯，其後投身香港演藝學院十年，先後擔任舞蹈學科系主任與研究生課程主任、舞蹈學院院長及滙藝學院院監，至 2016 年退休。唐教授為本地及國際舞壇建樹極深，並曾於 2013 年授獲頒澳洲榮譽勳章。舞盟為唐雁妮教授的家人及朋友致以深切慰問，並感激唐教授為香港舞蹈發展作出的貢獻。 In Memory of Dr. Anita Donaldson Professor Anita Donaldson passed away on 8 December 2019. Af ter a successful career in her native Australia and in London, she joined the Hong Kong Academy for Per forming Ar ts where she spent 10 years. She rose from Head of Academic Studies and Coordinator of the Mas ter of Fine Arts in Dance to Dean of the School of Dance, and went on to become Dean of the College of Allied Arts. She retired in 2016 and was awarded the title of Emeritus Professor the following year. Her contribution to the development of dance and the performing arts was recognized locally and internationally, and she was awarded the Medal of the Order of Australia by the Australian Government in 2003. The Alliance would like to express its condolences to Professor Donaldson’s family, friends and colleagues and its gratitude for her contribution to dance in Hong Kong.

舞蹈界深切哀悼大野慶人及 Bambang Besur Suryono 今年一月，日本舞踏家大野慶人 ( 上圖 ) 及印尼 Wayang Wong 大師 Bambang Besur Suryono ( 下圖 ) 這兩位於亞洲舞壇極具代表性的人物相繼離世。舞盟為兩位舞蹈界靈魂人物致以最深的敬意及深切悼念。

22nd Hong Kong Dance Awards The 22nd Hong Kong Dance Awards nomination period ended in January, and the shortlisted nominations will be announced in mid-March. Details 截止申請日期： and arrangements for the Hong Kong 2020年 3月 2日下午 5時正 Dance Awards 2020 Presentation and CINARS 2020 Participating Subsidy Gala Performance will be announced on the Alliance website and social & OFF-CINARS Performance media at a later date. open for applications HK ADC’s CINARS 2020 Participating Subsidy & OFF-CINARS Performance 業界受新冠狀病毒疫情影響被逼停工 schemes are now open for applications. 根據截至 2 月 13日的消息公佈，為應 The t wo schemes are expec ted to 對新型冠狀病毒疫情，所有康文署及 subsidize a maximum of eight Hong 西九文化區的表演場地將暫停開放至 Kong performing arts practitioners and 另行公告；香港演藝學院亦會關閉校 two performances to participate in the 園至 3 月 1 日，全港學校停課至 3月 16 19th CINARS performing arts expo, to 日。所有原定於這段期間舉行的演出節 be held 9 — 14 November 2020 in 目、活動及課堂需要取消或延期。除本 Montreal, Canada. 地舞團城市當代舞蹈團、香港舞蹈團及

Da nce world mou r ns t he loss of Yo s h ito Oh no a nd B a m b a n g Besur Suryono In January, two iconic figures in Asian dance passed away, Japanese Butoh legend Yoshito Ohno (Top photo) and Indonesian Wayang Wong master Bambang Besur Sur yono (Bot tom Application Deadline: photo), The Alliance would like to 2 March 2020 17:00 express its profound respect for the achievements of these two masters and its sadness for their passing.

1 — 舞訊 Dance News / 本地新作 Local New Works

「香港舞蹈年獎 2020 」「香港舞蹈年獎 2020 」提名期已於1月結束，入圍名單會於 3月中旬公佈。有關香港舞蹈年獎 2020 匯演暨頒獎禮的詳情及安排，請留意香港舞蹈聯盟網站及社交媒體稍後的宣佈。

香港芭蕾舞團要取消表演外，第48 屆香港藝術節亦於 2 月10日宣告取消今屆所有演出節目。

Novel coronavirus epidemic — impact on Hong Kong dance industry In response to the novel coronavirus epidemic, as of 13 February, all LCSD a n d W KC D p e r f o r m a n c e v e n u e s remained closed until fur ther notice. The Hong Kong Academy for Performing Arts will close its campus until 1 March, and all schools in Hong Kong will be closed until 16 March. All performances, events and classes scheduled during this period have therefore been cancelled or postponed. In addition to performances by local groups including CCDC, HK Dance Company and HK Ballet, on 10 February it was announced that all performances in the 48th Hong Kong Arts Festival had been cancelled.

Local New Works

本地新作

《白薑花》 White Ginger Lily 編舞:曹德寶 | 攝:Mak Choreographer: Hugo Cho | Photo: Mak

《境》 jing 編舞:袁勝倫、余爾格攝: S2 Production Choreographer: Yuan Sheng Lun, Yu Er Ge Photo: S2 Production

《 Living up to HER 》編舞:林俊浩 | 攝:Mak Choreographer: Ivanhoe Lam | Photo: Mak 《 Blackmail 》編舞:黎燕攝:Landal Choreographer: Leanne Lai Photo: Landal

《深影》 Deeper than Shadows 編舞:Christina He 攝:Landal Choreographer: Christina He Photo: Landal

《我們的媽她們的媽》 Nos mères Leurs mères 創作及導演: 黃俊達攝:紫嫣 Concept and Director: Ata Wong Photo: 紫嫣

(15/11 – 15/1)

《第十一條》 The 11th 編舞:曾詠暉攝:Landal Choreographer: Tsing Wing Fai Photo: Landal

《左_右》 F**king Neutral 編舞:唐浩山攝:Landal Choreographer: Michael Tong Photo: Landal

《手語動作》 Sign Movements 編舞:李德、黃耀邦攝:Xin Li Choreographer: Li De, Jason Wong Photo: Xin Li

二月 FEB / 三月 MAR 2020 — 2

共融舞蹈教育

序隨著全球平權意識增加，由不同受障人士創作及演出的舞蹈作品，近年也越來越受到關注，好像香港藝術節自去年起推出的「無限亮」計劃 1 ，原定今年帶來三個由多元能力藝術家創作及演出的舞蹈節 2 ；而台北兩廳院舉辦的「 TIFA台灣國際藝術節」，今屆也找來英國知名共融舞蹈團肯杜可舞團演出雙舞碼節目。

然而，在舞蹈教育發展的層面上，又是否如表演節目般能夠逐步進入主流？在教學實踐上又如何能達至真正共融呢？今期我們就分別邀請了近年經常穿梭中港兩地的本地藝術家丸仔，以及克羅地亞戲劇顧問 Nina Gojić ，為大家概述共融舞蹈教育在中、港、克三地的發展面貌，並專訪本地聾人舞蹈家黃耀邦和來自加拿大的超能量街舞團，談談他們如何從自身的舞蹈經驗出發，發展出自己一套共融教育理念與方法。

3 — 焦點 Focus

「無限亮」計劃由香港藝術節及香港賽馬會慈善信託基金聯合呈獻，於2019年首辦，致力創造無障礙，無限制的環境，並透過藝術來探索及推動社會共融。由於新型冠狀病毒疫情持續，導致表演場地關閉，以及對藝術家、觀眾及同事們的安全及健康考慮，香港藝術節於2月10日宣布，「無限亮」計劃將延期舉行。

Inclusive Dance Education

Prologue W ith the increased global awareness on equit y, work s choreographed and performed by a diversity of differentlyabled people have received more and more attention in recent years. As of this year, in our own region the No Limits 1 project launched by the Hong Kong Arts Festival last year had planned to bring 3 dance programmes by various differentlyabled artists to Hong Kong 2 ; whilst the Tai wan Interna tional Fe s ti val of A r t s (TIFA) , organized by the National Theatre & Concert Hall of Taipei will bring a doublebill dance programme by the renowned British inclusive dance troupe CandoCo Dance Company. Performances by differently-abled artists are gradually becoming recognized by societ y:how can such recognition also be gained from the perspective of dance education development? How can we achieve true inclusion in educational practices? In this issue, we have invited local artist and DanceAbility teacher Yuenjai Maru, who has travelled frequently between Hong Kong and China in recent years, and Nina Gojic, a Croatian dramaturge, to outline the position of inclusive dance education and its development in China, Hong Kong and Croatia; we have also interviewed local deaf dancer, Jason Wong and the ILL-Abilites dance crew from Canada, to talk about how they have evolved their own inclusive dance education rationale and methodologies from their personal dance experience.

The No Limits project is co-presented by the Hong Kong Arts Festival and the Hong Kong Jockey Club Charities Trust, first launched in 2019, aims to create barrier-free environment, and explore and promote inclusiveness and understanding through arts.

In view of the outbreak of the novel coronavirus in Hong Kong, the resultant closures of venues across the city due to concerns for the health and safety of participating artists and audiences, the Hong Kong Arts Festival announced on February 10 that the No Limits project will be postponed.

二月 FEB / 三月 MAR 2020 — 4

聾人的聲音就是舞蹈 — 文 : 鬈毛妃

手語傳譯：Heidi Man

談黃耀邦的「舞語」與共融

寧靜的舞蹈課紫紅色的燈光下，舞者分成兩行，鄭秀文的歌聲響起⋯⋯ 黃耀邦 ( Jason ) 的課很安靜，除了間中音樂的聲浪調得太大的時候( 一笑 ) ，他跟參加者的溝通，不論是聾人、健聽的甚至是不通中文的日本人，都是用香港手語和身體語言，有時候他會輔以口語，但主要還是靠各人的專注和觀察，讓每一個表情、每一個動作成為有意義的溝通；不懂香港手語的參加者可以看 Jason、看鏡子、看其他參加者；聽不到音樂的參加者可以看 Jason、看鏡子、看其他參加者、感受地板的震動、感受喇叭的震動。回心一想，不是所有舞蹈課都這樣嗎 — 看導師、看鏡子、看其他參加者。他的編舞也與別不同，一套街舞的身體語言配合香港手語，這種「 crossover 」 ( 跨界 ) 衍生成一種新派系，賦予了他所揀選的音樂及歌曲另一個層面的藝術演繹，又同時為舞蹈語言增添了詞彙。談當代舞對何謂意義與意象的探索，在這種作品裡大概又有新的體會，讀者可以從他編舞的《願榮光歸香港》手語版親自感受當中的力量。更重要的是，這是貼地的創作：是以「人」為本、以「溝通」為軸的創作，正正呈現了聾人與一般人在生活上的距離，大概跟藝術與一般觀眾的距離一樣 — 有時對方其實毫無保留，我們卻摸不著頭腦，但原來只要肯放開固有的方式，放鬆去看，交流就會自然出現，不必強求。這麼一來，共融大概也該無聲無色地存在，不必掛在嘴邊。

喧嘩之中禱告

踏右雙手像耳筒在耳旁揮動祈禱手向前劃小圓圈

讓愛為我帶路

交叉手放胸前兩手鬆開像開路向前

人性的缺點可清楚看到

食指拼成人字打圈手板向天、另一隻手指尾指天拍手心轉右、舉起手指公

今天一些真理

三下快步急停原地上下彈跳

壞了沒有訊號

面向右邊握拳扭手腕向下轉三圈面向前方

誰能伴我星光之下狂舞

兩隻「 ok手」在額前舞動兩隻食指拼合向前倒轉「 V手」在手板上移動各人頭先行上半身「 S字形」踏前湊成一條直線

筆者以文字敘述 Jason 為《 Creo En Mi 》部分歌詞所創作的「手語舞」舞步

5 — 焦點 Focus

Jason說跳舞是希望挑戰自己，大概沒有想到還未挑戰身體，作為聾人的身份首先被挑戰。當年決定去紐約學跳舞，是因為不想平淡過一生，希望發掘自己，找到自己擅長的事。怎料學校沒有提供手語翻譯，而老師在課堂輔以大量的口語講解，只是看導師、看鏡子和看同學並不足夠。在同一個課室裡 Jason 沒有得到相等的待遇，就跟學校提出要求，學校竟然建議 J a s o n 要不退學，要不就沿用學校的方法繼續。 Jason於是做資料搜集，獲知美國的殘疾人士歧視條例 ( Americans with Disabilities Ac t ，簡稱 ADA ) ，並在一次街頭的平權嘉年華中，認識了一位人權律師，在其支援下與校方糾纏三個月後始達成協議，繼續上課並享有手語傳譯的服務。談共融，前題原來是先要知道自己的權利及懂得怎樣去爭取。

「如果我不是聾人，我就不會跳舞。」一般人對聾人的理解是：聾人不會聽音樂，對音樂沒興趣。一般人對舞蹈的理解是：舞蹈與音樂不可分割。

於是，一般人對聾人舞者的理解，就只是專注在「聽不到音樂，怎能跳舞？」而忘了舞蹈的本體，是身體和節奏，而節奏的來源，正是我們自己的心跳。 Jason 喜歡舞動，因為跳 Jason於手語舞課跟學生以香港手語、身體語言及舞，他有了生命和夢想；事實上，把心跳看成少量口語互動生命的證據，舞跳得愈勁，心跳得愈快，那心攝 : 《舞蹈手札》編輯部跳所泵動的力量，自然又讓舞者跳得更淋漓盡致，一切都很順理成章。而當 Jason 說：「如果我不是聾人，我就不會跳舞。」背後，大概是因為他能真正感受從體內那股強大的原動力，從根本裡去感受舞蹈與自身的關係，而當他把自己的母語 ( 香港手語 ) 化成「舞語」，在學校還發生過一件事，讓他印象深刻。學他作為聾人與舞者的身份就二合為一、不可校的課都要預早報名，滿額就上不了， Jason 分割。說有一次他早就到了等上課，突然看見其他人不停地走來走去，他覺得奇怪，去問接待體驗總比聽說好。來自社福界的Rita說從前處的職員，花了好些時間溝通，才發現原來參加的舞蹈班，動輒就三、四十人，導師分身職員剛才宣佈課堂有調動，所以大家都要重不暇，同學沒有交流；在 Jason 的課，雖然不新登記。 Jason 聽不到，白白空等，想上的懂手語，但小班教學中， Jason 可以逐個指課都被其他人登記至額滿， Jason 就跟學校導，大家放學後自然地一起吃飯，並不是造投訴，氣憤之餘亦感到無奈；最令人啼笑皆非作的硬「共融」。的是，後來當 Jason 再遇到那個職員時，對方竟然打起美國手語來 ! 原來一直都懂，只是不一般人對共融的理解，是先把人分類，再用用；這麼一來，就說明聾人很多時候都是「被某種手法把他們放回一起。舞蹈也是其中之殘疾」 — 不是他們不願意溝通或聽不明白，是一的手法？同時也是 Jason 學生的手語傳譯員一般人沒有盡力去了解或表達，把溝通的責任 Heidi，認為有一定示範作用，但影響有多深放到聾人身上。遠呢，還是未知之數。事實上，聾人在聾校讀書，以往不准使用手語，也不鼓勵使用身體語言，而是強逼他們讀唇，單方面去學習「溝通」。 Jason 的學生包包也是聾人，深知一般人對聾人的誤解，本身為演員的她，希望透過跳舞去打破大家對聾人印象的框框，加上以往因為制度問題，她的圈子彷彿只有聾人，參加了這個舞蹈課，認識了更多健聽的朋友，發現原來也有健聽人願意了解和溝通，這讓她對共融有了新的看法 — 共融，是共同達成的，而不能單靠一方努力。

一個社會，本來就有各種人，先把某些人抽出來再放回去，究竟算不算得上共融是很吊詭的問題。而當政府還未把香港手語納入為香港法定語言，不承認聾人的聲音， Jason這種以手語入舞的形式，無疑能喚起更多人關注。事實上，自去年六月起， Jason已成了很多香港人口中的「手語哥哥」，而他也打算在未來為香港人做更多，找一個合適的地方，繼續以「舞語」發聲、以生命影響生命。

鬈毛妃受障人士人權第三倡議人、表演藝術家，近年透過一對一「約會」形式的「表演」，探索人與人之間的關係，思考何謂愛人和愛自己。

二月 FEB / 三月 MAR 2020 — 6

The voice of the deaf is a dance — Jason Wong’s language of dance and inclusion Original Text: Tomcatt Sign Language Interpretation: Heidi Man Translation: Pomny Chu

A Quiet Dance Lesson Under the purple and red lights, dance performers split into two columns. A song by Sammi Cheng is playing... J a s o n Wo n g ’ s l e s s o n w a s v e r y q u i e t . Par ticipants included the deaf, hearing people and Japanese who did not speak Chinese. Despite occasionally loud music, most of the time every thing was quiet as Jason communicated with participants using Hong Kong sign language and body language accompanied by verbal instructions off and on. Ever yone had to focus, obser ve and make every facial expression and movement a meaningful communication. Participants who did not understand Hong Kong sign language could look at Jason, the mirror or other par ticipants. Those who could not hear the music could look at Jason, the mirror and others, feel the vibration of the floor and the amplifiers. As I reflected on his lesson, I thought: doesn’t every dance lesson in general work this way — looking at instructors, the mirror and other students? Jason’s choreography is distinctive, as it combines body language from street dance with Hong Kong sign language. This crossover of the two elements gives rise to a new genre of dance, and offers another dimension of artistic interpretation to the chosen music and songs, adding new vocabulary to regular dance language. Among other explorations of meanings and imageries in contemporary dance, Jason’s work offers a new perspective, where for example sign language readers could feel the force of an emerging dimension with the sign language version of Glory to Hong Kong that Jason choreographed. Most impor tantly, what he produces is downto-earth creative work. Starting from the perspective of “being human” and focusing on communication, his choreography portrays the gap between the deaf and othepeople in daily life, which resembles the gap between the ar tist and the general audience. We

7 — 焦點 Focus

Prayer in the midst of hubbub

Step right. Both hands, gesturing to indicate a pair of earphones, move next to the ears. Hands in praying gesture draw small circles in front.

Let love lead me

Cross the arms on the chest. Spread the arms wide open.

The flaws of human beings can be seen clearly

Index fingers shape the Chinese character “人 ” ( human being ) With one palm facing up, the little finger of the other hand points at the sky. Clap hands and turn right. Both thumbs are up.

The truth of today

Take three quick steps and stop sharp. Then bounce on the same spot.

was down without signals

Face right, clench both hands into fists and twist the wrist down. Turn around three times and face the front.

Who could dance wildly with me under the starlight

Use both hands to shape an “ok” sign and wave them in front of your forehead. Bring both index fingers together and point them forward. Make a reverse V sign with one hand and walk your fingers on the palm of the other hand. Everyone moves their head forward, steps forward with the upper body in “S” posture”. Everyone gets into a straight line.

Writer’s descriptive text on Jason’s choreography, based on lyrics from Creo En Mi.

cannot always understand what ’s being conveyed across the gap, even when it ’s expressed in an open and unreserved way. However, by setting aside our conventional way of thinking, communication should come naturally without us having to try too hard. In this way, inclusion comes into play automatically, without needing to keep talking about it. Jason wanted to challenge himself by studying dance and decided to go to New York to do so. He was determined to embark on a voyage of self-discovery and to find out what he was good at, instead of drifting and wasting his life. Unexpectedly, the biggest challenge he was to face at dance school was not to his body, but because of his deafness. The school did not provide sign language translation and most of the time teachers explained things verbally in class. Jason could not get much out of the lessons simply by looking at the instructors, the mirror and his classmates, so in order to study on equal terms with them, Jason asked the school to provide sign language translation. However, the school turned him down, recommending him to either withdraw from his studies or continue with the existing study mode. Jason then started researching laws related to his situation, and came across the Americans with Disabilities Act. With the help of a lawyer working in human rights, whom he met at an equal rights carnival, after three months of negotiation he reached an agreement with the school that he would continue with his studies and the school would provide sign language translation. To achieve inclusion, one must first know what his/her rights are and how to fight for them. There was another incident at the school that really struck Jason. Students had to register for courses early, otherwise they could not get a place. Jason once arrived early for a class and suddenly noticed other students there walking around. He found this strange and asked the staff member at reception what was happening. They had dif ficult y understanding each other but with some effort, he realized that adjustments to the lesson had just been announced and every student had to register for it again. Jason had not been able to hear the announcement, had waited in vain for the lesson to start and now the class was full. Jason was frustrated and angry. He complained to the school about his upsetting experience. The most ridiculous thing was that the next time he met thesame staff member, they started communicating with him in American sign language. It turned out that the person knew sign language all along, but did not use it with Jason. Most of the time, the deaf are “disabled” by people

who can hear. It is not that the deaf are not willing to communicate and listen. It is other people who do not bother to get messages across to the deaf and make the effort to understand them — instead, they simply put all the responsibility for communication on the deaf person. In fact, at schools for the deaf in the past, s tudent s were not allowed to use sign language to communicate. Body language was not encouraged either. Instead, deaf students were forced to lip read. One of Jason’s students, Baobao, was also deaf and was all too familiar with people’s misunderstanding of the deaf. Already an actress, she wanted to eradicate people’s stereotypes of the deaf through dance. Her social circle was limited to deaf people because of bigger institutional problems. In Jason’s lessons, she now got to meet people who could hear. She found that there were also ordinary people who were willing to understand and communicate with the deaf. “Inclusion is achieved by effort from both sides rather than one side working on its own, however hard they try.” “If I were not deaf, I would not dance.” People often have stereotypes about deaf people, for instance that the deaf do not listen to and are not interested in music. Mos t people tend to think of dance as inseparable from music. Therefore, they wonder how deaf people can dance without hearing the music. They forget one important thing. Dance itself is about body and rhythm. The rhy thm comes from our hear tbeats. Jason loves dancing because dancing makes him feel alive and enables him to dream. Seeing heartbeats as the presence of life allows dancers to dance without reser ve and wholeheartedly, the more powerful the dance, the faster the heartbeat. Every dance movement comes naturally from the body, driven by the energy pumped from the heart. When Jason says, “if I were not deaf, I would not dance”, the reason is that he can feel the natural impulse coming from within his body. Feeling the relationship between dance and his own being from the core of his body, he has turned his mother language ( Hong Kong sign language ) into a dance language, merging his identity as a deaf person and a dance artist into one. To experience something is better than to just listen to what people say about it. Rita, who works in the social welfare sector, recalled that there were usually around 30 to 40 people in dance lessons she used to attend, which meant that the instructor wasn’t really able to cater to everyone’s needs. Students also had little time to interact with others. In Jason’s

lessons, where students were fewer, although she did not understand sign language, she was able to get individual guidance from him. Students also ate together after lessons. This is real inclusion with sincere effort being made by everyone involved. People generally understand inclusion in a way that classifies people into various types and then uses certain methods to bring them back together. Dance is one of the methods. Heidi, who was Jason’s student and is a sign language translator, agreed that dance was effective as a way to demonstrate inclusion. However, it remains uncertain as to how much dance may influence inclusion. There are different types of people in any society. Separating people into categories then bringing them back together and calling it inclusion is a strange idea. While sign language has not been recognized by the Hong Kong Government as one of the of f icial languages of Hong Kong, Jason’s incorporation of sign language into dance has undoubtedly raised public awareness. From June last year onwards, Jason has come to be known to Hong Kong people as “Sign Language Gor Gor1”. He plans to develop this direction in relation to Hong Kong people further, to find a suitable context and express ideas through dance, influencing other lives with his own life, using dance language as his voice.

“Gor Gor” spells the pronunciation of elder brother in Cantonese, in this case it refers to Jason being perceived as friendly and cordial, like an older brother. Jason is known as one of the “Sign Language Gor Gor” for his sign-language interpretator role in various Citizens’ Press Conferences. Tomcatt T h i r d p a r t y a d v o c a te f o r p e r s o n s with disabilities. Per forming ar tis t. Recent “performances” explore human relationship and the meaning of love in a one-on-one dating format.

二月 FEB / 三月 MAR 2020 — 8

丸仔的共融教育手記：

舞動所能文：丸仔

「共生舞譜」圖片由丸仔提供

9 — 焦點 Focus

共生舞蹈

繼 2012 年在《舞蹈手札》刊登有關共生舞蹈 ( Symbiotic Dance ) 及舞動所能( DanceAbility ) 的文章 1 ，轉眼八年，網上不乏有關兩者的採訪介紹，此處就盡量不再囉唆，嘗試從第一身的前線教學與舞蹈研究角度去回顧我所經歴的共融舞蹈教育。

舞，老師舞動時，孩子是「停」的；輪到老師停下來時，孩子的呼吸動作就被看見了 ! 這正正是生命本身的呈現 ! 我們以為教育的對象是誰，又要教育誰一些什麼嗎？其實最終不過是人作為人，彰顯每個生命本有的存在價值與尊嚴，讓每個生命被看見。

社區文化發展中心共生舞團於2009年成立，舞者部份由 2006 年的「 DanceAbility 社區舞蹈：舞出傷健新紀元」計劃開始跳舞，多年來雖然有成員加入和退出，舞團成員也維持在二、三十人左右，當中包括學習障礙者、輪椅使用者、聽障者、失明者及其他一切不知名障礙的、健全人以及專業舞者。當中我要說說阿威，一個不太懂手語的「聾友」 ( 在生活中如何使用這些稱呼其實都是政治 ! ) 。他憑自己的觀察去學習，做的動作比任何聽語言指令的人都要準確；擔心他聽不到而給他寫字的話，反而阻礙了他的現場觀察 ! 施教者及助教者其實不用擔心有人聽不懂或不明白，重要的是給予所有人時間去進行其觀察，而所說的包括重度智力障礙的朋友，你和我都永遠不知道他們明不明白，但給予時間和耐心，便能從他們以舞蹈中的回應告訴你他們懂的，不可能每次都那麼巧合 ! 在課堂上我比較擔心和包容的，反而是一些自以為是的義工和老師。

2 0 12 年初，我赴南美完成舞動所能證書課程，成為亞洲首個華人舞動所能認證教師，同年獲北京瓷娃娃罕見病關愛中心邀請，在他們舉辦的7天「 I CAN 協力營」中，每天下午進行四個小時的共生舞蹈工作坊，並在最後一天進行演出。這個契機逐漸促成三十小時共生舞基本課程的雛型( 相等於香港共生舞團十個月的舞聚時間 ) ，當中除「漢化」教學語言之外，為了讓學員更易記得如何進入即興狀態，我將「修身、齊家、治覺、平天下」配用到方法裡，後來並加入 Nancy Stark Smith 的潛「共生舞譜」 ( 見動譜 ( Underscore ) ，成為一套圖 ) 。香港演藝學院主修編舞及舞蹈導演畢業的Mimi在2014年也成為舞動所能認證教師，我們倆都覺得唯有舞動所能是真真正正的人皆可舞，皆因這個發展自接觸即興的舞動方式真正容許一切的不同，而所有舞蹈教育工作者( 不只共融 ) 都應該學習一下，正如無障礙意識應該人人皆知皆有。

舞團舞聚亦同時吸引教育工作者、社工和專業舞者參與， May仔( 馮美璇 ) 、 C+ ( 鄭慧君 ) 和 Mimi Lo ( 盧淑嫺/兩口米 ) 等都是先認識了共生舞蹈，再修讀舞動所能教師證書。當年May 仔是一間特殊教育學校的老師，有一次邀我到一所嚴重學習障礙程度學生的學校帶領工作坊，當時兩個學生在課堂上睡着了，我便要求師生共舞，以「一人動、一人停」的動作進行對話方式的練習。老師於是就和睡着的孩子共

2018 年，我在廣州成立共生不錯舞團，出任藝術總監，同樣從一個非政府組織中成立，不過走向跟香港截然不同。舞團成員的主動性很强，同樣要包辦舞團的一切行政，一年半下來舞團成員無論在藝術上和生活上皆有非常飽滿的成長，但舞團經營也不容易，靠的是申請基金會或籌款維持。舞團成員有很多自主創作，其中年度作品更曾入選北京國際青年戲劇節 ! 舞團也堅持舉行每周「無障礙舞醬」 ( Jam for all ) ，一種源自接觸即興的交流方式。共生不錯舞團的成員大概有一半是殘障伙伴，可以明顯地見到他們參與舞蹈後的人生改變( 個人自信上的、身體能力上的、生活態度上的 ) ; 而另一半非殘障伙伴，他們對無障礙抱有更深刻的同理心，平等的價值意識提升。而無論是殘障或

舞團自成立以來每月舉行一次舞聚，每次三個小時，一年下來便有三十六個小時的培訓，大約相等於六天各六小時的訓練。我敢大膽說每一個常駐團員，現在都是即興舞蹈高手，近幾年在演出當天即日排練也不成問題 ! 問題反而是一月一次舞聚，造成社區文化發展中心的經濟和人手負擔。每次活動需要復康巴士接送，而申請不同的計劃就要按「資源」決定方向( 例如申請到特殊學校做活動會比到普通學校容易，但後者更見教育成效 ! ) ，很多時候更不知為何申請失敗 ! 但若談一次美好的合作經驗的話，就是舞團跟「綠腳丫」的合作：因應繪本帶領工作坊，讓大人和小朋友與舞團成員一起共舞，成就一個自然的共融教育場域，讓小孩子從小知道不同能力的朋友都可以跳舞 !

與Mimi 赴美國参加 Nancy Stark Smith 所帶領為期一個月的工作坊後，我定位共生舞蹈為一項透過不斷教學來實踐的舞蹈研究：「如何讓每一個人都能夠從差異中自在地參與舞蹈創作並發揮自己」。我鼓勵我的學生成為共生舞蹈導師，但不頒任何認證，因為我相信能教的自然能教，現在當中包括一個失明者( 他更來港修讀了舞動所能認證 ) 和一個類風濕關節炎患者都教得相當不錯。

非殘障伙伴，在舞蹈創作的能力上皆是不斷突破，舞蹈路上不斷有新發現和驚喜。共生舞蹈並不是特別針對殘疾朋友，它是面向所有人的舞蹈，但殘疾朋友的參與讓共生舞更豐盛和更具多元性；也可以說共生舞的入門是沒有任何門檻，只要你想跳舞都可以加入。而對於很多不同能力的伙伴來說，他們根本無法參與其他舞蹈，共融舞蹈幾乎是他們參與舞蹈的唯一選擇 ! 共融舞蹈的特徵是有不同能力 / 背景者的參與，但共融舞蹈教育主要針對的，其實不是某些特定對象，而是面對所有人。除了一般大眾，專業舞蹈( 教育 ) 工作者才是推動共融舞蹈的關鍵 ! 可惜到現時專業舞者的參與並不多，亦有可能是專業舞者對共融舞蹈依然存在誤解或不了解，未覺共融舞蹈與他們的專業有關。

社區文化發展中心在 2019 年暑假，曾邀請 Alito Alessi 來港作亞洲第一個舞動所能教師證書課程，當中有二十多位新舞動所能導師在這個革命時刻誕生 ! Alito曾談及舞動所能是一個當代舞蹈的革命，它是「 Contemporar y Edge of Dance 」 ( 舞蹈的當代邊緣 ) ! 我們常把舞蹈教育視為舞蹈創作的旁支，而共融舞蹈教育更是邊緣中的邊緣 ! 最吊詭的是在當代舞蹈中，似乎愈是「 exclude 」 ( 獨有 ) 的舞蹈就愈被「 include 」 ( 納入 ) ，而愈是「 inclusive 」 ( 具包容性 ) 的舞蹈就愈被「 exclude 」 ( 排除 ) ! 香港舞動所能 ( 舞動所能國際的香港分會，現由 Mimi Lo 出任藝術總監 ) 已經在香港成立差不多兩年了，但到最近還是有不少人在打聽什麽是舞動所能。時代革命，我們也不可能再停留在雜耍式的審美標準，個人認為共融舞蹈實應作為每一個當代舞人的必修科，光復舞蹈於人皆可舞的真善美 !

筆者的文章〈由抗拒專業到面對專業 — 修畢 Danceability 教師證書課程〉曾刊登於第 14 – 2期《舞蹈手札》丸仔為香港首位舞動所能認證教師，以舞動所能方法為基礎研創共生舞蹈，曾任社區文化發展中心共生舞團藝術總監十年 (2009 — 2018) ，現為廣州共生不錯舞團藝術總監 (2018 — )

二月 FEB / 三月 MAR 2020 — 10

Yuenjie Maru’s Inclusive Education Diary:

DanceAbility

Symbiotic Dance Original Text: Yuenjie Maru Translation: Tiffany Wong

CCCD dance gathering Photo provided by Yuenjie Maru

Since publishing my ar ticle on Symbiotic Dance and DanceAbilitiy1 in dance journal/hk in 2012, eight years has passed in the blink of an eye. Since you can find interviews and introductions of these two topics everywhere on the web, I will tr y not to repeat any information in this article but to record my experiences in inclusive dance education from the perspective of a hands-on educator and dance researcher. The Symbiotic Dance Troupe of the Centre fo r Co m m uni t y Cul t ur a l D e v e l o p m e n t ( CCCD ) was established in 2009, following some members taking up dancing through the DanceAbility Community Dance Project programme in 2006. People have come and gone throughout the years, but the overall number of members has stayed between 20-30, consisting of people with learning

11 — 焦點 Focus

disabilities, wheelchair users, people with hearing disabilities, the blind, and other less familiar disabilities, alongside the able-bodied and professional dancers. I have to mention Wai, who is deaf ( how these terms are used in life is political in itself ) and who hardly knows sign language. He learns by watching and he performs each movement more accurately than any per son who lis tens to verbal instructions. It would be a bad idea to write out the instructions for him because of your concern that he doesn’t fully understand, as it would hinder his observation. In fact, tutors and teaching assistants need not worry about anyone not understanding, what’s important is to allow time for everyone to observe, even those with severe intellectual disability, as you never know whether they understand something, but time and patience are key to allow them to answer you by dancing what

they comprehend. On the contrar y, what worries me more is arrogant and opinionated teachers and volunteers. Since its establishment, the troupe has held a three-hour dance gathering each month, which adds up to thirty-six hours of training a year, almost equal to six days of training, with six hours each. I feel confident to say that every one of our regular members is a skilled improvisation dancer. In the past few years, we have been putting together the dances on the day of the performance, and it hasn’t been a problem! In fact, the problem is the pressure that our monthly gathering puts on CCCD’s financial and human resources. For every session, they need to arrange for Rehabuses to take members to and from different locations, and the “resources” of different programmes decide the direction

of our events ( for example, applying to hold activities in special schools is easier than in ordinar y schools, although the lat ter produces a stronger educational result ) , and in mos t cases, we never know why our applications were not approved. Yet one of our best collaborative experiences was a workshop co-organized with Little Green Feet. Leading a workshop based on a storybook allowed adults and children to dance with members of our troupe, forming a natural, inclusive education arena, letting children know that people with dif ferent abilities can also dance together. Our dance gatherings at trac t teachers, social workers and professional dancers to join as well. May ( Mayson Fung ) , C + ( Scarlette Cheng ) , and Mimi Lo all first learnt about Symbiotic Dance and then sat the DanceAbility Teacher Certificate. At that time, May was a teacher at a special education school, and she invited me to conduct a workshop at a school with students with severe learning disabilities. Two of the students fell asleep in class, so I requested a dance between teachers and students, to carry out a conversational exercise under the rule “One moves, one stays still”. Then, teachers ‘danced’ with the sleeping children. When the teacher danced, the child was ‘still’, but when the teacher stopped, ever yone became aware of the child’s breathing. This was in fact a portrait of life itself. Had we planned to educate certain people about certain things? Eventually, our goal was as simple as to show that every life has its value and dignity, and to let every life be seen. In early 2012, I completed the DanceAbility certificate in South America, becoming the first ethnic Chinese DanceAbility certified tutor in Asia. In the same year, I received an invitation from the China-Dolls Center for Rare Disorders in Beijing to conduct a 4-hour daily Symbiotic Dance workshop during their 7-day I CAN camp, with a performance on the last day. This opportunity fostered the prototype of the 30-hour Symbiotic Dance course ( equal to 10 monthly gatherings of the troupe ) . Apart from making the teaching language more“Chinese”, I used one of Confucius’ famous quotes to illustrate the method. Later on I adopted Nanc y Stark Smith’s Underscore, to become a “Symbiotic Dance Score” ( see image on P.19) . Mimi, who graduated from The Hong Kong Academy for Performing Arts majoring in Choreography and Dance Directing, became a DanceAbility certified teacher in 2014. We both agree that DanceAbility is the only route to achieving the goal that “everyone can dance”, because t his m e t h o d , d e v e l o p e d f ro m co n t a c t improvisation, truly allows all forms of

differences, and all dance educators ( not only inclusive dance specialists ) should learn it, just as barrier-free awareness should be in everybody’s mind.

are the key to promoting inclusive dance. Unfortunately, to this day, there are not a lot of professional dancers participating. This may be due to professional dancers’ lack of understanding or misunderstanding Af ter taking par t in Nanc y Stark Smith’s towards inclusive dance, not knowing the month-long workshop, I position Symbiotic correlation between inclusive dance and Dance as a dance research that is put into their profession. practice by continuously educating, “how to make everyone able to participate freely in In the summer of 2019, CCCD invited Alito dance and express themselves in spite of Alessi to Hong Kong to conduct his f irst differences”. I encourage my students to Dance A bilit y tutor cer tif ication cour se become DanceAbility teachers, but I do not in A sia, cer tif ying 20 new Dance A bilit y give out certificates, because I believe that if teachers on this remarkable occasion. Alito you can teach, you can teach. At the moment, refers to DanceAbilit y as a movement in one of the tutors is blind ( he even came to contemporar y dance, the ‘Contemporar y Hong Kong to sit the DanceAbility course ) E d g e o f D a n c e ’. O f t e n w e s e e d a n c e and another is a rheumatoid arthritis patient, education as the support of dance creation and they are both teaching very well. and inclusive dance has been sit ting at the edge of the edge. The funny thing is In 2018, I es t ablished the Mis t akeable that in Contemporary Dance, it seems that Symbiotic Dance Troupe in Guangzhou, the most ‘exclusive’ dances are the most holding the position of Ar tistic Director. ‘included’, but the most ‘inclusive’ dances Although this was also supported by a non- are the most ‘excluded’. DanceAbility Hong governmental organization, our direction Kong ( a branch of DanceAbility International, was very different from the troupe in Hong with Mimi Lo as Artistic Director ) has been Kong. The Guangzhou troupe had very active established for two years, but up till now, members and they were also responsible many people are still just asking about what for all the troupe’s administrative work. DanceAbility is. “Revolution Now” is needed: After a year and a half, the members have we cannot just stick with acrobatic-st yle grown a lot artistically and personally, but aesthetic standards. I think that inclusive it is not easy to run a troupe and we have dance should be a compulsory course for had to rely on applying for sponsorships ever y contemporar y dancer, to free the from foundations and on fundraising. The truth, goodness and beauty in us all so that troupe persists in holding the weekly “Jam everyone can dance. for All”, an interaction method originating from contact improvisation. Around half the members of Mistakeable Symbiotic Dance Troupe are disabled people, and the way they changed after starting to dance was obvious ( their confidence, physical abilities and attitudes all improved ) . The able-bodied half of the troupe now has stronger empathy for disabled people, and a higher awareness of equal opportunities. Both able-bodied and disabled people are continuously improving their dancing and choreographic abilities, and keep encountering new discoveries and 1 The author’s Chinese article surprises on their road to dance. Symbiotic ‘From resisting to embracing Dance is not specially focused on disabled professionalism — Completion of the people, but is a dance form for everyone. DanceAbilit y Teacher Cer tif ication Dis abled people ’s par ticipation makes Course’ was published in issue no. 14–2 of dance journal/hk. Symbiotic Dance richer and more diverse, and we can also say that there is no prerequisite to taking part in Symbiotic Dance. If you want to dance, you may join. Friends of different Yuenjie Maru abilities cannot par ticipate together in Hong Kong ’s f irst DanceAbilit y other forms of dance. Symbiotic Dance is c e r t i f i e d t u t o r. H e s t u d i e d a n d developed Symbiotic Dance with the characterized by the participation of people DanceAbility method as a base. He has with dif ferent abilities and backgrounds, been the Artistic Director of Symbiotic but what inclusive dance education targets Dance Troupe of CCCD for 10 years is in fact not just a few specific groups, but ( 2009 – 2018 ), and is now the Artistic ever yone. Apart from the general public, Direc tor of Mis takeable Symbiotic professional dance ( education ) workers Dance Troupe in Guangzhou ( 2018 – ) .

二月 FEB / 三月 MAR 2020 — 12

一探究竟：克羅地亞的共融舞蹈教育原文 : Nina Gojić 翻譯 : 《舞蹈手札》編輯部、張煦澄、胡筱雯

IMRC 《 Lemia 》編舞 : Iva Nerina Sibila / 攝 : K.Marinac

前言：克羅地亞及前南斯拉夫地區的多元能力人士表演克羅地亞一直有不同的中小型團體，持續發展多元能力人士的表演藝術教育，但過去十年相關組織的數目激增，特別是於首都薩格勒布 ( Zagreb ) 及第三大城市里耶卡( Rijeka ) 尤為顯著，下文將會為大家介紹。當中某些團體的歷史可追溯至1948年，但促使「共融」成為( 多數為體制外的 ) 舞蹈教育中備受關注的重大里程碑，均於過去十年發生。提到克羅地亞的共融舞蹈，就不能不牽涉到有關「制度化」的問題，當中不單關乎舞蹈教育自身，更關乎我們社會想要確立的社會價值。除一個特例外，本文將引用例子闡述，多元能力的藝術家目前仍無法獲得主流體制的支持。於實踐上，共融舞蹈多被理解為只包括身體及精神上多元能力人士在內的舞蹈，但當文化界希望融合更多被排除在外的族群，例如不同種族、階級群體等時，就帶來更大挑戰，特別是有更多移民群體到來時就更為明顯。另外，共融舞蹈致力模糊先入為主及無需明言，業餘與專業兩者之間的固有界限。儘管傳統上如此劃分亦有潛在問題，例如個人必須透過正規教育獲取認受性；然而在共融實踐的框架下，如此劃分明顯存在著歧視。例如薩格勒布的戲劇藝術學院，就有一條隱晦地帶有歧視成份的院規，列明戲劇學生必須「心理及生理健全」，導致多元能力的表演者無法入讀其課程。縱然學院已於2000年撤銷此例，但至今仍然沒有多元能力的學生獲學院任何學系取錄。除了不同的機構及團體持續關注共融舞蹈教育，觀眾也須從表演中了解「共融」這個概念。克羅地亞的觀眾已有機會認識與多元能力議題有關，或包括多元能力表演者的表演藝術。他們主要透過在克羅地亞歷史最長，始

13 — 焦點 Focus

於 1983年的現代舞蹈節「 Dance Week Festival 」去接觸，該舞蹈節於 1998 年首次邀請到著名的英國 CandoCo Dance Company 參與演出，並先後在 2002 及 2014 年再度參節。 2003年，該舞蹈節邀請了來自比利時的Theater Stap ，帶來由Nienke Reehorst及Sidi Larbi Cherkaoui 編創的《 OOK 》，是克羅地亞觀眾首次有機會欣賞到唐氏綜合症表演者的演出。著名德國編舞家Raimund Hoghe 就在2006年首次到薩格勒布演出，於每年一度的「 Queer Festival 」中演出他的舞作《 Swan Lake, 4 acts 》，其後更成為該節的常客。除此以外，每三年舉行一次，經常以挑戰社會常態為策展作品主題的本地藝術節「 Extravagent Bodies 」，其中兩屆都曾以實踐共融為主題，下文將會詳述，包括2007年以肢體受障為題，邀請了現已逝世的藝術家 Lisa Bufano 參與， 2010 年則聚焦精神健康及多元精神狀態議題。在我簡介克羅地亞的共融舞蹈實踐方式的例子前，我必須提及一個相當重要，在前南斯拉夫地區中提倡共融的先驅：來自塞爾維亞諾維薩德 ( Novi Sad ) 的 Per.Art 。他們自1999年開始活躍，連結各類人士，包括：有學習障礙的人、藝術家( 劇場、舞蹈及視覺藝術 ) 、特殊教育者、文化機構代表、哲學家、建築師以及學生。他們都會獲同等的鼓勵，以創作及倡導者的角色去參與教育實踐及藝術創作，作品並會於歐洲各地展出。現任藝術總監為編舞家 Saša Asentić ，而在剛過去的十二月， Per.Art 以由Xavier Le Roy 創作的《 We Are Not Monsters 》，作為他們創立 20 週年的紀念演出。雖然直到目前為止， Per.Art跟克羅地亞的共融舞蹈家暫時未有合作，但他們的創作方式及作品無疑對克羅地亞的共融藝術及教育有所影響。

之後多年也持續於戲劇演出中提供手語傳譯。他們在 2004年，透過與編舞家 Ljiljana Zagorac 的合作，初次接觸舞蹈教育；而另一位懂得手語的編舞家 Sandra Banić Naumovski ，則自2006年開始與該團體合作至今。創作了長篇作品《 Crying Hands 》後，她開辦了常規的舞蹈工作坊，並以聽障人士為對象，探索他們在溝通時特有的身體狀態，繼而運用當中的特點，尤其是強而有力姿勢動作，作為演出中的表演工具。她亦有在她的教學中運用一些常見的舞蹈教學方法，例如即興創作，而這方法亦成為之後其作品《 X.. Where the Paths Cross 》的基礎。該演出是由兩名失聰及兩名健聽表演者合作，以複雜的結構性即興作創作演出。聽障人士依賴姿勢及動作去溝通的這一個特點，亦應用於2009年，她和 Selma Banich 共同編舞的作品《 Rhythm, Signs, Rap 》。此團體近期的發展包括於 2018 年創立的國際劇場節「 Sign and Sound 」，致力帶來世界各地由聽障表演者創作的演出，並提倡健聽與聽障人士共融的可能。

IMRC 《 Bella Ciao 》宣傳照照片由 IMRC 提供

失明與視障表演者的劇場及藝術節先驅 — Novi život 說到克羅地亞的共融演藝實踐，在( 純粹 ) 舞蹈以外，我們不得不提到失明與視障人士劇場 Novi život ( 意思為：新生命 ) 。自1948年創辦以來，他們一直有固定的製作及演出，可說是世界上其中一個( 若不是最 ) 歷史悠久，起用視障表演者的劇團。該劇團雖然在國內不同表演藝術節中備受好評，但多年來一直爭取成為正式機構的目標，到今天仍未獲得確認。縱使他們曾與多名「專業」導演及劇場工作者合作，唯現時劇團仍被歸類為「戲劇工作室」，只著眼於他們在教育方面的工作，而非他們在藝文界中最受關注的演出活動。儘管他們大部分製作都是以文本為主的話劇表演，但有兩個例外值得留意。

他們於2007年第一次參與舞蹈創作，最後的成果是一個名為《 Nos vamos a ver 》 ( See You ，中譯：再見 ) 的演出，由 Ksenija Zec 及 Saša Božić 編舞。除了有Novi život 的常規演員參與，兩名專業演員 Živko Anočić 及 Goran Bogdan ，以及兩年前曾與兩名編舞家於表演《 I Am Glad to S ee You 》合作過的舞者Maja Mar jančić ，亦有參演。 Novi život 亦於1999年首先舉辦了第一個以失明及視障藝術家為主的表演藝術節「 BI T 」 ( 全寫為 Blind in Theatre ，即劇場內看不到的人 / 東西 / 議題 ) ，並以兩年一次的方式持續至今。據他們所知，此類型的表演藝術節全球絕無僅有。

敢言的多元能力項目先導者 — Integrated Movement Research Collective/DIVERT 至2012年開始以「 Integrated Movement Research Collective 」 ( 或簡寫「 IMRC 」 ) 之名運作，並於2020年改名為「 DIVERT 」的組織，是在克羅地亞語境下的一個獨特共融舞蹈及教育團體。他們最初是在 Croatian Institute for Movement and Dance ( 克羅地亞形體及舞蹈學院 ) 下創立，當時舞蹈員及監製 A mela Pašalić 開始組織一些共融工作坊，而曾在英國接受正式舞蹈教育，並曾在 CandoCo group的工作坊中接觸過共融實踐方式的舞蹈員及編舞家Iva Nerina Sibila 不久後亦加入，後來更成為團體的藝術總監。 IMRC自成立起便與唯一有足夠輪椅通達設施之 Zagreb Dance Centre ( 薩格勒布舞蹈中心 ) 合作，為多元能力人士舉辦工作坊，即使沒有任何受障的表演者亦可因應其興趣參與，發掘形體的可能性及進行不同藝術實驗。該團體其中一名創始成員 Slađan Livnjak ，是一名爵士舞者及編舞家，自出生以來一直為輪椅使用者，曾獲年度「 Croatian Theatre Awards 」 ( 克羅地亞劇場大獎 ) 最佳表演者獎；另一成員 Vesna Mačković 則曾經歷長期無法行走的狀況，也是IMRC第一個長篇作品《 Magnolia 》 1 的表演者及共同創作人，後來她更發展出自己的藝術形式。 Helvecia Tomić 在 IMRC 成立不久後加入，並取得舞動所能 ( Danceability ) 的認證導師資格，因而成為團體的教育活動統籌。除舞動所能之外，該團體亦採用開放即興的方式進行形體動作研究。

IMRC 亦有參與一些歐盟計劃，例如「 Unlimited Access and Moving Beyond 」，為他們提高了國際知名度及擴闊人脈，也便利他們從海外邀請老師。他們目前每週仍會舉辦免費的共融工作坊，而且不只會在薩格勒布，也會在其他較小的城市舉辦，並嘗試開放給更年輕的舞蹈工作者參與。

除了提供開放且門檻甚低的共融舞蹈教育給大眾，組織亦致力發展國內及國際的共融舞蹈計劃網絡，持續進行觀眾拓展以克羅地亞手語為表演工具 — DLAN 劇場，視覺藝術與聽障文化 — DL A N ( 意思為：手掌 ) 是計劃和提出建議，並且製作了很多突出的當代舞蹈作品2。創立於2001年的團體，致力於以藝術及手語傳譯進行教育。那一年是首次有( 戲劇 ) 演出以手語進行，該團體在

二月 FEB / 三月 MAR 2020 — 14

正規舞蹈教育中的共融實踐談到正規、大專程度的舞蹈教育，克羅地亞直至2013年才出現首個舞蹈學系。在此之前，立志發展表演事業的舞者，就只能報讀國外的課程，又或者透過大量參與各類型於克羅地亞及前南斯拉夫地區的工作坊和教育平台，接受非正規的教育。直到目前為止，也沒有任何多元能力的學生，獲克羅地亞的舞蹈學系或其他表演藝術相關的高等教育課程取錄( 包括各類型戲劇及形體劇場課程 ) 。不過在薩格勒布戲劇藝術學院的舞蹈學系，也有一個關於共融教育的正面例子。其舞蹈學士課程共有三個分支：芭蕾舞教學法、當代舞蹈表演及當代舞教學法。選讀第三項的學生需要修讀一個名為「共融舞蹈」的必修課程，而該課程就是由 DIVERT 的藝術總監Iva Nerina Sibila任教。

學生會認識到有關共融的主要工作方法及原則，了解到共融並不只是應對各種不同的肢體及精神上需要，也是一種讓舞學生將接觸到蹈教育開放予被邊緣化及小眾社群的實踐3。主要在西方表演藝術中實踐以上概念的例子，同時學生亦會參與曾跟多元能力表演者合作的舞蹈工作者所帶領的工作坊，包括來自 DIVERT 的 Helvecia Tomić 會為學生介紹舞動所能的方法、以及來自前文提及的 Novi život 的 Ksenija Zec 和 Maja Marjančić 等。課程涵蓋與共融相關的理論和實踐，而學生也會有機會與多元能力的表演者合作，例如腦麻痺症患者及不同輪椅使用者組織等。此課程為未來當代舞蹈教學家的教育，提供了獨特而必要的知識，繼而鼓勵學生修畢課程後繼續發展對共融舞蹈教育的興趣。

以更高層次的共融衝擊城市 — Magija 身處像克羅地亞般中央化的國家，逃離首都薩格勒布總是一件樂事，我們來到被歐盟選為 2020 年歐洲文化之都之一的里耶卡。推廣共融的組織Magija ( 意思為：魔術 ) 自 20 0 6 年起開始活躍，持續探索當代舞及形體劇場。組織由 Association of Persons with Cerebral Palsy ( 腦麻痺患者協會 ) 及 Polio Rijeka 共同創立，並由 Sanja Josipović 擔任藝術總監及 Gordana Svetopetrić 擔任製作人暨教育者。他們經常與專業舞者及只有小學生程度的舞蹈學生合作。 2017 年，他們開展了跟 Regional Association of People with Hearing Impairments ( 聽障人士地區協會 ) 的合作，創作出由 Sanja Josipović 負責編舞的長篇作品《 Tell Me 》。這次演出是一個將共融提升至更高層次的壯舉，透過邀請擁有多元能力及有不同程度受障的人士合作，創造出一個共同探索舞蹈及形體的空間。這次擴闊了更真切共融可能的嘗試，可被視為此城市的另一個計劃Peti Ansambl的重要基石。此外，里耶卡自 2016 年開始已經是「 F e s t i v a l o f I n c l u s i v e Stages 」 ( 共融舞台節 ) 的主辦地，是全國獨一無二的共融演藝節。

及持續的教育計劃，盛載不同劇場創作元素並將其推廣給多元肢體及精神能力人士。除 CNT 之外，該計劃的聯合創辦單位為City of Rijeka ( 里耶卡市 ) 、 Centre for Education Rijeka ( 里耶卡教育中心 ) 及 Rijeka 21 — Association for Down Syndrome ( 里耶卡 21 — 唐氏綜合症協會 ) 。而計劃統籌就包括身兼舞者、文化工作者及Rijeka 21主席的Mila Čuljak 、教育及復康工作者Nataša Bačić ，以及戲劇顧問 Nataša Antulov 。該計劃將不同類型被排擠的人士與曾受正規訓練的表演者連繫起來，一起學習形體、演技、舞台演講、服裝設計及平面設計。

課程中以強調形體研究的常規工作坊最為突出，特別是有來自 DIVERT 的 Helvecia Tomić 及獲 Lessac5 教學法認可的教育家 Valentina Lončarić 的參與。儘管有具舞台表演背景的教育工作者參與，計劃目的是要探索於所謂後戲劇劇場中的新表現手法，特別強調提升表演者的直覺，以及探索多元精神能力人士的某種特定虛構化舉動。 Peti ansambl 吸引之處在於，它不單聚集了各式各樣多元肢體與精神能力人士，包括唐氏綜合症患者、各類型的自閉症患者、聽力受損人士及腦麻痺者，更有一直在克羅地亞被排斥的吉卜賽人。不論是作為文化藝術的受眾還是創作人，他們總是被拒於門外。此系列工作坊的成果於 2019 年 6 月，透過一個名為《 Descendants, Giants, Gods 》 ( 後裔、巨人及眾神 ) 的表演 / 匯報讓大眾看到。這個由30人共同創作的表演，也是首次讓 Peti ansambl與大眾會面。他們選擇不集中呈現特定主題，而是就著每一位表演者的藝術和表演興趣去共同發展，使整個表演成為在舞台上對共融社群及友誼的探索。他們計劃會持續進行常規工作坊，並會在每個劇季於CNT進行一個演出，現時該劇場乃有法定的義務去協助實行。

共融教育：未來展望最後這個有關克羅地亞共融教育的例子，是現時為止離開體制以外最遠的。考慮到 Peti ansambl 的情況，戲劇顧問 Natasa Antulov 指出在體制內如何處理共融，有一個非常重要的取態：「在與多元能力的年輕人舉辦過工作坊後，這些人後來就成了Peti ansambl的成員，我有一種不太好的感覺，是體制透過這些工作坊逃避了自己在共融政策上的責任。每一項共融都成為申請資助時會強調的一個人文 / 人道主義重點，但體制內有關共融的長期發展策略及實踐模式，卻從不存在。」6 這絕對是共融實踐在克羅地亞表演藝術教育的未來發展中，其中一個最重要的挑戰：如何確保體制能夠持續支持文化發展，特別是國內不少實驗性、非主流先鋒，都要依賴公共資助。除了確保工作和教育的基本資源，主流體制亦能在社會上提供一定程度的關注，較小型、獨立的藝團卻往往因缺乏商業吸引力而無法獲得如此注視。在新自由主義的壓力下，藝術亦要變得可持續，然而這個需求本身就根本不能持續，因為在克羅地亞，倚賴公共資助是慣常文化，展望藝術及教育團體能夠將實踐共融作優先考慮，繼續鞏固其作為社會推廣共融及多元化的角色及功與肢體受障者及其他小眾共融 — Peti Ansambl Peti Ansambl ( The Fifth Ensemble ，意思為：第五組合4 ) 作能，而非現時眾多體制中所見，所保存的單一文化、民族主為最接近擁有穩定體制框架的計劃，是克羅地亞現時唯一屬義等價值觀。否則，共融教育只會停留於表演藝術的邊緣位於國家劇院的常規計劃，名為 Croatian National Theatre 置，在一個又一個不確定的計劃申請之間掙扎求存。 Ivan pl. Zajc in Rijeka ( CNT ) 。該計劃源於聘請唐氏綜合症患者成為帶位員，後來在2018年二月發展成一個更大型

15 — 焦點 Focus

IMRC 《 Bella Ciao 》排練照攝 : Jason Vodenica

The Fifth Ensemble 攝 : Dražen Šokčević

除了 Vesna 外， Iva Nerina Sibila 及 Silvia Marchig 也分別以編舞家及表演者的身份，參與該演出的創作。

包括以下各著名編舞家的作品，例如 Aleksandra Janeva Imfeld《 ( Nukleon 》， 2018 年）、 Silvia Marchig《 Bella Ciao 》， 2018 年）、 Iva Nerina Sibila （《 Lemia》， 2019年）及 Martina Tomić (《 The Devil’s Advocate》， 2019年）。在談到克羅地亞的情況時，因為舞蹈界仍然缺乏更廣義的共融，故此角度特別值得探討。相比起欠缺意志，其實所反映的是舞蹈在克羅地亞的社會地位。舞蹈可能是眾多藝術形式之中獲得最少資源的 ( 公共資助、表演空間等等 ) ，舞蹈本身難以吸引觀眾。因此當招徠那些一般來說難以接觸舞蹈的社會團體，就只能使用較小的場地，而且大部分會進場觀賞表演的，都只是舞蹈工作者及狂熱人士。另外四個「組合」所指為克羅地亞戲劇、意大利戲劇、芭蕾舞及歌劇。

Lessac 是 — 種全方位的發聲技巧，揉合聲音、歌唱及形體。

摘自Iva Nerine Sibila 於《 Movements, Dance magazine 32 》 ( 薩格勒布：克羅地亞國際劇場學院，2019年12月，頁72 ) 的文章〈 The Day the Successors Met the Giants, interview with Nataša Antulov and Helvecia Tomić 〉

Nina Gojić 是一位活躍於薩格勒布獨立表演藝術圈的戲劇顧問，從事舞蹈及編作劇場之劇場構作。她寫表演，亦為表演寫作，喜歡視寫作為表演。她亦有協作發展以研究與過程主導的形式及計劃。

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Inside Out: on Inclusive Dance Education in Croatia Text: Nina Gojić

Introduction: performances of diverse abilities in Croatia and the ex-Yugoslav region Although education of variously abled people in performing arts in Croatia has had its continuity in different fringe initiatives, it may be said that the past decade was marked by a proliferation of initiatives with notable examples in Zagreb, the capital, and Rijeka, the third biggest city in Croatia. As this text will map, some of the initiatives date back as early as 1948, but several important milestones that have made inclusion a recognizable marker of (mostly extra-institutional) dance education took place in the country in the past 10 years. The issues around inclusive dance practices in Croatia thus serve to pose the always pertinent question of institutionalization, not only of dance education itself, but also of social values that our society wishes to affirm. As the examples in this text will show, with only one notable exception diversely abled artists still don’t get support from mainstream institutions. Inclusion in dance has mostly been understood as inclusion of people with diverse physical and neurological abilities, but there are significant challenges to our cultural sector as to how it wishes to include those otherwise excluded, among whom are dif ferent ethnic, racial andclass groups, a fact that has recently become even more relevant with the arrival of more migrant communities. Moreover, inclusive dance practices have actively been blurring preconceived and tacit understandings of the fixed borders between amateurism and professionalism. Even though this division is problematic in its traditional sense, where an individual is legitimized by their passage through formal institutional education, in the case of inclusive practices becomes evident that the reason for the divisionis a discriminatory one. For example, The Academy of Drama Arts in Zagreb had a vague, but nonetheless ableist rule that students of acting should be “psychologically and physically healthy”, which prevented performers with diverse abilities from entering the programme. This regulation has been dropped since 2000, but still the Academy has not accepted diversely abled students in any of its departments.

festival in 2003 with OOK by Nienke Reehorst and Sidi Larbi Cherkaoui, in which Croatian audiences had their first chance to see performers with Down syndrome. Celebrated German choreographer Raimund Hoghe first performed in Zagreb in 2006 with his Swan Lake, 4 acts as part of the annual Queer Festival and has been a regular guest at that festival ever since. Besides that, the local festival Extravagant Bodies, which is held every three years and curates artworks that question societal perceptions of normality, has dedicated two of its editions to inclusive practices as they will be discussed in this text: in 2007 the festival was dedicated to physical disabilities, featuring, among others, the late artist Lisa Bufano, and in 2010 to issues of mental health and diverse neurological conditions. Before I briefly present Croatian examples of inclusive dance practices, it is important to mention the pioneers of inclusion in our ex-Yugoslav region, namely the group Per.Art based in Novi Sad ( Serbia ) . They have been active since 1999 when they connected people with learning disabilities, artists ( theatre, dance and visual arts ) , special educators, representatives of cultural institutions, philosophers, architects and students. All of them are equally encouraged to act as authors and initiators of educational practices and artistic works, while their work has been presented all across Europe. Today, choreographer Saša Asentić is the ar tistic director and in December 2019 the group celebrated its 20th anniversary with a performance authored by Xavier Le Roy, We Are Not Monsters. Although there have been no collaborations between Per.Art and Croatian practitioners of inclusive dance as yet, the group’s methodologies and works have indubitably informed those in Croatia of specific work in inclusive art and education.

Parallel to organizations and groups that deal specifically with continuous inclusive dance education, audiences have to be introduced to the idea of inclusion in performance. Croatian audiences have already had a chance to be introduced to performing arts that have dealt with or included performers with diverse abilities. These per formances were made known primarily through the longest-running festival of contemporary dance in Croatia, Dance Week Festival, that started back in 1983, and brought the famous UK company CandoCo for the first time in 1998, and again in 2002 and 2014. The Fifth Ensemble Belgian group Theater Stap also performed in the same Photo : Dražen Šokčević

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Theatre and festival pioneer for performances by the blind and visually impaired — Novi život ( New Life ) Speaking of inclusive performing arts practices in Croatia and looking further than ( only ) dance, the Theatre of the Blind and Visually Impaired — Novi život ( New Life ) must definitely be mentioned. Founded in 1948 and producing performances on a regular basis since then, they are one of, if not the, oldest theatre group in the world that features blind performers. The group is still struggling with its aim to be formally recognized and granted institutional status, but so far to no avail, despite receiving critical acclaim in performing arts festivals around the country. They are still officially categorized as a “drama studio”, emphasizing the educational aspect of their work, even though they are more visible in the cultural scene with their performances, most of ten co-authored by those considered ‘professional’ directors and theatre-makers. Albeit the majority of their productions qualify as text-based drama theatre, there are two notable exceptions to mention. The first dance process they engaged in happened in 2007 and resulted in a performance entitled Nos vamos a ver ( See You ) which was choreographed by Ksenija Zec and Saša Božić. Alongside regular participants of the actors from New Life, two professional actors, Živko Anočić and Goran Bogdan took part, as well as dancer Maja Marjančić, who renewed her collaboration with the same choreographers two years later in a performance entitled I Am Glad to See You. Also, New Life initiated the first performing arts festival dedicated to blind and visually impaired artists, BIT ( Blind in Theatre ) , which launched in 1999 and has had a biannual continuity to date. As they note, it is the only such festival in the world. Croatian Sign Language as performative tool — DLAN ( Palm ) Theatre, Visual Arts and Deaf Culture - DLAN ( Palm ) is a group founded in 2001, engaging in education through art and sign language interpretation. That year was the first time a ( drama ) performance was held in sign language, and the organization continued to provide sign language interpretation of drama per formances in the following years. Their f irs t encounter with dance education took place in 2004, by engaging choreographer Ljiljana Zagorac, while another choreographer, Sandra Banić Naumovski, herself knowledgeable in sign language, has continued working with the group since 2006. After creating a full-length performance entitled Crying Hands, she established regular dance workshop sin which she has been exploring the specifi cphysicality inherent in the communication among people with hearing impairments and uses these specificities, especially

their strong gestualit y, as per formative tools in performance. She also employed some of the usual dance teaching methodologies, such as improvisation, in her pedagogical work, which served as the basis for a later performance entitled X.. Where the Paths Cross, in which two deaf and two hearing performers engaged together in a complex structured improvisation. The reliance on gestural communication specific to people with hearing impairments was also used in the 2009 performance Rhythm, Signs, Rap co-choreographed with Selma Banich. Most recently, in 2018, the group established an International Theatre Festival, Sign and Sound, focused on presenting works made by deaf performers from all over the world as well as introducing the possibilities of inclusion between the hearing and the deaf. Outspoken diverse abilities projects advocate — Integrated Movement Research Collective/DIVERT Formally known as Integrated Movement Research Collective ( IMRC ) since 2012 and renamed DIVERT in 2020, this inclusive dance and educational initiative is unique in the Croatian context. It was founded under the Croatian Institute for Movement and Dance when dancer and producer Amela Pašalić started organizing inclusive workshops, soon to be joined by Iva Nerina Sibila, a dancer and choreographer who, having received formal dance education in the UK where she had encountered inclusive practices through workshops with the CandoCo group, joined and became artistic director of the group. In collaboration with the Zagreb Dance Centre, which was the only institution with adequate wheelchair accessibility, since its foundation the IMRC collective has been organizing workshops for people with diverse abilities, joined by performers without disabilities who have participated in the exploration of movement and artistic experiments out of their own interest. The group included Slađan Livnjak, one of the founding members, a jazz-dancer and choreographer who has been a wheelchair user since birth and who received the best performer award at the annual Croatian Theatre Awards, and Vesna Mačković, a person with an experience of long-term immobility, who was the co-author and performer of IMRC’s first full-length performance, Magnolia1, and who later continueddeveloping her own artistic practice. Helvecia Tomić joined the group soon after its foundation and became a certified educator of the Danceability method, thus becoming the coordinator of educational activities. Apart from Danceability, the group’s education follows the open improvisation approach in movement research.

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The IMRC were involved in European Union projects such as Unlimited Access and Moving Beyond which gave them international visibility and contacts, enabling them to bring teachers from abroad. They still organize weekly, free-of-charge inclusive workshops not only in Zagreb, but smaller cities as well, which they try to open up to the youngest dance practitioners too. Other than providing widely accessible inclusive dance education for all, the collective focuses on building national and international networks for inclusive dance projects, works on audience development programmes and advocacies, and has produced many notable contemporary dance performances2. Inclusive practices in formal dance education As for formal, university level education in dance, Croatia got its first dance department as recently as 2013. Before that, dancers who wished to pursue a performing career have either attended courses outside the country or received informal education through numerous workshops and educational platforms available in Croatia and the wider ex-Yugoslav region. So far, no students with diverse abilities have been accepted to the dance department or other higher educational institutions dedicated to performing arts in Croatia (i.e. various programmes in acting and physical theatre). However, there is a positive example of teaching inclusion at the dance department of the Academy of Drama Arts in Zagreb. The BA in Dance consists of three subdivisions: ballet pedagogy, contemporary dance performing and contemporary dance pedagogy. The students of the latter attend an obligatory course called Inclusive Dance which is taught by Iva Nerina Sibila, the artistic director of DIVERT. The students are introduced to the main methodologies and principles of working withinclusion, which is understood and introduced not only as working with various physical and neurological needs, but also as a practice of making dance education available to all socially marginalized and excluded groups 3 . The students are introduced to examples of such practices from mostly Western performing arts, while they receive practical workshop visits by dance practitioners who are experienced in working with performers with mixed abilities, such as Helvecia Tomić of DIVERT who introduces the Danceability method, as well as Ksenija Zec and Maja Marjančić, the aforementioned collaborators of the group New Life. The lectures cover topics around inclusion from both a theoretical and practical perspective and the students get the opportunity to work with performers with diverse abilities, such as cerebral palsy or various groups of wheelchair users. This course provides a unique and essential input into the education of future

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contemporary dance pedagogues who are potentially encouraged to pursue their interests in inclusive dance education after their studies. Hitting the city with a next-level inclusion — Magija ( Magic ) Moving away from the capital city Zagreb, which in a centralized country such as Croatia is an always welcome endeavour, we arrive at Rijeka, the European Capital of Culture for 2020. The inclusive collective Magija ( Magic ) has been active there since 2006, continuously exploring contemporary dance and physical theatre. They were founded by the Association of People with Cerebral Palsy and Polio Rijeka with Sanja Josipović as artistic director and Gordana Svetopetrić as producer and educator. The group has collaborated with professional dancers and primary-school level students of dance, while in 2017 they initiated a collaboration with the Regional Association of People with Hearing Impairments, resulting in a fulllength performance, Tell Me, choreographed by Sanja Josipović. This was a great step towards achieving another level of in clusion because this type of collaboration brought together people with different impairments and abilities and opened up a space of common exploration of dance and movement. This approach to expanding the possibilities of more genuine inclusion figures act as the cornerstone of another initiative — the Fifth Ensemble — in the same city. Also, the city of Rijeka has been the home of the Festival of Inclusive Stages since 2016, the only one of its kind in the country. Inclusion f or the phy sicall y and other wise excluded — Peti ansambl ( The Fifth Ensemble ) Getting closest to a stable institutional framework and the continuous support that such a context provides, Peti ansambl (The Fifth Ensemble4) is now the only initiative that is a regular part of a national theatre in Croatia, namely the Croatian National Theatre Ivan pl. Zajc in Rijeka ( CNT ) . The seeds of the initiative were sown with the employment of people with Down syndrome as ushers, which then in February 2018 developed into an ambitious, ongoing educational project which encapsulates many aspects of theatre-making and renders it accessible to people with mixed physical and neurological abilities. Besides CNT, the co-founders of the project are the City of Rijeka, Centre for Education Rijeka and Rijeka 21 — Association for Down Syndrome, while the coordinators of the project are dancer, cultural worker and president of Rijeka 21 Mila Čuljak, educational rehabilitator Nataša Bačić and dramaturge Nataša Antulov. The project connects differently excluded individuals together with institutionally educated per formers and they are educated in six f ields: movement, acting, stage speech, costume design and graphic design.

The educational process is comprised of regular workshops where the emphasis on movement research is most prominent, especially with the engagement of Helvecia Tomić of DIVERT and Valentina Lončarić, a certified Lessac5 method educator. Although educators from the field of drama performance were involved as well, the intention was to search for performative strategies along the lines of the so-called post-dramatic theatre, especially focusing on developing performers’ intuition and exploring the specif ic manners of fictionalization among neuro-diverse people. What is particularly engaging is that the Fifth Ensemble gathers not only people with diverse physical and neurological abilities, e.g. people with Down syndrome, people on the autism spectrum, people with hearing impairments and with cerebral palsy, but also Roma people who are ethnically and racially among the most excluded social groups in Croatia, usually with very little access to cultural content, either as recipients or producers. The visible result of this series of workshops was seen in June 2019 when the Ensemble appeared publicly for the first time in a performance/presentation entitled Descendants, Giants, Gods, collectively authored by around 30 people. Rather than focusing on a particular theme, it dealt with the artistic and performative interests of each performer, resulting in a staged exploration of an inclusive community and friendship. The plan is to continue with regular workshop sessions and produce one performanceper season at CNT Zajc, which the theatre now has a statutory obligation to make possible. Inclusive Education: future perspectives This last example speaks of the perspectives of inclusive education in Croatia, which is at the moment still mostly extra-institutional. Considering the situation with the Fifth Ensemble, the words of dramaturge Nataša Antulov refer to a very important tendency in how inclusion is institutionally treated: “After the workshop was held with diversely abled young people, who later became members of the Fifth Ensemble, I got an unpleasant feeling that with such workshops the institutions in a way shake off their own responsibility regarding inclusive policies. Every inclusion becomes a humanitarian excess highlighted in applications for funding, but a long-term strategy for institutional development and inclusive practices doesn’t exist”6. This is definitely one of the most important challenges for the future development of inclusive practices in Croatian performing arts education: how to ensure continuity through institutional support which, in a country whose cultural sector, especially in its experimental, nonmainstream outposts, is mostly dependent on public funding. Besides ensuring fundamental resources for work and education, institutions provide a degree of visibility in society that smaller, independent initiatives

simply don’t receive because they are not perceived as commercially attractive. Being under the neoliberal pressure to make art more sustainable, which is itself an unsustainable request in a culture as dependent on public funds as is the case in Croatia, ar t and educational institutions will hopefully make it among their priorities to open up towards inclusive practices, thus consolidating their societal function as promoters of diversity and inclusion rather than pr serving monocultural nationalist values as seems to be the case in too many institutions now. Without that, inclusive education will remain on the margins of performing arts, surviving from one uncertain project application to the next.

Beside Vesna, the performance was authored by Iva Nerina Sibila as choreographer and Silvia Marchig as performer.

These include acclaimed choreographers such as Aleksandra Janeva Imfeld (Nukleon, 2018), Silvia Marchig (Bella Ciao, 2018), Iva Nerina Sibila (Lemia, 2019) and Martina Tomić (The Devil’s Advocate, 2019).

This is a perspective definitely worth giving more space to in the Croatian context, since inclusion on a wider level is still lacking in the dance scene. This is less a problem of lack of will, but more a symptom of the status of dance in Croatia. As the art form with probably the least available resources (public funding, performance spaces etc.), dance as such has a problem of reaching out to audiences and, consequently, attracting social groups to whom dance is inaccessible in general, being reserved for small venues and, more often than not, audiences comprised mostly of dance practitioners and enthusiasts.

The other four ensembles are Croatian Drama, Italian Drama, Ballet and Opera.

Lessac is a holistic voice technique which combines voice, singing and movement.

Iva Nerina Sibila: ‘The Day the Successors Met the Giants’, interview with Nataša Antulov and Helvecia Tomić, in: Movements, Dance magazine 32, Croatian Centre of ITI, Zagreb, December 2019, p.72

Nina Gojić is a dramaturge, mos tl y ac ti ve in the Z agreb independent performing arts scene where she works in dance and devised theatre contexts. She writes texts on performance and for performance, while she likes to think about writing as performance. She also collaboratively develops research and process oriented formats and curiosities.

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超能量街舞團以舞蹈燃點所有能量 — 專訪超能量街舞團團員 Lazylegz、 Kujo 和 Redo 原文 : 丘思詠翻譯 : 林韋彤 : : :

加拿大人 Luca Patuelli ( 即Lazylegz ) ，患有先天性多發性關節攣縮症，是一種影響關節和骨頭的神經肌肉疾病。自七個月大起，一共進行了十六次手術，日常依靠拐杖活動。他爸爸曾跟他說，「不願意嘗試」是人生的第一個失敗，所以縱然身體有礙，他亦嘗試參與各種各樣運動。十五歲的時侯， Lazylegz 第一次接觸並繼而愛上霹靂舞，現在已成為國際上數一數二的「 B-boy 」 ( 霹靂舞者 ) 。他從沒視拐杖為阻礙，反而將拐杖變成雙臂的延伸，由此創作出他獨有的舞步。

ILL-Abilities 七人全員合照攝 : Kien Quan

2006 年時，他有了一個夢想及野心，「我希望創造一個由不同能力舞者組成的超級舞團( 全明星團隊 ) 」， Lazylegz 明言「當時最大的挑戰，是作為加拿大中唯一一個高水平殘疾 B - b o y ，卻未能在這個國家找到可以合作的舞者。不過，到世界各地參與上不同比賽後，我便開始接觸到其他舞者」。 L az ylegz 隨即邀請世界各地的舞者加入他的舞團。 20 07 年， L a z y l e g z 的團隊超能量街舞團 ( I L L- A b i l i t i e s ) 正式成立，當時共五名成員，包括 T o m m y Guns 、 Kuho 、 Checho 及他本人，每個人都有不同能力，每個人都有自己的故事。於 2 0 0 8 年，他們為了首個官方活動「 N o Limits 」終於在蒙特利爾見面。現時，團隊活躍成員已經增至七人，分別來自荷蘭、智利、南韓、美國、巴西和加拿大。

超能量街舞團 ( ILL-Abilities ) 的名字「根據嘻哈文化中，將負面字詞轉換成正面字詞的慣例命名」。所以， ILL-Abilities 中的「 ILL 」不應解作「生病」或「不適」，反作「難以置信」、「不可思議」、「精雕細琢」或「才華洋溢」的意思。而從每個團員的日常生活及工作可見，他們都以「 No Excuses. No Limits 」 ( 無藉口，無限制 ) 為生活的座右銘。

超能量街舞團今年應「無限亮」1 計劃邀請來港共兩次，第一次 ( 是次一月來訪 ) 是為藝術家進駐計劃以及導師培訓工作坊而來，而第二次則會於三月份 2 與本地舞者一起表演和尬舞 ( Battle ) 。

第一次訪港時，超能量街舞團的成員Kujo ( 美國 ) 和 Redo ( 荷蘭 ) ，隨Lazylegz 同行與本地社群分享他們的知識及經驗。 21 — 焦點 Focus

創建第二家庭坐在我面前是三位三、四十多歲的B-boy ，訪談期間一直互相調侃，並時而為對方的發言作補充。在我看來，他們就像大男孩一樣，敏銳而又富創造力。他們間的兄弟情，明眼人都能看出來。「在 B-boy 的世界，舞團 ( crew ) 就像是第二個家」 Kujo 續說，「我們猶如兄弟，非常關心、重視對方。」

他們各自在自己的城市都有自己的舞團，與各自舞團的關係也很好，但 R e d o 就覺得「原本各自的舞團中並沒有跟自己一樣同是殘疾的舞者，比超能量街舞團的成員們較難身同感受，所以成員間會有一種特別的情結。」 Kujo亦坦言在他本身的舞團中，「我們總是突出的一個，但在超能量街舞團裡，卻沒有這個情況，畢竟大家都是『奇奇怪怪』的」。聽到 Kujo 這樣說，成員們都忍不住大笑起來，然而當中的意義正正就是「人人平等」。

這隊有如家人般的 B-boys 將於三月在大館為香港觀眾帶來他們第一個足本演出《失• 聯》，一個關於如何在充滿隔閡和困惑的世界中找到聯繫的表演。 Laz ylegz 對這個作品的演化做出了說明：「這個表演本來只有五分鐘，後來像雪球一樣，一切都越滾越大。」因為沒辦法經常聚在一起，所以團員各自創作自己的獨舞，再僅以四天的時間將所有部分串連起來，並進行首次排練。由於他們沒有特定的創作基地，所以很多時候都是於車庫，甚至是民宿中進行創作，將限制轉化成不同可能。「每一次創作都是一個演化，每一個作品都是不一樣的」 Kujo 補充道，「我們不斷表演，也不斷把表演完善」。燃亮他人生命超能量街舞團無疑是最受歡迎的國際霹靂舞團之一，然而除了表演和比賽外，他們還有其他重要的角色。

Redo 認為「我們與一般舞團的不同之處，一間工作室和四個學生，直至 2016 年項目在於我們不是一個只會表演的舞團，還是完結前，已經有六間工作室和一百三十個介一個會作為導師、當義工和參加社區工作的乎四至六歲，擁有不同能力的學生。」舞團。」「我們自己卻是這份成功的受害者」 Lazylegz Lazylegz 解釋他們的「其他角色」也是一直坦承他們已經積勞成疾，「我們一開始著手在進化。「初時，我的公開演講讓超能量街這個項目是因為熱誠，並不是要去經營一盤舞團聚在一起，亦幫我們籌集到進行 2011 年生意。我一直以來以演講籌集經費，我快要第一次正式巡迴演出的資金。過往，我曾試累垮了。」 Lazylegz 與妻子即將迎來他們第過在三十天內走訪蒙特利爾和其他城市共二一個小孩，所以打算暫停這個計劃。十所學校，舉辦了二十八場演講。晚上，我們為了在劇場演出而努力；白天，我們走訪不但是這份推動力是永不停止的，他們三十同學校。最後，這個準備多時的表演於兩年二個在蒙特利爾已經受訓的導師會繼續影後完成巡迴演出。」憑著巡迴演出作品《 No 響他人。 Lazylegz 和他的妻子 Melissa 亦 Limits 》以及團隊在倫敦薩德勒之井的首個演受大芭蕾舞團( 蒙特利爾非常有名的芭蕾舞出，超能量街舞團於 2013 年獲提名角逐勞倫團 ) 邀請，為他們的新編街舞課程擔任導師和斯・奧利弗獎「傑出舞蹈成就」。顧問。

雖然超能量街舞團的演說、表演，還有他們的故事一直為不同能力人士充權， Kujo 卻說這不是他們的初衷，而是在過程當中自然而生的。「我們教育他人，同時在燃亮他們的人生。我們在力臻完美的同時，也跟他人分享我們的故事。」這個自然的演化讓他們深有收穫。有一次，他們到了日本的拘留營，那次經歷讓他們每一個人都十分動容。

L az y legz 回想當時的情境，「我們以一個兩小時的演講 / 工作坊作為激勵大家的開場白，但大家一點反應都沒有，每個人都抱著自己的腿一動不動。然後我就大喊，『好 ! 我們來跳舞熱身吧 ! 』，每個參加者都隨之望向保安和老師，希望獲得許可，你可以感受到他們的恐懼。但到最後，大家都在跳舞。保安也與眾人擊掌，每個人都很開心。」 Lazylegz 續道，「當我們回到後台，我們來自巴西的『這就是舞蹈的力團員 Sumuka 哭了，他說：量。我住在巴西時，見過很多瘋狂的事，見過人被打、被謀殺，這些事不會觸動我，然而我今天卻感受到恐懼，看到學生們怎樣透過舞蹈超越恐懼，感受到舞蹈不可思議的超能力，那是一個非常特別的瞬間。」

「共融」並不存在超能量街舞團的每一個項目都是以行動表明甚麼是「平等」。

難怪當問到他們甚麼是「共融」時， Redo 回答到「『共融』是不存在的，無論你來自甚麼地方、甚麼種族，是男是女，成年人還是小孩，有錢沒錢，都可以跳舞。舞蹈面前，人人平等。」但 Kujo 亦補充，「共融在嘻哈文化卻又是不可或缺的，有很多人其實在我們面前都是殘障。」

Lazylegz 提到他們其中一個挑戰是創造「有機共融」，即是要明白背後的動機，而不是強迫共融。他曾目擊一些學校強逼老師學生去跟他人共融，但其實他們並不知道怎樣去處理這件事情，長此下去會產生事與願違的後果。「親身經歷過才能身同感舞蹈教育家、社工或是殘疾方面的專家都有機受」， Lazylegz 提醒我們需要了解事情背後會嘗試剛在香港舉辦的導師培訓工作坊。這的動機。個工作坊是將一個原本兩天的訓練壓縮成兩小時的速成班，「第一天著眼於理論方超能量街舞團的動機很明顯，就是為每一個面，第二天即著重肢體方面。」 Lazylegz 向參加者和旁觀者充權。 Kujo 說，他們的格我們講解原本的訓練是怎樣的，「兩整天言「無藉口，無限制」不只是對殘障人士的訓練可以做很多事，每個練習後我們坐說，而是對每一個人說，意在鼓勵大家突破下來聊天，讓訓練員可以與來受訓的導師界限，真正活得完滿。們分享他們的故事，讓他們更投入。」除此之外，他們一整年都在主辦各種各樣的訓練課，多是專門針對某種殘障或某種舞蹈。 Lazylegz 強調他們希望導師之間，可以建立與超能量街舞團團員們之間一樣，如家人般的關係，這樣的關係和聯繫是他籌劃這麼多東西的中心思想。

與超能量街舞團進行訪談前，我於早上也參加了導師培訓工作坊。當中最打動我的是當我一走進工作室，裡面播放著嘻哈音樂，大家都在交談，就像一般的親朋好友的聚會，氣氛十分放鬆，還有那一疊疊記錄著與不同殘障類別人士互動的方法和原則的筆記。當然，一定要提到的還有他們之間毫無隱瞞的「促膝長談」，大家之間的交流充滿喜悅和熱情，十分具啟發性。

為了讓工作坊的參加者對不同殘障有更深體「我不會說那是因為我們，是舞蹈給了他會，參加者在過程中需使用不同道具，例們一些促動。他們一直有自己的幹勁和決如以輪椅或拐杖體會肢體殘障、戴眼罩體心，我們只是給他們帶來點點推動力。」會視障人士的黑暗世界、佩戴耳塞體驗聽覺受損的感受，又或者是負重體會多發性硬我相信今趟超能量街舞團訪港，於社區的工化病人的感受。之後我們玩了一個鏡面模作也燃亮了很多人的生命。他們在一個星期仿拍檔的遊戲，我是「聾」的而我的拍檔內舉辦了八個工作坊，並為三月於青年廣場是「盲」的， Lazylegz 讓我們互相形容自己的最終表演，與很多不同能力的舞者進行了的動作予拍檔知道。當我轉身時，我也讓我的遴選。拍檔轉身。後來聊天時他告訴我，原來當時讓他轉圈讓他覺得頭暈目眩，我才第一次知道原影響更多人來視覺受損的人轉圈是會感到頭暈。這個活動為了增加影響力，讓更多的殘障舞者可以跳就是旨在讓我們親身感受一下，這些以前從來舞， Lazylegz 與妻子 Melissa Emblin 及特殊都沒有發覺和意識到的事情。教育專家 Marie-Elaine Patenaude 於 2012年舉辦了導師培訓工作坊。計劃的目的是為了給在工作坊的尾聲， Laz ylegz 跟 Kujo、 Redo 予舞蹈工作室認證，確保適合任何人( 不同能讓參加者一起大喊「 WE ARE SUPERSTARS! 」力 ) 使用的資格。 Lazylegz 解釋到「我們會訓 ( 我們都是超級巨星 ) Lazylegz 解釋每次表演練那些參加了計劃的導師，讓他們明白怎樣完結後都會讓大家這樣大喊的原因，是想最跟不同能力的舞者互動。時至今日，這已後激勵大家一下，他們相信每一個人都有他經是一個非常受歡迎的項目，剛開始時只有自己的隱藏才能，只是需要時間去發掘。

「無限亮」計劃於 2019 年成立，由香港藝術節及香港賽馬會慈善信託基金聯合呈獻，旨在透過藝術探索及推動社會共融。

香港藝術節於 2020 年 2 月 10 日宣布，基於新型冠狀病毒疫情持續，導致表演場地關閉，以及對藝術家、觀眾及同事們的安全及健康考慮，將取消二、三月期間進行的第48屆香港藝術節的所有演出，「無限亮」計劃亦不會如期於二、三月舉行。丘思詠自由身舞蹈工作者，專注於舞蹈教育、研究及寫作。她先後於紐約大學舞蹈系及香港大學文學系完成她的藝術碩士及文碩士。她現為香港教育大學舞蹈學科的客席講師。

二月 FEB / 三月 MAR 2020 — 22

ILL-Abilities moves to empower ALL abilities — interview with ILL-Abilities’ team members Lazylegz, Kujo and Redo Text: Catherine Yau

Luca Patuelli (a.k.a. Lazylegz), is a Canadian born with arthrogryposis, a neuromuscular disorder affecting the bones and joints of the body. He has undergone 16 surgeries since he was 7 months old, and has to rely on crutches to get about for daily activities. “Your first failure is not to try” his father used to tell him. Despite his physical limitations, that pushed him to try all kinds of physical activities, until at the age of 15 he discovered the world of breakdance, fell in love with the whole culture, and has now become one of the best-known international B-boys. Instead of treating his crutches as a hindrance, he transformed them into extensions of his arms, and with them creates movements that are uniquely his own.

For the first visit, two other ILL-Abilities’ members, Kujo (USA) and Redo (Netherlands) , came with Lazylegz to share their knowledge with the local community. Creating a Second Family Sitting in front of me are three B-boys in their 30s and 40s. During the inter view, they are constantly teasing each other, and sometimes complementing each other on their ideas. I felt there was a playful kid in each of them, f illed with sensitivit y and creativity. Their brotherhood and tight bonding was also evident.

Kujo says “In the B-boy world, crew is like a second family.” That explains his saying that He formed a dream and ambition back in “all of us are really brothers, we care for each 2006: “I had the idea of creating a Super Crew other, and we have a special bond”. with dancers who are differently-abled — an all-stars team” Lazylegz explains. “The While all of them also have their own crew biggest challenge was that I remained the back in their home towns, with whom they still only high-level disabled B-boy in Canada, have a great bond, Redo says “but we don’t there was no-one in the countr y I could have the differently-abled in our home town link up with. However, while going through crew, so we have a special bond between ILLdifferent competitions in the world, I started Abilities, because we understand each other to meet other dancers.“ Lazylegz therefore [in terms of] what we have been through in invited dancers from all around the world to life, in a way that our first family or original join his team. In 2007, his crew ILL-Abilities crew family may not understand.” Kujo added was officially formed, with four members, frankly that in his home crew, “We stand out. Tommy Guns, Kujo, Checho and himself, all of In ILL-Abilities, none of us do, cause everyone whom are differently-abled and have different is weird.” Everyone laughed at his joke, yet stories.In 2008, they finally met together in while light-hearted it was also a reminder of Montreal for their first official event, “No their core value that “Everyone is the same.” Limits”. Now the crew has grown to seven active members, from the Netherlands, Chile, With this ILL-Abilities family, the B-boys built their first full-length show Dis-Connect, a South Korea, USA, Brazil and Canada. work about finding connections in a world The name of the crew, ILL-Abilities, “came full of disconnection and confusion. It will be from the hip hop culture in turning negative performed with a full crew at Tai Kwun later terms into something positive”. Therefore the in March. Lazylegz explained the evolution “ILL” in ILL-Abilities does not refer to “sick” or of the work: “First it was just 5 minutes. “unwell”, but rather to “incredible, amazing, Everything snowballed from that 5-minute intricate and talented”. All crew members also show.” Without the advantage of being able live by their very important motto — “No to get together often, the team created their Excuses. No Limits”, which they are certainly own solos and had just four days to rehearse demonstrating in their work and in their lives. the whole work by putting all the material together for the first time. Since they also do ILL-Abilities came to Hong Kong in January not have a home base for creation, they just at the invitation of the local project — No “created in garages, in Airbnbs”, turning all Limits1, and will pay two visits in all, this limitations into possibilities. “It’s a constant first one to conduct Artist-in-Residencies in evolution.Every time the work is different”, local communities, plus Teachers’ Training Kujo says, “Each time we perform the show, workshops; a second one scheduled in March2 it’s getting more and more close to finished.” 2020 where they will perform and battle with local dancers.

23 — 焦點 Focus

Sparking something special in the lives of others Today ILL-Abilities is indubitablyone of the most popular international breakdance crews, but they have other important roles in addition to performance and competition. Redo says, “ What dif ferentiates us from the majority of companies is that we have a wide variety of offerings. We also teach and do social work, and do a lot of work within the community.” Lazylegz points out that those other roles have also evolved along the way, “Initially, what helped ILL-Abilities come together was my public speaking appearances. This in 20 different schools, across Montreal and various cities in 30 days. In the evening, we were building a theatre show. In the morning, we were working in schools. The theatre show ended up touring 2 years later.” For their touring work No Limits and the team’s debut at Sadler’s Wells in London, ILL-Abilities was nominated for “Outstanding achievement in dance” at the UK Olivier Awards in 2013. Although their speeches, performances and their own stories have helped to empower people of different abilities, Kujo says that in the beginning it wasn’t their intention to empower people, it was something that evolved naturally. “We are educating, we are empowering. How we could strive to be the best, and at the same time give or share our stories along the way.”

ILL-Abilities hosting workshops in Hong Kong local communities Photo provided by Hong Kong Art Festival

This natural evolution has been deeply wife were expecting their first child, therefore rewarding. One of their experiences, in a they decided to stop the programme. Japanese detention camp for young offenders, touched the whole team. However, the momentum they started has never stopped. Their 32 trained teachers in “When we first started our 2-hour motivational Montreal still continue to spread the influence. speech/workshop, it was [like] ice, no response.” Lazylegz and Melissa were also invited by the Lazylegz says, “They are sitting holding their Les Grands Ballets (a major modern ballet legs tight to themselves. And when I shouted: company in Montreal) to serve as instructors ‘OK! We are going to do a dance warm-up.’ the and consultants for their Adapted Street Dance participants were looking to the guards and programme. teachers for permission if they are allowed to participate. You could feel their fear. Yet by the Da n ce e d u c a to r s , s o c ia l w o r ke r s a n d end, everyone was dancing. The guards were professionals working with disabilities had the giving high-fives. Everyone was laughing, they chance to experience their teachertraining were having fun!” Lazylegz continued, “After work shop held in Hong Kong. A 2-hour we went backstage, Sumuka, the dancer from workshop was conducted as a crash course Brazil, was crying, he said ‘This is the power of of the original 2-days’ training. “Day 1 is all dance. I lived in Brazil, and I have seen some theoretical, and Day 2 all physical.” Lazylegz crazy stuff, I have seen people get beaten and explains about the original training, “There is murdered. a lot more within the 2 full days. After every exercise, we sit and talk, allowing the dance That doesn’t faze me. But what I felt today, I felt trainers to share their experiences and to help the fear. And seeing how the students were the dance teachers to feel more engaged.” able to knock that fear away through dance; In addition, throughout the year, they host giving them superpower, making them feel a variety of training sessions, specific to one incredible, was a very special moment.” type of disability or dance style. Lazylegz emphasizes that they do this because they want Lazylegz confirms, “I won’t say that it’s because “to create this family bond among teachers.” of us, but the dance sparks something within Bonding and connection are always central to them, which they alway shave that drive and Lazylegz’s work. determination.And I think we are just helping to give them that little push.” Before the inter view, I also attended the teacher training workshop in the morning. I am sure their first visit to work with local What most impressed me was the casual communities in HK, where they conducted eight atmosphere when I first got into the studio workshops within one week and auditioned with hip hop music playing and people talking differently-abled dancers for a finale showing to each other like a party or a family gathering; in March in Y-Square, has also helped spark as well as the substantial pack of notes detailing something special in many lives here. definitions and methodologies in working with different disabilities. Of course, the openness, Spreading the Influence the stories of the members, and their joy and To spread the influence even further, allowing passion in their sharing were very inspiring. more disabled dancers to enjoy dancing, In order to let us experience different forms Lazylegz created a teacher training programme of disability to enhance our understanding with his wife Melissa Emblin and special of potential students, we were asked to use education specialist Marie-Elaine Patenaude different props, like wheelchairs or crutches for in 2012. The idea was to “start a programme the physically disabled, blindfolds for the blind, that certified dance studios, making sure they ear plugs for the deaf, or weights attached to are accessible [to differently-abled people]” the body for those with multiple sclerosis. Lazylegz explained. “Then we train the dance We played a movement game of “mirroring teachers within those studios for them to your partner”. I was a “deaf” person working understand how to work with people with with a “blind” partner. Since my partner was differently-abled bodies. It became a very “blind”, Lazylegz asked me to describe our popular programme. We started off with 1 movements to them. At one moment, I turned, studio and 4 students. In 2016, before we and therefore, I asked my partner to also turn finished, 6 studios had 130 students, aged from around. In the post-session discussion, my 4 to 6, all with different abilities.” partner told me that she felt very dizzy when she turned. It was then that I realized for the “Unfortunately, we were the victims of our own first time that being “without sight”, means success.” Lazylegz admits honestly, “We ended a blind person will feel dizzy in turning. This up burning out. We built the programme with shows how the activities achieved their aims passion, and not with a foundation of a business in letting us discover things for ourselves by structure. I was financing the programme directly experiencing different abilities through through my speaking engagements, and it was our own or our partners’ bodies. burning me out.” At the same time he and his

At the end of the workshop, Lazylegz joined hands with Kujo, Redo and all the participants in shouting “WE ARE SUPERSTARS!” Lazylegz explained that they perform this ritual after every workshop, aiming to give the participants a final boost before they leave. They believe that every student has hidden talents within them, it just takes time to discover them. Inclusiveness does not exist All the work that ILL-Abilities do brings the meaning of the word “equality” to life. No wonder when asked what ‘inclusiveness’ means to them, Redo says “Inclusiveness does not exist”. He explains “in the world where we came from, women, men, children, different races, poor guys, rich guys all come together to dance. No one judges. Dance is for everyone.” Kujo adds, “Inclusiveness is integral to hip hop. Many people are disabled before us.” Lazylegz comments: “One of the challenges is we have [is] to create ‘organic inclusiveness’. They have to have a purpose, not forcing the inclusion”. He has witnessed schools seeking to enforce inclusion with people not understanding how to handle it, which can backfire. “It really needs to come from within” he says, emphasizing that we need to find “the intention behind it”. ILL-Abilities’ own intentions are crystal clear: to empower both onlookers and participants. Kujo says “Our motto, ‘No Excuses. No Limits’, is for everyone, not only for the disabled. To encourage people to live life to their limits, to their fullest.”

The No Limits project was first launched in 2019, co-presented by the Hong Kong Arts Festival and the Hong Kong Jockey Club Charities Trust, with the aim of promoting inclusiveness through art.

Hong Kong Arts Festival has announced on 10 February 2020 that all February and March performances are cancelled, as a result of the novel coronavirus outbreak, resultant closures of venues across the city, and concerns for the health and safety of artists, audience and staff. The No Limits project will also not be held as scheduled in February and March.

Catherine Yau is a f re elan ce dan ce p ra c t i t io n er focusing on dance education, research, and writing. She is Guest Lecturer in Dance at the Hong Kong Institute of Education. She obtained an MFA and MA from New York University and the University of Hong Kong respectively.

二月 FEB / 三月 MAR 2020 — 24

《香港當代舞蹈歷史、美學及身分探求》的啟後文 : 李海燕

修讀藝術行政碩士時，為了以現代舞個案來討論「香港性」，我進行過文獻回顧，發現雖然有香港舞蹈作品評論，但研究論文，不論任何語文的，極稀少。十年後進行「香港舞蹈口述歷史」計劃時，情況沒有改變 1 。及後在一次香港各大學 1970 – 2000 年純藝術碩士及博士論文主題的整理中，我發現了另一個現象：作品、藝術家、思潮等等會或不會被研究的機率，簡單來說，是「富者愈富、貧者愈貧」。多人研究的會吸引更多後續研究，冷門的會漸漸被遺忘。形成這現象的原因不是本文要探討的，所以就此打住。重點是，研究要變得愈來愈細緻和深入，有人走出第一步是非常重要的。

由曲飛、洛楓、陳雅萍、聞一浩、劉天明、鍾冠怡合著，國際演藝評論家協會( 香港分會 ) 在 2019年9月出版的《香港當代舞蹈歷史、美學及身分探求》，在一定程度上是個先行者。擔任編著的文潔華教授出版過多本關於身體美學，女性身體、國畫與西方繪畫在香港的互涉等等方面的著作，對我來說，她關注動態的、轉變中的、是以有改變的可能性的現象。文教授在前言中表示：「本書擬將主題放置於香港回歸前後共三十年 ( 1980 – 2010 ) 的文化場域，以創作個案研究進行閱讀及思考。」 2 教授在近年曾數次參與專注特定歷史時段的出版編著，包括《與香港藝術對話 1980 – 2014 》 ( 2015 ) 及《香港視覺藝術家 1970 – 1980 — 新水墨運動後的實驗與挪移》 ( 2018 ) 。我相信這份歷史感除了是為了追蹤作品的時代脈絡，亦關乎本雅明所言的「藝術作品的唯一性植根於它的傳統關聯」3 ，以及趙孟頫所言的「古意」：重視歷史，尊重傳統，以古開今。

研究文章文潔華為此書寫了有相當篇幅的前言，介紹六篇文章為「以跨學科( 身體理論、舞蹈美學、舞蹈史、文化研究 ) 方法，探討香港當代舞蹈創作中的藝術實踐及文化身份」 4 ，亦闡述了美國哲學家 Susanne L anger 及其師 Ernst Cassirer 以藝術為「符號系統」的理論。我以文教授的書寫以及研究計劃由大學教育資助委員會「優配研究金」資助一事實，為閱讀本書的背景。

25 — 觀察 Observation

陳雅萍〈香港作為方法：黎海寧舞作中的敘事、身體與主體探求〉參考亞巴斯 ( Ackbar Abbas ) 分析香港作為文化空間的自相矛盾特徵、符號「套利化」過程，輔以建築史學者 Barrie Shelton 、 Jus t y na Karakiewicz 、 Thomas Kvan “a state of inten c i t y ” 以及使其成立的 ” vo l um e t r ic movement economy” 等搭建出嚴密的理論框架，闡述黎海寧在《革命京劇 — 九七封印》 ( 1997 ) 、《雙城記 — 香港．上海．張愛玲》 ( 2010 ) ，以及《女書》 ( 2007 ) 中，展現藝術家本人作為殖民地屬民、女性以及舞蹈創作者的三重邊緣位置。陳為三個作品進行了詳細的視覺分析 ( visual analysis ) ，身體之外，音樂、燈光、道具等構成舞台整體的元素無一遺漏，甚至留意到《女書》段落命名主格代名詞的混用如何引證 Julia Kristeva的理論。陳雅萍一句「要以殖民歷史所累積印記的混血存有論 ( mixed blood ontology ) ，抗衡那即將強加於身的單一血統論的『中國身份』」5 ，深刻地道出黎海寧作品的時代意義。

許是因為詩人的觸覺，洛楓在〈落花人獨立：梅卓燕的舞蹈美學中，對梅卓燕作品的文學關連分析得極為細緻。文章分為導言一、二，壹、貳、叁 ( 本文 ) ，結論等部分。導言一描述梅的兒時生活，文革的死亡陰影；導言二是梅的創作方法，包括中國傳統文藝以至詩美學在梅的作品中的呈現，即興接觸的啟蒙和應用。洛楓先以大背景為讀者打好基礎，才進入舞作的視覺分析。她選取了六個作品，將之分為三類：早期的自編自跳，有《遊園驚夢》 (1986) 與《獨步》 (1995) ；近期的自編自跳，有《日記VI：謝幕》 (2015) 與《生死蕭紅》 ( 2 0 13 ) ；為舞團編的《再世．尋梅》 (2008) 及《紫．釵．緣》 (2010) 。洛楓把作品的辨識特徵( 例如道具 ) 與梅的生活景況對照，指出獨立舞者梅卓燕的獨舞與她的身體狀況，是不可分割的互為表裡。「梅卓燕混雜的文化背景、庶民的微觀政治，這是她的香港特性 ! 」 6 文章環繞藝術家推進，以評論人為中心。文中引用的論著，似為紀錄作者的思考痕跡多於為擴展理論之用。洛楓強調梅卓燕舞蹈中的孤獨，也許同樣是她對人世的體會。

陳雅萍與洛楓，關注舞台上的身體作為存在而非技巧載體，察覺到以身體書寫的詩化語言 ( 陳引用 K r is te v a 的「玄牝」一詞 ) ，是多義的符號 ( semiotic ) 而非獨斷的象徵 ( symbolic ) 。由此推想，面對支配價值觀的論述，舞蹈實在具備產生新意義的潛力。

鍾冠怡的〈繪出舞蹈錢秀蓮〉始於詳述錢秀蓮的學習背景，特別強調她的繪畫訓練。錢 1983 – 86年留學美國，學習現代舞；1989年因為希望解答「我是誰？......自己究竟要做甚麼？」 7 ，組成「錢秀蓮舞蹈團」。 2000 年，中國成功申辦奧運，將會投入八年預備及籌辦，錢因而獲得啟發，決定以八年探索太極、武術和舞蹈之間的內在關係。鍾以文章三份一篇幅對「武極」系列 ( 2001 – 2008 ) 進行動律分析：「錢秀蓮運用『點、線、面』的平面設計理論，加上拉賓動律法分析法的思維方式，將一些具地域性和典型性的中國舞蹈風格或中國舞肢體動律解構並重組」 8 。除了文字描述之外，鍾用了演出錄像定格和圖表，解釋動律和構圖。我很欣賞鍾採用這個方法讓讀者感受到錢創作上的嚴謹和科學化。但是對於她把錢在1980 — 1990年「建型期」的創作分為浪漫風格、寫實風格及後現代風格三類，我認為有再闡釋的需要。例如鍾沒有為「浪漫」下定義，那麼與十八世紀歐洲的浪漫主義風格有關嗎？又如從《前衛律動舞神州》、《字戀狂》等的描述和照片未能發現後現代藝術中的碎片化、讀者文本等痕跡。避免現有的定義影響對作品的觀看，或者反過來利用現有定義把作品放置在更闊的語境中，對了解其時代價值會更正面。

劉天明的〈潘少輝的環境舞蹈與現代性〉，內容雖然以論述潘九十年代至二千年初的作品為主，但是他關懷的是作為編舞家、舞蹈教育推廣者和藝術總監的那個人。修讀政治科學和經濟的潘，在即將脫殖的那些年，拒絕遺忘香港的殖民記憶，強烈地關注城市。本文論及的現代性可透過潘的話理解：「 ( 舞蹈表演風格 ) 是一個現代性的問題，偉大的作品都是由旁人來說的......關鍵是你想探討的是甚麼問題。」 9 《狂人某日記之花花世界》 (1996) 文本的開放性，對流行文化符號的挪用，相對於當時香港現代舞的純肢體表達，可視為潘的現代性實踐。文中論及舞作眾多，其中劉以《九龍城狂人某日記》 (1994) 為例，肯定潘的新嘗試與時代的關連：「舞者在舞台上的肢體舞動，不完全是風格化的動作組合，且滲透了大量戲劇元素......反映於九十年代香港表演藝術上，蓬勃而具創新的實驗精神」 10 。潘少輝在香港舞蹈上的貢獻，亦包括青年舞蹈教育以及九十年代末開創的「環境舞蹈系列」；劉更形容 1994 – 95年的「平台舞蹈工程」是「無論是規模或前瞻性方面......在香港都是史無前例的」 11 。潘少輝創立的 CCDC 二團，成員為非全職舞者，卻因為資源與團員工作時間等因素無以為繼，類似困境在今天仍不時令有心創立舞團的從業員卻步。劉的文章不時引用潘的講話或文字，亦不忌諱紀錄觀眾對作品的劣評，他筆下的潘少輝，性格躍然於紙上。

曲飛以新聞從業員的筆觸撰寫〈從古典芭蕾到當代訓練：伍宇烈作品呈現的「香港性」〉，文章按時序鋪展，有不少把伍宇烈的生活細節與其藝術取向直接掛鉤的部分；以作者的觀察為書寫核心，集中討論伍的性格和工作方式，不重美學分析。曲飛指出，伍的創作特色包括：多樣性( 在不同界別擔任各種崗位，除了跳舞之外還做編輯、攝影、服裝設計，等等 ) ，可見為人之好奇心和包容性，不拘泥，勇於叩問傳統價值。曲飛亦強調伍以人為本，很關心一同創作的夥伴，曾與伍合作過的相信都會非常認同。由於以個人觀察為主要的論述理據，描述與結論之間的距離略嫌短。例如曲飛指伍「以作品呈現出『香港性』」 12 ，可能是指平民日常生活的圖像 ( 例如搓麻將、過年 ) ，「講自己故事」 13，但是創作選擇是否等於特定的「香港性」內涵，能夠成功地符號化，需要更詳盡的闡述。本章在配圖上也有改善空間，圖片對了解伍的舞蹈特色幫助不大：在談論伍堅持「乾淨、絕對的線條、比例、靜止」的身體要求時，沒有相關圖片，反而緊接在下一頁配上四位( 可能是 ) 業餘演員披上床單擺出扭捏姿勢的照片。香港話劇團《黑鹿開口了》部分，描述的是伍使用呼拉圈為舞蹈道具，但圖片內容沒有關連。

提到自己很迷戀身體」 14 ，文章通篇集中在楊春江作品中的身體思考，以及因身體而存在的性、性別、和空間意識；個案研究時間跨度為十六年，共八個作品，由楊春江首個作品《好反》到重演的《灵灵性性天體樂園 2011 》。聞一浩對楊春江的裸露呈現概念以及具體使用描寫詳盡，細緻地拆解楊的裸體宣示他的道德觀和政治觀，也以別樹一格的身體使用，尊重肉體每個部分，強而有力地推展「舞蹈」的邊界。聞一浩把楊作品中的身體歸納為三類：感性的身體 — 身體是宣示情緒及情感的工具；形體的身體 — 擺脫符碼、不受舞蹈美學程式約束、強調身體不同部分的種種可能；政治的身體 — 承載價值觀和身分問題的裸體和「中國身體」。此一歸納對於認識楊的創作，是合理而有效的，不過，考慮到三類身體其實不能完全分割，期待後續研究，探討他們之間的動力與矛盾。結語我認為是次研究及出版正面回應了兩個香港舞蹈研究的現實：

一、研究者、或者在香港更多情況下是評論人，如何與藝術家建立互相信賴的夥伴關係？文字如何作為後設的反思，協助舞蹈形式的演進？關鍵是否在於把著眼點從單一作品主題，轉移到實踐 ( practice ) 作為藝術家的生存態度？

二、台灣評論人高千惠在其著作《詮釋之外》中，列出藝術批評的三個判斷概念：「一是以『美』作為藝術的本質，以模仿自然的寫實基礎作為判斷；二是以『審美經驗』作為藝術的思考，以感知基礎與藝術的自主性作為判斷；三是以社會學的思維方式為基礎，出現在人文歷史、文化唯物主義、藝術人類學與藝術機制研究的批評體系。」 15 第三種在香港非常缺乏，我甚至聽過有舞蹈界人士反對以社會學思維基礎的評論，認為不能用理性知識論舞。此一意見反映了因為匱乏而引起的無知。如果有後續研究的話...... 如果把六位研究對象的作品做個綜合時序表，將有助我們看到作品與作品之間如何呼應，共同組成時代的聲音。

如果追蹤六人的社會階層背景，會否發現出身對美學的影響？六人在書中彷彿六條平行線，如果編織他們的關係網，會有甚麼發現？如果追蹤創作進入公共空間的軌跡，在何時何地首演，有沒有重演，觀眾作為同代人的審美觀將豐富時代面貌。

如果研究研究者，拆解他們的時間和空間概聞一浩沒有在〈隨身起舞：楊春江的身體舞念，以及按何種歷史觀看待藝術形式的發展。學〉中追溯楊春江的成長過程，主角一亮相，已是在1990年代舞蹈劇場興起之際受接研究是為了製造知識，提供佐證，確認舞蹈觸即興影響的楊。聞紀錄「訪談中( 楊 ) 亦作為存在。

4 5 6 7 8 9 10 11 12 13 14 15

可參考舊文〈香港舞蹈書寫誌考 — 綜觀三十年的耕耘與收成〉，載《劇場閱讀十周年特刊》 (澳門劇場文化學會出版， 2017年12月 ) 。《香港當代舞蹈歷史、美學及身分探求》，頁6 。瓦爾特·本雅明著：〈機械複製時代的藝術作品( 1935–1939 ) 〉，載瓦爾特·本雅明著、王涌譯《藝術社會學三論》 ( 中譯本 ) ( 南京大學出版社出版 ) ，頁54 。同註1 。同註2 ，頁79 。同註2 ，頁149 。同註2 ，頁34 。同註2 ，頁55 。同註2 ，頁190 。同註2 ，頁194 。同註2 ，頁200 。同註2 ，頁179 。同上。同註2 ，頁231 。高千惠著：《詮釋之外》 ( 台北：典藏藝術家庭，2017年9月 ) ，頁4 。李海燕寫字人、編書人、創作又製作的人。

二月 FEB / 三月 MAR 2020 — 26

觀眾如何參與藝術家的創作探索？

記「舞蹈共生」 — 國際舞蹈藝術家交流計劃展演文 : 袁潔敏

「港」「意」創新交流展演創作研究：露娜．聖莉妮、伊蓮妮亞．羅曼諾、陳偉洛、洪俊樂、廖月敏、陸慧珊、邱加希攝： Cheung Wai Lok

27 — 觀察 Observation

「港」「意」創新交流展演創作研究 : 露娜．聖莉妮、伊蓮妮亞．羅曼諾、陳偉洛、洪俊樂、廖月敏、陸慧珊、邱加希攝： Cheung Wai Lok

藝術創作是一趟沒有終點的旅程。藝術家應個人的藝術觸覺開始創作，當中需要深化概念、雕琢表演的形式結構、構作創作框架…… 讓作品一步一步成形。演出之於表演藝術也是過程的一部分，因為這種藝術形式本身關乎創造觀眾在特定虛構空間的經驗；將作品放到舞台上，了解觀眾如何接收當中的內容，以及從中引發了甚麼想像和反應；藝術家才能更進一步想像創作可如何發展。然而香港一貫以速度和效率至上，藝術發展亦以量化方式衡量成效，作品越多越好，難以為創作留有這種「創作 — 展演 — 再精鍊作品」的空間。香港藝術節於 2019 年 3月展開了「牛棚共生創造社」計劃，正正針對這個問題。本地以至海外不同背景的藝術家在牛棚藝術村交流、互相啟發，進一步發展個人創作。於12月，計劃透過與意大利的「 Crossing the Sea 」藝術交流計劃得到延續。兩名意大利舞蹈藝術家露娜．聖莉妮 ( Luna Cenere ) 及伊蓮妮亞．羅曼諾 ( Ilenia Romano ) 和五名本地舞者( 陳偉洛、洪俊樂、廖月敏、陸慧珊、邱加希 ) 進行兩星期創作研究，再以一段展演為計劃作出總結。

展演由兩名意大利舞蹈藝術家主導，二人風格、背景各異。過程中她們展演一段創作，分享概念及整個研究過程，並開放給觀眾提出問題及討論。露娜．聖莉妮的風格有較強的實驗性，與其說是舞蹈表演，她的創作更像是一個由舞者建構的裝置藝術，讓身體融入牛棚藝術村的建築結構，為整個環境帶來一抹不一樣的色彩。

其中一個作品利用牛棚單位較窄長、樓底較低的空間創作。觀眾可在房間的一端眺覽另一端的整個裝置，像觀賞攝影作品一樣，觀看舞者下身半裸的身體緩慢、微細的移動；而較遠的觀看距離也避免過份聚焦於舞者身體。這創作亦強調有關「凝視」的概念。一般而言，人( 尤其亞洲人 ) 習慣從凝視他人的

臉孔去理解、判斷別人，而露娜的展演就集中展示身體特定部分，刻意遮蔽頭、臉部。討論過程中，藝術家指出自己沒有意圖探討關於性 / 性別的主題，然而觀眾無可避免地對半裸的身體產生了相關的想像和思考。該如何避免，或可把有關的想像放進創作概念之內，則成為創作發展一個需要處理的命題。

出任何總結，但就這個約四十五分鐘的展演作品而言，整個編舞結構承載著的，除了眾人的練習外，還有沒有更多內容？從觀眾提出的問題中，筆者聽到最根本的問題：展演到底算是一個隨意的過程分享，還是算是一個已達到一定階段的舞蹈創作演出？在展演成果相對粗疏的情況下，觀眾該提出更尖銳的意見讓藝術家反思，還是理解創作還未經另一個作品則在室外空間進行，兩名藝術家仔細調節？在牛棚的舊磚牆和植物前方，以手指前端為移動中心，緩慢而不斷向外伸延。露娜在這次的展演裡，各人未有就以上問題作太多分享時解釋了這簡約舞蹈動作的背後理念：討論。踏進新一年，「牛棚共生創造社」的舞者經常要大幅度地運用自己的身體，然藝術交流還會繼續，期望更多有意義的討而她更想知道的是當創作將身體的律動減至論，協助藝術家進一步發展創作。最少，只剩下最微細、最精確的重點時，觀眾 / 舞者本身從中會否有更多感受。筆者亦認同這段落中細緻的動作為作品提供更多留白，讓觀眾因應環境而產生不同想像，可能是植物、昆蟲、或是空氣的流動。展演中這些數分鐘的創作，與其說是為了展示研究成果，倒不如說是與觀眾分享研究的過程。另一位藝術家伊蓮妮亞．羅曼諾的作品則較貼近時下的當代編舞風格。在她的展演中，觀眾可清晰看到研究重點在於時間和節奏。三名舞者在牛棚單位裡隨著音樂行走、舞動，但沒有跟隨節拍而作出齊整準確的動作，反而各自編成一套如流水的動作互相呼應。伊蓮妮亞希望從動作和節拍中理解時間的概念，展演中的音樂節奏時而明確，時而曖昧；舞者以身體表現出節奏，而不只是被音樂的節拍牽著走。她在試驗過程中加入了中國氣功訓練時的概念，希望理解舞者可如何運用當中的「慢」和呼吸，去了解自己身體和心靈在藝術創作時，不同狀態的變換。或許因伊蓮妮亞的展演作品有較清晰的結構，觀眾亦就作品展現出的概念提出較多疑問：如創作探索的，是時間的本質，還是人如何體驗時間？雖說創作並不需要就研究作

袁潔敏劇場評論及戲劇構作碩士，現職藝術行政，亦有參與戲劇創作。

二月 FEB / 三月 MAR 2020 — 28

孟加拉海洋舞蹈節經驗分享 — 訪問白濰銘、何明恩文 : 容康頤、蕭恒

孟加拉舞蹈聯盟去年在當地舉辦了首屆孟加拉海洋舞蹈節 ( Ocean Dance Festival of B angladesh ) ，為該國首個國際性的舞蹈節。香港編舞白濰銘、何明恩的作品分別入選該節，白更獲選參加節前的「 Choreolab 」。

蓬勃也很活躍，民眾的參與度相當高。」演出在一個類似馬戲團的場地上演，超過八百名觀眾坐在觀眾席環繞半圓型舞台，大部分是當地人，對演出者來說場面是頗為震撼的。

白從事編舞已好一段日子，沉澱反思比學習編舞知識的意義來得深遠，這也是他不惜犧牲其他工作也要參與的原因。「一直聽說孟加拉是一個傳統舞蹈之都，也難得有機會在這待上三個星期。畢業過後，有好一段時間不曾有機會跟志同道合的人專注在舞蹈這件事情上，算是給自己一個沉澱及淨化的機會。」

《 Mammalistic 》的首演獲得好評，一位來自芬蘭的藝術家認為作品非常暴烈同時非常溫柔，呈現一種原始的動物性。何說，在創作《 Mammalistic 》的過程中，她是以嗅聞為動機，去展開動作語言的創作。「我的創作基本上都是由行為開始，思考行為背後的意圖再去找尋適合的身體動作。」

海洋舞蹈節觀眾受落香港編舞作品 Choreolab過後，白的舞者團隊也飛到孟加拉演出他編舞的《 Toilet Pump 》 2 ，利用廁所泵的特性，令它們與舞者的身體產生意想不到的牽引及對立，過程逗趣幽默，同時讓觀眾重新審視物件與身體之間可能性。

何就觀察到不少年輕編舞都會用上孟加拉傳統舞的元素，同時加入一些當代舞的身體動作。「你會感受到他們渴望從傳統的框框突破，而當中有很多掙扎。例如他們傳統舞有一個很常見的踏地板動作，是有節奏的『咚咚』聲。年輕編舞也會用上這類動作，但用上更大的力氣去踏地板，發出的聲響聽起來就更像是在對傳統的控訴了。」

反思沉澱與文化衝擊 Choreolab 挑選了二十名編舞，跟隨加拿大籍編舞 Sashar Zarif 作兩星期訓練，全體成員共同創作的作品亦於舞蹈節首晚上演。白濰銘說：「 Sashar Zarif 是土耳其人 1，他自己是土耳其等民間舞出身，加上當代舞元素，算是當代民族舞風格。他會提出一些題目，然後全體編舞一同探究，再進行創作。當中固然有編舞技巧及概念，但一些人生道理、冥想等，和將大膽有趣的概念放進創作編舞上，對我更有啟發性。」

除他以外所有成員皆來自孟加拉及印度，對他不無文化衝擊。首個挑戰竟然是住宿、排練，甚至演出地方的昆蟲 ! 那他如何克服文化衝擊？「遠道來到，唯有豁出去積極融入，算是一趟自我急速成長的旅程，讓我在往後的創作路可以更堅定。」另一個挑戰是Sashar Zarif挑選各人創作的部分動作，再配以民間舞的歌曲而成為最後演出。「我要由零開始學習孟加拉的民間歌曲，他們還給我一小節獨唱的機會 ! 」

一位來自台灣的舞蹈系老師認為《 T o i l e t Pump 》為現代舞帶來一些全新見解；一些來自東亞地區的舞者，亦覺得作品與他們對當代舞的一貫想像有很大分別。白則覺得很多孟加拉觀眾很樂意看到由新的概念衍生的舞蹈：「孟加拉人對舞蹈非常熱情，舞蹈產業很

29 — 觀察 Observation

另一位編舞何明恩則是首次參與海外舞蹈節，她的作品《 Mammalistic: What Makes Us Human? 》是一支雙人舞，兩個舞者同時是「人類」及「哺乳類動物」。「人類建立關係離不開禮儀規範及習慣，例如握手、鞠躬等，身體的觸碰可以是一瞬間的事；動物卻截然不同，牠們憑著本能反應、身體感知、生理需求，例如觸覺、嗅覺等，在瞬間決定建立怎樣的關係。十分鐘的演出中，我和另一位舞者 Sabrina( 黃杜茹 ) 靠近 / 趨避、親暱 / 疏離、融和 / 抵觸，在人類文明化行為和原始動物性狀態之間不停切換。」

觀摩孟加拉舞蹈文化孟加拉舞者一般都是先學傳統舞蹈，不過近年歌德學院經常邀請德國舞者到當地辦當代舞工作坊，為他們打開了一扇全新窗口。白自己則對民間舞蹈有了一些全新看法：「他們的動作編舞都非常精彩，流麗漂亮，很值得我們去欣賞，而且很多舞者的技巧都很高超，我希望可以學習到當中的一些動作。」

編按：Sashar Zarif於伊朗出生並到土耳其接受教育，後移民至加拿大。

作品最初是香港舞蹈聯盟支援計劃的委約作品，五分鐘版本在2017年香港舞蹈年獎首演；其後發展成二十分鐘版本，在首屆伊斯坦堡國際藝穗節演出，這次在孟加拉演出的則是十分鐘精華版本。容康頤、蕭恒藝術行政人員

《 Mammalistic: What Makes Us Human? 》編舞 : 何明恩 / 攝 : Asif Muhammad Musaddeque

《 Toilet Pump 》編舞 : 白濰銘 / 照片由白濰銘提供

二月 FEB / 三月 MAR 2020 — 30

關於「在地」的背後理念 — 談當代舞蹈藝術平民化之必要 Behind On Site — Why it’s important to popularize Contemporary Dance in Macau 文：黃翠絲( 香港 / 澳門 ) 、毛維( 香港 ) Original Text: Tracy Wong ( HK/ Macau ) , Mao Wei ( HK )

澳門的當代舞蹈藝術發展起步比較晚，近年願意投入其中的新血也寥寥可數，多數由外地邀約到澳門的好作品都只在劇場呈現，而大部分人對當代舞蹈藝術的了解不深，甚少有人願意花錢買票入場。有見及此，我們希望倡導當代舞蹈藝術的平民化，讓更多的人看到藝術的同時，看到澳門的人文地理，增添當代藝術於普羅大眾間的認受性。

今年我們在 1月 9 – 13日策劃及舉辦了第二屆「在地」 ( On Site ) 小型藝術節 1 ，當中包括不同部分：如演出、工作坊、街頭快閃拍攝、交流平台及記錄等。我們希望通過不同角度讓觀眾可以觀賞和閱讀，藉此打破傳統觀念，並讓本在劇場演出的作品走入群眾，捨棄華麗的舞台燈光與佈景，透過免費的戶外演出還原舞蹈中的身體主權。我們希望借助這個節，聚集澳門與海外的藝術家們交流，提升澳門當代藝術的包容度與多樣性，慢慢培養澳門觀眾的藝術修養，以致未來可以形成澳門獨有的當代藝術氛圍。想做的事真的很多，但這個節是我們不得不做的事。作為年輕一代，能看到這一代藝術家們所需要的，也更能感受到我們所欠缺的。當代舞是一種小眾且獨特的藝術，每個人對它都有不同的閱讀和理解，從而形成無形的門檻，但也是它的魅力所在。作為土生澳門的當代舞蹈藝術新生代，我們希望帶入新的理念和衝擊，展現年輕一代對當代舞蹈藝術的理解與追求。過去幾年，我們經常在歐洲進行演出、駐場計劃、文化交流計劃等等活動，深入瞭解到一些歐洲國家的藝術氛圍；相比之下，澳門實在落後許多，而當中可引伸至一個嚴重的結構性問題 : 澳門的藝術家留存率。澳門只有中專，許多人才在中專畢業之後只能去國外、內地，或者香港就讀大學。而畢業後的人脈與關係網，大多位於大學所在的城市，所以通常選擇留在當地，或者到藝術生態更為完善的歐美國家繼續留學或入團。為什麼沒有人願意全心全意回澳門呢？或者說，我們回澳門又能做什麼呢？ 31 — 專欄 Column

澳門有兩大藝術節：澳門藝術節和澳門城市藝穗節。每年這兩個節皆能吸引一部分當代藝術家回流一段時間，活動結束後卻又再離開。政府投入了很多資源來舉辦演出，但是肯付費進場的群眾往往都是同一群人。我們常常抱怨劇場觀眾群太小圈子時，我們又能否嘗試解決這些問題呢？由此引伸出澳門的第二個問題：澳門觀眾群的擴展與推廣。越是接觸民眾，越明白有時候不是他們「不喜歡」，而是他們「不知道」。很多人對於當代舞的第一個反應就是：太深奧了、很抽象、看不懂。我們看到藝術與民眾之間的缺口，並深諳現行氛圍下對觀賞當代作品的抗拒，而劇場的冷清往往令本土藝術家難以產生回流的意欲。

外演出時看過聽過，時下較為身體性且高水準的作品都集合起來並；同時發掘澳門本土的藝術家與其出色的作品。我們相信透過這兩個方向達到平衡，且循序漸進提升作品的深度，留住觀眾。「在地」還很年輕，我們還在繼續完善我們所欠缺的，加強我們做得好的，發展自己的一套模式，成為一個將藝術帶入群眾的藝術節，一點一點讓澳門可以建立出獨特的當代藝術文化與氛圍。

希望有一天，在澳門看當代舞蹈藝術演出，就像看一部電影一樣簡單。

當代藝術在澳門的發展還是處於起步階段，要打造當代藝術氛圍相當不易。或許過去的當代藝術給人比較深奧的印象，但近年的當代藝術開始跨界，融合戲劇、音樂、影像、各種舞蹈等等，觀賞性越來越高，相應的審美門檻就越來越低，有望打破觀眾對於當代藝術的固有態度。借當代藝術的跨界趨勢，以及平民化的免費戶外表演藝術節，說起來有模有樣，但其實我們並沒有太多先例可循，也仍然在不同實際操作中試驗著。如楊春江指出其策展的「香港比舞」藝術節是「一個實驗……純屬試驗性質，並不知道最終效果如何」，我第二屆「在地」藝術節們對「在地」也抱有相近的看法，也認為這是照片由黃翠絲提供一場貼近當下當代藝術發展的實驗，希望在不同嘗試中拉民眾與當代藝術的距離。我們十分相信我們讓很多的人看到了讓他們有興趣的作品，但是真的能走到最後一步，步入劇場的人又有多少呢？甚至於，澳門的觀眾會否真正明白我們做戶外演出的意義呢？或許我們這樣做有太多的不確定性，但藝術氛圍的形成也非一朝一夕的事情。談到「在地」的定位，我們既會站在藝術家的角度去思考怎麼做，也會站在觀眾角度去思考：我想看什麼？觀眾需要藝術家的作品，而藝術家的作品都需要觀眾的支持。作為首次試驗，選擇既要合適而安全的，也要具說服力且高質量的作品。我們身體力行，把這幾年到國

「在地」藝術節由「澳門城市藝穗節」資助及「穗內有萃」項目計劃( 即節中節計劃 ) 支持。

黃翠絲( 香港 / 澳門 ) 、毛維( 香港 ) 「在地」藝術節策展人

The development of contemporary dance in Macau started late, and even today very few young dancers are willing to devote themselves to it. Most of the time, when renowned foreign companies are invited to perform in Macau, only a small audience will pay to see them as most people don’t know much about contemporary dance, and thus are not willing to spend their money on it. In view of this, we hope to make contemporary dance more “popular” by displaying the art form in the context of Macau’s own human history and geography, and at the same time fight for stronger awareness of contemporary art among the general public. From Januar y 9-13 this year, we curated and organized our second On Site ar t s f e s t i v a l 2, w h i c h c o n s i s t e d o f v a r i o u s elements: performances, workshops, flash street shooting, exchange platforms and documentation. We’re seeking to break away from conventional thinking in festivals by offering our audience the chance to look through a dif ferent lens and gain a new kind of appreciation. Through hosting free entry and outdoor events and abandoning the traditional glamour of stage lights and setting, we hope to restore sovereignt y to dancing bodies, to expose what usually happens inside the theatre to the general mass of people outside. In addition, we hope that through this art festival, local and foreign artists can gather and interact, to improve the diversity and inclusiveness of Macau’s contemporary art scene, increase artistic appreciation among the public, and eventually build a unique contemporary art environment in Macau. There are a lot of things we want to do, and this festival is something we are determined to make happen. A s par t of the young generation, we see clearly what the artists of this generation need, and we feel what they lack. Contemporary dance is a niche and unique form of art, each person sees and interprets it differently, which is precisely where its beauty lies. As local-born new blood of Macau’s contemporary dance sector, we hope to bring in new ideas which will have an impact to promote the development of the genre in Macau,to show how we understand it and why we pursue it. In the past few years, we have performed and participated in artistic residency and cultural exchange programmes in Europe, gaining a deeper understanding of the arts environment in European countries. That has made us realize that Macau has fallen a long way behind. This leads us to a significant problem: the difficulty of keeping our artists here in Macau. The highest level of arts education available within Macau is the vocational high school.

After graduation, many talented people are obliged togo overseas, to the Mainland, or to Hong Kong to attend university.Once they graduate from university, since they have already built networks and relationships in the city where they were studying, they choose to stay there, or to further their studies or join a company in European or American cities where the arts ecosystems are more developed. Why doesn’t anyone return to Macau? Or should we ask, what can we do if we do return?

any expectation of successful outcomes.”, we feel the same way and think that this is an experiment that is linked closely to the development of contemporar y art today, where hopefully we can shorten the distance between the public and contemporary arts through our various efforts. We believe we allow many people to see what interests them, but how many are ready to go all the way and take the final step to the theatre? Will the audience understand the point of our performing outdoors? Perhaps there are too many uncertainties in our way of tackling T h e re a re t w o m a j o r a r t s fe s t i v a l s i n these issues, but an artistic environment Macau — Macau Arts Festival and Macau cannot be established overnight. City Fringe Festival. Every year, contemporary ar tists return to Macau for a shor t time With regard to the positioning of On Site, to attend these two festivals – then they we have put our sel ves in the shoes of leave af ter the events have ended. The artists to think about the best way to do it, government invests a lot of resources in and we have also thought about it from the holding performances, but it’s always the audience’s perspective — what do we want same limited group of people that are willing to see? Because the audience needs the to pay for tickets who get to see these shows. artists’ works, and the artists’ works need the We often complain that the theatre audience audience’s support. For this first experiment, is restricted to too small a circle, but how can our choices have to be safe, convincing and of we try to solve this problem? This points to a high standard. We have brought together, another issue in Macau — expanding the from what we have seen overseas in recent audience group and promoting the arts. The years, a collection of physical, high quality more you come in contact with the general works to be performed in Macau. At the same public, the more you understand that it’s not time, we’re searching for outstanding work that they ’don’t like’ contemporary art, it’s that by local artists from Macau, hoping to strike they simply don’t know anything about it. a balance between local and foreign work. Many people’s first reaction to contemporary We’re also increasing the depth of our choice dance is that it is too obscure, too abstract of works step by step in the hopes of retaining and too hard to understand. We see the gap our audience from year to year. between art and the public, and while we understand their resistance to appreciating On Site is still green, and we are perfecting contemporar y works in the existing ar ts it step by step. We hope to improve what we atmosphere, we also understand that this lack have already done well, and to develop our of audience at theatres makes local artists style further. We wish to create a festival that reluctant to return and work here. brings art to the public and makes steady progress, to develop a unique contemporary With the development of contemporary art in art culture and environment in Macau. Macau still at such an early stage, it is difficult to build a contemporary art environment. Hopefully one day, it will be as common to While works of contemporary art from the go to contemporary dance performances in past may be comparatively deep, in recent Macau as it is to go to the movies. years produc tions have begun to cross over among different media, fusing drama, music, images and different kinds of dance, making these work s more enjoyable to watch. This added accessibility is gradually lowering the aesthetic barrier to appreciating contemporary arts, with the aim of breaking down the audience’s inherent hesitation to experience them. It might sound nice 1 O n si te a r t fe s t i v a l is sp o ns o re d and simple to take advantage of the crossby Macau Cit y Fringe Festival and border trend of contemporary art and host suppor ted by the project Crème de a free outdoor festival, but we don’t have la Fringe, where participants curate much precedent to follow, and are s till a mini fes ti val for the Macao Cit y experimenting with dif ferent options for Fringe Festival based on a cer tain community/theme. practical operations. Daniel Yeung described his curated Hong Kong Dance Exchange festival as “an experiment… as there was Tracy Wong ( HK/ Macau ) , Mao Wei ( HK ) neither an existing model to follow nor Curators of On Site art festival

二月 FEB / 三月 MAR 2020 — 32

旅歐舞記 Dance Travelogue

微塵積聚。人群聚集。事件交錯。文 : 約翰 ( 自鬼與約翰 )

容我以一個畫面作開首：

男子將紙巾從一角剝開，分成三層薄片。身穿白色服裝，坐在地上，他把三張薄片鋪在身前。然後撿起左邊的，又從一角，將薄薄的紙巾由方形撕成長條形。他綁起三條紙條成為一條更長的紙條，他站起來，舉起一端，紙條仍然依附着地面。

Dust that accumulates. People who come together. Events that collide. Text: Francis John Chan from Ghost and John

這是一件讓我們練習相互協作的事。

1960年，黑人大學生在幾乎整個美國南部舉行午餐櫃檯靜坐活動。黑人學生點餐後，坐在白人的午餐櫃檯上，用身體實在地佔據了這個空間，以抗議當時的種族隔離。這種只坐在「僅白人」座位上的非暴力抗議，引起了白人的各種憤怒反應。黑人學生仍然被動，他們的身體無聲地吸收了各種傷害。但是他們的行動並不空氣的流動令細條不能維持它的形狀，末端輕沉默，許多人正在觀看並記錄靜坐。擦地面。男子在房間中遊走時，幼條成了他手臂的延伸，在空中留下一道動態軌跡。紙巾的 1980年代末，在美國愛滋病危機期間，一群人脆弱可由指尖與紙條末端的碰觸傳到全身。他成立了 ACT UP ，以應對政府對愛滋病的遲緩反慢慢地跑起來，腳掌不停地拍打地面，以至他應，甚至無視。當中，他們製作了海報，用「愛的重量在地面留下印記。滋病罪犯」的照片在紐約百老匯下游的 New Museum 窗戶上進行裝飾，展示有關因愛滋我凝視著男子和紙條的舞動，然後有更多人加病損失的數據，以及一個粉紅色的三角形。這入：男的，女的，髮型、身高和眼睛顏色都不一些圖像朝外( 百老匯下游社區 ) ，向公眾大聲疾樣。他們身穿白色服裝，舉起一層紙巾，格外呼愛滋病危機的緊迫性和政府的無能。他們還小心地將正方形撕成長條。當紙條靠近並擠進行了著名的「 die-ins 」和「 sleep-ins 」，用過人與人間的縫隙時，紙巾撕開時發出的微小自己的血肉佔領街道和建築物。他們激進、直聲音讓這片脆弱的白色通過我們的凝視而被放接，手法經精密訓練且毫不猶豫。大。 2019年8月下旬，鬼和我在倫敦The Place的舞這是關於我們如何利用運動，物體和聲音佔據室裡，看到網上有關香港的圖片，不知所措。我空間的一個當下。倆都沒有說話，但房裡卻充斥著喧鬧，憤怒和恐懼。一個小時後，我們的舞者到達了，我們阿鬼和我自2019年3月起構思這個全新的多媒給他們每一位遞上一個方形鏡子，然後打開一體群眾作品。我們追求劇場效果，亦希望為觀台投映機。當他們拿著鏡子跳動時，投射影像眾帶來既創新又真實的體驗。在表演計劃中投的一部分會被反射並照在工作室的牆上。他們入多元媒體，建立一層又一層有關我們研究主凝視著牆上的燈光，試圖理解投放出來的香港題的感官刺激，理解和意義。我們旨在盡能力圖片，理解事件的背景。所及、打造一個規模大的計劃，務求打破時間地域的邊界，在表演製作中，將來自各地各個也許當這些歷史事件與物體和身體佔據同一空媒介的新進藝術家聚集在一起，從而使觀眾成間，為存在的本質意義抵抗時，每樣物件在這為活動的組成部分。些事件中都有其位置。每個人在這些空間中都苦苦掙扎。我們絕對不是要說歷史和藝術具有我看到一個球，一個由襯衫結成的球，一個由相同的價值和分量，但是，如果藝術可以成為不同顏色的格子襯衫結成的球。它被一群人歷史的詩意類比，又可否為我們的社會帶來一扔來扔去。他們穿著白色衣服走來走去。其中種功能？一個接到球後，便立刻將球扔向圓圈的另一邊。當我抬頭看時，我發現到處亂扔一團格子「藝術確實具有挽救生命的力量，而正是這種襯衫。未幾，球鬆開成多件襯衫，變得越來越力量必須得到承認，培養和支持。」 — 道格拉小。人們逐個把格子襯衫穿在白色衣服外，步斯·克里普( Douglas Crimp ) ， 1987年速開紿慢下來，由跑步變成走路。 33 — 專欄 Column

《 Meniscus 》編舞 : 鬼與約翰 / 攝 : Dominic Farlam

作者注 : 《 Meniscus 》 — 由 Ghos t 和 John 執導的多媒體群眾作品。於 2019 年 11月 1日在倫敦的地方首演，隨後於 2019 年 11月 29 日在倫敦 Rambert 演出。約翰為鬼與約翰的一人，專注研究藝術與社會的連繫性。

Allow me to start this article with an image: Peeling the tissue apart, starting from one corner, the man separates the plies into three thin separate sheets. Sitting on the ground with his legs crossed, wearing a white costume, he is laying out the three sheets on the ground in front of him. He then picks up the one on his left. Starting from the corner again, he tears the square into a single long strip, then does the same with the other two. He ties the three long strips into one, stands up and holds up the strip by one end. He is a very tall man, yet the strip touches the floor even when he holds it above his head. The thin strip cannot hold its shape against the movement of the air, gently brushing the floor with its end. The man walks around the room and the tissue continues as an extension of his arm, leaving a trace of movement in the air. This fragility of the strip, working in reverse, flows from the contact between his fingers and the end of the strip into the man’s whole body. Slowly, he starts to run. His footsteps mark the ground with his weight as his feet slap the floor repeatedly. My gaze follows the movement of the man and the strip of tissue across the whole room. I then see more people joining in, men and women with different hairstyles, different heights and different eye colours. All in white costumes, they hold up a single ply of tissue, then tear the square into a long strip with great caution as if they are demonstrating a very dangerous task. As they approach me and squeeze through the gaps between people in the room, the tiny sound of the tissue fibre is amplified through our gaze at the fragile white piece of material. This is an event about how we occupy space, with movement, objects and sound.

Android mobile applications. We came to the realization that we were both probably not doing what we were ‘made for’. Hence, we embarked on a journey to rediscover who we were. We came to London in September 2018. Nine months later, our understanding of ‘making ourselves into artists’ reached a pivotal point, where it was no longer only about what kind of work we were making, but also what kind of experience we were providing to our audience, our collaborators and ourselves. In this age of great political, social and environmental instability, how can we do things I see a ball, a ball of shirts, a ball of checked shirts with art? in different colours. It is being thrown around by a group of people. They run round and round, in In late August 2019, Ghost and I were in a studio at white clothes. As soon as one of them catches The Place, London. Our minds were overwhelmed the ball, they throw it across the circle to another. with the images we’d seen online through our When I look up, I see a ball of checked shirts being iPhones, iPads and Macbooks. Neither of us was thrown here and there. Soon, the ball gets smaller talking, but the room was filled with noise, anger as it loosens up into individual shirts. One by one, and horror. An hour later, our dancers Lauren, Jim, people get checked shirts to put on over their Claudia and Annie arrived. We passed them each a white clothes, slow down from running to walking. square mirror, then turned on a projector that was placed on the floor aiming into space. The mirrors were ones from IKEA, slighter larger than A4 size. This is an event that drills us to collaborate As they danced with the mirrors, fractions of the with one another. projected images were reflected and shone onto In 1960, lunch counter sit-ins by black college the walls of the studio. They stared into the light students took place in almost the whole Southern on the wall, attempting to comprehend the visuals USA . The black students sat down at white- and understand the context. only lunch counters after ordering, physically occupying the space with their bodies, in protest Perhaps it is the coexistence of all these historical against the racial segregation of that time. This events and personal episodes of objects and non-violent protest of merely sitting in ‘whites bodies occupying spaces, resisting and fighting only’ seats evoked a variety of responses from for the essential meaning of their presence, that enraged white people: a policeman observing are lingering in Ghost and my minds. Every little them and hitting the palm with his billy club1, object that has its place in these events. Everyone other customers spilling and throwing drinks who has been struggling in these spaces. We are at them, dragging them to the floor, punching in absolutely no way trying to say that history and and kicking them. The black students remained art have the same value and weight, but what if passive and silently absorbed this aggression art could be a poetic analogy of history which can with their bodies. However, their actions and non- have a real function and bring purpose to our reaction were not silent. The sit-ins were being society now? seen and recorded by many people, including the white Presby terian minister and college ‘Art does have the power to save lives, and it is this professor Merrill Proudfoot. In his book, Diary very power that must be recognized, fostered and of a Sit-in, he described the reaction of the white supported.’ — Douglas Crimp, 1987 bodies surrounding these black bodies and how the white bodies became awk ward, agitated and outraged. At the Knoxville sit-ins, the white 1 lunch counter manager became increasingly Cited from the chapter ‘More than agitated before he finally exploded. “Well, why Hamburgers’ from Choreographies of don’t you go home now? You’ve proved your point, Protest, where describes the behaviour haven’t you?” 2 of this policeman in the Greensboro night to facetime with Hong Kong videographer Michael Mui to get the narrative of the video right. I remember a long email conversation with Japanese musician Meitei to get the mood of that one section right. I remember hunting visual references with Vietnamese-French photographer Nhu Xuan Hua to get the right colour for the background of the poster. I remember the long discussion, nearly an argument, with Ghost about how the audience shouldbe instructed when they come into the performance.

Ghost and I started devising this new multimedia ensemble work in March 2019. The projec t was originally titled Galler y of Liminalit y. An experiment al session was done through a platform called The Playground at the Rambert Dance Company studios in London in May 2019. We invited the audience to digitally react to the per formers ’ task-based movement through Telegram ontheir mobile phones and to move around thespace as if it was a galler y, except that in this case the exhibits were human bodies, In the late 1980s, during the AIDS crisis in the transformed into different scenarios through USA, a group of activists formed AIDS Coalition to Unleash Power ( ACT UP ) , in response to how movement and performance states. the government was being slow to react, or was The challenge we set for ourselves was to aim even ignoring, the pandemic. There were friends at providing a new experience for the audience, dying, families losing members, lovers witnessing theatrical yet also real. By incorporating different their partners passing. An organization with an media in this performance event, we built layer urgent call to political action was needed. ACT UP upon layer of sensory understanding towards the activists went on the street, rallying and marching. They made posters, decorated the windows of subject matter that we were investigating. the New Museum at lower Broadway, New York In the end, the project (now called Meniscus) with photographs of ‘AIDS criminals’, data and involved twenty-six artists across four continents: figures about the loss of AIDS and a pink triangle. t wel ve dev ising per for mer s , one cos tume These images faced outwards, projecting their designer, one lighting designer, two musicians, voices loud and clear to the communities of lower one rapper, two photographers, two illustrators, Broadway, telling the public about the urgency three videographers and the two of us, Ghost of the AIDS crisis and the incompetence of the and John. There were actually more: production government. They also performed the famous‘ assistants, costume fitters, producers… It was die-ins’ and ‘sleep-ins’, where they physically big yet manageable. That is what we intended occupied streets and buildings with their own it to be. we built layer upon layer of sensor y f lesh and blood. The approaches they took understanding towards the subject matter that were radical, direct, well-rehearsed and without we were investigating. We intended to direct a hesitation. project that challenges the borders of time and space in performance production, that brings In December 2017, Ghost and I decided to make people of different backgrounds together, that ourselves into artists. I was working as a research gathers emerging artists from different art forms assistant at a marine biology laboratory at the together, that makes the audience an integral Hong Kong University of Science and Technology. part of the event. I remember staying up late at Ghost was an analyst programmer, mainly building

incident, which marks the emergence of the sit-in movement.

Cited from from p.58 of Diary of a Sit-in, from Merrill Proudfoot’s first-person narrative.’’ Writer’s note: Meniscus — a multimedia ensemble work directed by Ghost and John. Premiered at The Place, London, on 1 Nov 2019, later presented at Rambert, London on 29 Nov 2019. References Crimp, D. ( 1987 ) AIDS: Cultural Analysis/ Cultural Activism. October, Vol.43, Winter, pp.3-16, USA: MIT Press. Proudfoot, M. ( 1990 ) Diary of a Sit-in, pp.58, Urbana: University of Illinois Press Foster, S. L. ( 2003 ) Choreographies of Protest. Theatre Journal, Volume 55, Number 3, pp.395-412. USA: Johns Hopkins University Press.

FrancisJohn Chan is a Hong Long artist, half of Ghost and John, investigating the reception and social efficacy of arts. 二月 FEB / 三月 MAR 2020 — 34

Dialogue on Dance

舞後對談

新約舞流《活著》 — 演後暢談文：四只

新

約舞流的《活著》，以生死為題，緬懷生前致力推動香港舞蹈發展的資深舞蹈家及教育家白朗唐博士 ( D r. To m B r o w n ) ，並向不同年代的舞蹈前輩致敬。這次我們找來兩位在不同年代於香港演藝學院舞蹈學院( APA ) 主修現代舞的女生：分別是2010 年畢業的羅雪芬( Georgina ) 及將於2021年畢業的梁彩霞( Athena ) ，從作品的觀後感出發，輕談現代舞發展，以至各自眼中的香港舞蹈現況。身體與自由 Athena：《活著》所呈現的與在學校所認知的現代舞大有不同。現時編舞對於創新的定義，往往是摒棄技巧課所學的，再找到新的肢體語言才可稱為創作；反之看《活著》的五齣短篇作品，都是熟悉及在堂上接觸過的技巧與組合。我覺得這些動作放進《活著》裡頭，充滿了生命力。這些動作不只是動作，而是帶著一種情緒。另外，這部作品選用的音樂跟現時的編舞相當不同，相對較為老派，樂器選擇如鋼琴和低音大提琴，節奏分明，亦會有一些比較戲劇性的轉折，正是這些簡單而原創的地方扣住了我的心弦。看《活著》時我好像正在看一本小說，音樂就像是一篇篇的章節，而舞蹈員就如小說中的文字，向你娓娓道來一個故事，相當引人入勝。

《在地上的日子》編舞 : 托里斯．韓福瑞 / 攝 : Cheung Wai Lok

35 — 專欄 Column

Georgina：新約舞流一直都在做相對「老派」的現代舞，不過新派的舞蹈同樣欠缺老派所擁有的某些特質吧。現今大部分當代舞對於節拍處理的準確度、群舞的走位調動和凝聚力都不太明顯，也很多時摒棄安排角色以及其他敘述性的東西。我說不上這是好事還是壞事，可是當你客觀地把新舊舞派放在一起比較時，你會明顯地看出兩者各自欠缺的元素，當中的差異挺有趣。

Athena：我覺得我們這一代年輕舞者不太懂得如何去跳群舞。在訓練中，我們經常被教導要如何表現得與眾不同，要學懂塑造自己的風格；我多從如何成為一位出色獨舞者的角度出發，卻很少從群舞舞者的角度去思考。看著新約舞流的舞者，我覺得他們不是在跳群舞，而是像一個人在跳舞。大家互相配合著大家的呼吸與節奏，當中那份凝聚力比一個人獨舞更高。尤其表演的舞台不大，他們在有限空間內要做出無限的動作，當中的變化、走位、時間的精準......真的十分厲害 ! 這樣的編排成功連繫每一個舞者跟動作，舞者們又能夠成熟地適應有限的空間，整個演出帶來強烈的震撼力。 Georgina：你令我想起「自由」，我也不知為何會有這樣的聯想。《活著》的動作和編排，以當代舞角度來看，沒有那麼多流動性 ( free flow ) ，力度、角度和流動性，以至男女性的動作界定，可以說是相對不自由。但舞者的技巧訓練，都是需要先練好精確度，最後在這些舊有知識框架中建立自己一套，這才稱得上自由。我觀賞時一直浮現的想法是「控制中的自由」。

體是如何擺動、腹部如何收縮，甚至連活動哪一節脊椎也會注重。這些細微的地方十分重要，這才會看得出分別之處，因此我會很想學習較傳統的現代舞派系。在入讀APA之前，我已經認識瑪莎．葛蘭姆這位大師。因為我很喜歡兩位Martha Graham舞團的亞裔首席舞者 — 許芳宜及簡珮如，並在社交媒體追蹤了她們。

男主角雙腿被裁走，而他的朋友也不幸地在演出中摔斷了腿。因此他說：「你說我迷信也好，當排版或拍宣傳照時，絕不能裁走任何一個身體部分。就算沒這件事，你也不可以這樣看待一位舞者的身體，這樣做你便看不到那位舞者完整的身軀和姿勢。」我永遠會記住他的教導 !

活著 Georgina：那麼這四年的密集式訓練，你覺 Georgina：若要我思考生死這個命題，觀看得應如何取捨？完《活著》後，我覺得生死只是一個不知道為時多久的分手。在於我自己對於Tom的 Athena：在短短四年內要在傳統技巧、即興感覺，尤其是他尾段的錄音 1，直到現在我都以及身體的靈敏度上找到平衡，課程編排的不覺得他離開了。我只是覺得大家沒見一陣確甚有難度。我們每年都會有兩位從美國紐子，而這個「一陣子」變成了無限，也不特約州立大學帕切斯分校 ( Purchase College ) 別沉重。過來APA交流的學生。以我所知，他們沒有分系( 芭蕾舞、當代舞等等 ) ，但學生們在四 Athena：我在想，《活著》和「堅持堅年課程中均需學習一種技巧，就是瑪莎．葛毅」的關係，令我覺得其實「生死」不蘭姆所說的「腹部收縮」 ( contraction ) 。現需要分開和區別的。我的意思是即使你死代舞學生們需要學懂全部派系，例如霍爾頓了，你的精神和靈魂留存下去，其實可說 ( Horto ) 、康寧漢、葛蘭姆等等。我們一起是「生」；相反你生存在世，但你活在自己上課時，他們兩位舞者的身體跟我們有很大的世界，沒有人認識你，死了也沒人記起你分別。他們的身體很好、很精準，但在即興的存在，這樣其實你的生存和「死」又有何課堂中，他們的感覺卻很相像；APA的同學分別？生死是限於軀體，生存和意志是環環相雖然缺乏一個良好的基礎，但我們優勝之處扣。對我來說，生死不是一件傷悲的事，只是會去營造個人身體風格，以及更懂得如何不過是換了一個形式繼續生存下去。去做一個獨舞者。 Georgina：認同，我覺得新約舞流選擇命名這個節目為《活著》，目的都是想延續逝去悲觀、樂觀與執著 Athena：白朗唐博士的《奇異的馬戲團》令者的精神。我們會幫你繼續堅持下去的。人目不暇給，舞蹈員變化多端，填滿了舞台上的每個空間。要編排輕快的舞作相當困難，節奏要掌握很好才行。這個故事其實是很悲傷的，但有趣的是創作團隊用了像馬戲團般歡樂的手法去敘事。

另外，在托里斯．韓福瑞 ( Doris Humphrey ) 的《在地上的日子》中，我看到很多關於現代舞的反抗精神，如摒棄芭蕾舞的直立、加入脊椎的上下翻轉( upside down ) 及旋轉 ( spiral ) ，對那一刻的他們來說這象徵著自由及反抗，但在我們這個年代看起來卻覺得很受控制。我不期然地代入香港的現況，覺得好像「框外有框」，你不知道真正的自由是甚麼，也許沒有最自由，只有更自由吧。現在世界各地都有不少人上街去爭取自由，乍看現今香港或歐美的當代舞發展究竟何謂自由？究竟身體怎樣才是最自由？我也不太知道，我還未完全消化這對於我來說 Georgina：觀賞時我會一直去想 Tom是一是甚麼。個怎麼樣的人：他的人生觀究竟是如何？他是一個樂觀或是悲觀的人？馬戲團比如學院的舞蹈訓練浮華世代的話，也許 Tom選擇運用這種手 Athena：比起當代舞，我認為現代舞更為複法去笑看塵世吧，這給人一種「只要你笑雜，因需要充分理解現代舞不同動作的動著活下去，終有一日會釋懷」的感覺。當機。在訓練中，導師會告訴我們必須快速地我認識他的時候，我覺得他已經超脫世間轉換高度( level ) ，我們可以控制身體很快上的各種事了，非常正面樂觀的感覺。觀速地上下擺動，卻較少注重如何發力、如何賞《活著》時真的會不期然想起他，尤其讓身體保持這個姿勢。我覺得我們缺乏這些是《練習曲》中 Tom 的那段錄音。雖然我訓練。現代舞的發展愈見多元，我就打從心沒上過 Tom 的課堂，但在香港舞蹈聯盟工底裡十分欣賞及尊重老一派的現代舞。作時，絕對感受到他是一位因材施教的老師。我跟他也有很多美好的回憶，例如每一現在 A P A 的季度演出多外聘編舞，風次到Tom的辦公室，他總是在喝可樂，印象格主要走歐洲風的，較少美國派系如中他的冰箱內只有可樂，應該不下24罐。摩斯．康寧漢 ( Merce Cunningham ) 、瑪莎．葛蘭姆 ( Mar t ha G raham ) 等。還有，當時我曾經負責《舞蹈手札》的排版新任現代舞系系主任黃煒丹 ( D a m V a n 工作，那時更看出他是一個十分細心和執著 Huynh ) 加入後，我才開始接觸康寧漢，但的人。有一次，他分享了一件事：他以前在剛開始上Dam的課時十分辛苦，因為他教美國的舞團裡有一位好友，那年他這好友正得非常仔細，跳康寧漢的技巧時，舞者肢要擔任一齣演出的男主角，剛好宣傳照上的

由周佩韻編舞的《練習曲:致白朗唐老師》演出當晚的最後一個作品，作品開首為白朗唐生前排練時的錄音。《活著》編舞：白朗唐、韓福瑞、廖朗莎、周佩韻 2019年11月29日 19:30 香港藝術中心壽臣劇院四只舞蹈愛好者。

二月 FEB / 三月 MAR 2020 — 36

Visions in the Lunch Hour by Will Davis

Sign Movement Choreographers & Dancers: (from left): Li De, Wong Yiu Pong Jason Photo: Xin Li

At the intersec tion of Nathan Road and Gascoigne Road a C antonese opera is being per formed. This is not an unlikely scenario — small operas are often staged in the backstreets of Yau Ma Tei — except this time the performers are on the sidewalk. Shoppers squeeze past, a crowd forms, bewilderment is met with a fleeting glance between the two performers. Silk flutters in the breeze, a bus roars past, the t wo peacock feathers of a headdress sail past the audience in a wide arc. Lunch is being served in Yat Tung Heen. People hold conversations, ser ve each other dumplings , plates of steamed bok choy pass by. Li De and Wong Yiu Pong Jason maintain eye contact across the room, they pace bet ween the tables taking methodical steps as if concentrating intently on each movement. Their piece, Sign Movement, which contemplates love and family instability, circles round actual families in the restaurant. The atmosphere is uncanny, and, like the piece itself, unstable: it is as if the restaurant guests are actors, on stage in a production of their own lives this lunch hour. The overall ef fect is not that a per formance is happening among restaurant-goers, but that Li De and Wong Yiu Pong appear to be the only ones aware of this, the guests on the other hand move

37 — 評論 Review

like clock s in an ar tif icial per formance, out of sync with the artists in their midst. Performance in a space like this is a question of vision. What does it mean to see? The event 24 Hours in Movement: Pegged Legs, Hooked Hands took place on December 14th on one of the few weekends of 2019 in which a large demonstration or protest action was not planned. The hotel where it was held, Eaton HK, overlooks Nathan Road, a street on which some of the largest organized demonstrations in the histor y of Hong Kong happened during the weeks and months prior. Eaton HK is a t ypical large hotel. It hosts a food hall extending across three floors in the basement; a large bar area and club; a cinema, a co-working space, as well as hundreds of guest rooms and a gym on the roof. Pegged Legs, Hooked Hands took place across all of these spaces, as well as spilling out onto the street a few times ( for Cantonese opera and Cambodian traditional dance, among other things ) . Some of the most exciting parts of the day happened in the most mundane spaces. In a yoga room on the hotel roof a woman twists and turns, she struggles with herself. She is two: wearing an inflated wrestler suit that billows around her, twice her size it mimics

her movements but also mocks them, the effect is comedic. She is also herself: her head sits below the ar tif icial face of the wrestler. In this piece, Confine ( research ) , by Yau Ka Hei and Luk Wai Shan Vivian, the woman falls, spins, shakes and jumps like a wrestler, yet she is not a wrestler. Some hours later in the lobby, four Hong Kong Ballet dancers perform an intricate fan dance from a balustrade overlooking the entrance. They then move to the bar where they use the actual bar as a stand-in for a ballet barre. The piece is playful, the dancers touch, nod and wink to one another while performing pliés and pirouet tes — behind the bar, bartenders mix them drinks for when their performance ends.

Confine — research Choreographers: Yau Ka Hei, Luk Wai Shan Vivian Dancer: Luk Wai Shan Vivian Photo: Xin Li

New Performance Research Choreographers & Dancers: TS Crew Photo: Xin Li

Trista Ma paints Chinese characters on the ground in water. Water is ink: she dips her brush in the adjacent swimming pool every so often for replenishment. Eric Schlaeflin paces, watches, and folds paper. Kingdom of the Future is Schlaeflin and Ma’s adaptation of L’oiseau bleu by Belgian playwright and poet Maurice Maeterlinck. In their interpretation the themes of the play — a boy’s journey, a young girl, a bird that seems always out of reach — are fragmented into movements t h a t h a p p e n a c r o s s t h e r o o f , l o b b y, restaurant and various other spaces of the hotel throughout the day. The performance becomes a chase, yet the movements are slow, considered, and at times confused. Co ntemp o rar y dan ce like s to co n cer n itself with limits. The limits of the stage, of movement, of an audience or the performative space. The space of the hotel poses such limits in abundance: culture requires that hospitality offers a specific range of actions, whether these are eating, sleeping, working out or waiting around. Yet the performance piecesin Pegged Legs, Hooked Hands did not appear to obsess over these limitations ( lack of a stage, a clear audience ) . Rather, the per formers seemed to flir t with the space, including

giving parkour practitioner Li Tuo Kun a wild oppor tunit y to scale thewalls of the breakfast buffet. Dancer Yang Hao, whose research considers dance and comedy, struts between tables with a microphone in his hand. His movements are lithe as he cajoles the performers of TS Crew while they descend a staircase, four men entwined. The experience was made to appear absolutely normal. Elsewhere in the world, observers might call it a “flash-mob”, but this would miss the point. Only in a cit y where the population density averages 6,659 people per square kilometer can performers engage an audience at such close range while they eat their lunch unperturbed. French producer and choreographer Alice Rensy, who curated Pegged Legs, Hooked Hands, has lived in Hong Kong for eight years and systematically worked within and outside the bounds of traditional performance spaces, of ten working in galler y contexts, public spaces, or in film. The event press release notes that each performance would embrace the site specificity of the hotel, putting the focus on the relationship between “artists, audience and passers-by as the day unfolds.” This unfolding, however, felt entirely natural. The only performance of the day that did happen on stage was, ironically, the one

form of movement that usually happens off stage, in dancehalls, or on streets — the dance battle For the Record, that was staged in the ballroom of Eaton HK. Staging a performance in a hotel poses the question: who are the audience? To stage performances in a hotel makes a statement about vision. If half of the audience are passers-by, there by chance, then the stage becomes an amorphous, flexible idea that is transformed every moment depending on who is seeing it.

24 Hours in Movement: Pegged Legs, Hooked Hands Choreographers: Trista Ma, Eric Schlaeflin, Blue Ka Wing, Li Tuo Kun, Yau Ka Hei, Luk Wai Shan Vivia, Sonia Au, Bie Lai, TS Crew, Li De, Wong Yiu Pong Jason, Raimund Hoghe, Yang Hao, Prumsodun Ok, Constaintin Leu, Hu Song Wei Ricky, Luis Cabrera, Jessica Burrows, Yuh Egami Performance: 14 Dec 2019 07:00 Eaton HK Will Davis Will Davis is an arts and architecture writer based in Los Angeles. He teaches in the Art History Department at Occidental College, and is currently completing his PhD in architectural history at UCLA.

二月 FEB / 三月 MAR 2020 — 38

欲辯已忘言 — 淺評香港舞蹈團「八樓平台」《境》文 : 程天朗

《境》編舞 : 袁勝倫、余爾格 / 攝 : S2 Production 《境》的宣傳單設計異常吸引，一眾身穿肉色衣的舞者置身大自然環境中，其一身高異於常人的女舞者背鏡仰望天空，其他舞者各自以獨特的姿態堆疊成人肉雕塑，令人有無限遐想。背頁是叼著青苗仰首挺胸排成一線的舞者和更多作品的文字簡介。青天綠水與秧苗，令人不其然聯想這作品是探討人跟大自然的關係。行色匆匆，沒時間細閱更多的推介文字，甚至入場前派發、寫上分場介紹的明信片也不及細閱。幸好沒什麼準備入場，不然觀賞的樂趣大減。

《境》的格局宏大，編舞調度得宜，演出分上下兩場，共九個部分。一小時的演出毫無冷場，狀觀的大自然情景一浪接一浪。觀眾由踏入劇場的一刻開始，就走進另一空間，旁觀身處異域的舞蹈員如何勉力與大自然抗衡。純以體驗角度來說，絕對是令人難忘的一個晚上。觀眾甫入場便要隨工作人員的指示，以「 Z 形」的路線走過梅花間竹、左右垂掛半透明紗簾的通道；進入劇場後，只見一巨形沙漏掛在觀眾席的一角，緩緩流瀉而下的沙粒在地上形成一個小沙丘，而沙漏的對面是一張有兩米多高附設梯級的高椅。我就坐在沙漏前面，第一段演出之後不久，沙粒停止流下；而在數次轉場時，不同的女舞者也會走來再次「啟動時間」，然後以不同步伐繞著沙丘行，有時順時針，有時逆時針。舞台主景是一塊神奇大白布 ( 紙質 ) ，這塊白布既是淺灘，也是海浪；當一端拉起成皮影幕，就像潮退把土地分為海陸兩部分。大布翻起海浪把人淹沒，亦有翻天覆地的意味。

39 — 評論 Review

《境》是一個具野心的作品，無論場景佈局、服裝造型，及舞蹈動作設計都見用心，場景轉換一氣呵成，下半場藉著觀眾離場時換景的安排更見高明。整個演出的亮點有三，第一是令觀眾一睹八樓平台的可塑性之高。一塊大布，一張高凳，配合舞蹈員的舞步動作，就能做出地動山搖，巨浪滔天的效果。如此簡單的裝置能達至如此繁複的舞台效果，布景設計與後台工作人員配合應記一功。

第二是動作設計不落俗套，簡單直接中見真功夫。身穿緊身肉色舞衣的舞蹈員每個動作都是直接俐落，不少段落的舞蹈編排主要是由一人領舞，群舞隨後，狀似一班島民的生活模樣。有些動作跟現代化日常生活類近，有些像野生動物的動靜。最能展示舞蹈員之間的協作能力與默契，就是場景轉換是以身體動作跟裝置互動完成：如白布翻起，營造出巨浪滔天，水淹大地的情景；舞者在布下打燈，營造波光粼粼的美景。最震撼的就是人浪把女舞者推至高椅上，化成小島，而舞者被推在高處，也有祭品的意味。浪潮退去，大海恢復平靜在大白布的「掩護」下，舞蹈員也退場更衣。第三亮點是安排觀眾以相反方向走過通道離場以便轉景，觀眾就像走回時光隧道，也是一個沉澱心情的好時機。下半場主要是滿身泥漿的舞者，透過身體動作各適其適跟土地建立關係，而最後青苗破土而出的一場，再次展示舞蹈員下的苦功。只見舞者昂首挺胸叼著青苗連串進場，持續這樣的姿勢令青苗直立，一點也不容易。

事後補看資料，得悉編舞說：「境、靜、鏡投射日常」。如此取題有很大的想像空間，可惜最後在舞台上呈現的作品過於充實，材料豐富密集得令人透不過氣來。只見舞蹈員不是單純地跳舞，而是要兼顧很多舞台任務以達至導演要表達的畫面。編舞意念不錯，可惜了一班舞蹈員在台上疲於奔命。難得專誠往大自然走一轉，何不讓舞蹈員細味環境，花時間用身體去感受自然，再轉化成各自的境界? 虛則實之，實則虛之，舞蹈作為一種藝術媒介，優勝之處在於想像的空間。舞蹈如詩如畫，奧妙之處在於意境，正所謂只能意會不能言傳。「此中有真意，欲辯已忘言」，場刊上有關每場的文字說得太盡，扼殺了想像空間。

「八樓平台」《境》編舞：袁勝倫、余爾格評論場次：2019年12月20日 19:45 上環文娛中心八樓香港舞蹈團「八樓平台」

程天朗跨界別寫作人，中學時代起於地多份報章刊物發表小說、新詩、散文及藝評。現為自由身舞台工作者。

我們來告別，告別了誰？文 : 賴閃芳

《 Living Up to HER 》編舞 : 林俊浩 / 攝 : Eric 由宣傳開始，製作團隊已預告了這演出是一場告別儀式。的確看畢整個演出後，留給我最強烈的印象和感受的，是那儼如葬禮般的儀式感。導演選擇男聲歌隊是很聰明的做法，加上選歌得宜，一開場已有效地在南豐沙廠內建立葬禮的嚴肅氛圍。導演挑選在四個不同地點演出( 大堂樓梯、咖啡室、毛線商店及甜點店 ) ，縱距離不遠，但觀眾需要作少許走動，歌隊的存在能維持觀眾的專注力；重複的「獨白－歌隊」結構也讓儀式感更重。演出過程中，觀眾受邀請與角色一同分享咖啡及提拉米蘇，「同飲同食」這一行動，不論是東或西方的儀式亦很常見。而長方形桌的鏡面方框讓人聯想到棺木，還有很多細節如執拾遺物、瞻仰遺容等。雖然演出中並沒有明確說明這是個葬禮，但從安排上已十分明顯。但作為觀眾的我，來跟誰告別呢？創作團隊受邀請由陳慧的短篇《香草織》出發，《 Living up to HER 》頗有原著文本的影子。演出的故事有兩條：一條是由播音器的女聲「她」，讀出《香草織》的選段，以故事主角 Ling姐第一身角度，描述她幾十年來在荃灣生活的轉變，得到與失去的；第二條則是黃譜誠所扮演的「他」，以他的角度講出失去婆婆的感受。這角色「他」並不存在於《香草織》裡，而他的婆婆在陳慧的文本中，只有兩句的形容。原著裡並沒有葬禮的場面，也沒有角色離世；若果拉闊一點，將死亡等同消逝的話，《香草織》聚焦在消失了的地方與時光。對於「她」來說，過去那個「市中心面積約為 0.5 平方公里，人口接近五萬」的荃灣，連同她的青春、她的初戀、她的成就已經逝去。創作團隊延伸了「他」這一角，借他的口，借他哀悼婆婆的死亡，讓觀眾感到「她」失去荃灣的痛。創作團體以葬禮的形式，告

別失去了的「人」與「地」，此舉更扣緊告 1 》的詩化文字，今次則十分貼地，容了原著中的核心主題：失去與莫失莫忘。讓觀眾去連結。可圈可點處是「他」最後以導賞員身份作結，指出觀眾參加的導觀眾是來告別「他」的人，「她」的地嗎？賞團已結束，跳出了那嚴肅的氣氛略為突整個演出在導演處理及文本上，都似乎刻然。作為場域特定的劇場作品，《 Living 意迴避去確立角色的背景與關係，筆者所 up to HER 》用盡了空間的優點，在觀眾座指的是黃譜誠所演的「他」及播音器裡位安排及燈光設計上亦花心思，選擇這幾的女聲「她」。觀眾會經過五站，每站個場地的原因亦非「賣花巧」手段，吸引的「她」與「他」有各自一段獨白，以抒觀眾眼球，是確實需要出現在作品中，才發情感為主；角色的衝突雖然有個人的、有能讓作品的主題成立。雖然觀演關係略為社會的、也有家庭的，但皆以觀察的口吻保守，觀眾要跟著指示一站一站順序觀去描述，因此觀眾代入角色去感受，也有看，但整體作品工整，不論舞者與演員演一定距離。在其中三段獨白的中間有形體出風格一致，細節見心思。動作，舞者抽象的動作大大拉闊了觀眾的想像。舞者的動作主要來自於長方形的鏡藝術家就是敏感，能在 2020 的一月參加一面方框，最直接的聯想是鬼魂，但獨白的個葬禮，不單來得合時，也是這半年來最內容豐富了舞者動作的意義，她也可以是纏好的安慰。繞的回憶，故人與故地。再加上作品的儀式感又特別強，獨白的份量變得較輕，究竟「他」 / 「她」是誰也無礙觀眾投入那氛圍。正正是這些處理，讓觀眾有空間代入自己的感受與投射。讓我們來告別，告別我們當下在想念著的人與地。

這次是筆者第二次觀看林俊浩、李詠蕾及黃譜誠三人組合，上回是 2019年「藝壇新勢力」的《報告 1 》。筆者更欣賞今回導演( 林俊浩及黃譜誠 ) 在氣氛上的掌握，也可能是對比監獄操場，導演處理細小空間較得心應手，觀眾也更留意到他的心思。黃譜誠上回需要體力爆發，在寬廣的空間建立演員的存在已經不容易；今回在狹小空間，演出內斂但表達情感細膩，身心合一，更不賣弄情緒討觀眾歡喜，是本地少有優秀的演員。但最為筆者驚喜的，是李詠蕾的文本，「他」的獨白內容選材得宜，善用了空間的規限，將咖啡及甜點作為比喻寫進文本而不造作。相較《報

《 Living Up to HER 》編舞：林俊浩評論場次：2020年1月11日 20:00 南豐紗廠

賴閃芳戲劇顧問，畢業於英國艾賽特大學舞台實踐藝術碩士，涉足戲劇及當代舞蹈。

二月 FEB / 三月 MAR 2020 — 40

一匹布咁長之大大力跳與慢慢地轉文：林喜兒

《我們的媽她們的媽》創作及導演：黃俊達 / 攝：紫嫣 / 創作及演出：戴天晴、丘愷頌、張景喻、劉梓晴、盧盼澄、芳婷、劉泓晞

工廠改建成文化創意空間， 2000年後成為世界大潮流，香港卻總是姍姍來遲。南豐紗廠在 2018年完成活化，正如其他改建的文創空間一樣，在零售商店以外，亦設有藝術文化空間，嘗試在兩者之間找平衡；如何不會淪為「又一個商場」，如何讓藝術不會變成裝飾陪襯，就必須扣連原有建築空間的歷史。過往南豐紗廠曾舉辦不少展覽活動，這次與香港藝術發展局合作，「賽馬會藝壇新勢力」藝術行《我們之間》，則是首次舉辦的表演藝術節目。

《白薑花》編舞及舞者：曹德寶 / 攝： John

就在觀眾眼前出現。 TS Crew 一貫融合武術、跑酷及高難度動作等演出，這次的跳躍與力度的展示，模擬了機械操作，融入了生產過程，我們也就是這樣捲進這個周而復始的時代巨輪中。

勵觀眾自由走動，有點令人不知所措。從工作人員手上拿到介紹節目的單張，上面寫著：「找個安心的地方，舒適的姿勢，站、坐、躺、臥.... 與我們一起沉澱。」還有這一句：「歡迎隨時加入，隨時離開。」如果演出發生在人來人往的女子組的轉動空間，那些來來回回，人聲雜聲，與七位表演從地面走到天台，是黃俊達創作及導演的作者的緩慢甚至定格的狀態便會形成強烈的對品《我們的媽她們的媽》。這個綠化後的天台比。可惜在天台公園，大部份觀眾都是特意前公園，四周都是工廠大廈，機器聲響不絕，偶來觀看，還是落入我們在乖乖看演出的格局。然有飛機在上空經過，添加聲效。七位女表演者，穿上形狀各異，如一捆毛冷圍在身上的衣兩個演出雖然風格迥異，細看卻是用兩種方式去服，配上卷曲的髮型，頂著腳尖，雙手四十五說相似的故事，呈現概念相近的狀態。四十五分度向外，如行「 Catwalk 」般，徐徐從室內走出鐘的演出，一個全男一個全女，一個跳躍一個轉天台，一個跟一個，緩慢地，赤著腳行走到盡動；一個衝勁十足，一個溫柔輕盈。然而卻同樣頭，然後踏上圓形反光膠板上，慢慢轉動。十在時間上著墨，是不斷在轉動的織布機，是忘分鐘後，部份人從慢轉快，有些依然繼續慢慢記時間的女工。世界在轉動，時間在轉動，日復自轉，各自按照自己的節奏，時快時慢。就這日，年復年，某一天終會停下來。據知兩位主創樣過了三十分鐘，聽到急速轉動下出現的呼吸的媽媽也曾經是工廠女工，衣車上的軸輪、重覆聲，逐漸地，有人開始悄悄地離開，又是一個的工序，機器的動力、身體的力量，都成了他們跟一個，沒有謝幕，沒有告別。這是綠葉劇團的創作起點。 TS Crew 的跳躍與攀爬固然是高延續2019年1月在大館監獄操場演出的《恨鐵難度的技藝，然而女子組的七位演出者，那些靜不成鋼》的風格，再度以全女班演員上陣。這靜地、慢慢地的肢體動作其實也不容忽視。齊來次比上回更見簡約，七位表演者有如時裝騷的歌頌昔日的女工，工廠妹萬歲 ! 模特兒，自信自傲地向觀眾展示身上獨特的衣飾；當站在圓形的膠板上，慢慢轉動的形態又像音樂盒上的娃娃。《白薑花》

南豐紗廠誕生於五十年代，見證香港製造業的黃金年代。八、九十年代以前，荃灣區紗廠林立，多少「工廠妹」在車衣機前成長，供養一家大小。不知道當年在南豐紡織廠工作的工友們有否舊地重遊，假若再次回到這個翻新了的廠房，會感覺熟悉還是陌生。不過一般市民初來步到走一圈，關於紡織、製衣、工廠的氣味似乎不太濃烈，頂多在六廠紡織文化藝術館那邊看到一點點痕跡。而這次《我們之間》便藉著多種不同媒介去說關於紡織的故事，從陳慧委約的文本《香草織》作起點。小說講述一個在小學畢業後，到荃灣紗廠工作女工的成長故事，折射出香港製衣業以至社會的轉變。當這裡變成表演空間，藝術家便以不同形式去談談女工、說說紡織的故事。曹德寶 X TS Crew 的《白薑花》與黃俊達X綠葉劇團的《我們的媽她們的媽》，不約而同聚焦體，以肢體語言出發。以南豐紗廠作為表演場地，這個空間本身已經是演出的一部份，也為這個改建的空間增添意男子組的跳躍義。這種在特定環境演出的免費的節目，通常從白田壩街走進南豐紗廠，在地面入口，連接觀眾可以自由走動，不過今次的觀眾似乎也在建築群的玻璃天橋位置下搭建了竹棚，上面結尋找一種合適的觀看方式。《白薑花》的表演場著長長的白布。《白薑花》以身體作媒介，把地靠近入口位置，那些高難度的肢體演出亦容易竹棚和白布連結在一起。表演者把白布捲成吸引眼球，訪客即使事先不知道有演出，走過時繩子，一邊緊緊綁著竹棚，一邊用手搖動，四也會停下來觀看，而在玻璃天橋上往下觀看亦帶條繩子隨著低沉的機器聲音，由慢至快，力度來另一種視角。整體以動態為主的演出，即使觀由輕變強，互相交織。隨後又變成跳大繩的把眾來來往往也似乎沒甚關係。反之《我們的媽她戲，表演者穿梭在大繩中，跳躍，跨越，在繩陣們的媽》，最初卻是讓預先登記的觀眾入場，又中翻騰、起舞；繼而在竹棚上攀爬，有如飛簷走看到原本一些在放狗的市民離場，感覺上有「入壁。透過聲響裝置與肢體動作，巨大的紡織機場」的感覺，而不是開放式。然而演出中途卻鼓 41 — 評論 Review

編舞及舞者：曹德寶評論場次：2019年1月11日 12:00 南豐紗廠

《我們的媽她們的媽》創作及導演：黃俊達創作及演出：戴天晴、丘愷頌、張景喻、劉梓晴、盧盼澄、芳婷、劉泓晞評論場次：2019年1月11日 13:00 南豐紗廠

林喜兒曾任潮流、旅遊、專題文化記者及編輯。現為自由撰稿員，於各大報章雜誌撰寫文化專題及人物訪問，包括《明報》、《蘋果日報》、《金融時報中文網》、《信報》等等。

從《我的基因舞譜》淺說韋恩・麥葛萊格的編舞實驗文 : 謝嘉豪

《我的基因舞譜》編舞 : 韋恩・麥葛萊格 / 攝 : 康彥博 ( 照片由西九文化區提供）

自從孟德爾打開了遺傳學的大門，加上達爾文啟蒙了演化論之後，開啟了科學家有關人類基因構成的研究。筆者粗略地翻查過紀錄，由托馬斯・亨特・莫耳根於1933 年因「發現遺傳中染色體所起的作用」 ( 即發現遺傳基因的載體是染色體，並非蛋白質 ) ，而獲得諾貝爾醫學獎為始，世界醫學界對於基因研究便從沒間斷。上世紀 50年代起，基因研究更是大興其道，不少歷屆諾貝爾醫學獎的得主所研究的範圍，都跟「遺傳」、「染色體」、「去氧核糖核酸」及「基因」有關。基因，可說是人體奧秘的關鍵，甚至影響性格和認知行為的發展。

韋恩・麥葛萊格的《我的基因舞譜》就是以基因作為主題創作成的作品，仿傚人類基因組合的 23 條染色體的概念，他與他的舞者共同、〈Traces〉、編創了 23 個舞段，如〈Avatar〉〈Wor ld〉、〈Choosing〉、〈Nature〉、〈Nurture〉、〈Knowin〉等等，都可各成獨立篇章，而當中舞段命名的緣由，似乎要用心一點才能想得通。一直喜歡以新穎科技探索編舞形式的麥葛萊格，這次就用上了電腦演算法，作為編舞工具之一 ( 又或另一個編舞？ ) ：《我的基因舞譜》每次演出前，都會利用電腦演算法按麥葛萊格的「遺傳密碼」選出當中的 15 段，並編排次序，所以每次演出的內容都不一樣，而且排序也不同，無論對編舞家、舞者抑或觀眾，都是一場極具挑戰性的編舞及觀賞實驗。然而，筆者只欣賞了一場演出，故只能以該次觀賞經驗作為參考，思考這種隨機性及混合科技的編舞方式，到底讓我們對作品的「結果」產生什麼想像呢？

書寫歷史，可以視為一個編碼過程：從一連串事件中，歸納各種符號，然後以個人的理解和演繹，編列出一套符碼，以古希臘的荷馬和希羅多德為例，他們分別書寫了「歷史」，但編碼的方式卻大相逕庭。《我的基因舞譜》是麥葛萊格為紀念舞團成立 2 5 周年而創作的作品，他借用基因圖譜的概念，編寫他的身體歷史，以具實驗性的方式書寫 / 編舞，試圖編列出與自己相關的脈絡；同時，重新審視和定位創作的方向。在不少的片段中，不難看到一些與編舞家過往作品的連繫。編號1的段落〈Avatar〉為一個獨舞，男舞者展現一系列複雜的動作，主要以脊椎帶動身體，亦有倒立式的動作等，令人聯想到其前作《 Atomos 》的一些片段；而編號 22 的〈remember〉由兩位舞者開始，至最後演變成八位舞者的群舞，急速、明快的動作，以及精準的托舉動作，跟《 FAR 》的群舞相呼應。令筆者較深印象的幾個片段是，〈Ageing〉 (19) 裡時鐘的意象、〈 Not I〉 (13) 的有機性動作和舞者的個人風格應用、〈Lucid〉 (14) 的幻夢式氛圍，以及〈Dis-equilibrium〉 (3) 的激烈群舞。《我的基因舞譜》就像是麥葛萊格25年編舞歷程的回顧，濃縮重現了他過往作品的風格，以及舞動技巧；與此同時，麥葛萊格一如既往地在編舞方式上，不斷尋找新刺激、新靈感，正如《我的基因舞譜》以基因學概念及電腦演算法作為編舞的工具。其實麥葛萊格並不是首次利用科技和電腦來協同編舞，他擁有一種嚴謹的科學實驗態度，運用不同工具，在表演空間裡不斷試驗，直至達到精準的協調，無論是舞者、飛行器和電腦演算法，都在他手裡成為音符。

看罷《我的基因舞譜》，筆者想起摩斯・康寧漢 ( Merce Cunningham ) ，同樣熱衷於隨機性，據說他會在開場前才決定當日演出段落的順序。而自上世紀90年代起，康寧漢也開始以電腦輔助編舞，以便探索更多可能性。捨棄敘事性，並以近乎科研的態度，是麥葛萊格跟康寧漢最為相似之處；然而，康寧漢受身處的年代，以及曾經與 John Cage 的合作所影響，他的「隨機性」帶有濃厚的哲學( 禪之道 ) 意味；而在當下的世界，無論是科技、電腦( 特別是人工智能 ) 發展一日千里的時代中，麥葛萊格所探索和應對的，可能是較為實在的問題：若言人工智能能編舞，舞蹈又有什麼新的意義？在大數據年代，我們到劇場又去看什麼？韋恩・麥葛萊格的編舞實驗將如何刺激我們往後的觀賞感知，讓人拭目以待。

《我的基因舞譜》編舞：韋恩・麥葛萊格評論場次：2020 年1月11日 20:00 西九文化區自由空間大盒

謝嘉豪生於香港。畢業於聖若瑟大學哲學系。從事文字及編輯工作外，亦兼具多年表演經驗，現任舞踏藝團「以太劇場」團長。

二月 FEB / 三月 MAR 2020 — 42

「 Lost in Translation 」 — 論「香港比舞」兩個獻給香港的閉幕演出文 : 小西

《天空》編舞 : 下島禮紗 / 攝 : Cheung Chi Wai

「香港比舞」來到第二屆，分別集合了過去兩年八個香港年青編舞家最新作品，以及來自台日韓加的八位年青編舞家備受關注之作，以香港為平台，比舞較勁，好不熱閙。

跟 1997 年至 2002 年間曾經活躍的「小亞細亞舞蹈網絡」相似，「香港比舞」也聯同日本當代舞蹈網絡 ( Japan Contemporary Dance Net work ) 、韓國 NDA 國際舞蹈節 ( NDA International Festival ) 、日本 SAI 舞蹈節、日本「踊る。秋田」國際舞蹈、台灣關渡藝術節、台灣艋舺舞蹈節、新加坡 M1 「觸」現代舞蹈節與和澳門當代舞展及交流平台，建立了一個跨地域的當代舞蹈表演網絡，在全球化以及文創當道的年代，旨在把香港年青編舞家的作品帶到世界各地，同時也將世界各地的年青創作力量帶到本地，讓不同的當代舞蹈創作能量產生意想不到的碰撞與交流。有說藝術具有普世性，能超越語言和文化的界限，直指人心。但事實上，藝術無可避免地具有地域或國別的文化印記，有時希望透過藝術作品進入他國文化，就仿如身陷迷宮，在無法穿越、抵達彼岸之餘，更忘記了自己身在何方，目盲於迷人的五色。有趣的是，今屆「香港比舞」閉幕恰好有兩個獻給香港當下之作﹕日本下島禮紗的《天空》以及台灣吳建緯的《春之祭》。

43 — 評論 Review

搞社會運動的都是幼稚的屁孩 ? 在《天空》中，下島禮紗讓一眾舞者清一式的穿上尿布，以抵死幽默的風格，諷喻在六、七十年代曾經令日本人聞風破膽的聯合赤軍「整風肅反」事件 1 。「聯合赤軍」是「日本赤軍」的其中一個支派，是日本共產主義激進政治團體，主張推翻日本皇室和日本政府，推動世界革命。所謂「整風肅反」事件則是聯合赤軍內部整肅清黨，期間有多名聯合赤軍成員被同志殘殺。聯合赤軍「整風肅反」事件對於往後日本社會運動有關鍵性的影響。由於六、七十年代打後，日本社會運動漸趨激進與暴力化，日本民眾開始由支持學運轉趨支持日本政府「止暴制亂」，日本的社會運動自此也就變得一蹶不震，其惡名可比美香港六七暴動後的「左仔」。下島禮紗讓《天空》中一眾的聯合赤軍成員都穿上尿布，自然要諷刺聯合赤軍成員的幼稚。下島禮紗安排十女一男的陣式，透過打屁股、逼令成員舉冰等表示盲目忠誠的荒謬試練，也在在突顯下島禮紗眼中聯合赤軍組織的父權性格。但她認為，部分聯合赤軍成員「只是想獻身於浪漫的舞蹈，成為一個英雄，一個革命戰士。」 2

迷失在文化翻譯中的本土致意但問題是，聯合赤軍「整風肅反」事件作為日本戰後社會最重要的一章，可以被如此簡化嗎？要知道，聯合赤軍是二戰後日本整個左翼運動的一部分，而左翼運動之所以出現，自有其複雜的政治、經濟與文化背景 3 ，把當年日本左翼青年改革社會的嚴肅追求僅僅化約為「浪漫的舞蹈」，不就是一種日本七十年代以後對於左翼運動的普遍偏見的反映？更奇怪是，當下島禮紗以此類比香港當下的狀況，我們又該作如何解讀 4？當年日本聯合赤軍就是半年下來香港年青抗爭者的寫照嗎？但明明自反送中以來的抗爭一直劍指中共，將香港抗爭者類比當年日本聯合赤軍，也就真的具有意想不到的諷刺味道。況且，《天空》以一把溫柔的母聲( 對比於演出中的父權角色 ) 勸投降，大概也是當下香港抗爭者所無法認同的。那麼，為甚麼會有這麼多的錯置？刻下我唯一能想到的解釋，就是下島禮紗對香港的致意，其實是迷失在文化翻譯中的種種聯想。

然而，更有趣的是，這種種的聯想同時又建基於 1992 年出生的下島禮紗對於六、七十年日本戰後社會運動的種種簡化的理 / 誤解。然而，文化翻譯不就是注定充滿誤譯的歷程？讓我們產生足夠的動力，透過藝術作品，進一步深入了解異國文化，進行真正的文化交流？「 Lost in Translation 」 ( 迷失在翻譯中 ) ？還是柳暗花明又一村?

《春之祭》編舞 : 吳建緯 / 攝 : Cheung Chi Wai

捨近取遠，來得更近相對於《天空》的諷謔，在《春之祭》中，吳建緯以原始的祭獻形式，直接向香港反送中或傷或死的抗爭者致意。《春之祭》創作於1913年，是俄羅斯作曲家伊果．史特拉汶斯基 ( Igor Stravinsky ) 與編舞家尼金斯基 ( Vaslav Nijinsky ) 的代表作。史特拉汶斯基的創作靈感主要源於他幻想出來的一個景象：「我想像到一個肅穆的異教祭典：一群長老圍成一圈坐著，看見一位少女被要求跳舞直至跳死。她是他們用以祭祀春天之神的祭品。」在原版《春之祭》的演出中，由群舞引出最後為了祭獻跳舞至死的少女，吳建緯在今次的版本，則乾脆以獨舞的形式，拖着一把長髮親自上陣，化身古老祭獻中跳舞至死的少女。

獨舞版的《春之祭》甫一開始，我們便看見吳建緯正對着眼前一件鑲滿鮮花的外套肅立，他彷彿站在一座墓穴前，正向逝去的英靈致意。之後，吳建緯隨即以跡近祭獻的形式，癲狂地忘形舞動起來。有趣的是，吳建緯癲狂的肢體舞步不單止流露出原始祭典所常見的忘形沉浸，更不時看見舞者向地擊拳所展現的憤怒。這大概是編舞在同理中體會的香港抗爭的憤怒，而原本《春之祭》中少女為了祭獻跳舞至死的情節，也就有了完全不同的在地意義。這大概是吳建緯對於港人「寧化飛灰，不作浮塵」的抗爭決心的情深致意。當吳建緯最後把代表了抗爭義士的外套穿上，那種「但願合而為一」的認同，可謂溢於言表。

與《天空》表面的政治化語言相比，《春之祭》無疑顯得抽象，卻比《天空》更能擊中港人當下的集體精神狀態，甚至更政治化。或許，文化交流就是這樣的一回事，有時捨近取遠，反而來得更近。

「香港比舞」節目四：「 Stand Up 」編舞：吳建緯 ( 《春之祭》 ) 、下島禮紗《天空》 ) 評論場次：2020年1月19日 15:00 香港文化中心劇場

小西香港資深劇評人、國際演藝評論家協會( 香港分會 ) 董事、香港中文大學通識教育基礎課程講師、社群藝術團體「全人藝動」副主席及發起人、「四圍講古」成員及「正念文化」核心成員與發起人。

下島禮紗在演出場刊中指出，《天空》直指日本當年聯合赤軍整肅內部同志事件。雖然在下島禮紗抵死幽默的編排，我們在舞台上沒有直接看見當年聯合赤軍家法處決同志的殘酷，但那種「黨同伐異」的高壓氣氛仍然處處可見。編按：作者引自演出場刊有關《天空》的簡介，原句為「在聯軍的旗幟下，許多紅軍成員被同志殺死，然而要弄清楚事件中發生的事情一定非常困難。我只是想獻身於浪漫的舞蹈，成為一個英雄，一個革命戰士。」見安藤丈將著，林彥瑜譯 : 《新左運動與公民社會 : 日本六 ○ 年代的思想之路》，台北 : 左岸文化 (2018年) 。演出後，筆者曾經跟日本「踊る。秋田」國際舞蹈節總監山川三太談及下島禮紗這支獻給香港 ( 場刊的用詞是「 Stand for Hong Kong 」，即「撐香港」 ) 的作品。山川三太解釋，下島的重點在於聯合赤軍整肅事件中的集體瘋狂。這種瘋狂不單見於聯合赤軍，也見後來日本奧姆真理教的集體自殺事件，以至香港反送中運動以來警暴的瘋狂。與此同時，山川三太也指出，下島也發現反送中義士之間同樣瀰漫着一股「我已經很努力，你為何不更努力一些」的高壓氣氛，仿如當年的聯合赤軍。

二月 FEB / 三月 MAR 2020 — 44

舞蹈節目表 Dance Listings *

27 – 28/02 @19:30 蒙地卡羅芭蕾舞團《馴悍記》編舞: 克里斯托弗‧馬約葵青劇院演藝廳

27 – 29/02 @19:45 | 01/03 @14:45 《爵躍》編舞及踢躂舞者: 郭偉傑、清水夏生 ( 日本 ) 葵青劇院黑盒劇場

28/02 @19:30 | 29/02 @16:00 破光舞團《降臨》編舞: 愛麗絲‧謝帕德、羅勞爾‧羅遜沙田大會堂演奏廳

Les Ballets de Monte-Carlo — The Taming of the Shrew Choreographer: Jean-Christophe Maillot Auditorium, Kwai Tsing Theatre

Jazz It Up R&T Choreographers & Tap Dancers: Ken Kwok & Natsuo Shimizu ( Japan ) Auditorium, Kwai Tsing Theatre

Kinetic Light — Descent Choreographers: Alice Sheppard, Laurel Lawson Auditorium, Sha Tin Town Hall

* 28 – 29/02 @20:30 | 01/03 @15:00 作品一《 Mokita 》概念及導演: 迪克森‧姆比 ( 英國 ) 創作及演出: 孫楠、張芷君、陸慧珊、鄧鴻業、王芷琪作品二《角山隹冏》概念及導演: 麥卓鴻、鞏中輝 ( 貴州 ) 香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre Work 1 — Mokita Concept & Director: Dickson Mbi ( UK ) Creation & Performers: Suen Nam, Cheung Tsz-kwan, Phygmus Tang, Vivian Luk, Kae Wong Work 2 — Un-knot Choreographers & Performers: Kelvin Mak, Gong Zhonghui ( Guizhou ) Creation & Performers: Suen Nam, Cheung Tsz-kwan, Phygmus Tang, Vivian Luk, Kae Wong

06 – 08/03 @15:00 | 07/03 @19:45 《也文也舞花木蘭》香港舞蹈團編導及編舞: 楊雲濤聯合編舞: 謝茵沙田大會堂演奏廳 All About Mulan Hong Kong Dance Company Director & Choreographer: Yang Yuntao Associate Choreographer: Xie Yin Auditorium, Sha Tin Town Hall

45 — 舞蹈節目表 Dance Listings

06 – 07/03 @19:30 洛桑貝嘉芭蕾舞團《貝嘉如是說》編舞: Maurice Béjart, Gil Roman 香港文化中心大劇院 Béjart Ballet Lausanne — Dixit Choreographers: Maurice Béjart, Gil Roman Grand Theatre, Hong Kong Cultural Centre

02/03 @19:45 Polunin Ink《拉斯普京》編舞: Yuka Oishi 香港文化中心大劇院 Polunin Ink — Rasputin Choreographer: Yuka Oishi Grand Theatre, Hong Kong Cultural Centre

06 – 07/03 @20:30 | 08/03 @15:00 香港賽馬會當代舞蹈平台《在不明確的世界中尋找意義》編舞: 馮樂恒香港文化中心劇場 The HKJC CDS — Finding Meaning In An Uncertain World Choreographer: Victor Fung Lawson Studio Theatre, Hong Kong Cultural Centre

香港藝術節 Hong Kong Arts Festival 07/03 @20:00 | 08/03 @15:00 亞太舞蹈平台 — 《蘭納長甲舞》編舞及舞者: Ronnarong Khampha, 編舞及舞者: Waewdao Sirisook 亞太舞蹈平台 — 《圓》編舞及舞者: Olé Khamchanla 葵青劇院演藝廳 Asia Pacific Dance Platform — Fauwn Leb Identity Choreographers & Dancers: Ronnarong Khampha, Waewdao Sirisook Asia Pacific Dance Platform — CERCLE Choreographer & Dancer: Olé Khamchanla

無限亮 No Limits 09 – 10/03 @19:30 羅西奧‧莫蓮娜《從天而降─佛蘭明高女子》葵青劇院演藝廳編舞: 克里斯托弗‧馬約 Rocio Molina — Fallen from Heaven ( Caida Del Cielo ) Co-director, Choreographer, Musical Direction: Rocío Molina Grand Theatre, Hong Kong Cultural Centre

11 – 14/3 @20:00 | 14 — 15/3 @16:00 迷犬舞蹈劇場《茱麗葉與羅密歐》香港文化中心大劇院 Lost Dog — Juliet & Romeo Grand Theatre, Hong Kong Cultural Centre

Black Box Theatre, Kwai Tsing Theatre

12 – 13/3 @20:30 | 14/3 @15:00 香港賽馬會當代舞蹈平台《眾聲起舞》編舞及演出 : 陳慶翀、陳偉洛、盧盼之、編舞及演出 : 馬師雅、曾景輝香港藝術中心壽臣劇院 The HKJC CDS — Voice Out Choreographers & Performers: Dever Chan, Chan Wai-lok, Pansy Lo, Alice Ma, Terry Tsang Shouson Theatre, Hong Kong Arts Centre

21/03 @12:30 超能量街舞團《無限亮街舞對決》大館洗衣場石階 ILL-Abilities — No Limits Concept Battle Laundry Steps, Tai Kwun 22/03 @16:00 超能量街舞團《失・聯》聯合編舞: Jacob Lyons, Redouan Ait Chitt 大館賽馬會立方綜藝館

12 – 13/03 @19:30 俄羅斯莫伊謝耶夫舞團《舞藝翱翔》香港文化中心大劇院

14 – 15/03 19:30 | 15/03 14:30 俄羅斯莫伊謝耶夫舞團《世紀傳奇》香港文化中心大劇院

Igor Moiseyev Ballet — World Choreographic Voyage Grand Theatre, Hong Kong Cultural Centre

Igor Moiseyev Ballet — Legend of the Century Grand Theatre, Hong Kong Cultural Centre

10 – 11/04 @20:00 | 11 – 12/04 @15:00 《球賽》多空間香港文化中心劇場

17 – 18/04 @20:00 | 19/04 @15:00 《觀・影：城市舞畫》舞蹈影像導演及編舞: 蘇・希利西九文化區自由空間大盒

Matches Y-space Studio Theatre, Hong Kong Cultural Centre

ON VIEW: Panorama Auditorium, Kwai Tsing Theatre Filmmaker & Choreographer: Sue Healey The Box, Freespace, West Kowloon Cultural District

ILL-Abilities – Dis-Connect Choreographer: Jacob Lyons, Redouan Ait Chitt Auditorium JC Cube, Tai Kwun

* 受新冠狀病毒疫情影響，所有二至三月節目均取消或延期 * In response to the novel coronavirus epidemic, all February and March events are cancelled or postponed

二月 FEB / 三月 MAR 2020 — 46

“它不僅僅是一個舞蹈表面，也是一個聲學表面” Harlequin Activity是我特別熟悉的產品，多年來一直致力於創造不同的空間。我們選擇Harlequin地板不僅因為其漂亮的彈性表面，而且因為我們知道它可以分隔空間之間的聲音。安裝快速簡便。從外觀和感覺上，以致作為舞蹈表面，及作為所有教室之間聲音分隔的一部分，它的確是超額完成。我為此感到非常高興。

Andy Scorgie 設施管理主管莎士比亞環球劇場

+852 254 11 666 hksales@harlequinfloors.com

當莎士比亞環球劇場為新教育和排練中心Sackler Studios 尋找地板時，他們選擇了一個硬木橡木表面的 Harlequin ActivityTM地板。