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Hong Kong Dance Alliance Executive Committee :

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副主席 Vice Chairman: 秘書 財政 委員

Secretary : Treasurer: Members :

Brown 曹誠淵Willy Tsao 吳杏冰Helen Ng 孫名翠Karen Suen 陳頌瑛Anna Chan 劉鎮強 Lau Chun Keung 李念春 Charissa Lee 施德安Cecil Sze 白朗唐Tom

楊春江

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編輯部

EDITORIAL BOARD

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. Wolzâ&#x20AC;&#x2122;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 Schooďź&#x161;

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

i'j

p -)

m 霸■(»，

Choreographer:

Helen Lai

虢I

级;备宣

B

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

査M

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