港舞蹈聯
HONG KONG DANCE ALLIANCI
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香港舞蹈聯盟理事委員會 Hongkong Dance Alliance_Execuyye Committee :
白朗唐 Tom Brown
整版
Full Page
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孫名翠 Karen Suen
圭寸底Back Cover
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主席 Co-Chairman :
副主席 Vice Chairman: 曹誠淵 Willy Tsao 秘書 Secretary : 吳杏冰 Helen Ng
財政 Treasurer:
陳頌瑛 Anna Chan Chung Ying
委員 Members :
劉鎮強 Lau Chun Keung
*丁 刊登廣吿兩期或以上可獲八折優惠 " IJZSJ貝百只MS乂从丄叟/、幻门変忠
20% discount for ads in 2 or more consecutive issues
李念春 Charissa Lee "請將稿件郵寄、電郵或傳真至本會，中英不限。
編輯 Editors :
白朗唐
Tom Brown
來稿被刊登者可得稿費。Submission of
施德安
Cecil Sze
unsolicited articles (Chinese or English) can be made through mail, e-mail or fax to Hong Kong Dance
專欄住Columnists :
Alliance. Authors of articles selected for
劉建華
Jaspar Lau Kin Wah
陳頌瑛
Anna Chan Chung Ying
publication will be paid for their work.
打閲
|殳計及麗片反Design & Layout:
施德安
Cecil Sze
ubsctLptLon
《參鲧砂札》是免費派發予香港舞蹈聯盟會員的
刊物，非會員可以下列年費訂閲。請將支票連同
聯絡地址 Correspondence Address: 香士&道—i^港藝學院
姓名地址寄來本會。dance journal/ hk is distributed
舞蹈學院副院長辦公室
free of charge to members of the Hong Kong
c/o Office of the Associate Dean, School of Dance,
Dance Alliance. Yearly subscriptions are also
Hong Kong Academy for Performing Arts,
available at the following rates. Please send
1 Gloucester Road, Wanchai, Hong Kong
cheque, name, and address to the Alliance office.
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本刊物所表達之意見或觀點及其所有內容，均未經香港舞蹈聯盟或香港藝術發展局 作技術性認可或證明確實無誤，亦並不代表香港舞蹈聯盟或香港藝術發展局之立
場0
The judgement and opinions expressed and the content included in this
publication do not carry technical endorsement or authentication by, nor necessarily
港藝術發展局 Hong Kong Arts Development Council
Sponsored by:
iw •EHlOK.MlMiAIUS
a
iHi #
ZV ZVAl
represent the views of, the Hong Kong Dance Alliance or the Hong Kong Arts
Development Council.
康樂及文化事務署
Leisure and Cultural Services Department
天虹印刷有限公司
Rainbow Printings Limited
Contents 目錄
NEWS Vol.5
ftS院
舞蹈快訊 香壤膾
圖書館
No.4
THE HONG KONG ACADEMY FOR PERFORMING ARTS LIBRARY
Cover封面 Hong Kong Academy for Performing Arts' 2003「學生暑期密集舞蹈短訓班」
Partition in Black
城市當代舞蹈團將於今年七、八月期間舉行兩個分別為期兩
香港演藝學院《分隔一黑》
星期的「學生暑期密集舞蹈短訓班」。這個特別為學生而設
計的「短訓班」’今年已是第三年舉行，適合從來沒有接觸
舞蹈快訊NEWS
1
舞蹈’但又想親身體驗各種舞蹈類別的學生 。內容包括了著
重身體協調、意念表達的現代舞；現今大熱的街頭爵士舞： 重節奏感的踢躂舞；集歌、舞、戲三合一的音樂劇：舒展、
分散投資與意外回報
強化肌肉的伸展練習；以及互相合作的雙人舞技巧。出席率
Diversified Investment Diversified Reward
平均達80%或以上的學生，可免費申請出席証明書。2003 「學生暑期密集舞蹈短訓班 」導師包括趙浩然（踢躂舞、音 樂劇）、鍾碧霞（現代舞、街頭爵士舞）和徐茵祈（伸展練
文：劉建華 by Lau Kin Wah
5
習、雙人舞技巧）。查詢：2328 9205 / 2194 7057 /
edu@ccdc.com.hk o
School Dance Education Research and Development Project Report 學校舞蹈研究及發展計劃報吿
《杜蘭朵》-芭蕾舞劇全球首演
香港芭蕾舞團將於今年九月首次演出其最新作品《杜蘭朵》 一芭蕾舞劇。這齣芭蕾舞劇，是受到普契尼的著名歌劇啟發
by: Anna C Y Chan
文：陳頌瑛
創作而成。全劇以公主杜蘭朵、女僕柳兒和王子卡拉富為主
8
線，來表達愛的不同層面。故事中的杜蘭朵公主冷酷無情， 設下三條難題來招選駙馬，並把答不出謎底的王子處死；直
HK Dance Awards 2003 舞蹈年獎2003 Editorial Board 編輯部
14
2003 SUMMER INTENSIVE DANCE COURSES FOR
STUDENTS
Change
by Tom Brown
17
City Contemporary Dance Company will organize two two-
week-long SUMMER INTENSIVE DANCE COURSES FOR
《人流》
文：方人
20
STUDENTSJuly and August. This is the third consecutive
year for these courses, which are specially tailored for
舞蹈節目表 Dance Events
students who have never experienced dancing before but
21
want to experience different kinds of dance. This intensive course includes Modern Dance, which focuses on the combination of body movements and ideological
presentation; Street Jazz, which is the hottest type of dance that youngsters love most; Tap Dance, which stresses
rhythms; Musical, which is a combination of dance, drama and singing; Stretching Exercise, which releases muscle
tension; and, Partnering Class, which is composed of how to use each other’s weight, correct positioning in motion and communication. Students whose attendance rate is
80% or more can apply for an attendance record for free.
The Instructors of 2003 SUMMER INTENSIVE DANCE COURSES FOR STUDENTS include Rex Chiu (Tap, Musical), Jocelyn Chung (Modern, Street Jazz), and Liz Tsui (Stretching Exercise, Partnering Class). 2328 9205 /2194 7057 / edu@ccdc.com.hk.
Image: Hong Kong Ballet’s Rite of Spring Photo: Tony Luk 圖：香港芭蕾舞團《春之祭》。攝影：陸嘉鑾
Enquiry:
至神秘的卡拉富王子出現，才成功解答謎底，並以其真情融
Turandot - the ballet World Premiere
化了公主的冰冷假面。《杜蘭朵》一芭蕾舞劇是由活躍於國
Hong Kong Ballet will premiere its latest production, Turandot
際舞壇的編舞家娜奈莉•維亞創作°維亞曾為澳洲主要舞團
-the Ballet, this coming September. Set in legendary times,
編舞，最近亦為候斯敦芭蕾舞團及美國芭蕾舞劇院創作°在
the ballet was inspired by Giacomo Puccini’s famous opera,
這齣新作中，維亞在芭蕾舞的傳統領域中’以現代的手法’
about the cold-hearted Princess Turandot who sets three
配以普契尼的音樂'比爾■海克的簡約而大膽的布景和服裝
riddles for suitors and kills all who fail, and how one
設計、以及李樹生的燈光設計’來演繹這個愛與恨的傳奇故
mysterious suitor, Calaf, transforms her emotionally by the
事。詳情請參看第十一頁的廣吿。查詢：2105 9724 /
power and irrationality of love. Turandot - the ballet is
marketing@hkballet.com.
choreographed by internationally renowned Natalie Weir,
who has choreographed works for most major dance 「舞蹈無界限」
companies in Australia and recently created works for
由康樂及文化事務署主辦’蒽動派創作間製作的「舞蹈無界
Houston Ballet, American Ballet Theatre and Hong Kong
限」一巡迴示範自2002年起推行’分別於多間學校及劇院 大堂內作敎育式的表演。目標是以由淺入深的方法介紹舞
Ballet. While keeping within the classical ballet tradition,
this modern interpretation of the celebrated legend, using
蹈，讓社會大眾有一個接觸舞蹈的機會，將藝術融入廣大市
Puccini’s score, with simple yet bold sets and costumes
民的生活中，打破思想上、階級上、能力上等各種界限。承
designed by Bill Haycock and lighting designed by Kim Lee
接上年度的計劃，2003年全新製作的「舞蹈無界限」設計
evokes the most powerful emotions of love and hate,
了更多更有趣的節自給觀眾參與和欣賞。除了舞蹈員示範現
devotion and sacrifice.
代舞及爵士舞作品和介紹舞蹈技巧外，節目亦包括互動式的
advertisement on Page 11.
遊戲《你編我跳》及《遙遠的他》，讓觀眾可以成為舞台上
marketing@hkballet.com.
Details please refer to the Enquiries: 2105 9724 /
的演員。場館內的小展覽亦有助大家認識有關舞蹈的歷史。
「舞蹈無界限」於2003年8月24日(星期曰)’假沙田大會
‘DANCE WITHOUT BOUNDARY’
堂地下大堂舞台舉行，費用全免。舞蹈演出時間為下午3時
Presented by the Leisure and Culture Services Department
至4時，資料展覽時間則是下午2時至4時。查詢：蒽動派
and produced by Greensco, 'DANCE WITHOUT
創作間(27516068 / http:// www.greensco.org.hk)或康
BOUNDARY’ -- Tour Demonstration has been conducting
樂及文化事務處(26942560 / http://www2.lcsd.gov.hk/cf/
educational performances in different schools and theatres
search/details.cfm?lang=b5&id=14392)。
since 2002.
Continuing last year project, the new 2003
production is designed with more interesting activities for
the audience to participate and appreciate.
Beside
demonstrations of Modern Dance and Jazz by professional
dancers and introduction of dance techniques, the programme also includes some interactive dance games, which provide the audience a change to perform on stage.
A small-scale exhibition about dance history will be setup in the venue also.
*3-
‘DANCE WITHOUT BOUNDARY' will be
held on 24 August, 2003 (Sunday) at the Lobby of Shatin ‘DANCE WITHOUT BOUNDARY’ performance
2
「舞蹈無界限」演出
Town Hall, with dance performance between 3 and 4pm and exhibition between 2 and 4pm.
Enquiry: Greensco
(27516068 / http:// www.greensco.org.hk), or the Leisure
and Culture Services Department (26942560 / http://www2.
Icsd.gov.hk/cf/search/details.cfm?lang=b5&id=14392). 假曰芭蕾舞課程
HOLIDAY BALLET COURSE
於今年的八月四日至六日，香港芭蕾舞團與香港演藝學院合
Between 4 and 6 August 2003, the Hong Kong Ballet and
辦「假日芭蕾舞課程」，內容包括了芭蕾舞技巧、《睡美人》
the Hong Kong Academy for Performance Arts co-present
劇目選段、社交舞及中國舞工作坊和實驗表演。課程適合男
HOLIDAY BALLET COURSE, with contents of Ballet
女學生參加，參加者無須具備舞蹈經驗。查詢：2 1 05
technique, repertoire class of The Sleeping Beauty, Social
9744。
Dance, Chinese Dance workshop and informal showing. The course is suitable for boys and girls, and no previous
「世界舞蹈聯盟-亞太週年大會」
experience is required. Enquiry: 2105 9744.
由於受到非典型肺炎的影響，原定於本年暑期舉行的「世界
舞蹈聯盟一亞太週年大會」現已決定於9月26至28日，於 馬來西亞吉隆坡舉行，歡迎所有香港舞蹈聯盟會員參加。大
WDA-AP Annual General Meeting Due to SARS, the WDA-AP Annual General Meeting,
會亦設有包括了住宿、早午餐、會議、研討會和晚間演出的
「套票」’售價由US$185至265。查詢•： 2584 8753 /
originally scheduled to be held this summer, is postponed to 26-28 September 2003 in Kuala Lumpur, Malaysia. All
hkdalli@netvigator.com °
Hong Kong Dance Alliance Members are welcome to attend
「舞蹈平台」......繼績
the meeting. Packages, which include accommodation and
「舞蹈平台」是一個讓觀眾經歷編舞過程的計劃。經過首兩次
breakfast, lunch, meetings, seminar and evening
的作品展演，以及演後與編舞前輩的討論後，參與計劃的新
performances, are available for US$ 265 to 370. 2584 8753 / hkdalli@netvigator.com.
進編舞者將會把進一步修改和發展的作品再次展現於觀眾眼
Inquiry:
前。張秀梅、孫銘傑、梁秀妍、王麗虹、張學良、鄭敏芝、
林建洪、梁綺雯、朱淑雯、李健偉與霍偉基，以及廖展邦與
DANCE PLATFORM...... Continues
張彩婉等編舞者將分別於9月26日於藝穗小劇場和10月31 曰於演藝學院一號舞蹈室展演他們的編舞作品。最後的正式
DANCE PLATFORM allows audiences a window onto the
ongoing process of choreographing. After presenting their
演出則是12月19和20日於牛池灣文娛中心劇院舉行。「舞 蹈平台」是由香港藝術發展局資助，香港演藝學院和藝穗會
works-in-progress in the first two Showings, and receiving
協助。最後演出之場地及售票服務由康樂及文化事務處贊
each showing, participating up-and-coming choreographers
助。查詢：2584 8753 / hkdalli@netvigator.com °
consider further refinements of their dance ideas and present
comments from established choreographers at the end of
their further developed works on 26 September at the Fringe 香港藝術發展局「舞蹈調查研究及推廣計劃」
Club and 31 October at HKAPA Dance Studio One. The
香港藝術發展局於2002年推出「舞蹈調查研究及推廣計
participating choreographers in these Showings include
劃」，旨在透過調查過去三年（2000年1月至2002年12月） 香港舞蹈活動供求情況，統計及研究市民對舞蹈的興趣及投
Vanessa Cheung, Anthony Suen, Jo Leung, Paige Wong,
入程度，以便建議更有效的推廣策略。計劃亦包括一連串多
Peggy Chu, Max Lee & Fok Wai Kei, and Bruce Liu & Trista
Rick Cheung, Sharon Cheng, Kelvin Lam, Cindy Leung,
元化的推廣及遊説活動，希望藉此加強市民及各界對舞蹈的
Cheung.
支持，創造更有利舞蹈發展的空間及環境。經過香港藝術發
for 19 and 20 December 2003 at Ngau Chi Wan Civic Centre.
Performances of the finished works are scheduled
展局審議後，最後委任「雅苗有限公司」聯同「薈益有限公
DANCE PLATFORM is a unique 叩portunity for audiences
司」及「0 Communications」為「舞蹈調查研究及推廣計
to see dance develop, and gain insight into the ongoing
劃」之合作伙伴。整個計劃之調查及研究部份由去年10月
dialogue between the choreographers’ and outsiders’
開始至今年5月，期間進行有關舞蹈活動及其 「需求者」的 資料收集、分析整理、再擬定可行的推廣策略提交香港藝術
perceptions of works. DANCE PLATFORM 'S supported by
發展局審議。調查研究主要發現：
The Hong Kong Arts Development Council, the Hong Kong
Academy for Performing Arts, and the Fringe Club, with
1. 香港舞蹈活動正多元化發展（超過三百所舞蹈團體、舞
venue and ticketing services for the final performances
蹈學校及社區中心在本港提供每星期約二千節的舞蹈
provided by the Leisure and Cultural Services Department. Inquiry: 2584 8753 / hkdalli@netvigator.com.
課程，亦在過去三年舉辦千多個舞蹈演出 、比賽、工
作坊及研討會等）
2. 舞蹈是一項受大眾歡迎的活動（全港有差不多四成人
DANCE RESEARCH & MARKETING PROJECT
口，約二百萬人對舞蹈感興趣，其中兩成六是自己有
With the objectives of gathering statistics of dance activities
跳舞經驗的「參與者」，而兩成四則是「觀眾」）
organized in the past 3 years as well as the participation in
3. 舞蹈可以提供多項益處（除了是一項有益的運動外，亦 可舒緩壓力，提升藝術情操，啟發創意）
dance activities by Hong Kong people with a view to
recommending more effective strategies for marketing of
這個計劃並製作了一段介紹香港舞蹈藝術的宣傳短片，及輯
dance in Hong Kong; and taking proactive steps to promote
錄了一部載有本地51位傑出舞蹈藝術家資料的《香港傑出 舞蹈藝術家名錄》，希望藉此提升本地舞蹈藝術家的地位。
the development of dance in Hong Kong, the Hong Kong
未來數月更會進行一連串的試驗性計劃協助推廣本地舞蹈活
Arts Development Council (“ADC”)launched the “Dance
動，亦會探訪政府部門、外交使節、傳媒、家長及社團組
Research and Marketing Project” initiative in 2001.
織、私營機構等以遊説各界加強支持及贊助本地舞蹈藝術 。
evaluation of project applicants, the ADC commissioned
如有垂詢或欲訂購《香港傑出舞蹈藝術家名錄》，請電
25417015或電郵至kalie@prestique.com與薈益有限公司
Artvocat Limited and its business partners Prestique Limited and O Communications to execute the project. The project
陳小姐聯絡。
kicked off in October 2002, and up till May 2003, extensive
dance so as to nurture a more conducive environment for
After
research and analyses have been carried out to identify the 「樂舞中華」講座和工作坊
「樂舞中華」是由康樂及文化事務處所主辦的「中國舞蹈文
demand and supply of dance activities, as well as interest in dance shown among the general public and dance
化系列」的一部份，意在介紹流傳悠久的中國舞蹈文化，讓
Participants/Audience.
Recommendations based upon
大家對中華民族舞蹈的發展面貌有初步的認識和瞭解，增加
research findings were submitted to the ADC for
對中國古老文化的熱愛。於8月1日至29日舉行的「樂舞 中華」，內容包括了「古代」、「近代」和「舞風」三個講
consideration. The key findings include: 1. Dance activities flourish in Hong Kong, (there are over 300 dance organizations, dance schools and community centres providing an average of 2,000 sessions of dance classes per week. Besides, they have organized over 1,000 pure dance performances, competitions,
座，以及「中國古典舞身段」、「新彊維吾爾族舞蹈」和「藏
族舞蹈」三個工作坊，均由鍾晶女士主持。所有講座和工作 坊全是入門課程，適合略有舞蹈基礎人士參加。查詢：
2268 7323 / www.lcsd.gov.hk/cp。
workshops and seminars in the past 3 years.)
舞蹈敎育體驗計劃一《哪吒鬥海》兒童舞劇
「芭蕾101 c熱」舞蹈表演
是芭蕾，是拉丁，是優雅’是瀟灑’是寫意但又能灼熱心
以中國舞蹈的創作、敎育和推廣為己任的舞團「本地薑」於
情。亞洲青少年芭蕾舞團於九月的四個週末帶來「芭蕾101
本年九月至明年一月舉行「舞蹈敎育體驗計劃」一《哪吒鬥
t熱」。編舞蘇漢華和林偉源嶄新地將芭蕾舞元素與拉丁舞 精髓整合，在這炎夏中’拉闊芭蕾的溫柔’感染活潑陽光味
海》兒童舞劇，內容包括舞蹈及排練、戲劇課、串排'講
道。富表現力和創造力的舞蹈員’匯聚於這個「時尚」表
4-18歲人士參加。這個計劃是牛池灣文娛中心節目夥伴計
演，帶來賞心悦目的週末。在禮頓山社區會堂的演出更特備
劃的一部份，由康樂及文化事務署與灣仔劇團主辦。查詢：
冰涼飲品，熱鬧輕鬆地與你來一個芭蕾Tea Party !演出地
何小姐9623 7732。
座、綵排和演出。計劃分成幼兒、兒童及青少年三組，適合
點分別為：奧海城(6/9, 4-5pm)，跑馬地禮頓山社區會堂
(13/9, 4-5pm)，青衣城(20/9, 4-5pm) ’ 及屯門市廣場(27/ 9,4-5pm) 。「芭蕾101 °C熱」是康樂及文化事務署主辦 的「2003年社區文化大使」計劃的一部份。
2. Dance activities are p叩ular. (40% of the population over 2 million people - are interested in dance activities.
26% of them are dance Participants and 24% are
Audience.) 3. Dance offers many benefits. (Not only is dance a good exercise, but dance also helps promote relaxation,
develop artistic temperament and build creativity.) In addition to research, a short promotional video on dance
《香港傑出舞蹈藝術家名錄》中所列藝術家合照
The Artists listed in Hong Kong Dance Hall of Fame.
was produced and the inaugural issue of Hong Kong Dance Hall of Fame was also published to pay tribute to 51 Hong Kong Permanent Residents who have made outstanding
achievements in dance as well significant contributions
towards the Hong Kong dance scene.
In the coming months,
pilot schemes will be carried out to test-market the recommended promotional strategies, and lobbying meetings will be scheduled with governmental departments, consulates and embassies, corporations, parent and social groups and
the media in order to raise their awareness in dance promotion and solicit further support towards the development of dance in Hong Kong.
For more information
of the project or ordering Hong Kong Dance Hall of Fame please contact Kalie Chan of Prestique Limited at 25417015.
BALLET 101°C-K New Look of the Old Art.
Every weekend in September, Youth Ballet of Asia will warm your hearts through a series of ballet spectaculars with
sprinkles of Latin emotions.
Choreographers So Hon Wah
and Allen Lam offer impeccable tenderness with a continual sense of surprise, marrying layers of classical elegancies to amorous feelings; challenging dancers to pirouette with
ingenious new energy while accompanied by Latin music,
swinging body to dramatic effect; and enlivening squarely positions with playful gestures. BALLET 101°C\n'\W perform at
Olympian City (6 September, 4-5pm), Leighton Hill Community Hall (13 September, 4-5pm), Maritime Square, Tsing Yi (20
“Dancing into the Chinese Tradition” Lectures & Workshops As a part of the “Chinese Dance Culture Series” presented
by the Leisure and Cultural Services Department, “Dancing into the Chinese Tradition” is an introduction to the rich
heritage of Chinese dance culture, with objectives of improving the participants’ understanding of the development
of Chinese Dance and their passion to the Chinese culture.
Held between 1 and 29 of August, “Chinese Dance Culture Series” includes three lectures about historic Chinese dance culture, recent Chinese Dance, and Chinese Minority Folk Dance; and three workshops of classical techniques, Xinjiang Dance and Xizang Dance. All lectures and workshops are conducted by Maggie Chung in Cantonese, and are suitable for those with a basic knowledge of dance. Enquiry: 2268 7323 / www.lcsd.gov.hk/cp.
September, 4-5pm), and Tuen Mun Town Plaza (27 September, 4-5pm). BALLET 101°C is a part of the Community Cultural Ambassador Scheme 2003 presented by the Leisure
and Culture Services Department. Enquiry: 2234 6317. Dance Education Experience Project Hong Kong Ginger, a dance organization with missions of creating, teaching and promoting Chinese Dance, will organize a Dance Education Experience Project between September 2003 and January 2004. The project, which includes dance
and drama classes, rehearsal, lecture and performance, is divided into 3 age-groups for participants between 4 and 18
year old. The project is partnered with Ngau Chi Wan Civic Centre, and presented by the Leisure and Culture Services
Department and Wanchai Theatre. Enquiry: Miss Ho 9623 7732.
請以本刊封面內頁所列的關絡方式提供舞蹈資訊
Send news items to the Joutrnal at the contacts listed on the inside cover
沿舞壇手記-
Dance Diary
分散投資與意外回報
Diversified Investment - Diversified Reward 這個專欄的原意*本是想將每期手札之間的不同
(
t
演出都包納，順帶讓一些或構不成一整篇的評論
this type of composite dance review, r appearing, as it does, every other
也可以有機會刊登，加強舞圈文字上的意見交流；奈何
month, seems unfortunately to come both a bit too frequently
時間上總像不大配合，每次在截稿前動筆，都已離演出
and also too far apart. Too frequently because performances
日久，再多的筆記都始终不及腦海的鮮活形象有助整理
are often more scattered than imagined, and too far apart
思路。另而，原來現代舞的演出實在也不多，反是個人
because, by the time the review is published, they may have
不熟悉的芭蕾舞演出，成了最常談的項目。最後加上因
long since faded from memory.
為私事出門而錯失了香港舞蹈聯盟在藝穗會的舞蹈平台
展演，這可能又是一篇不太合格的本地舞評雜絮。
Among the three performances reviewed in this article, the
earliest is RED, the Academy for Performing Arts School of 在本文所評的三項演出中，最早看的，該是五月中香港
Dance graduation program shown in mid May, which
演藝舞蹈學院的年度畢業演出：《紅》，節目分別由三
presented three dance works from three different
位不同國籍的編舞家作品湊合而成。法國編舞羅弼的
choreographers. French choreographer Herve Robbe’s work
《分隔一黑》在似星空的背景、悠和的節拍下以輕柔的
started with a soft swinging rhythmic movement under a
擺動起始，背幕的線條和舞者的組合偶爾讓人讀出彼此
starry sky and slowly evolved into a more complex and
的平行性，及後卻慢慢轉向雜和亂，較難忘的，要算是
chaotic choreography. Some parallels could be construed
女舞者依著男舞者向背後跨踏向半空的那一勾步。澳洲
between lines projected on the cyclorama and the dancers’
來的維亞所編的《默言》，是支講述一對男女戀人決要
formations, blit the sudden backward stretching of a leg in
衝破障礙走在一起的芭蕾舞作，然而這不幸就把另外兩
mid air was the most visually memorable movement of all.
對舞者變成了伴跑的調和人，女主角自身也似乎欠了一
The next work, Australian Natalie Weir’s Unspoken, was a
段獨舞。三人的拋拉較有幅度的瞄頭外，整舞的動作好
ballet about a pair of lovers encountering obstacles
像離不開舞台對角線反覆的拉拉扯扯。現場的鋼琴則出
preventing them from joining together.
奇地音色侷塞。整晚的壓軸，是本地編舞家黎海寧的
two other pairs of dancers who unfortunately had little to
《紅》。從一整幅横臺笨重的高牆，一浪一浪的舞者攀
do. The piece seemed to lack a solo by the female soloist in
繩而下，加入呼喊的行列，陣容場面確是熱鬧頂盛，然
order to complete its structure, while aside from some great
There were also
extensions in occasional lifts, the drama seemed to drag back and forth along its diagonal stage composition. Also, the
piano music was peculiarly muffled. The finale was Helen
Lai’s Red (an act from CCDC’s “Show Your Colours” program). It was certainly a forceful presence with its set of a full stage width wall over which waves of dancers
climbed to join a scene of yelling, however, contrasting delicate movement was absent. Only in the last scene was
its central muscular propagandistic image finally selfdeconstructed as time spent on sculptural posing became shorter and shorter, while time spent collecting red paper 演藝學院學生演出黎海寧作品《紅》。攝影：陳德昌
pieces, which fell like snow, became longer and longer.
HKAPA Students performing Helen Lai’s Red. Photo: Ringo Chan
Maybe we simply have to accept that it is difficult for
Hongkongers to play some very “Chinese” themes well or
persuasively. BALLET EXTRAVAGANZA by Hong Kong Ballet was coincidentally also a program with three different
choreographers’ works. A critic suggested that this format was a more welcome form of presentation, but perhaps, what the audience likes about this type of program, is that it resembles a kind of diversification of investment. To draw more audiences, better choreography is still something much more vital in the long run. The first work, David Allen’s
Dreams of Tenderness and Solitude, gave a hint of a structural way to read the piece with symmetric projections.
The curving sliding door arrangements of the groups were
pleasing both to the eye and the intellect. However, a line
of four dancers seemed perfect, while six in a row seemed a bit too crowded for the stage. When dramatic content was overlaid, imagination seemed to contract, with steps of the
body reduced to moving on the beat. The group dancing, 香港笆蕾舞團演出謝傑斐作品《芭蕾探戈》。攝影：陸嘉鑾 Hong Kong Ballet perfroming Stephen Jefferies’ Tango Ballet Tango. Photo: Tony Luk
in some moments, evoked a harvest dance, but steered the work further away from the beginning austere male solo.
The second work was Artistic Director Stephen Jefferies’ 而可惜好像看不到什麽細緻的動作。最後舞者拾紅纸碎
Tango Ballet Tango.
來拋的舞蹈劇場手法，才叫拆解了樣板戲的平面形象。
partners for ballroom dancing, but Jefferies never forgets to
從崔健的音樂到硬打的燈光，由香港編舞來演繹「大
add (in an almost compulsory manner) occasional dramatic
陸」式的主題，似乎總是吃力卻不討好，從城當的角度
jokes to entertain the audience. While the first pair danced
It began with people picking up
來看，更讓沒看過《给你一點顏色》的我懷疑那會否是
in a smoothly flowing way, the second and third pairs
曹誠淵「東方主義」的前身？
became stiffer and stiffen
In the end, ‘Ballet’，as in the
work’s last pose, became as sandwiched between the 無巧不成話，香港芭蕾舞團五月底的《芭蕾精品》，也
‘Tangos’ as the title of the piece suggests. The final work,
是由三支舞作湊成。（美國）艾倫的《温柔•孤寂•夢
Australian choreographer Natalie Weir’s The Rite ofSpring
千回》，對稱的背幕散光，弧型排列的六組舞者兩組兩
was faithful to the story and music, but also full of surprise
組的移位，四人的對稱並列，都能给觀者頗現代的結構
for the audience (especially when we recall this was, after
感（反是六人一字排開似乎已讓舞台過於擠擁）。然而
all, a Hong Kong Ballet performance). In addition to more
後來的調情戲卻每況愈下的公式化，不是扭擺就是快步
traditional turns, Weir introduced, for example, some
來迎合節拍，集體舞間歇更令人想起收成舞 ，離起初男
mysterious hand gestures, which combined to produce a
舞者的細心獨舞甚遠。中間一節的演出，是香港芭蕾舞
piece that had the primitive freshness of modem ballet, yet
團藝術總監謝傑斐的《芭蕾探戈》，以在舞廳挑檯揀舞
without losing its contemporary sophistication.
I do
伴的戲劇場景開始•故事間總不忘處處加插一些攪笑小
sincerely hope that Hong Kong Ballet will perform more
動作。雖然不一定緊拍音樂，但第一對舞者仍相對跳得
adventurous works like this in the future.
比較流暢•尤見於男舞者旋擺舞伴時那一下縮腳的閃
避，然而接下來的都似被探戈收編，愈來愈見僵硬，結
My notes for the third show that I write about here are limited
尾的姿態不在話下，三人組時單手抬舉女舞者的動作在
for each work so I will give my general impressions. The
不著重覆後未免變得過於刻意，一字落地同樣也略嫌過
program was DANCE PLATFORM: CHOREOGRAPHY
多。（澳洲）維亞的《春之祭》•不但借集體尖步的輕
SHOWING SERIES I presented by the Hong Kong Dance
晃捕捉了史特拉汶斯基開場音樂的盪漾，繼後的情節也
Alliance. As a young critic given the opportunity to write a
忠於故事的二部大綱。除了一些提手的旋轉比較傳統保
regular column in Dance Journal/HK, I know very well how
守以外，編舞結合了頗多手勢的運用.並用擁抱來相反
important it is to have a consistent platform for young
營造了頗強分離的張力。每當想起這是香港芭蕾舞團的
choreographers to present their experiments and to hear
演緙，對觀幂而言就可謂更多了一重意外的驚喜•還望
audience feedback, so as to polish and improve their work.
日後舞團有再多的類似嘗試。至於伍家嶸在《信報》文
Yet after this program, I had the feeling that at least a few of
章，以為這種拼湊形式的節目安排，會較平庸的長編更
the pieces very explicitly used what is going on in their lives
受為本地舞迷受落。我估其所指的或不過是觀眾一種分
as their prime material. However, without the requisite
散投資的心理，到底長編本不一定平庸，而非故事性的
transformation, the works turned out more like drama, or
舞碼也説不定會流失另一些觀眾未定。
promotional film, with the protagonist finally deciding to
make dance his career.
Their anxieties over future careers
筆者最後一個看過的本地舞蹈演出，是香港舞蹈聯盟
after graduation are fully understandable, but I think that’s
辦的「舞蹈平台：編舞作品展演系列（一）」，由於寫
exactly why they should leave these behind and try instead
下筆記不多，加上對場刊的演出次序也有些懷疑，這
to do well what is at hand, to really make careers for
裡就不就個別的作品來談談觀感。作為一名舞評的初
themselves. Shouting aloud on the stage doesn’t mean you
哥，能得香港舞蹈聯盟之邀在《舞蹈手札》定期地撰寫
are getting your message across to the audience. I was, for
專欄，我當然明白有一個較長期、持續性、供作品發
example, more aware of whether a dancer maintained his
表的「平台」，對於新手而言是多麼的重要。實戰的磨
character at the back till he was entirely offstage. Attention
練，回應意見的參酌，大概都是自我改進的不二之
to small details such as these, count. A ‘professional’ career
途。不過看過演出，我感覺到一些編舞作品頗為著意
probably starts there, not with big words.
In fact, more
在反映自己生活的當前寫照，因而卻欠了一種遠觀，
formalistic exercises could be interesting, such as scenes
缺了一種不論內容或形式上的轉化，結果舞作流於話
where choreographers divided the stage using a red thread
劇，或是一種歌舞出頭的勵志式電影。學生面臨畢業
or with a long table, which left me with impressions of the
的雙失處境固然令人焦慮，卻畢竟只是一個階段，相
choreographers’ efforts to produce layers and variations in
反更該把握機會，潛心編舞的一步一音，而不是被焦
space. On a program like this, I personally think it is a
慮帶著走。對著觀眾的大喊大叫，不等於就把訊息有
rather wasteful choice to express oneself via Tap dance or
力的傳到觀者身上，以我個人來説，就更緊張某一個
to indulge in one’s temporary career frustrations, and give
後排舞者未有保持姿勢到完全走出場區視線的這種小
up the chance to explore something that is more meaningful
節。藝術的自由創作空間天大地大，要吸引人，編舞
(creative and original) in choreography. I believe that Hong
不一定就要大談人生，純形式性的小實驗其實一樣可
Kong dance diversity should be something that comes
以動人，我從其中以紅繩和長柄T間劃台區的兩個作品
naturally. Invest in choreographers with different characters
種，就同讀到對於把握空間的層次和展示變化的一定
and from different backgrounds, and you will naturally be
心思。在這種容許更多實驗性的場合，把自信投放在
rewarded with a diversified dance scene if they do succeed;
踢躂舞上，我個人以為是種頗為可惜之舉，並認為嘗
such is perhaps the diversified investment mentality we truly need.
試更能表現自我原創意念和前術形式，對這階段的編
舞而言更為重要。其實當我們今天投資了在不同性
種是死的，人卻是活的；而人活時，不但舞種會活’
格、氣質、出身背景的編舞人身上，他朝我們自然有
甚至有新舞種也未完。這才是我心目中分散投資的最
一班對香港不同舞蹈種類具代表性的編舞家。何況舞
理想回報。
Paige Wong’s Chan Pei Mui in the first showing of DANCE PLATFORM. Photo: Brian Hung
發:教 + 學
Education
THE ART OF DANCE IN EDUCATION 舞蹈藝術的敎育(IV)
School Dance Education Research & Development Project Report
「學校舞蹈敎育研究及發展計劃」報告
by: Anna C Y Chan 文：陳頌瑛
Anna CY Chan commenced dance training in Hong Kong and received further training in Australia and UK. Gradu ated from the Royal Ballet School and the University of Surrey with a Master Degree in Dance studies, Anna has worked in the field of education for 15 years. She is currently studying a Master Degree in Education and is working
as a researcher on the Dance School research project for the Hong Kong Dance Alliance. 陳頌瑛，於香港開始習舞，曾於澳洲和英國等地進修舞蹈，其後畢業於英國皇家芭蕾舞學校及英國蘇里大學 ，并取得 舞蹈碩士學位。陳頌瑛從事舞蹈敎育工作十五年，現正攻讀敎育碩士學位及從事舞蹈敎育研究工作。
I
September 2002, the Hong Kong Arts Development
1
Council commissioned the Hong Kong Dance
香港螯術發展局
於去年九月委約香港
舞蹈聯盟（以下簡稱
Alliance to conduct a one-year School Dance Education
「舞盟」）進行一項為期一年的「學校舞蹈敎育研究及發
Research Development Project. I was subsequently engaged
展計劃」。作為這個計劃的研究員，本人以這個舞蹈数
by the Hong Kong Dance Alliance as the researcher for the
育系列的第四篇文章來介紹這個計劃 。
project. Part IV of this series of articles on dance education,
reports on the research project.
「學校舞蹈敎育研究及發展計劃」 香港藝術發展局於二零零一年十一月公開邀請有興翅的
5 . 2
School Dance Education Research Development Project
團體遞交計劃建議書，並最後於各建議書中選取「舞
The award of the commission was the result of an open
盟」來進行這個計劃。計劃的目的主要有兩個。一是研
public call for project proposals from the Hong Kong Arts
究香港中學舞蹈敎育的慨況；二是發展一些適合本地舞
Development council in November 2001. The aims of the
蹈藝術敎育的資源。除了動用了「舞盟」和其各理事委
project were to study the provision and efficacy of dance
員的資源外，這個計劃也得到「舞盟」的團體和個人會
education in Hong Kong secondary schools and to
員、義務人員、其他專家和計劃的合作伙伴香港演藝學
investigate alternative resources suitable for the development
院的協助。整侗計劃可以分成三個階段。
of dance education as an art form in Hong Kong. The
M 4
research project called upon the resources of the Hong Kong
第一階段一問卷調查和跟進訪問
Dance Alliance, its Executive Committee, its member
研究的第一階段有三個主要目標。一是完整地描畫出香
organizations and individuals, volunteers, and external
港中學舞蹈活動的背境資料•二是找出學生參與舞蹈活
experts, and was undertaken in partnership with the Hong
動的種類和情況，最後是評估加強學校舞蹈敎育所須要
Kong Academy for Performing Arts. The project comprised
的支援。「舞盟」委約MPlus Communication Limited負
three succeeding stages.
責收集和整理調查資料。
P irst Stage - Questionnaire survey & follow up interviews
經過多番討論後，計劃的研究員、統籌和咨詢委員會設
The key objectives of the first stage of the research were to
計了一份由被訪者自行填寫的雙語問卷.訪問目標為香
render comprehensive background information on dance
港中學舞蹈活動負責老師。問卷在得到「舞盟」理事委
activities at Hong Kong secondary schools, to identify the
員會的批核後.於二零零二年九月尾被寄至列於敎署網
types and extent of student participation in dance activities,
頁的499間中學。為求增加問卷的回覆率，MPlus隨後
and to evaluate areas of support that could be provided in
於十月跟進，至電各未曾回覆的中學.收集了學校種
strengthening dance education at schools.
MPlus
類、舞蹈活動和負責老師等資料，並再次把問卷直接傳
Communication Limited was commissioned by the Hong
真予有辦舞蹈活動但未回覆問卷的負責老師。於二零零
Kong Dance Alliance to be responsible for the collection
二年十一月尾調查結束時，共收回了 190份問卷和成功
and compilation of survey data.
進行了 2M次簡單的電話訪問。沒有回應問卷和電話訪 問的學校有80間。
A self-administered bilingual questionnaire was developed through discussion among the researcher, the coordinator,
問卷調查完成後，研究小組再從190間回覆問卷的中學
and the advisory committee and was reviewed and approved
中，選取了 39位學校舞蹈敎師、舞蹈活動負責人、體
by the Hong Kong Dance Alliance Executive Committee.
育科老師和中學校長，進行了更深入的訪問：另外，亦
The target respondents were teachers’ in-charge of dance
訪問了 11位獨立舞蹈敎師/藝術家、提供學校舞蹈敎
activities at all Hong Kong secondary schools. A list of 499
育的機構和其他舞蹈/藝術敎育工作者。在訪問進行
schools was obtained from the website of the Department
前，訪問的內容和架構早已確立，作為訪問的焦點。
of Education and questionnaires were sent to these schools
To increase the response
研究的結果顯示香港的學校舞蹈敎育於以往的二十年中
rate, MPlus commenced telephone follow up calls in October
有顯著的增長。在406間回答問卷或電話訪問的中學
to those schools who had not replied to the questionnaire.
中，304間提供舞蹈活動。在回覆問卷而有辦舞蹈活動
In addition, information on the type of school, dance
的學校中，有59%學校只於課外進行舞蹈活動，另外
at the end of September 2002.
activities, and relevant teachers was sought in the telephone
39%則同時於課外活動和體育科中提供。另外，提供多
follow up calls. For those schools with dance activities,
於一種類的舞蹈活動的學校佔71%。參與活動的學生
MPlus faxed the questionnaire directly to the teacher in
總數估計為58,000人。普遍來説，回覆問卷的學校都
charge again. The survey concluded at the end of November
對舞蹈活動的未來計劃抱著正面的態度。
2002.
As a result, 190 questionnaire responses were
received, 229 telephone interview responses were collected,
現時，中學的舞蹈敎育是納入於體育科的課程中。然
leaving 80 schools for which neither questionnaire nor
而，實際上於體育科中提供舞蹈敎育的學校數目卻遠比
telephone interview responses were obtained.
作為課外活動的為少；而不同學校於體育科中用作舞蹈 敎育的時間也有極大的差異。最後，大多數中學的舞蹈
From the 190 schools that completed questionnaires, 39 in-
敎育活動是集中於技巧訓練，或被「產品」（演出和比
depth interviews were conducted with school dance teachers,
赛）所主導。
persons in charge of dance activities, physical education
teachers, and school principals.
In addition, 11 in-depth
問卷調查和訪問的詳細分析報告將會於本年年底出版。
interviews were conducted with independent dance teachers/
artists, school dance service providers, and other key
第二階段— —試驗工作坊和敎材套製作
individuals within the dance/art education sector. All
總共有五間中學接受邀請，參加試驗工作坊。每個工作
interviews were conducted using a focused interview
坊共長八小時，分成四或五節進行，分別由楊惠美 '鄺
approach in which a framework of selected topics was
韻儀和梁家權三個藝術工作者作為導師。所有工作坊皆
established prior to the interviews.
於課後時間進行，由各參與學校安排校內或社區中心的 場地。總共有104個學生參與工作坊。
The research demonstrated that school dance education in
Hong Kong has expanded considerably over the past two decades.
Of the 406 secondary schools responding the
由於第一階段的研究結果顯示出學校舞蹈敎育普遍都是 以「內容為本」或「技術學習」等礓化的方式來進行'
questionnaire or the telephone interview, there were 304
所以試驗工作坊的目標是：以「三元學習----- 演出 '創
schools providing dance activities. From the result of
作和欣賞」為基礎，來為更富彈性和全面的敎學法和為
questionnaire, 59% of dance providing schools offer dance
香港舞蹈敎育架構提供一個健康、平衡而完整的方向°
activities only in the context of extra-curricular activity and 35% offer it as both extra-curricular activity and within a
physical education context.
Paradoxically only 3% offer
dance within an Arts education context. The number of students participating in dance activities is projected to be
所有工作坊的共同主題和結構，是由各導師與研究員討
論和發展而來。然而，各工作坊的內容則由各導師根據
其敎學風格和專長、參與學生的人數和水平' 以及時間 和設施等因素設計。在工作坊進行期間•研究員和各導 師亦不斷進行評估和討論。此外.工作坊的過程亦由香
over 58.000. There are around 126 schools offering more
than one type of dance activity. In general, the future plans for dance activities of the responding schools are mostly positive. Currently, physical education is the subject through which
dance is usually included in the secondary school curriculum. However, the percentage of schools offering dance in
physical education is relatively lower than those offering it
as extra curricular activity and the amount of time devoted
to dance in physical education varies greatly across different
schools. Lastly, skills acquisition or product-orientation
(performance and competition) are commonly emphasized and used as bases for secondary school dance education activities. 《舞蹈敎育新里程》敎學資源套。
A detailed report of the questionnaire survey and interviews
The Intelligent Moves: Dance Education Teaching Resource Kit
will be published at the end of this year. 港演藝學院電影電視學院的藝術學士（榮譽）學位一年 級學生攝錄下來，用以製作一段舞蹈敎育紀錄影片。
Second Stage - Pilot workshops and the development of
the teaching resource kit
參考了首兩個階段所搜集的資料和其他海外的成功舞蹈
Five secondary schools were invited to participate in pilot
敎育模式，計劃小組製作了《舞蹈敎育新里程》敎學資
workshops. Each workshop consisted of four to five
源套1。這套包括了一本指引手冊、一隻錄像光碟和一
sessions; eight hours in total with three artists - Ronly Kong,
張海報的資源套將會派發予全港的中學和舞蹈敎師。製
Francis Leung, and Yeung Wai Mei invited to be workshop
作敎材套的目的是在鼓勵學校以其脈络情境來推行舞
instructors. All workshops were conducted after school
蹈；並提供資料來協助老師和學生學習作為一種藝術形
hours at either school venues or community centers arranged
式的舞蹈。它提倡一個以演出、創作和欣賞來進行的舞
by pilot schools. A total of 104 students participated in
蹈敎育模式。指引手舟的內容包括了一些於藝術敎育的
the workshops.
架構中進行舞蹈数育的相關資料、「三元學習」方法的
理念、和一些從試驗工作坊中抽取出來的學習活動示
Stage one of the research revealed that dance is commonly
例。錄影光碟則收錄了上文提及的舞蹈敎育紀錄片■向
taught in school using a rigid ‘Content-based’ or ‘skill
家長、學校行政人員、敦師和社區團體簡介舞蹈敎育；
acquisition’ approach. The objectives of the pilot workshops
並剪攝了試驗工作坊的片段，示範合適的學校舞蹈敎育
were therefore to provide direction for a more flexible and
方式。
comprehensive approach, and for an updated dance
education framework in Hong Kong, reflecting a healthy,
第三階段— —《舞蹈敎育新里程》研討會和工作坊
balanced and comprehensive view of dance education based
為總结整個研究計劃，香港舞蹈聯盟聯同香港演藝學院
on the “Three Key Learning Processes — performing, creating
合辦了一個研討會和四個工作坊，於二零零三年七月五
All workshops shared the same theme
曰，假香港演藝學院舉行。早上舉行的研究會有多於
and outlines, which were discussed and devised among the
1⑻人參與。會中，在「舞盟」主席及香港演藝學院舞
three instructors and the researcher. Nevertheless, lesson
蹈學院副院長白朗唐先生致過歡迎辭後，三個演講嘉賓
and appreciating”.
contents were designed by instructors according to his or
分别與大家分享他們對香港舞蹈敎育的看法。他們的演
her teaching style and strength, number of participants,
講題目分別為：城市當代舞蹈團敎育及外展總監潘少輝
students’ standards, available time, and facilities.
先生的「香港舞蹈敎育的問題」、香港演藝學院舞蹈學
Continuous assessment and discussion were carried out
院院長施素心敎授的「香港的舞蹈敎育」、和香港敎育
among the researcher and instructors throughout the whole
學院高級講師高樂麗博士的「舞蹈敎育的傳統和創新：
In addition, workshops were video
對敎育改革的回應」。這個研討會的焦點是在「三元學
recorded by first year BFA (Hons) Degree students of the
習」舞蹈敎育手法的介紹。在播放了敎學資源套錄像光
School of Film & Television of The Hong Kong Academy
碟後，兩間參與了試驗工作坊的學校 — —風采中學和瑪
workshop period.
全球首演 World Premiere 香港芭蕾舞團
編舞 Choreography 娜泰莉•維亞
HONG KONG BALLET
Natalie Weir
藝術總監:謝傑斐 Artistic Director: Stephen Jefferies
音樂Music 普契尼歌劇「杜蘭朶」
Turandot by Giacomo Puccini 佈景及服裝設計
Set & Costume Design 比爾•海克
Bill Haycock 燈光設計
Lighting Design 李樹生
Kim Lee
挂
T ISJ 芭蕾舞劇
電話留座 Reservations: 2734 9009 信用D吉訂票 Credit Card Booking : 2111 5999 糸罔上言］■票
Internet Booking: www.urbtix.gov.hk
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Art* Oevaioornam »«••籲鶴 ■»■鬌 MdamMInlM HOC
Hong Kong
Kano
Counol
托方口助
及义化 Sponsofod by I ho I rusijro iwtd Cultural Sonncos Dopanmeni
香港芭蠹舞團製作 A Hong Kong Ballet Production
www.hkballet.com
for Performing Arts for the production of a dance education
利曼中學— —的學生，與導師鄺韻儀和楊惠美一起向觀 眾示範了這個敎育手法。研討會最後以一個討論環節作
documentary video.
為總結。會後，各參與者均獲派發一份敎育資源套。
Using the resources collected from these two stages and
research from many successful overseas’ dance education
於下午舉行的四個工作坊則總共有初位中學敎師和K
models, the Hong Kong Dance Alliance was able to draw
位中學生參加。學生工作坊是以上課形式進行，每個工
references and gather information for the production of the
作坊長兩小時，內容強調「三元學習」於課堂中的應
teaching resource kit, entitled Intelligent Moves: Dance
用。兩個敎師工作坊的內容與學生的相似，但另加討論
Education Teaching Resource Kit1.
It consists of a
環節。
handbook, a Video Compact Disc and a poster; and will be distributed to schools and teachers in Hong Kong. The kit
參與者對這個研討會與四節工作坊的反應十分正面 ，大
aims to encourage dance within the school context and
多都希望可以得到多些有關「三元學習」舞蹈敎育手法
provides information that can assist teachers and students in
的詳細資料，和希望於將來可以有更多類似的敎師培訓
learning dance as an art form. It promotes a model for
課程或工作坊。
teaching dance through performing, creating and appreciating. The handbook includes contextual information
討論和總結
about dance education within the arts education framework,
「學校舞蹈敎育研究及發展計劃」給香港的中學舞蹈敎
concepts of the “Three Key Learning Processes” approach
帶來了一個合時而全面的觀點。計劃的研究部份顯示出
and examples of learning activities culled from the pilot
現時學生參與舞蹈的人數仍比較其他藝術科目（例如音
workshops. The Video Compact Disc, which contains the
樂和視覺藝術）為低。現時，舞蹈敎f是平面地以內容
documentary video, is an introduction for parents, school
為主導，著重複製舞蹈或重複舞步，主要是作為課外活
administrators, teachers, and community groups with
動或體育活動。在現時的學校課程編排中，舞蹈往往與
highlights from pilot workshops demonstrating ways of
體能訓練、身體健美等混為一談，或被表演或比赛等目
approaching dance education in schools.
標所主導。消閒和演出等表面價值，掩蓋了判斷性思考
Stage Three - Intelligent Moves: Dance Education Symposium and Workshops To conclude the research project, Hong Kong Dance Alliance
和創作等複雜而獨特的敎育價值。在另一方面，研究的
結果也顯示了中學的舞蹈敎育於近二十年來日漸普及， 而學校對舞蹈敎育的未來發展也抱著正面看法。
and The Hong Kong Academy for Performing Arts jointly presented a symposium and four workshops on Saturday 5th July 2003 at The Hong Kong Academy for Performing Arts.
Over 100 participants attended the symposium in the morning. Mr. Tom Brown, Chairman of the Hong Kong
Dance Alliance and Associate Dean of Dance, The Hong
«
Kong Academy for Performing Arts made a welcoming speech. He was followed by three guest speakers who shared
their views on Hong Kong Dance Education under the
following titles: Mr. Pun Siu Fai, Education and Outreach Director of the City Contemporary Dance Company talked
about “Issues on Hong Kong Dance Education”； Professor
舞蹈敎育的未來是光明而樂觀的。二零零零年的敎育改
革2和文化委員會的政策建議報告3都指出，包括舞蹈 這個組成部份的藝術敎育，應在本港將來的整體敎育中
佔一個更重要地位。這個研究計劃為香港未來的舞蹈敎 育發展所作出的貢獻雖然不太大，但卻深具意義。現
在，政策制定者應要全面認識到敎育中那不能缺少的美 學部份，以及舞蹈於今日敎育中的重要性。舞蹈敎育工
作者則須要投入於制訂適當目標這個困難的工作，以及 發展敎材和敎學方法來與學生共同達到這些目標 。他們
亦須要與學校老師一起討論和研究課程內容、舞蹈敎育 模式和普及舞蹈敎育為學生帶來的成效和美學成果。
Susan Street, Dean of Dance of The Hong Kong Academy
for Performing Arts made suggestions on “Dance Education
in Hong Kong” and; Dr. Paulette Cote-Laurence, Senior Lecturer of the Hong Kong Institute of Education discussed the topic of “Tradition and Innovation in Dance Education
in Hong Kong: Addressing Education Reform”. The focal point of the symposium was the advocacy of the “Three Key Learning Processes” approach to Dance Education. A
presentation of the teaching resource kit’s VCD and live demonstrations by two of the Pilot workshops schools, Elegantia College and Marymount Secondary School, and
學校舞蹈敎育一定要放於更廣闊的層面中。它不應只作
為一個獨立的活動，並局限於動作技巧的訓練。普及舞 蹈敎育的目標並不是在訓練技巧或專業的舞者。有如世 界其他地區的發展，這樣的處理，就算是在高質素的敎
學下，也並不再有代表性。學校舞蹈敎育應為所有學生 提供一個體驗這種藝術形式的機會，從而使舞蹈能發揮
其敎育作用，成為一個可幫助學生成就其最高學習潛能 的重要工具。正如白朗唐先生於研討會中所説：「舞蹈
是一支解放學生學習能力的鑰匙 。」 翻譯：施德安
their instructors Ronly Kong and Yeung Wai Mei, illustrated
of the aesthetic realm in education and recognize the
these approaches to the audiences. The symposium
importance of Dance in education today. Dance educators
concluded with a short discussion between audience and
must engage in the difficult task of identifying appropriate
panel. Each participant received a complimentary copy of
goals, and develop the materials and strategies to achieve these with students. They and the teacheisjin the school
the teaching resource kit.
settings must jointly engage in research and discussion which
Around 40 secondary school teachers and 45 secondary
focus on curriculum content and methods for dance
school students participated at four workshops in the
education, and on the affective and aesthetic outcomes for
afternoon. Student participants were given a two-hour dance
the student in general education.
lesson emphasizing the “Three Key Learning Processes” in
the class content, whereas teachers experienced a similar
Dance education at school must be placed within a larger
sample class followed by discussions.
context. It should not be taught as an isolated activity limited to the mastery of discrete movement skills. The aim of a
The symposium and workshops received very positive
general education in dance is not to train skilled or
responses from participants. A majority of participants
professional dancers. Even if the teaching is of high quality,
sought further details on the “Three Key Learning Process”
such an approach is no longer representative, as it has
approach to dance education and requested that additional
evolved in the rest of the world. Dance Education at schools
teacher training courses or workshops to be organized in
should provide all students an opportunity to experience this
the future.
art form so that dance can fulfill its role as an important
means for students to achieve their full learning potential.
Discussion and Conclusion
To quote a response from Tom Brown during the
The School Dance Education Research and Development
symposium discussion: “Dance is a key to unlock
Project provides an updated comprehensive view of dance
students’ learning abilities.”
education in Hong Kong secondary schools. The project research has shown that the number of students participating
Notes:
in dance is still relatively low compared to education in the
1 Hong Kong Dance Alliance (2003) Intelligent Moves: Dance Education Teaching Resource Kit, Hong Kong: Hong Kong
other art forms such as Music and Visual Arts.
Dance is
currently taught through a one-dimensionally content driven approach.
It relies on copying repertories or repeating
routines and is predominately an extra curricular or physical education activity.
Dance is very much associated with
physical training, body fitness, or goal-orientated fulfillment
Dance Alliance
2 Education Commission (2000) Reform Proposals for the Education System in Hong Kong- Learning for Life, Hong Kong Special Administrative Region of the People’s
Republic of China: Education Commission. 3 Cultural and Heritage Commission Secretarial (2003)
(performance or competition) at schools. The complex and
Cultural and Heritage Commission Policy Recommendation
distinctive educational values of dance education with
Report, Hong Kong: Hong Kong Special Administrative
respect to development of critical thinking and creativity
Region of the People’s Republic of China.
are surpassed by the more overt recreational and performing values of dance. On the other hand, the research also shows that dance activities are gaining growing popularity at
secondary schools within the last two decades and demonstrates positive responses for future development.
The future for dance education is bright and promising. Both the Hong Kong Education Reform in 20002 and the Cultural
and Heritage Commission policy recommendation report3 indicate that arts education, with dance as a comonent, should
command a more visible position in the overall Hong Kong educational agenda during the coming decade. This research
project contributes a small but meaningful chapter for future
Dance Education development. It is now the responsibility
of policy-makers to fully acknowledge the essential presence
《舞蹈敎育新里程》研討會中講者和嘉賓討論問題° Speakers and guests discussed a question in the Intelligent Moves: Dance Education Symposium.
變專
M
Article
HK Dance Awards 2003 舞蹈年獎2003 Editorial Board 編輯部
-r *
Fifth annual Hong Kong Dance Awards were presented at a special ceremony at the Fringe Club
林又g香港舞蹈年獎已於本年七 月四日假藝穗 會頒發。創辦於一九九九年，舞蹈年獎
^7
on 4 July 2003. Initiated in 1999, Hong Kong Dance Awards
所頒發的並不是「競爭性」或「最佳」的獎項；而是以
are not competitive awards for the “best” of the year; but,
表揚本地舞蹈工作者的貢獻為目的。受到非典型肺炎的
rather, were established to recognize and celebrate
影響，今年的頒獎禮雖然簡單進行，但在司儀孫名翠女
The
士和李忻澴女士的笑語下，以及陳德昌先生所剪輯的得
Celemony this year was simple but joyful, with Karen Suen
獎者作品片段之光影中，舞蹈年獎2003在一片歡愉的
and Charissa Lee as Masters of Ceremony, and special film
氣氛中完滿結束。舞蹈年獎2003所表揚的舞蹈工作者
tributes of award winners by Ringo Chan. Those honoured
包括了：
outstanding contributions of local dance workers.
at the Hong Kong Dance Awards 2003 Ceremony were:
CONRAD DY LIACCO, who received the Hong Kong Dance Award 2003 for over a decade of consistent artistry
as a dancer with the Hong Kong Ballet Company. Dy Liacco joined the company in 1991 and has been most successful
and memorable in portraying comic character roles,
including Dr. Coppelius in Coppelia, the Dancing Master
in Cinderella, Bottom in^ Midsummer Night s Dream, the
leading imp in Petal Miller-Ashmole^ The Snow Queen,
$
Alain in La Fille Mai Gardee, and Marshall He in the
Company’s original production Mu Lan.
PETER SUART received the Hong Kong Dance Award 2
2003 for his inspired musical composition for Willy Tsao,
加力•杜里高先生於1991年加入香港芭蕾舞團，以其
Xing Liang, and Sang Ji-jia’s choreography for the City
精湛的技藝為舞團服務超過十年，獲取香港舞蹈年獎
Contemporary Dance Company production of 365 Ways of
2003。加力.杜里高先生以其靈巧的身軀，在舞台上
Doing and Undoing Orientalism. In his music Suart reflects
散發巨大的藝術魅力。他擁有令人印象深刻的喜劇天
and amplifies the complex notion of Orientalism, explicated
赋，呈現於眾多舞劇之中，包括了《木蘭》、《伸夏夜
by the choreographers in the work.
Suart’s artful use of
之夢》、《女大不中留》、《歌碧莉亞》及《仙屐奇緣》，
traditional references as well as the fusion of diverse
讓無論任何年齡的觀尿，在看完演出後，得到歡樂並回
contemporary sources in his work aptly creates the
味無窮。
microcosm within which the choreographers explores their
ideas. Suart’s work forms a dialogue with the choreography,
彼得小話先生為城市當代舞蹈團製作，由曹誠淵先生、
never leading or being led by it, but becoming inseparable
邢亮先生及桑吉加先生編排的舞劇《365種係定唔係東
with our understanding of it.
方主義》創作音樂，獲取香港舞蹈年獎2003。「東方
主義」具有複雜的涵意，舞蹈充份調動富有傳統及當代 The Hong Kong Dance Award 2003 was presented to
CHEE KEAT
LIM
for his brilliant performance in Xing Liang’s
choreography of That Moment for the production ol
特色的素材以作參照，而音樂則為舞蹈奠立極有層次感 的聳響場景。彼得小話先生的音樂既可供獨音欣賞•又 和舞蹈互為表裡•是一次音樂和舞蹈的完美結合。
E VERYTHIN G F ALLS A WA Y.
In
Th α t
Moment , Lim
林志傑 先 生 於康樂及文 化 事務署 主 辦 的舞蹈晚會「 讓 一
transforms Liang's choreography into an eloquent and
切瑣碎的隨風飛逝 J
中 ， 演出 由 部完先 生 編排的舞蹈
plangent soliloquy of a man's struggle with his interior
《 某時 》 而 獲取香港舞蹈 年 獎 2 00 3
demons and the imagined exterior forces opposing him.
志 傑先 生 甜暢淋漓地展 示 了 一 個充滿 生 命 力的 個 艘 ，在
Lim controls the stage with his masterful articulation ofthe
面對內 心 娃、望和 外 界壓 力下不 屈 不 朽 的 會門歷程 。 舞動
multifaceted nuance of the moving human body.
All
時 ， 肢體強 而有力; 有爭止 時，情緒飽滿貴張，舞蹈家的
attention is focused on the expression ofhis limbs and trunk
演 出， 或動或靜 ，都一 直牽動 人心， 體玩具 正的 藝術境
as he hu此 les through space or simply stands still , expectant,
界 。
。 在 《 某時 》 中，林
in this tour de force of the art of dance performance. 蕭弘毅 先 生 為香港芭蕾舞團拍攝及製作舞蹈照片集， 獲 取香港舞蹈 年 漿 油的 。 以八 年 的 時間追隨香港 芭 蕾舞
團 的 足跡， 以 細緻 的 鏡頭捕捉芭蕾舞者 的 神韻，蕭弘 毅 先生 展 示了 對舞蹈 的 鐘愛 。 從 《 胡桃 夾子 》 開始 ， 照片 集記錄了香港 芭 蕾舞團製作 的二十五 齣劇 目 ，其 中不 但 色 合攝影家 和 舞蹈家們 的心血 結晶 ， 更為香港舞壇存留
一 份使 人 賞 心悅目
，又充滿足先發性的 圖 片 歷史文獻 。
由 城 市 當代舞蹈團為中學學 生而 創辦 的 舞蹈團 「年青的 天空」 獲取香港舞蹈 年 獎 200 3
0
r 年 青的天空 」 以推 動本 土年 青 人的 舞蹈
為宗 旨， 讓 尚 在學校 學習 的 學 生 們 有 機會
參與 高水平的 專業舞 蹈製 作 ，並 在 演 出中
展 示 香 港年 青 人的 藝 術和 活力 。 舞團先後 與台 灣 、 廣州地區的
學 生 交流，並在全港 各劇院 、 商場及戶外
平 台演 出， 吸 引 大量 觀眾 ， 並有 力 地提昇
年 青 人 學 習 舞蹈 的 興 趣 。
動藝 舞蹈團 以 製作 《 美麗 人 生 》 豆豆列演 出 而獲得香港舞
蹈 年 漿 200 3
0
{ 美麗 人生 } ~列直視香港 的社 會問題，
亦充份展 示了 動藝舞蹈團 一 直以來以舞蹈關 心 社會的 藝
術理念 。 許多 社 會 的 弱勢社群 ，如 傷殘 人士 、精神病 者、愛滋 a皂者等都 有 機會 在 《 美麗 人生 》 象列 中 發表 心
The Hong Kong Dance Award 2003 went to SUI WANG-
聲，讓觀眾在欣 賞舞蹈藝術之餘，更對人 類 的生 存意義
NGAI for his superlative dance photography published in
及 人 文精神 有所 反 思 。
the book, The Hong Kong Ballet. Sui's work encompasses over eight years of work and photographs of twenty-five
喬楊 女 士 憑演 出由 城 市 當代舞蹈囡製作 ，由 黎海寧女 士
different ballets from the Hong Kong Ballet Company
編排的舞J.tIJ { O 先 生 家族死 亡 事件 》 中的母親 一 角而 獲
repertory. From his first photographic encounter with the
取香港舞蹈年漿 200 3
Hong Kong Ballet's Nutcracker production onward, Sui has
悲劇「依 迪帕 斯 j 為藍本，其 中 母親 一 角表現 了 最濃郁
demonstrated his fascination and dedication to recording
的女性 宿命 悲 病。喬楊女 士 充份結 合 了 完 美 的 肢體動作
this most illusive art in exemplary photos that serve as
及深 沉的 感情流轉 ，描 繪 出一 位 卓 越 而 堅強 的女性， 處
inspiration and documentation for generations to come ,
身於丈 夫、 愛 子 及情人之間 的 矛 盾 和痛苦 ， 並 因而 震撼
allowing them to savor the artistry ofthis most fleeting art.
著觀眾 的心 靈。
0
{ O 先 生 家族死 亡 事件 》 以希臘
4
City Contemporary Dance Company’s exceptional youth
楊雲濤先生以演出由香港舞蹈團製作、由丁偉先生編排
dance company YOUNG SKY received the Hong Kong
的舞劇《媽勒訪天邊》中的男主角而獲得香港舞蹈年獎
Dance Award 2003. In its Young Sky programme, the City
2003。舞劇表現的是一段中國少數民族中可歌可泣的
Contemporary Dance Company continues its long term
故事，男主角經歷人生多個階段，情緒起落反差巨大。
commitment to youth that has characterized its activities
楊雲濤先生既有深厚的民族舞功底 ，又有豐富的現代舞
since its founding.
Young Sky enables youngsters to
經驗，因此能以極具感情的肢體語言及高超的技巧能
meaningfully participate in the art of dance through focused
力，把人物塑造得栩栩如生，並賦予舞蹈藝術中最重要
productions of the highest quality while at the same time
的靈魂。
providing audiences with exhilarating performances. From
amongst the ranks of Young Sky come the artists who will
陳敏兒小姐在城市當代舞蹈團的節目《三式貓狂想曲》中
transform the future of Hong Kong dance.
編排舞蹈《光纖纖》而獲取香港舞蹈年獎2003。舞蹈以
電腦時代的網络聊天室為題材，以嬉戲幽默的手法審視現
The Hong Kong Dance Award 2003 was awarded to
代人受電子媒體影響的荒唐和荒誕。陳敏兒對當代文化有
DANCEART HONG KONG for its Beautiful Life Series
獨特的體味，對當代生活有非凡的洞察力，更能鉤在創作
that cogently and dauntlessly addresses issues at the heart of
中把當今人類可笑復可悲的情景，化為充滿趣味而不失尊
Hong Kong’s social fabric. DanceArt Hong Kong has
嚴的舞蹈，讓觀眾在歡樂之後，有所深思。
consistently been at the forefront of arts as a medium for change
and served as a model for the need for artists to be fully engaged
馮國基先生為香港舞蹈團製作，由張守和先生及張處春
in their community. Countless individuals such as those who
先生編排的舞劇《水滸傳》設計燈光，獲取香港舞蹈年
are wheelchair assisted, those with special physical or
獎2003。《水滸傳》改編自中國古典文學名著，氣勢
emotional needs, those living with AIDS/HIV+, and other
宏大，人物繁多，舞劇以梁山泊領袖宋江為主線，刻劃
often-marginalized constituencies have been given a voice
英雄對情義兩難的內心世界。馮國基先生的設計充份利
through the work of DanceArt in their Beautiful Life Series.
用舞台的豐富燈光效果，營造出人物內心寂寞與外界煩
We all benefit and are humanized by their sterling example.
囂的強烈對比，為舞劇的寓意添上深刻的視覺意境。
QIAO YANG received the Hong Kong Dance Award 2003
ABBY CHAN was awarded the Hong Kong Dance Award
for her powerful performance in the role of Jocasta in Helen
2003 for her ingenious choreography of Pipe Dream for the
Lai’s dance retelling of the Oedipus myth, The Tragedy of
City Contemporary Dance Company THREE MEANS
Mr. O. As Jocasta, Qiao establishes the female centrality
FANTASY production. In Pipe Dream, Chan looks at
of this tragic Greek tale.
Qiao’s performance is the
contemporary communication and the role that Internet chat
devastated heart around the chaotic whirlwind of Oedipus’
rooms play in fashioning alternate personas for their users
horrible unraveling. Qiao’s formidable portrayal of Jocasta
and abusers. On the way, she cheerfully subverts the notion
establishes her as a modern dance icon. As she surveys the
that honesty is not necessarily the best policy and skewers
ruins about her, Qiao’s every nuanced gesture is weighted
the modem art form of dissembling. Chan has the uncanny
with the inevitability of the tragedy that befalls her husband,
ability to poke fun at eminently preposterous facets of
Each movement is suffused with the
contemporary life that have somehow managed to worm
inescapable horror that she endures. In a simple turn of the
their way into respectability, tickling the objects of her
head, or the exhalation of breath, Qiao conveys volumes.
ridicule. In the process she lets us laugh at ourselves and
son, and lover.
enjoy the foibles of our all-too-human nature. The Hong Kong Dance Award 2003 was presented to YANG
YUNTAO for his outstanding performances in the Hong
GABRIEL FUNG received the Hong Kong Dance Award
Kong Dance Company productions of Ding Wei’s
2003 for his luminous lighting design of the Hong Kong
choreography Ma and Le Visiting the Sky. The dance is
Dance Company production of Zhang Shouhe and Zhang
based on a Chinese Minority story, in which the main
Yuanchun’s choreography Water Margin.
character experiences different phases in his life, with
classical Chinese literary work, Water Margin is an epic
contrasting emotional states. With his strong background
dance with grand atmosphere and numerous characters,
Based on a
in Chinese Minority dance and Modern Dance, Yang
which portrays the characters’ interior struggle between duty
employed his expressive body language and excellent
and friendship. Fung’s design employs rich lighting effects
technique to sucessfully portray the role, and give the dance
to render the intense contrast between loneliness and the
its soul.
pandemonium of the external world.
舞評
Review
Change by Tom Brown
l/^D£P£MD£MT
Dance Makers
—
MADE IN CHINA，
costume, he is dressed simply, in clothes that are more like the things you would see on a university student. Watching
staged by the City Contemporary Dance Company at the
the dance, I felt like an unintentional voyeur.
Hong Kong City Hall Theatre on 28 and 29 March 2003,
fidgets in their seats, stifle nervous laughs as he hands out
presented the works of six young mainland choreographers.
the roses. Some accept them unwillingly; his simple act
The program demonstrated the power of dance in
seems tinged with menace.
accommodating the individual voices of its creators to
uncomfortable at his violation of the invisible barrier between
produce, uncover, and convey ideas lucidly, unflinchingly,
proscenium and their space, or, perhaps, the image of a young
and with conviction. Coming from various backgrounds -
man holding out flowers to reluctant recipients stirs
the fine and visual arts, literature, artistic gymnastics, and
uncomfortable memories. Maybe it’s just the frisson Lian
other experiences - few with professional training in dance,
creates by acting in an unsanctioned role. After a while, he
these independent dance makers share, through their work,
tosses the rest of the roses out into the house and returns to
a vision and an unequivocal conviction that dance matters,
his spot on stage, reverting to the opening motif.
The audience
Perhaps, the audience is
that through it they can make their voices heard. The material done on stage is a rather long set-up for the bit
In Nobody’s Cheering Lian Guodong uses a motif of
done with the audience. By using it to frame the 'rose’ section,
repeating swinging spirals, beginning with a small bobbing/
however, he disorders cause and effect; upsets our notion of
nodding/swaying figure eight of the head, then enlarges it
consequence. It’s just as logical to see the stage material as
to include the torso and limbs. He opens standing in place
the result of the episode with the audience.
on center stage and progresses to the floor within a fairly
provocation, initiating discourse rather than presenting
narrow pool of light. For the most part, the energy and
soliloquy, sermon, display, or reflection. In its dislocation
pace of the work are low-keyed, peaking briefly into a wilder
of expectations, its open-endedness, its posing of questions,
moment that anticipates an entrance by a woman.
rather than presentation of accepted wisdom, Lian’s is the
Lian
alternately dances with a downward gaze or eyes closed, as
It is a
kin of many of the works on the program.
if focusing on some interior vision. At times he lip-syncs
or sings with the music. The piece could be seen as a cliched
Three Fraction of Two choreographed by Yang Xue and Gao
representation of someone lost in a drug haze. Towards the
Lulu of the Students’ Dance Gro 叩 of the Beijing Polytechnic
end of the dance, however, Lian takes roses, given to him
University uses the choreographic device of mirroring and
by the woman, comes down off the stage, and begins to
made-up ballroom-like movement and gestures danced to
In the background, the
an electronic score by Supermarket and a Faye Wong pop
Eagles sing: “some dance to remember, some dance to
song to create an extended metaphor about the obliqueness
forget”，from Hotel California.
Until this descent, Lian’s
of relationships. The mirroring is done at odd angles- rather
dance has an ambiguity to it. Uncolored by overt technical
than facing each other one of the dancers faces the audience
displays and relying almost entirely on the development of
while the other faces the side stage. The use of ‘new age'
a single motif, it wavers between the unrefined and the
electronic and innocuous ‘easy listening’ music contrasts with
indulgent.
the formality of the movement that has a familiarity to it
hand them out to the audience.
while at the same time is somehow out of joint, alien.
In
Lian does not have a dancer’s body; his has the exuberance
Dream, Rope, Birds Egg by Fierysky Li and performed with
of an incipient Botero figure. Rather than in a theatrical
Jin Shanqing, Yang Yixiao, and Li Qiuyi with video by Liu
Yunqing of J-Town-Filni, Shandong, a central figure and an
borrowed, no relapses into cliches. The camera work and
oversized egg share a triangular space bordered by a red
the integration of video with dance, the concurrent unfolding
umbilicus-like rope held by robed attendants. A film of
of the ‘live’ event and the broadcast of its ‘representations’，
parklands, natural landscapes, and traditional buildings gives
creates a multilayered field allowing the viewer to
way to images of construction sites and urban sprawl while
simultaneously scan the action from more than one
the attendants create a maze, trapping the central figure, like
perspective and to make choices in processing and assessing
Kafka's Joseph K, in an incomprehensible bureaucratic
information.
tangle over which he has neither understanding nor control.
Both Down, Down, Down, choreographed by Xu An and Jiang Suni and performed with members of the Students’
Modern Dance Group of Hunan University of Arts and
Science, and Whirl, choreographed by Huang Lei and performed with the Qinggu Dance Society, Naning, Guangxi, make use of existent dance vocabulary together
with invented movement specific to each work.
What is
absent in both, and what makes both seem entirely new is
the mannered delivery that frequently accompanies traditional material.
In Down, Down, Down, though the
movement contains familiar ‘steps，，the dancers perform
these with a vigor and artlessness that makes them seem created on the spot.
2
MAKE IN CHINA: Fierysky Li’s Dream, Rope, Bird’s Egg. Photo: Nobby Chung
The final work of the evening, Thirst - Two Drowning
The Hong Kong Dance Alliance DANCE PLATFORM
Persons, choreographed and performed by Beijing Dance
CHOREOGRAPHY SERIES Showing I m 20 June at the
Academy graduates, members of the Kong Kong Dance
Hong Kong Academy for Performing Arts Dance Studio
Studio, Liu Chun and Xiao Xiangrong with video by Zhang
One and Shoeing II on 4 July at the Fringe Club, presented
Yunfan and featuring an articulated sculptor’s doll is a
the first drafts of works of twelve young Hong Kong
complex work that approaches dance in a way analogous to
choreographers; eight on Showing I and five more on
Robbe-Grillet’s approach to the ‘new novel’； dissecting the
Showing II. One choreographer’s work was presented on
action, deconstructing it, showing it from multiple points of
both with the remainder scheduled to present further
view. In the work one dancer manipulates the doll while
developments on Showing III on 26 September at the Fringe
the other moves along with it, echoing its shapes and abrupt
Club and/or Showing
transitions from one impossible position to another.
Studio One. Performances of the finished works are
Meanwhile, a camera alternately tracks the dancers and the
scheduled for 19 and 20 December 2003 at Ngau Chi Wan
doll, projecting the resultant images on the cyclorama, the
Civic Center.
on 31 October at HKAPA Dance
floor, and the dancers. In these images, the foot-high doll is sometimes enlarged to gigantic proportions. The use of
DANCE PLATFORM allows audiences a window onto the
the camera casts the work in an extemporaneous light, again,
ongoing process of choreographing.
as in Lian’s Nobody’s Cheering，positing the audience in
choreographers present works-in-progress at two or more
the role of unwitting observers, but this time allowing us to
showings.
investigate a series of possible outcomes.
The
choreographers make comments about the works, acting as
choreographers use the metaphor of water, “frozen, running,
a kind of sounding board for the Platform choreographers
boiling, and icy” to inspire the movement invention and to
as they consider further refinements of their dance ideas.
explore the cruelty, threat, abuse, and disenfranchisement
At each subsequent showing, audiences have the opportunity
visited upon and enacted by the dancers.
to see the dances develop, gaining insight into the ongoing
This is probably the most articulate work on the program
perceptions of the works. Helen Lai, commenting on works
while at the same time containing a rawness and absolute
at both showings, noted that the DANCE PLATFORM
newness to it. The movement invention is exquisite; nothing
provided a significant avenue for young choreographers to
Up-and-coming
At the end of each showing, established
dialogue between the choreographers’ and outsiders’
hone skills with the potential to greatly enrich Hong Kong
conventions outside standard expressions, it resulted in a
choreography.
completely innovative exploration of the traditional form. In HK SARS, Peggy Chu used the Chinese dance aesthetic
Unlike most of their Independent Dance Makers -
and its penchant for finger and hand gestures fused with a
MADE IN CHINA counterparts, the DANCE PLATFORM
her own movement invention to serve her idea of the finger
choreographers come to dance from a dance conservatory
pointing associated with accusation and blame, and the
background, apparent both in many of their movement
tallying of the disease’s toll.
choices and in their performances. While one often felt that
their mainland peers approached movement and the stage
Their familiarity with formal aspects sometimes also enabled
as strangers discovering a new land, the Hong Kong
the Hong Kong choreographers to explore the choreographic
choreographers inhabited the space as if in a familiar home
craft in greater depth, with both small and large group works
and relished their articulate presentation of dance.
intent on going beyond movement invention to its fuller
Most
notable in this regard were the performances by Anthony
development.
Suen and Kat Wong in Suen’s Tic Tark-A Place For Us, in
Life was presented on Showing I with its development given
which Suen, with the insouciant masculine grace of a Fred
on Showing II, is an example of the eye to technical and
Astaire, and Wong, with the lithe muscularity of a Gene
formal refinement with which the Platform choreographers
Kelly, dazzled the audience with their superb tapping.
approached their works.
Likewise, Lam Wing-yi enraptured the audience with her
work on 20 June, his concerns were mainly in sketching out
exquisite delicacy in Sharon Cheng Man Chi’s ................ ’
ideas, developing choreographic metaphors, and giving the
and Lam Hoi-yee was riveting in her exuberant virtuoso
dance its overall dynamic structure with less attention to
romp through the quick paced, dense, and full-bodied
detail and staging. By 4 July, he had taken these elements
movement of Max Lee Kin-wai and Magic Fok Wai-kei’s
and woven them into a complete statement, overlaying one
Nothing. Similarly, the cast of Henry Yip’s Out Here on My
idea with the next with texture and depth and with a dynamic
Own?!! handled the complex material in this work, which
command of the stage space. The result was a masterly
included text, singing, and dancing, with an aplomb and
exposition of the foibles of, and pitfalls encountered by, a
panache worthy of seasoned Broadway gypsies.
group of souls loose in the contemporary landscape.
Musically, the DANCE PLATFORM choreographers went
If Wong’s example is anything to go by, Lai’s observation
further afield than their mainland colleagues, who seemed
will be proven right.
to dote on scores not too far removed from ‘musak’ and
further development of these choreographers’ works in the
whose use of them was often as background rather than
remaining two showings and the presentation of their final
integral. And, whereas there seemed to be a fascination
form in December.
with technology among the Chinese, the Hong Kong choreographers often explored other theatrical elements such
as costume and stage properties in a denser more complicated way. Cheng, for example, had her dancers enter the space pushing a heavy table.
As its legs ricocheted against the
floor it created an abrasive drilling sound. When the dancers stop, the delicate melody of Arvo Parfs Spiegel im Spiegel is heard. The contrast between the two; from the eardrum
shattering thumping of the table legs against the floor to the transcendence of the Part score, sets up the dialectic that is Cheng’s subject- the inner and outer worlds of women. Cheng goes on to use the table, among other things, as platform, shield,
refuge, and gate as she further elaborates her ideas. Given the DANCE PLATFORM participants’ background,
there was a greater diversity of dance genres represented, although sometimes in a more conventional format. However, in this respect, when they managed to push these
Wing Wong, whose Lost in the Game of
In the first presentation of the
It will be very rewarding to see the
舞評
Review
《人流》 文：方人
沒有看過這樣「香港」的舞蹈。繁忙的中 4環，擠搪的人群中，人人各自匆匆趕路■在
序幕之後的現場演出，亦是以人潮為題。舞蹈員一樣是
混亂中卻見一致。突然，這混亂的一致被打破了：人潮
活中捕捉而來。在明快的節奏中，舞者的動作編排也往
中的一群人同時停了下來......揚手......手掌轉至耳旁......作
往簡單清晰而一致；但是，在劃一整齊的動作中，卻久
出一個聆聽的動作......轉身......彎腰......站直......再上路......
不久會有一、二舞者以不同的動作或不同的節奏來舞
然後又消失於人潮之中，回復了一致的混亂，回復了匆
動。有時•他們的動作與群眾•動作的差異較明顯，但另
匆的人潮。
些時候，他們的分別卻較為微妙，不易察覺，要在其他
曰常的衣飾，各自有異。舞蹈的動作很多都是從曰常生
群幕低著身子時，才「水落石出」般顯露出來。個人與 這是一串很簡單的動作•但十分成功地借用了中環匆匆
「人流」的對比，也見於舞者退出舞台時，把個別舞者
的人潮。舞者們有男有女，高矮肥瘦.各穿不同的衣
「沉澱」於舞台上。整體來説，編舞手法簡單流暢，反
飾。：有的背著背囊，有的肩膀拼著大袋，有的聽著
覆地對比了人流與個體，以及劃一與異差。
Walkman。他們排著不規則的隊型，完全融入於人群中
之中。但他們舞動時，卻動作一致，神情專注，置身在
舞蹈結束時，舞台上又播放了另一段令人難忘的錄影。
城市中心的人潮之中，卻與周遭起著強烈的對比，就似
這次是隔著繁忙的皇后大道中，而編舞所借用的「演
是一塊礁石，絲毫不為潮流所動。
員」，是馬路上西行的車輛。舞者於封面馬路上向著相
反方向（向東）而行，停下，揚手......重覆著前文所述
t/ v 5 . 2
混亂而一致的人潮不但是舞蹈的舞台和背景，也成為了
的動作.動作停後又繼續前行。然而•當車輛如潮水般
舞蹈的脈络、舞蹈中的演員，是舞蹈中不可缺少的一
湧至時，舞者都被遮掩了。到車潮過後，舞者便有如被
環。它與舞者間的互動（或正確地説，是「非互動」），
車潮沖退下來般，已退到較後的位置。然而，他們仍繼
完全捕捉了香港的精神和色彩：經過慢慢地舞動著的舞
續舉步向前•執著地重覆著同一串動作，「逆流」而
者時，人群中只偶然地有一、二人停步' 轉頭或回頭觀
上。雖然他們重覆地被一浪又一浪的車潮冲退下來，他
望。然而，看過一眼後，他們便回身上路，随人流而
們仍堅持繼續他們的動作：前進......停下......揚手......。
至
去，就以剛才那匆匆的一幕便從沒發生過。也許，他們 都不知到，就在他們匆匆趕路的一刻中，已成為舞蹈演
三段舞蹈中，最令人難忙的還是第一段的錄像。雖然是
出的一部份。
一個簡單的實驗，但看著舞者執著地在漠不關心的人潮
中舞動著，叫人感到在香港從事藝術工作者的困難；但
I
在這個世界上，或者還有其他的城市有這樣擠擁的人
舞者的執著專注•與那地道的「香港感覺」也叫人感到
潮；但相信就只有香港的中環.才有這樣一大群專注於
一份親切、一份温暖。想不到的是.這樣成功地捕捉了
匆匆之中，而對身旁發生的一切漠不闞心的人群。這些
這份人流中的「香港感覺」的編舞者，竟是來港不足一
人流，就正是香港的節奏和脈搏：既是香港得到成功的
年的演藝學院資深講師羅傑索。可能，就正是編舞者初
優點.也是香港的不足和悲哀。
來報到•反而更能深深的覺察到這份感覺。
上述的一段舞蹈•被捕捉在錄影片段中•成為了香港演 退學院舞蹈學院於六月演出的「舞蹈名目演出」中《人 流》一舞的序幕。
NCE EVEHHong Kong Dance Company 香港舞蹈團
n
Hong Kong Dance Expo’03 《O3香港舞蹈博覽》
2®©
inocchio《木偶奇遇記》
表
3®要求，火速重演！
3/8 3:00pm
Hong Kong Dance Federation 香港舞蹈總會
-run by Popular Demand Audionco^onwnWit on ihe prwnisie
Kwai Tsing Theatre Auditorium
10/8 3:00pm
8-10/8 7:30pm
.i揭秀的淡# •媲美《獮子王》。j
舞蹈博覽
1-2/8 7:30pm
and tofi coinpetewith
tis p«^rnMnci>
葵青劇院演藝廳
Auditorium, Sha Tin Town Hall 沙田大會堂演奏廳
Choreographers 編舞： Joint performances by over 40 Dance Organizations
Jiang Huaxuan 蔣華軒
四十多個舞蹈團體聯合演出
Enquiries 查詢：31031810
Enquiries 查詢:2967 8253
Fetish:Stories （戀物癖》 Produced by Open Daily 年中無休製作
8:00pm
8-10/8
Theatre, Hong Kong City Hall Hta
Heartstrings《驛動心弦》
香港大會堂劇院
Dance Art Hong Kong 動藝
15/8
Choreographers 編舞：
7:30pm
PatiahiStories^j ;眺戡您的皮肉之苷•中您遨入一龆色 ¥ 贸全的浮K世界 '篆名前英0DV8舞丨及作人Robert Tannion •' S盼•甘次輿#巷食0 •裨為魯扁舟來鵞《 ! + i 1.1 fe boring? Noel to axpan'J y»ur ssnaual sexual Horizon? Want to try ns« passion^ * Robert Tannion, rsnownad former BV8 perforoisr & oollaborator, will hla Ktasi blzarra work HK daas«r«!
Auditorium, Yuen Long Theatre 元朗劇院演藝廳
瓢
Choreographers 編舞：
8-）0.8.2003 （星: :昝港大會笪刺阬 Theatre, Hong Kong ’:'參150, 100
Andy Wong 王廷琳,Francis Leung 梁家權
Enquiries 查詢：2268 7323
And then."?《一刻》 王廷琳獨舞展
Allen Lam 林偉源，Yeung Wai Mei 楊惠美 Enquiries 查詢:27349009
Robert Tannion
Andy Wong Solo Dance Concert
_____
28-30/8 8:15pm
30/8 3:15pm
McAulay Studio, Hong Kong Arts Centre 香港藝術中心麥哥利小劇場
Choreographer 編舞：
David Dorfman, Robert Kitsos, Lisa Race,張秀梅及王廷琳 Enquiries 查詢:2793 9957
Turandot《杜蘭朵》
鼸
World Pier
Hong Kong Ballet香港芭蕾舞團 4-7/9 7:30pm
1 Dance Platform Showing III 《舞蹈平台展演III》 Hong Kong Dance Alliance 香港舞蹈聯盟
26/9
7:30pm
Fringe Studio
藝穗小劇場
Enquiries 查詢：2584 8753
6-7/9 2:30pm
Auditorium, Sha Tin Town Hall 沙田大會堂演奏廳
Choreographer 編舞： Natalie Weir娜泰莉•維亞
Enquiries 查詢：2105 9724
TURANDGT
Membership Form
暑員申韻表 會賴
Membership
(
Individual
個人會員
$200
(
Organization
團體會員
$600
(
Associate*
普通會員*
$100
(
Student*
學生會員*
$50
Individual/Associate/Student Member' s Information
Name
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Position
職｛il
個人 / 普通 / 學生會員資料
____________________________ (中文)_____________
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Q2]
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文化及藝術行政 音樂舞劇 / 爵士舞 / 踢S達舞
中國舞
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| Ballroom國際標準舞
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I
| Notation舞蹈記錄
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| World Dance世界舞蹈
舞台技術
其他 __________________________________________
簽署：_____________________________________
Date
曰期:__________________________________
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
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1
Gloucester
Road,
Wanchai,
Hong
Kong.
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