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胡善佳於一九九零年所編的《2097及頌讚》。攝影：王盛信。
In memory of Carl Wolz, the Editorial Board has collected the following tributes to this great friend of Hong Kong dance.為紀念剛去世的胡善佳先生，編輯部搜集了一些向這個香港舞蹈界
的良師益友致意的文章，在此與讀者分享。
OBITUARY
悼詞
Carl Wolz, the founding Dean of Dance at the Hong Kong
在與癌病對抗了一段漫長的日子後，香港演藝學院舞蹈
Academy for Performing Arts and Honorary Advisor of the
學院的創院院長和香港舞蹈聯盟的名譽顧問胡善佳先生
Hong Kong Dance Alliance, died in New York on 2 January
在二零零二年一月二日於紐約病逝，终年六十九歲。
3*
2
2002 after a lengthy battle with cancer. He was 69. 於一九五九年在美國芝加哥大學取得藝術史學士學位
After receiving a Bachelor’s degree in Art History from the
後，胡氏便開始實踐其成為一個職業舞蹈員的夢想 。他
University of Chicago in 1959, Mr. Wolz went on to pursue
進入了茱莉亞學院研究院進修，承教於Anthony Tudor,
his goal of becoming a professional dancer. He undertook
Jose Limon, Muriel Topa, Lucas Hoving 以及其他國際知
post-graduate studies at the Juilliard School under the
名的藝術家及敎師。他的高瘦身形，於台上的優雅舉
tutelage of internationally acclaimed artists and teachers such
止，再配合上其扭曲的幽默感，使他經常演出背經離道
as Anthony Tudor, Jose Limon, Muriel Topaz, Lucas Hoving,
的角色。在為自已及伙伴所編排的舞蹈中，他亦善長於
and others. His tall, lean, and elegant demeanor on stage
描繪這類角色；然而，在他為其他人所編寫的舞蹈中，
combined with a wry sense of humor often saw Mr. Wolz
针常常帶有
cast in eccentric roles and, in his own choreography for
所帶領的數個歐美舞團中出任尊業舞者，以及在其老家
himself and partners, he capitalized on this type. His
聖路易市的Summer Stock中演出。
一份靈性和理想。胡善佳曾於Lucas Hoving
choreography for others, however, often had a spiritual or
idealistic quality. Mr. Wolz also danced professionally in
2
在其就讀於茱莉亞學院的曰子中，胡氏曾任該校舞蹈學
companies directed by Mr. Hoving, in the USA
院創院院長及前 Bennington Summer School of
and Europe, and performed in Summer Stock in
Dance
his hometown of St. Louis.
Martha Hill的助理。终其一身，胡氏視她為 其良師益友，而胡氏的成就，亦有很多與
While at Juilliard, Mr. Wolz worked as an assistant
Martha Hill的事業相似之處。
（現在《美國舞蹈節》的前身）總監
to the school’s founding Dean of Dance and the Director of the Bennington Summer School of
一九六二年，胡氏獲頒檀香山《東西中心》院
Dance (the forerunner of today’s American Dance
士，並於夏威夷大學修習亞洲舞蹈。於獲得
Festival), Martha Hill, whom he considered a
亞洲研究的碩士學位後，他開始出任該校舞
lifelong mentor and friend and whose career his
蹈課程的總監，自此一直在夏威夷工作了二
paralleled in many ways.
十年。一九八二年，身為香港演藝學院創院
顧問團的成員，胡善佳來到香港，並於翌年
In 1962, Mr. Wolz received a fellowship from the
成為舞蹈學院的首任院長。一九九三年，他
East-West Center in Honolulu to study Asian
接受了一份日本女子體育學院研究院的工
dance at the University of Hawaii. After earning
作，並最後於一九九八年返回美國，分別任
a Master’s Degree in Asian studies, he directed
敎於聖路易市的華盛頓大學和紐約市的
the dance program at the University, remaining
Barnard College。
in Hawaii for 20 years. In 1982 he came to Hong Kong as part of an international team of
在香港工作期間，胡善佳先生在一九八六年
consultants that established the Hong Kong
首辦一年一度的《國際舞蹈學院舞蹈節》和與
Academy for Performing Arts and became its first
其同時舉辦的《國際舞蹈研討會》，並由此發
Dean of Dance in the following year. In 1993,
展出於一九九零年成立的《世界舞蹈聯盟》。
he took up a post in the Graduate School of the
胡氏出任了《世界舞蹈聯盟》亞太中心的的首
Japan Woman’s College of Physical Education
任主席後，於一九九五年成為由亞太、美洲
and in 1998, after returning to the United States,
和歐洲三個中心的主事者所組成的《世界舞
taught at the Washington University in St. Louis
蹈聯盟》理事會行政總裁。自《世界舞蹈聯
and Barnard College in New York City.
盟》於香港的組織— —香港舞蹈聯盟— —於 一九九四年成立以後，胡氏一直出任其名譽
While at the Hong Kong Academy for Performing
顧問。
Arts, in 1986, Mr. Wolz initiated there an annual International Festival of Dance Academies and
除了敎育及行政工作外，舞蹈編排、導演、
accompanying International Dance Conferences.
記錄和演出亦貫穿了胡善佳先生的一生事
The 1990 event led to the establishment of the
業。在香港，他於一九八三年為城市當代舞
World Dance Alliance for which Mr. Wolz was
蹈團導演了 Doris Humphrey 的 Pasacaglia and
the first president of its Asia-Pacific Center. In
Fugue in C Minor，亦於一九九五年為香港芭
1995, he became the executive director of the
蕾舞團導演Anthony Tudor的Fandango °胡
World Dance Alliance Executive Council, which
氏為香港演藝學院舞蹈學院所編排的舞蹈包
is composed of leaders from its three Centers,
括了：於一九九零年在由他策劃及導演的大
Asia-Pacific, Americas, and Europe. From its
型舞蹈《鄉港》中的〈2097及頌讚〉，以及
inception in 1994, Mr. Wolz served as an honorary
一九九一年的《秋園》。一九九八年，他亦於
advisor to the Hong Kong Dance Alliance, the
演藝學院的《華爾兹舞集》中與Phyllis Haskel
World Dance Alliance organization in Hong
合作演出〈傷感的華爾兹〉一舞。胡氏在舞蹈
Kong.
紀錄上的工作，則包括了日本舞蹈和中國傳 統舞蹈的舞譜，並為了紀錄日本宮庭舞蹈中
In addition to his teaching and administrative
複雜的扇子使用手法，而創作了新的舞譜紀
work, Mr. Wolz choreographed, directed, notated,
錄方法。在胡善佳眾多出版了的亞洲舞蹈學
and performed dances throughout his career. In
術著作中，有兩部主要的作品：“Bugaku:
Hong Kong, in 1983, he directed Doris
Japanese Court Dance” 及 “Chinese Classical
Humphrey’s Pasacaglia and Fugue in C Minor
Dance” o
for the City Contemporary Dance Company and
in 1985, Anthony Tudor’s Fandango for the Hong Kong
refinement, kindness, and generosity to whom the Academy
Ballet Company. He choreographed for many APA School
and the dance community are much indebted. He will be
of Dance productions including 2097: Prayer and
greatly missed by all who knew him as students, colleagues
Apotheosis for the production of the evening length,
and friends.”
Fragrant Harbour, a collaborative work that he conceived
and directed, in 1990 and In An Autumn Garden, in 1991.
All who encountered Carl were deeply affected by and will
In 1988, he danced Sedimental Waltz with Phyllis Haskel
always remember his great wisdom and his gentle and
for the APA’s Waltz Project. His notated works include both
indomitable spirit.
Japanese dances and Chinese classical dances and he devised
Tom Brown, Hong Kong
original notation solutions to score the intricate use of the
fan in Japanese court dances. His many published scholarly
writings on Asian dance include two books “Bugaku:
胡善佳先生的一生屢獲獎項和殊榮 ，其中包括了由夏威
Japanese Court Dance’，and “Chinese Classical Dance”.
夷大學《東西中心》和芝加哥大學所頒發的榮譽獎、一
九九三年所頒的香港演藝學院院士和一九九五年由
He received honorary awards from the University of
Congress on Research in Dance 所頒發的 “Outstanding
Hawaii’s East-West Center and the University of Chicago,
Leadership in Dance Research Award”。在其逝世前，胡
was named an Honorary Fellow of the Hong Kong Academy
氏為 International Council of Kinetography Laban 院士'
for Performing Arts in 1993, and received the 1995
出任《世界舞蹈聯盟》的秘書長和Dance Notation
“Outstanding Leadership in Dance Research Award” from
Bureau董事會成員。
the Congress on Research in Dance. At the time of his
death he was a Fellow of the International Council of
胡善佳先生的滿門桃李，很多都已成為香港舞蹈界的接
Kinetography Laban, served as the Secretary General of the
班人，成為了他為香港舞蹈界所留下的遺產的一部份。
World Dance Alliance, and was a member of the Board of
一九九三年，當胡氏離任香港演藝學院時，師生們以他
Directors of the Dance Notation Bureau.
的名字成立的一個獎學金，到現時仍於每年頒發，幫助 了不少傑出學生。
Mr. Wolz’ legacy to Hong Kong dance is evident in the scores
of his students who have gone on to become leaders in the
在他為這已故同事所寫的悼詞中，演藝學院院長盧景文
Hong Kong dance community. In 1993, at the time of his
敎授寫道：「本身為傑出舞蹈學者和敎育家的胡氏，為
retirement from the Academy, a scholarship fund was
人十分高尚、善良和慷慨；對演藝學院和香港舞蹈界貢
established in his name that continues to confer annual grants
獻良多。他將會被所有認識他的學生、同事和朋友所懷
to students to honor their outstanding work.
念。」
In his obituary for his colleague, Professor Lo King-man,
所有曾與他交往的人，都會被胡善佳的高深智慧和温厚
the Director of the Hong Kong Academy for Performing
不屈的精神所深深打動，亦會時常懷念他的精神智慧。
Arts, wrote: “A distinguished dance scholar and educationalist, Mr. Wolz was above all a person of great
白朗唐，香港。翻譯：施德安
Carl’s Legacy (excerpt) A dedicated teacher and scholar, Mr. Carl Wolz greatly influenced the dance culture
throughout Asia and the Pacific Rim. The last time I saw Mr. Carl Wolz was in June 2000, he came back to the Academy as an examiner. I had not seen him for years, yet he was still energetic and enthusiastic about everything in the school. Even with his tiring schedule,
attending meetings, observing classes, and watching performances, he worked endlessly, as he did in our old school days, he had not changed at all. Now, as a teacher, I have changed my perspective, I realize what a demanding job it is, and understand how much
stamina and devotion beyond knowledge is required, with which I learn to appreciate the
compassion and the strength inherent in Mr. Wolz. Such endurance, strength and leadership has helped Hong Kong develop numerous dancers, choreographers, and teachers. Without hesitation, Mr. Wolz embraced the qualities of a dedicated and sensitive teacher,
he wrote (1995): “A dedicated teacher is genuinely interested in the welfare and
development of the students. This teacher instills a sense of discipline and love of the art in a caring and nourishing manner. A sensitive teacher is one who tries to understand
cultural differences in people and to develop an approach to handling those differences” (p. 106).
His vision not only helped the HKAPA to establish its world-class facilities for a crosscultural dance curriculum but prepared “students for life by teaching them respect for other peoples and their cultural traditions.” He believed
“cross-cultural learning broadens a person’s world
view.... and that is why it is important to educate the
What’s in a Name?
young with a multi-cultural perspective” (p. 102). He hoped that the dance communities from different comers
Carl has passed on and yet he
of the world would one day be united and prove that
remains in out hearts. I will always
“through dance we learn mutual respect and
remember this favorite mentor and
understanding, and contribute to a healthier, safer, and
colleague of mine the following
saner world” (p.117).
way:
The “First Move Dance Gala” is the Hong Kong
for his
Academy for Performing Arts Dance Alumni
Commitment to excellence
Association’s little effort to pay tribute and respect to
Aspiration to education
Mr. Wolz’s humanity, and give thanks for the life of a
Resolution to inspiration
man we consider as grandfather, the exceptional and
Love of Dance
irreplaceable Carl Wolz whose genuine goodness will
never be extinguished from our minds.
W is for Winning personality
Vanessa Sau Mui Cheung, Hong Kong
O for his
Overflowing energy, while
Reference _______________________ Solomon, R., & Solomon, J. (Eds.) (1995), East
L is for his
Meets West in Dance: Voices in a Cross Cultural
Z is definitely for his
Dialogue, (Switzerland: Harwood Academic
Lucid imagination: well Zesty humor
Publishers), p.99-117 Benjamin Wong,
Hong Kong
Dearest Carl Carl, you’re gone,
but then you’re not gone. You’re still in our hearts,
alive as ever, the memory of you,
of your caringness, that fills
our universe. Dance was your life, is ours, a bridge
I
for humanity. You
guided us toward the
horizon, into our
tomorrows.
Your everpresent smile alerted us to the immediate, the
here and now, it
graced us.
It was a shock to learn about Carl’s passing away
when I returned from India last night. Although I was anticipating it, still it was a shock. I feel very
sad. He was the kindest person I have ever known
in my life. As he did with many, many people, he inspired me, gave encouragement to me, and was
Yes, we’ll miss you, do,
forever supportive. I feel very very sad.........
but we’ll remember you. And your
Lin Hwai-min, Taipei
warmth and love. I have heard the sad news of the
z . i . 2
death of Carl Wolz. My late husband, John Hosier, who was Prof. Lo King-
man’s predecessor at the APA, was one of Carl’s greatest admirers. He was a lovely man as well as being a
consummate professional, and his reign as Dean of Dance brought
釜
much honour and glory to the APA. I too, of course, knew Carl and am
/
deeply distressed that he has passed
away. Pm sure that via his many students his influence will live on not only in Hong Kong, but in the
international world of dance. Biddy Baxter Hosier, Bath, UK A scene of Fragrant Harbour, conceived and directed by Carl Wolz in 1990. Photo by David Wong.胡善佳於一九九零年所策劃及導演的《鄉港》。攝影：王盛信。
■■■■■vs
Eventualities are bound to take place, but this is one of the worst ones that I had been postponing to happen. Carl was a giant figure for me, and I shall hold him at that height which no one can claim.
His generosity, his steadfastness to bring the dance world together, his unmatched
sincerity and selflessness......how many
adjectives shall I add!
Prakriti Kashyap, New Delhi, India
We are all deeply saddened to hear the news of Mr. Carl Wolz. He was very dear to us, not
only to my mother, Tania Tang, who had me in her womb when Uncle Carl first arrived in 1982, but also to me. I remember stumbling into his office one afternoon when I was 3 and he gave me one of his last wooden deer. It still sits on my shelf today as I pack for college.
Mr. Wolz’s passion for dance has united people from all over the world, and his fatherly
character has made his leadership personal to many of us. We will remember him for what he has taught us, and his spirit will continue to live amongst us as we dance our way through life. Winston Yang Yue, Hong Kong
W
fg
ARTICLE
淺談香港藝術敎育
A General Discussion of Hong Kong Arts Education 作者：雷佩瑜
Author: Floremce Lui
出生於香港，雷佩瑜畢業於美國威斯康辛州州立大學 ，修讀藝術及舞蹈敎育°她在舞蹈界工作多年，經驗包括編舞'演
員、舞蹈老師、藝術行政|專欄作家和舞評人。她的舞蹈作品曾在洛杉磯、西雅圖、溫哥華、多倫多、香港和廣州發表° 雷佩瑜是城市當代舞蹈團的創辦團員之一，現職香港芭蕾舞團敎育及外展部主管。曾策劃多個敎育及外展節目，包括「芭 蕾育苗計劃」、「多媒體舞蹈敎育計劃」和「創舞者空間」等。
Born in Hong Kong, Florence has been a choreographer, performer, dance instructor, art administrator, freelance
writer and a dance critic. Her choreographies have been presented at many events and festivals in different cities including Toronto, Vancouver, Los Angeles, Seattle, Hong Kong and Guangzhou. A founding member of City Contemporary Dance Company, Florence is now Head of Hong Kong Ballet Education & Outreach Unit and has conceived and produced many education and outreach projects including “Making Dances”，“
Multimedia Dance Education Projects" and "Dance Factory”.
9在香港為舞蹈藝術敎育工作已近六年，
2
了不少藝術工作者參與敎育活動。當年我為香港芭蕾舞
*間從未嘗試執筆公開談及有關的經驗
團策劃和製作的「舞進上環」，到今夭的「舞進千禧」
和感受。現在只想淺談一下自己對香港藝術敎育的一些
多媒體舞蹈敎育計劃，也是基於此理念而舉辦的。當
看法。
然，要真正達到理想，還有一段距離。藝術工作者亦未
CM
必善長於敎育方面的工作。但參與敎育活動，對他們來 從前藝術敎育在香港，鮮有人談。剛上任香港芭蕾舞團
説也是重要的體驗；他們對藝術的投入和熱誠，對學生
工作，藝術圈裡普遍將藝術教育等同藝術推廣，甚至是
們來説也有著正面的衝擊和影響。不竟，敎育是重視過
一些藝團或藝術工作者借用的另一個宣傳渠道。
程的。
到今天，藝術發展局、敎育署、康樂及文化事務署和多
周遭的人和事，直接地和間接地影響著人的成長。政制
個藝術團體都重視藝術敎育，還舉辦多樣活動，如交流
的不穩定、教育尚存在的許多問題、社會偏向急進和功
會、示範講座、巡迴學校活動等。許多人亦開始接受藝
利等種種因素，正在影響著成長中的新一代。我曾參與
術敎育不只是藝術技巧的培訓，更是具有幫助人們健康
藝術發展局和敎育署合辦的活動，也遇上不少對藝術敎
身心發展的重要角色。
育充滿熱誠的有心人，只是似乎力量還不足夠。藝術敎 育要在健康清晰的敎育基制下才能發揚光大 ，但敎育基
近年來|不少藝術團體為了爭取資源和結集多方面的力
制能有效的改革，是須要時間和各方面的配合。不過，
量•舉辦了不少多媒體的藝術敎育計劃和活動。這樣，
無論怎樣，今天的藝術敎育工作者的努力耕耘，對將來
一方面增加活動的翅味性，另一方面也利用不同的藝術
香港的藝術数育•定會奠下重要的基礎。
專才，共同嘗試一些創意活動.使藝術層面更闊更廣， 也加深不同藝術媒體的藝術工作者的溝通和交流，鼓勵
8
it seems like just the blink of an eye, I have
policy, the problems that remain in the education system,
been working in Hong Kong Dance
the skewed values created by society’s emphasis on instant
Education for almost six years. During that time, I have never
success and monetary rewards......all influence the young
publicly written about my experiences and feelings on the
people. I have participated in activities organized by the
subject, however, in this article, I would like to generally
Hong Kong Arts Development Council and Education
discuss my opinions about Hong Kong arts education.
Department, and met many dedicated people who are enthusiastic about arts education, but the works that they
In the past, no one in Hong Kong talked about arts education.
can do seem to be still insufficient. Arts education can only
When I first began my work at the Hong Kong Ballet, people
develop and prosper in a healthy and focused educational
in the arts community generally equated arts education with
system. It requiress time and the confluence of various
arts promotion. Arts education was even used as an
elements to make successful reforms in the educational
alternative advertising channel by some organizations and
system. No matter what is going to happen, the hard work
artists.
of today’s arts educators serve as a solid foundation for the future of Hong Kong arts education.
Today, the Arts Development Council, the Education
Department, the Leisure and Cultural Services Department and many other organizations emphasize arts education, and
Translated by Sze Tak On
organize various activities, such as seminars, demostrations, school touring activities, etc. People have begun to realize
that arts education is not simply skills or technical training, but also a means to achieve health and balance, both physically and
psychologically.
In a bid to gain more resources and with the aim of concentrating strength among
different sectors, in recent years, quite a
number of arts organizations have used multi-media in their arts education
projects. On the one hand, multi-media makes arts education activities more interesting; on the other hand, it brings artists from various aspects together to experiment creatively, broadens the
perspective of arts, and increases the
香港芭蕾舞團敎育及外展部所舉辦的學校活動。
communications and interactions among
School visit program organized by Hong Kong Ballet Education
artists from different arts forms. Multi-
and Outreach Unit..
media approaches encourage many artists
to participate in educational activities. Based on this model,
I have planned and produced “Dance into Sheung Wan” and
“Dance into the Millennium” for Hong Kong Ballet, both multi-media dance education projects. Both were quite far
from ideal. Not all artists are good at educational work. However, participating in educational activities is an
important experience for them; and their commitment and
enthusiasm in the arts has a positive impact and influences
students. After all, process is important to education.
上期《舞蹈手札》「訪丁偉和楊雲
濤」一文中（第四冊第一期第七 頁）提到的《媽勒訪天邊》一舞，
實應是改編自「壯族」民間傳 説，而非「藏族」。編輯部對此
錯誤所帶來的不便致歉°
The growth of a person is also directly and indirectly influenced by circumstances. The constantly changes in
舞評 DANCE REVIEW
Hong Kong Ballet s
Romeo and Juliet Author： Constance Rhodes
Bengt Jorgen’s production
teacher Wang Jia-hong. Formally a dancer and more recently
of Romeo and Juliet,
coming to Hong Kong after his tenure as a senior teacher at
which first premiered in Hong Kong in 1999 proved to be
the Australian Ballet School, Wang commands great respect
rewarding for both the company and Hong Kong audiences.
from his dancers. His occasional appearances in company productions exemplify his depth of knowledge about the art
The ballet was considerably more developed during this
form.
second run with the humor and depth of interpretation clearly superior than its first incarnation.
Jorgen’s telling of this story ballet is ably supported by the
Based on the Shakespearian tale this work stands as one of
the dancers with grace and ease to form various scenes. From
the most popular twentieth-century ballets. Its story with its
ballroom to bedroom this is one of the most simple and
rebellious passion between the two young lovers is ideal
effective sets I have seen, demonstrating that big grand sets
for dancing. The ballet’s success is strongly bound to the
and scenery are not always necessary.
simple set of movable columns, which are manipulated by
portrayal of the two main protagonists and provides
wonderful roles for both, not only technically demanding
The corps de ballet seemed thoroughly engaged in the
but equally importantly, on their depth of emotional range
production making the audience laugh out loud at their
and maturity. Juliet is the central character, which requires
antics. Notable in his role as Mercutio, Carlo Pacis is
her to be youthful, vulnerable, passionate and finally
emerging as an exceptional talent within the company. He
determined to join her lover in death. Romeo’s role is one
commands the stage, makes both the audience and his
of a besotted young man, equally passionate and principled.
partners laugh, and dances with a lightness and joy that sets
At the performance on 26 January 2002 at the Tsuen Wan
him apart.
Town Hall theatre, Theresa Webster and Liang Jing danced the lead roles. It is pleasing to see dancers rise through the
My only disappointment was the final moments of the ballet,
company ranks to take on principal roles. Theresa is
which were surprising and memorable the first time around.
emerging as a significant talent in the company. Technically
Juliet wakes in a daze when she realizes that Romeo is dead,
she is assured and confident. There remains room for her
she in turn dies of a broken heart. This time, the scene was
emotional development in the sense of its breadth and depth
less clear to me, and the interpretation left me wondering if
but the opportunity to dance roles of this kind will enable
she was still dreaming? Perhaps this vagueness was
her to mature in this area.
intentional but I liked the original telling much more.
Perhaps because of the success of their recent American tour,
Bengt Jorgen is again working with the Hong Kong Ballet
or because a strong core of the company dancers has
on a new version of Coppelia that will be performed in
remained stable for several years, one can see the confidence
August of this year. I look forward to seeing how he
growing in the company dancers with each successive
interprets that classic tale.
season. Their technique is precise and full of energy. Many insiders have also attributed the company’s growing strength to the work of the Assistant Artistic Director and company
10
25-26/1/02 7:30pm Tsuen Wan Town Hall, Auditorium 1-2/2/02 7:30pm, 3/2/02 3:30pm Ko Shan Theatre
Guanyin - The True, The Good and The Beautiful 編導及編舞 Director & Choreographer
方兀
Fang Yuan
:執行編舞
Deputy Choreographers
Hong Kong Dance Company
汪菁、戸金瑜
Mythical Dance Dfem?a
Wang Jing, Zhou Jinyu
Guanyin （AVa
作曲 Composer
iOkite “
喬治•馬克斯曼
The Goddess
George Maxmann 藝術策劃及舞台美術設計 Artistic Co-ordinator & Set /Props Designer
周培M Zhoit Peilian 服裝設計 Costume Designer
王秋萍 Wang Qiitping1 燈光設計
Lighting Designer
甘玉儀 Virginia Kam 音樂錄音 Music 俄羅斯愛樂樂團
22~23 • 3 ■ 2002
24 • 3 ■ 2002
（星期五及六Fri ■ Sat） 7:30pm
（星期日Sun） 3:00pm
Recorded by
沙田大會堂演奏廉
Russian Philharmonic Orchestra
Sha Tin Town Hall Auditorium
喬治•馬克斯曼指揮 Conducted by George Maxmann
舆藝術家會面Meet-the-Artist 23/3/2002 （星期六）晚上演出後
於沙田大會堂演奏廳堂座舉行 免費入場粵語/普通話/英語主講
$200, $160, $120, $90 門票現於各城市電腦售票處發售
Following the performance on 23/3/2002 （Saturday） at the Stall of Sha Tin Town Hall Auditorium
Free Admission
票價 Tickets
In Cantonese/Putonghua/English
Tickets now available at all URBTIX outlets
備有多種優惠訂票計劃，詳情請參閲宣傳單張 Please refer to the leaflet for details of the discount schemes
恒生信用卡會員憑卡簽賬可專享85折購票優惠（每次限購4張）
Hang Seng Credit Card Members can enjoy 15% discount by paying with the Card （Maximim 4 tickets for each purchase） 節目查詢 Programme Enquiries
電話留座 Telephone Reservations
網址 Website
2853 2611
2734 9009
www.hkdance.com
香港舞蹈團由康樂及文i Hong Kong Dance Comp the Leisure & Cultural Se
舞評 DANCE REVIEW
«
2
fj
I went to see "New Moves, the December
v
APA School of Dance production, I had
進場看演藝學院舞蹈學院的《新舞動》演出前， #我在一次偶然的機會下，遠遠的見到了來自紐約
seen, by chance and from a distance, the set of Hong
的編舞家廖朗莎新作的舞台佈景：正準備彩排中的舞台
Kong/New York choreographer Rosalind Newman's
空無一人，兩幅長而窄的白布條冷清清、輕飄飄的懸在
new work. On the empty stage, prepared for rehearsal,
台上；雖然看不清布幕上的圖案，但一看之下，就叫人
two long, narrow, white cloths quietly dangled.
聯想到已倒下的美國紐約世贸中心。到正式演出時，看
Although the patterns on them were not clear, they
到該鉤舞蹈的名稱— —《墜》— —腦海中不期然的浮現
immediately reminded me of the collapsed World
了一幕白布條從空中急速下墜的景像，與記憶中從電視
Trade Center in New York. On the night of
新聞片段上所看到的大樓倒下的影像重叠。
performance, when I read the name of the dance in
the programme, The Fall; a scene of white cloths free
然而，一直看到舞蹈終結，這一幕都沒有出現。
falling rapidly from above emerged in my imagination.
This image was overlaid in my memory with the
我相信有不少看過《墜》的香港觀幂，也可能有同樣的
widely broadcast images of the falling towers.
期望。不竟，「九— —」事件給我們這些隔岸觀火的人
所留下的最深印像，還不是那些有如電影般「扣人心
However this scene did not appear in the dance.
弦」而「高潮叠起」的情節，和「驚天動地」、「震撼
人心」的場面：騎劫、撞樓、爆炸、大火、倒塌... 。
I think many Hong Kong audiences who saw The Fall
然而，對於來自紐約、老家在世贸中心附近而事發時身
may have had the same experience. What impressed
在香港的廖朗莎來説，「九一一」事件卻帶來另一番感
most outsiders about the "911〃 incident were those
受。
movie-like "dramatic" events and shocking images: hijack, collision, explosion, fire, collapse..... However,
在《墜》中，編舞者廖朗莎以人道的角度出發，不涉事
for the choreographer, whose New York home is near
件的前因後果，不談是非功過，也沒有怨愁仇恨，只關
the collapsed buildings but who was in Hong Kong
心事件中群幂的遭遇。舞蹈的編排應是以一些新聞中所
2
when the incident occurred, the feelings went much
報道的遇事者經廢作為藍本：遇襲後初時人們大多不知
deeper.
何事’認為應靜待救援，但亦有少數人不理别人勸阻，
大著膽子冒險探侗究竟… …：有人不幸遇難，也有人逃
In The Fall, Newman reveals the incident from a human
出生天…-:群眾~逃難時亦不忘互相支持援助，救傷扶
perspective. She does not dwell on the causes and
危… …：有人為逃避大火而從高空躍下、飛墮… …：逃
results of the events; is not interested in who was right
難者從摩天高樓中沿著樓梯走下，也不清楚走過了多少
or who was wrong; and does not show any hate or
層樓，也不清楚走了多久，只知不斷地走，不斷地迴
anger; she concentrates only on what happened to the
旋... °
people in the incident. The dance seems to be based
on the survivors’ stories. In the beginning, most of
舞蹈的主體也應是從這些片段發展而來 ，由不同的跳
the people inside the buildings did not know what was
躍、跌堅、平衡，奔跑、倒下、避旋、扶持、拖扯、抬
happening, and believed that it was safer to wait for
抱等動作及其變化所編排而成。其中有一組不斷出現的
rescue, but there were a few who acted differently than
動作：兩個舞者互相扶持，向前急奔時，遇上了停頓下
the others and who tried to find out what was going
來或走動缓慢的第三個舞者。急奔的舞者拉起了後者，
on....... , some of them were killed, while some
並帶著他/她急逃。然而後者沉重的步伐卻拖慢了他們
survived...... , people helped each other and rescued
的腳步，接著並半蹲著身子停了下來，把急奔的舞者拉
the injured, as they tried to save themselves......, some
得以其為軸心，急急的轉了半個圈子。改變方向後，三
people jumped out or fell from the towers to try to
個舞者扶持著繼續向前急奔。這個動作一方面道出了救
escape from the fire..... , people ran down the stairs of
援傷者的行為雖然影響了逃難者的步伐和方向，但逃難
the skyscrapers, not realizing how many flights of steps
者仍能堅持不棄；也優雅而巧妙地描述了沿著樓梯飛奔
they traversed or how long they ran, they only ran
而下時不斷急速轉彎，離心迴旋的情景。把一個日常生
and turned, seemingly endlessly......
活經常出現的動作，化作了簡單而動人的舞步，融合於
舞蹈之中，並灌注了義意，這正是廖朗莎的編舞中的一
As if developed from these reports, the main part of
大特色，亦是其出色之處。
the dance is composed of various jumping, dropping,
balancing, running, falling, turning, supporting,
到了舞蹈的尾聲，舞蹈員全躲藏於掛在舞台正中失的長
dragging, carrying, and lifting, and developments of
布幕之後，並從後擾動布幕，使其滚滚激蕩，有如大樓
these movements. Set among these, is a scene that
倒下時所激起的漫天沙塵般，跳曜翻騰，如自有生命。
Two dancers,
從滚激的布幕之後，一個女舞蹈員矮身缓缓走出。一面
supporting each other, running forward rapidly, meet
迷茫的她如發了瘋般舞動雙手，像要把沾在臉上和頭髮
a third who is either moving slowly or not at all. One
中的看不到的沙塵异掉、也像要把這段難以叫人理解的
of those fleeing drags and pulls the third, forcing the
恐佈經歷抹去。
reappears throughout the dance.
dancer to run with them. However, the third dancer’s
steps become heavy and finally stop completely. The weight of the third dancer acts like a pivot, pulling
the two running dancers in a half circle suddenly
At the end, the cast gathers behind a long white cloth
around the stopped one. After changing direction, all
that hangs in the center of the stage. They hit at it with
three, supporting each other, continue to run forward.
their hands and make it flutter chaotically, evoking
This a wonderful series that on the one hand, describes
the wave of dust that crawled like it had a life of its
how people in the catastrophe insisted on helping each
own, caused by the collapse of the towers. From this
other, even though this may have altered their pace
chaos, a crouching dancer slowly emerges and
and direction; on the other hand, it elegantly and
stretches. With a blank expression, she frantically
vividly renders the movement of the turns and
brushes her hands across her face and hair, as if trying
centrifugal action of running rapidly down stairs.
to cleanse herself of the unseen dust, but also as if
Abstracting a common movement from everyday life
trying to erase the inexplicable experience of terror
into a simple but elegant dance movement, integrating
from her mind.
it into a dance, developing it, and infusing it with meaning, is a characteristic of Newman's
choreography that makes her work uniquely special.
7-8/12/01 香港演藝學院歌劇院Lyric
8:00pm
Theatre, HKAPA
eaturing over ten new exciting and inspiring cnoreograpriies
BCO
graduate
First Move Dance Gala o
Ocdicated to our most behoved, honorable Mr. Cari VÂť'oiz, the Ex'tXitin of Dance Schooďźš
30 March 2002 (Sat.) 2 p.m. , 8 p.m. The Hong Kong Academy for performing Arts Studio 1
Presented by School of Dance Alumni Acknowledgement: APA School of Dance DanceArt Hong Kong
WS舞蹈快訊NEWS舞蹈快訊NEWS簿蹈快訊NEWS舞蹈快訊NEW；
演藝學院舞蹈學院校友會
「舞蹈員的專業地位」論壇
香港演螫縻院
舞蹈學院成立至今已有十多個年頭。在這十多年中，演藝所培育出來的舞蹈學生， 保守估計達千人以上。然而，這所超過十多年歷史的舞蹈學院 ，卻一直都未能重組
其校友會。這問題终於在千禧年中得以解決：經過各籌委會成員不斷努力，多次的會議及籌備，前「香港演藝學 院舞蹈學院舊生會」已於六月依校友投票及委員互選結果選出新一屆幹事，並正式重組定名為「香港演藝學院舞
蹈學院校友會」。幹事會幹事共十人，其中包括了主席王廷林、內務副主席蘇美寶和外務副主席陳錦明。幹事
t
會幹事任期為十八個月。 「香港演藝學院舞蹈學院校友會 」成立後的首要任務及宗旨是： ❖促進校友間的聯繫 ❖作為母校與校友間的溝通橋樑，加強校友對母校之歸屬感 ❖推廣及發展舞蹈員的香港地位
「校友會」是一非牟利機構，其經費由會員費及其他贊助支付，資源有限。然而，這半年的曰子中，在主席王廷
林先生帶領下，校友會莓備了多個不同類形的活動，如七月的會員大會、招收新會員、更新校友資料，設立網
頁，推動一切與本會會員福利有關之事宜、十一月的社交舞工作坊、十二月的聖誕節日夜營、三月的舞蹈演出及 論壇等活動。 其中將於三月尾舉行的論壇，以舞蹈員的專業地位為主題，探討以下問題：
❖隨著演藝學院的成立，大大小小的專業及半專業舞團相繼湧現，然而，舞蹈這個行業至今仍沒有得到適當
的重視，您認為舞蹈這門藝術在香港的推廣足夠嗎 ？ ❖有人説香港的舞蹈界活像一盤散沙 ，各自為政，沒有一個具代表性的團體可為舞蹈工作者發言 ，争取應有
權益，您可曾想過香港舞蹈員的專業地位應有所提高？ ❖香港舞蹈工作者又應如何自強？
❖作為最高學府的演藝學院在藝術推廣方面，除了培訓又應擔當著什麽角色呢 ？
「舞蹈學院校友會」特邀三位香港舞蹈界資深的藝術行政人員出席是次諸壇，從不用角度剖析香港舞蹈界存在
的問題，並誠邀閣下屆時出席，盡抒己見，並藉此機會齊來反思。 題目：如何提高香港舞蹈工作者的專業地位 日期：二o 0二年三月卅一日
時間：下午二時至五時正
地點：香港灣仔演藝學院四樓1號排練室
有興趣出席是次論壇者，請致電2793 9957 Ritchie Law登記訂座。
15
1EWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEWJ
算蹈快訊
CCDC India Tour 2002 城市當代舞蹈團印度之旅
the
城嚀當代舞婚圏
Indian
Council
for
化關係局邀請，於二月訪問印度三個城
Cultural Relations, CCDC visited 3
市•並分别在孟買、新德里及馬德拉斯演
cities of India and presented the works
出。
of 3 internationally renowned Hong
Kong choreographers, Willy Tsao’s China Wind - China Fire, Helen Lai^ La Vie en Rose and Yuri Ng’s Boy Story, bringing Chinese modern dance to the Indian audience.
CCDC performed at Mumbai, Homi Bahbha Auditorium, on 1 February 2002; Delhi, Kamani Auditorium, on 4
February 2002 and lastly at Chennai, Tik Auditorium, on 8 February 2002.
CCDC’s cultural visit to India was made possible by Home Affairs Bureau (Arts Development Fund) of the Hong Kong Special Administrative Region Government. 著誠淵的《中國風•中國火》。攝影：陳德昌。
三位頂尖編舞家曹誠淵、黎海寧及伍宇烈的作品帶給印
/ /
國火》、黎海寧的《粉紅色的人生》及伍宇烈的《男生》。 •
舞團分別在二月一日於孟買Homi
Bahbha Auditorium,二
月四日於新德里Kamani Auditorium,及最後一站二月八
^^<3
日於馬德拉斯的Tik
/ • L • H
顯鵬
度的觀眾欣賞。演出作品分別是曹誠淵的《中國風•中
‘
/
今次是舞團首次到印度作文化交流活動，將本地舞壇的
、之 二 潠 ‘，
琴
Willy Tsao’s Chinese Wind - Chinese Fire. Photo by Ringo Chan.
1 |
Auditorium演出。今次文化交流誠
蒙香港特別行政區民政事務局（藝術發展基金）資助。 伍宇烈的《男生》。攝影：陳德昌。
Yuri Ng’s Boy Story. Photo by Ringo Chan.
16
费蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEW! r 難*' To have your events included in the news session of the Dance Journal/HI please send your pressrelease to us by mail, e-mail or fax listed on the first page of the Dance Journe
The inclusion of news items in this section is subject to the availability of spac
Dance Awards 2002 Call for Nominations
舞蹈年獎2002候選人提名 1
踏入了 2002年，一年一度的《舞蹈年
獎》亦已開始了新一屆的候選人提名 活動。歡迎所有香港舞蹈聯盟的個人
或團體會員於2002年4月15日前以郵
壯
盟
before April 15,2002. Nominations may be made for significant individual or
organizational contributions to Hong
Kong dance during the period 1 January
XH
寄或傳真交回提名。任何於2001年1
ivMVSNVO
鄴
麒
月1日至12月31日間對香港舞蹈發展
to 31 December 2001. Nominations
need not be members of the Hong Kong
有貢獻的個人或團體均可被提名作為候選人。候選人丕
Dance Alliance, and may be in any area, such as
全為香港舞蹈聯盟會員。提名範籌包括了編舞、表演、
choreography, performance, scholarship, education, writing,
學術、敎育、著作、行政、技術支援、舞蹈記錄及領導
administration, technical support, notation, leadership, etc.
才能等。
Hong Kong Dance Awards are presented by Hong Kong 《舞蹈年獎》是香港舞蹈聯盟為表揚每年香港舞蹈界的
Dance Alliance to acknowledge the achievements of Hong
成就而頒發的獎項，目的不在比赛競爭。今年的《舞蹈
Kong dance in each year. Recipients in past years include:
年獎》已是第四屆，過去三屆《舞蹈年獎》的得獎者包
dancers Li Yong-jing, Dominic Wong, Xing Liang, Lam Lee,
括了：舞蹈員李咏靜、黃狄文、刑亮、林莉、勞曉昕、
Irene Lo, Elvin Beh, Wu Yi-san and Lim Chee Keat;
馬長靖、吳易珊和林志傑；編舞家黎海寧、梅卓燕、廖
choreographers Helen Lai, Mui Cheuk-yin, Rosalind
朗莎、楊惠美、楊春江和伍宇烈；舞蹈工作者黃志強、
Newman, Yeung Wai-mei, Daniel Yeung and Yuri Ng; dance-
王廷、張國永、陳德昌、曹誠淵和黃翠玲；舞蹈團體
support artists Tommy Wong, Andy Wong, Leo Cheung,
城市當代舞蹈團節目及市場組、香港舞蹈團、香港芭蕾
Ringo Chan, Willy Tsao and Scarlet Wong; dance
舞團敎育及外展部、香港演藝學院舞蹈學院、城市當代
organizations City Contemporary Dance Company
舞蹈團敎育及外展部和香港芭蕾舞團；以及舞蹈贊助機
Programming and Marketing Team, Hong Kong Dance
構菲利普莫里斯亞洲集團。在2001年《舞蹈年獎》更
Company, Hong Kong Ballet Education and Outreach Unit,
頒發了《傑出成就獎》予王仁曼女仕。
Hong Kong Academy for Performing Arts School of Dance,
City Contemporary Dance Company Education and Outreach 《舞蹈年獎2002》將於二零零二年八月十四日於香港大
Department and Hong Kong Ballet; and dance-funding
會堂劇院中舉行的頒獎典禮中頒發。
organization Philip Morris Asia Limited. In the year 2001, the Hong Kong Dance Awards also presented the prestigious
“Distinguished Achievement Award” to Jean M. Wong. Nominations for the fourth Hong Kong Dance Award are
now underway. All current individual and organization
Dance Awards 2002 will be announced and presented at an
members of the Hong Kong Dance Alliance are asked to
Award Ceremony at the Hong Kong City Hall Theatre on 14
make nominations for the Hong Kong Dance Awards 2002
August 2002.
Don Juan《慾孳愛情狂》 Royal Dramatic Theatre of Sweden 呢術節
瑞典皇家戲劇院
m.a-17-a
8-10/02
8:30pm
Royal Dramatic Theatre of Sweden^
HKAPA Lyric Theatre
璃典皇家戲刻院
香港演藝'學院歌劇院
Director & Choreographer
Mats Ek
導演及編舞：
馬茨•埃克 夜探戈
謂
A Night of Tango《一夜探戈》 亞洲首演 ASIA. PREMIERE
7-10/3/02
7:30pm
9/3/02
2:30pm
Hong Kong Cultural Centre Grand Theatre
香港文化中心大劇院
Directed & Choieographed by Mats Ek 導演茨•蠓充
Director:
Miguel Angel Zotto & Milena Plebs
導演：
米高•安考•佐圃及米倫拿•普爾斯
饿HZ
Raise the Red Lantern 《大紅燈籠高高掛》 National Ballet of China
中國國家芭蕾舞團 13-17/3/02 7:30pm
家岜莆
中®®
sa National Ballet of China
16/3/02
2:30m
Hong Kong Cultural Centre Grand Theatre 香港文化中心大劇院 Choreographer 編舞：WanXinpeng王新鹏 the Ballet «« »S
曲原*，.、迸＜粜#«格＞ Adapted liom lh« none! Kain the teJ tevlem by Su long
«I«RK
張藝煤
Director 導演：
Zhang Yimou 張藝謀
Jb*ni＞l/Dii«lur/A.-liiic Di'tciof
Zhang Yimou
Play Boys《哥仔戲》 多個中國民族的民間舞蹈及軍旅舞蹈，包括
桃李杯J及全軍舞蹈比賽獲獎作品
f
與 中 香 國 港 紫 前 花 舞 蹈 團
上環文娛中心劇院
15-16/3 8pm $120, 90 2268 7323
出
民 解 放 軍 藝
14-17/3/02 8:00pm
Arts Centre Shouson Theatre 藝術中心壽臣劇院 Choreographer
Daniel Yeung
編舞：
楊春江
1
no时仙狀堆葢蕩装出以吣彝
Five Colours of Ethnic Dances 《五彩民族情》 中國人民解放軍藝術學院藝術團 香港紫荊花舞蹈團 15-16/02
|)Kavotafeze albmalj JanC«^|ieafr« L©l/£ k /ia/e amo"度 maje animals ，一相⑽w香離誌縳郎糾
8:00pm
Sheung Wan Civic Centre Theatre 上環文4吳中心劇院
Holiday Ballet Course 假日芭蕾舞課程 JJWUCqZ VXXU4/1
曰
Hong Kong Ballet & HKAPA
香港芭蕾舞團及香港演藝學院
29-30/3/2002 Jointly preicnlcd by The Hong Kong Ballei oik) The Hong Kong Acodemy for Performing Arts i 6 K
29-30/3/02
山？ 浓ft tt &及 沿浓妗吵 合浙
HKAPA香港演藝學院
Guanyin《觀音的故事》 Hong Kong Dance Company 香港舞蹈團 22-13/3/02
7:30pm
24/3/02
3:00pm
Sha Tin Town Hall Auditorium
沙田大會堂演奏廳
\7-^g
八.wv.、八
Director & Choreographer:
Fang Yuan
導演及編舞：
方元
\The Sleeping Beauty《睡美人》 Hong Kong Ballet香港芭蕾舞團
Hong Kong Dance Company
Mythical Dance Drama
29-31/3/02 7:30pm, 30/3-1/4/02 2:30pm
Guanyin
方元 O(«ic<S Ctwejjrj^er
Sha Tin Town Hall Auditorium沙田大會堂演奏廳
Choreographer:
Marius Petipa & Stephen Jefferies
編舞：
佩蒂巴及謝傑斐
(Avalokitesvara)
The Goddess of Mercy
Fang Yuan
(]
作a 锊治•馬克斯玆 Compasef George Maxmann
22 ~ 23 • 3 • 2002 <疆«£» 六 Frt.S*tn:30pm
Sffl llckcu
24 • 3 • 2002
货演奏B
(IMBSun)3^0pn, 沙田大會 Sha Tin Town Hall Auditorium
$200, $160, $120, $90
Featuring over ten new exciting and inspiring choreographies by APA faculties and
First Move
Dance Gala
First Move《首演》 HKAPA School of Dance Alumni
香港演藝學院舞蹈學院校友會 30/3/02 2:00pm, 8:00pm HKAPA Studio 1香港演藝學院一號排練室
《舞蹈員的專業地位》論壇
Choreographer :
APA faculties & graduates
香港演藝學院舞蹈學院校友會
編舞：
2-5:00pm 演藝學院敎職員及畢業生 31/3/02 香港演藝學院一號排練室
365 Ways of Doing & Undoing Orientalism 《365種係定唔係東方主義》 CCDC城市當代舞蹈團 5-6/4/02 8:00pm, 7/4/02 30 March 2002 (Sat.) 2 p.m. , 8 p.m. The Hong Kong Academy For Performing Arts Studio 1
3:00pm
香港文化中心劇場
HKCC Studio Theatre Presented by Schoo! of Dance Alumni Acknowledgement: apa School of Dance DanceArt Hong Kong
Choreographer:
Willy Tsao, Sang Jijia, Xing Liang
編舞：
曹誠淵、桑吉加、刑亮
Nine Songs《九歌》 CCDC城市當代舞蹈圑 12-13/4/02 8:15pm, 14/4/02 3:00pm HKCC Grand Theatre香港文化中心大劇院
[((1
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p -)
m 霸■(»，
Choreographer:
Helen Lai
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最诖庙位保旺i :
065 轤#«««*.巧 5-7.4-J002
即時盯票可獲离遭六折優惠i
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12.14.4,200?
Members of Hong Kong Dance Alliance HONORARY ADVISORS
香
戴愛蓮女士
人會員
港
白朗唐先生 陳錦明先生 張秀梅女士 宋孟青女士 高家霖先生 郭慧芸女士 洪麗虹女士 雷佩瑜女士 吳雪梅女士 曹誠淵先生 黃翠玲女士
聽 會貢
I 朱絜女士
Ms Ailian Dai
Ms Chu Kit
INDIVIDUAL members Mr Tom Brown Mr Clement Chan Ms Cheung Sau Mui Ms Wendy Chu
Mr Graeme Collins Ms Vivian Kwok Ms Hung Lai Hung Ms Florence Lui Ms Violet Ng
Mr Willy Tsao
包卓柏先生 陳德昌先生 錢秀連女士 秦懿欣女士 謝漢文先生 ilj主分女士 羅詠芬女士 謝麗娜女士 施素心女士 溫玉均先生
Mr Csaba Buday Mr Ringo Chan Ms Miranda Chin Ms Ulian Chun
Mr Mohamed Drissi Ms Medina Lau Ms Kim Law
簡麗珊女士 周全輝先生 宋絜女士 鍾秉瑜女士 黃亞華先生 黎海寧女士 李念椿女士 施德安先生
聯
盟
會
共享空間舞蹈劇場 基督徒舞坊 小燕子舞蹈團 舞蹈菲場 蔥動派創作空間 香港演藝學院 香港演藝學院舞蹈學院校友會 香港芭蕾舞團 香港舞蹈團 本地薑 創作天地 王仁曼隨舞學校 ®摯歐洲民族舞蹈組 Life
三分顏色 原體系 至:的体 亞洲青少年芭蕾舞團
Ms Helen Lai Ms Charissa Lee
Mr Sze Tak On
Contact Person
莫佩雯女士 陳紹傑先生 余艷芬女士 袁惠東先生 尤月興女士 毛妹太平紳士 曹誠淵先生 梅卓燕女士 王廷琳先生 湯布力先生 曾雪麗女士 馬金泉先生 曾澳英女士 鄺婉儀女士 宋倩儀女士 李以珊女士 施素心女士 王廷琳先生 吳杏冰女士 劉鎭強女士 賴文慧女士 孫名翠壮 醐瑛牡 謝纖先生 韓錦濤女士 趙浩然先生 帕夏吾賣爾女士 徐偉業先生 鍾瑱女士 鄭志銳先生 李笑玲女士 楊春江先生 蘇漢華/鍾詠賢
Arts Plus
Ms Paula Mok
Billy Chan Dance Centre
Mr Billy Chan
BIZI SITE
Ms Congo Yu
The Boheme Dance Company
Mr Yuen Wai-tung
Champion Ballroom Dancing Academy
Ms Diana Yau
Christine Liao School of Ballet
Mrs Christine Liao, JP
City Comtemporary Dance Company
Mr Willy Tsao
Contact Point
Ms Mui Cheuk-yin
DanceArt Hong Kong
Mr Andy Wong
Dance HK/NY
Mr Tom Borek
Danse A LiLi Ballet Academie
Ms LiLi Tsang
DMR School of Ballet
Mrs D. M. Wayburne
Dua Space Dance Theatre
Mr Anthony Meh Kim-chuen
Evangelical Dancing Troop
Ms Tsang O-ying
The Flying Swallow Dance Studio
Ms. Diana Elia Kwong
The Flying Works
Ms Phoebe Chu
Greensco
Ms Coral Lee
The Hong Kong Academy for Performing Arts
Ms Susan Street
HKAPA School of Dance Alumni Association
Mr Andy Wong
Hong Kong Ballet
Ms Helen Ng
Hong Kong Dance Company
Ms Chun Keung Lau
Hong Kong Ginger
Ms Cherry Lai
FTS Creative
Ms Keren Suen
Jecn AA. Wong School of BcJet
Ms Arma Chen
Knack Cordid Folk Group
Mr. Kenneth Tse
Ones To Watch Dance Company
Ms Angela Hang
R5
Life Musical Theatre
Mr Rex Chiu
Silk Road Cultural Society
Ms Pasha Umer
Spring Poetry
Mr Terry Tsui
Synchro
Ms Jamie Chung
Three Colours
Mr Afa Chiang
Uncarved Block
Ms Ling Lee
y. d. thearter
Mr Daniel Yeung
Youth Ballet of Asia
普通會員 ASSOCIATE MEMBERS 士士生 女女先 昏蘭誠 拾秀艷島 小張關松
slO
Ms Cheung Sau-fan Ms Kwan Yim-Ian
Mr Makoto Matsushima Ms Daphne Wong
，單
Mr Huynh a-hoa
ORGANIZATION MEMBERS
音樂劇場 絲路舞蹈文化協會 躍舞翩
名
Ms Stella Chung
Ms Scarlet Wong
陳紹傑舞蹈中心 異色工房 波希舞蹈團 精舞門標準舞蹈學院 毛妹芭蕾舞學校 城市當代舞蹈團 接觸點 動藝 舞渡界 曾雪麗芭蕾舞學院
R'
Ms Chu Kit
Mr Peter Williams
Mr Aaron Wan
聯絡人
蹈
Mr Chau Chuen Fai
Mr Kevin Ng
Ms Rashna Homji Ms Susan Street
Ms Margaret Carlson
袁美華女士
Ms Yuen May Hah
陳桂思女士 鍾晶女士
Ms Suki Chan Ms Chung Ching
陳金鳳女士 周詠詩女士 陸慶藥先生 莫裕康先生 黃洛淋女士
Ms Chan Kam Fung
陳麗娜女士 黎雅慧女士
Ms Lina Chen
Ms Chow Wing Sze
Mr Luk Hing-sun Mr Juergen Morhard Wong Lok Lam
Ms. Lai Nga Wai
鄭珮雲女士 宋文秀女士 陸惠研女士 尹子欣女士 李彩嫻女士
蔡嘉樂先生 盧幸賢女士
Ms Cheng Pui Wan
Ms Chu Man-sau
Ms Luk Wai-yin Ms Maria Assunta Wan
Ms Lee Choi-han
Mr Cody Choi Ms Candy Lo
Membership Form
暑員申韻表 會牵昔
Membership
(
)Individual
(
)
(
)Associate*
(
)Student*
個人會員 團體會員 普通會員* 學生會員*
Organization
Individual/Associate/Student Member1 s Information
________________
Affliated Cultural Organization
Telephone
電話
$50
(中文)____________
所屬勢術機構 ________________ Fax 1專真
通訊地址 ________________________
E-mail Address電垂时也址
Organization Member1 s
$100
Company公司名稱_________
______________________________
Correspondence Address
$600
個人 / 普通 / 學生會員資料
Name $生名(English)_____________________________________________
Position職位
$200
_____________________________
Information
團體會員資料
Name of Organization_____________________________________________________
團體名稱___________________________________________ Person in Charge
Telephone
電話
負責人(English)____________________________________________(屮义) ______________________________
Correspondence Address
E-mail Address
Fax
通訊地址
電郵地址 ____
Applicable Dance Category
芭蕾
1
| Ballet
I
I Asian Folk亞洲民族舞
I
I Education
|
| Cultural & Arts Administration
|
| Musical Theatre/Jazz/Tap Dance
|
| Others
Signature
傳真 _______
|
| Contemporary
所屬舞蹈類別 j一21 Chinese Dance
現代舞
[Zl European Folk區欠洲民族舞
教育
|^ZI Criticism
寫作與評論
文化及藝術行政
音樂舞劇 / 爵士舞 / 踢躇舞
中國舞
|
| Ballroom國際標準舞
|
| Technical Arts
|
| Notation舞蹈記錄
|
| World Dance世界舞蹈
舞台技術
其他 ______________________________________
簽署：_________________________________
Date 日其月：_________________________________________
Please enclose cheque payable to HONG KONG DANCE ALLIANCE with this application form to: c/o Office of the Associate Dean, School
of
Dance,
Hong
Kong
Academy
for
Performing
Arts,
1
Gloucester
Road,
Hong
Wanchai,
Kong.
請填妥表格連同劃線支票抬頭寫：「香港舞蹈聯盟」寄香港灣仔告士打道一號香港演藝學院舞蹈學院副院
長辦公室轉交香港舞蹈聯盟收。 沒有投票權姐
Non voting