舞蹈手札 dance journal/hk 5-6

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港舞蹈聯盟

HONG KONG DANCE ALLIANC

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clement

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香港舞蹈聯盟理事委員會

Hong Kong Dance Alliance Executive Committee :

白朗唐Tom Brown

主席 Co-Chairman :

整版

孫名翠Karen Suen 副主席 Vice Chairman: 曹誠淵Willy Tsao

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李念春 Charissa Lee

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謝鳳蓮Merry Chey

ubmLssion

遍週 Editors :

請將稿件郵寄、電郵或傳真至本會，中英不限。

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

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Alliance. Authors of articles selected for

劉建華

Jaspar Lau Kin Wah

陳頌瑛

Anna Chan Chung Ying

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Cecil Sze

ubsczLption

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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 Supported by:

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香港藝術發展局 Hong Kong Arts Development Council

Sponsored by: WNR KGNC ACADEMY ▲ FOR 八 RFORMINGARTS

矜組演藝

9院

represent the views of, the Hong Kong Dance Alliance or the Hong Kong Arts

Development Council.

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康樂及文化事務署

Leisure and Cultural Services Department

天虹印刷有限公司

Rainbow Printings Limited

3

Contents 目錄 _____________________ Vol.5

NEWS

舞蹈

No.6

圖書館

Cover封面 CCDC’s There, after... by Helen Lai 城市當代舞蹈團演出黎海寧《其後》 香港芭蕾舞團《胡桃夾子》

Photo: Ringo Chan 攝影:陳德昌

舞蹈快訊NEWS

1

2003

THE HONG KONG ACADEMY FOR PERFORMING ARTS LIBRARY

香港芭蕾舞團將於12月18至26日（22日除外）於香港文 化中心大劇院演出聖誕經典芭蕾舞劇《胡桃夾子》，並由葉 詠詩率領香港管弦樂團作現場伴奏（25及26日之演出除 夕卜）。故事講述小嘉麗收到敎父杜西米爾送給她的一個傳統

新舊傳統的狹鏠式生存

胡桃夾子木偶，十分興奮。想不到，這個木偶更變成英俊的

In the limited space

王子，帶著小嘉麗到夢幻的雪之國漫遊歷奇。香港芭蕾舞團

文：劉建華

4

by Lau Kin Wah

12月19日的夜場及12月21日的日場演繹糖梅仙子及小嘉 麗。另外，舞團更為小朋友舉辦「玩偶扮親親」比賽，邀請

by: Anna C Y Chan

小朋友花點心思’為他們的玩具熊、洋娃娃及玩偶化一個別

8

Interview with Nobuo Fuji no by Kevin Ng

外，還有令人歡呼讚嘆、不斷長高變大的神奇聖誕樹 。今年

的演出’舞團更邀得中國國家芭蕾舞團主要演員王啟敏■於

More from the Intelligent Moves Symposium 舞蹈敎育新里程研討會(續) 文：陳頌瑛

這齣瑰麗奪目之作，除了以華麗的舞衣及堂皇的佈景見稱

緻的聖誕妝。小朋友的得意作品可於欣賞12月24日日場中 場休息時帶到一樓大劇院門外之「香港芭蕾舞團接待處」。

評判會在節目完畢後選出最優秀的作品，優勝者將獲贈「胡

11

桃夾子木偶」一個。參加的小朋友可於12月18日前致電

2105 9723陳小姐報名。其他日場後的活動包括12月25日

I Dance Central by Nigel Grant

12

的「趣緻圖案畫手手」及12月26日的「跟你喜愛的劇中人 物合照」。《胡桃夾子》為康樂及文化事務署之「開懷集系 列」節目之一。《胡桃夾子》門票已於各城市電腦售票處公

CCDC’s Xing Liang

開發售。備有優惠折扣•詳情請參閲港芭網頁www.hkballet.

by Michelle Vosper

14 HONG KONG BALLET S NUTCRACKER SEASON

News from Taiwan

The Hong Kong Ballet, accompanied by the Hong Kong

by Professor Susan Street

16

Philharmonic (except for 25 and 26 December) under the

baton of Yip Wing-sie, will perform The Nutcracker at the

《緋紅》：原始的人性俗世的天堂 文：劉建華

Grand Theatre of the Hong Kong Cultural Centre from 18 to

17

26 December 2003 (no performances on 22 December). The storey is about Clara who is thrilled when the mysterious Herr Drosselmeyer gives her an old-fashioned nutcracker.

Roles and Journeys by Tom Brown

18

Little does she dream that it will turn into a handsome prince

who’ll take her on a wondrous journey to the fairytale Land

Hong Kong Dance Awards 2004 Nomination 香港舞蹈年獎2004提名

of Snow. Hong Kong Ballets production of The Nutcracker

21

features a sumptuous array of costumes and sets and a spectacular tree that grows bigger and bigger. In this production, the Hong Kong Ballet has also invited Wang Qimin, an award-winning Principal Dancer from the National

Ballet of China to dance the role of Sugar Plum Fairy and

Clara on the 19/12 evening and 21/12 matinee shows. For children there will be a dress up your favourite teddy bear, doll or action figure contest on the 24/12 matinee performance. The winner will receive a beautiful nutcracker doll like the one in the ballet. Interested children please call Miss Chan at 2105 9723 to register before 18/12. Other activities after matinee performances include 'funny hand

Image: Abby Chan’s Spectrum. Photo: Cheung Chi Wai. 圖：陳敏兒演出其作品《行色匆匆》。攝影：張志偉°

com或宣傳單張。電話訂座：2734 9009 ’信用咭訂票： 2111 5999，網上訂票：www.urbtix.gov.hk，節目查詢：

painting' on 25/12 and a photo op session on 26/12.

2105 9724 / marketing@hkballet.com °

Audiences are welcome to join. The Nutcracker is one of the programmes in ‘Cheers’ Series by Leisure and Cultural Services Department. Tickets is available at all URBTIX

城市當代舞蹈團三度外訪

outlets. Go to www.hkballet.com or check the programme

城市當代舞蹈團今年馬不停蹄’於8月至10月間先後三次到

leaflet for performance and discount details. Reservations:

海外巡迴演出。首先是8月15至22日應澳洲艾思普森舞蹈

2734 9009; credit card booking: 2111 5999; internet booking:

團(Expressions Dance Company)之邀到澳洲布里斯本浪

www.urbtix.gov.hk; enquiries: 2105 9724 or e-mail to

出。在藝術總監曹誠淵率領之下’「城當」台前幕後一共廿

marketing@hkballet.com.

人赴澳洲昆士蘭表演藝術中心’與艾思普森舞蹈團同台演出

5 . 2

了七場現代舞。每場節目的上半場由城市當代舞蹈團舞出曹

CCDC’s Three Overseas Tours

誠淵、桑吉加及邢亮合編之《365種係定唔係東方主義》選 段：下半場則為艾思普森舞蹈團演出其藝術總監瑪姬•茜思

The City Contemporary Dance Company was busy from

瑪新作《飛翔》的世界首演。除演出外’曹誠淵及所有舞者

was between 15 to 20 August, in which the Company was

更參加一連串由昆士蘭表演藝術中心主辦的文化交流活動’

invited by the Expressions Dance Company to perform in

與當地的學生、舞迷暢談現代舞。瑪姬' 茜思瑪將於12月親

Brisbane, Australia. Led by its Artistic Director, Willy Tsao,

臨香江，把諾貝爾文學獎得主山謬-貝克特(Samuel Beckett) 之作《那時》活現舞台，與編舞彭錦耀鬼味十足之 《怪談/繪

the Company, with twenty dancers and supporting staff,

卷》同場於12月26至27日假葵青劇院演藝廳演出◦緊接澳 洲之旅，「城當」藝術總監曹誠淵與台前幕後圑員一行廿二

modern dance performances in the Queensland Performing Arts Centre. Each performance presented excerpts from

人應哥本哈根國際劇場(Kobenhavns Internationale Teater)

365 Ways of Doing and Undoing Orientalism by Wily Tsao,

performed with the Expressions Dance Company in seven

之邀，於9月1日至7日遠赴丹麥哥本哈根參與「亞洲萬象

Xing Liang and Sang Jijia, and the world premiere of Flight!,

節」(Images of Asia Festival)，演出《365種係定唔係東方主 義》。「亞洲萬象節」是丹麥舉國的盛事，參與的亞洲藝術

choreographed by Maggi Sietsma,the artistic director of the

家超過450人，共600項音樂會、展覽、演出、研討會等交 流活動，目的在加強丹麥與亞洲地區之間的了解、合作與溝

and all dancers also participated in a series of cultural

通，展現亞洲當代面貌。「亞洲萬象節」於8月8日開始在 哥本哈根、奧胡斯、奧登塞等地舉行，探討當今亞洲如何於

Performing Arts Centre, to discuss modern dance with local

students and audiences. In return, Sietsma will come to

傳統與現代之間的文化價值及潮流、今昔的挑戰中取得平

Hong Kong in December, and present her work That Time,

Expressions Dance Company. Besides performances, Tsao

exchange activities, organized by the Queensland

衡。除了城市當代舞蹈團之外，進念•二十面體、梅卓燕、

a dance based on Samuel Beckett’s play of the same title,

楊惠美等香港藝術家亦同獲邀參加此藝術節。最後，「城當」

together with Sunny Pang’s Kwaidan on 26-27 December at

於十月黃金週再應香港特別行政區政府駐倫敦經濟貿易辦事

Kwai Tsing Theatre. Right after the Australian Tour, CCDC,

處之邀，隨政務司司長曾蔭權出訪東歐，推廣香港和促進當

with its Artistic Director Willy Tsao and twenty-two dancers

代文化交流，並演出分別由黎海寧及藝術總監曹誠淵編排的

and supporting staff, left Hong Kong for Copenhagen,

舞碼《九歌》.(選段)及《中國風•中國火》。這兩個作品展

Denmark to perform 365 Ways of Doing and Undoing

現中國當代舞蹈特色，曾多次獲邀到英國倫敦、法國里昂、

Orientalism in the the Kobenhavns Internationale Teater as

瑞士、德國、盧森堡及奧地利等地演出，備受國際注目。舞

a part of the “Images of Asia Festival”. The Festival was a

團此行行色匆匆，首先於10月4日在俄羅斯第二大城市聖彼

nation-wide event in Denmark, with aims of strengthening

得堡Kamaval Hall演出，接著於10月6日在首都莫斯科Dom

the understanding, co-operation and communication between

釜

Musiki參與「反轉舞蹈節J (Dance Inversion)，最後於10月

Denmark and Asia, and reflecting the contemporary images

9日到歐洲名都布拉格Congress Hall演出。其中的莫斯科

of Asia, with more than 450 participating Asian artists and

「反轉舞蹈節」雲集了不少享譽國際的舞團，包括來自加拿大

over 600 exchange activities, including concerts, exhibitions,

蒙特利爾的LaLaLa Human Steps及澳洲墨爾本的Chunky

performances and lectures. Started from 8th August, the

Move等。城市當代舞蹈團為藝發局資助團體。城市當代舞蹈

Festival took place in several Denmark cities to discuss how contemporary Asia can achieve a balance between the

團澳洲布里斯本和丹麥哥本哈根文化交流之旅由香港特別行 政區政府民政事務局(藝術發展基金)支持。

traditional and modern cultural values and trends, and between the challenges faced now and before. Other Hong

Clement Crisp、謝傑斐與《胡桃夾子》 為金融時報(Financial Times)撰寫舞評逾三十年的知名的舞

Kong Artists and Companies were also invited, including Mui

/

4

August to October on three overseas tours. The first one

評家Clement Crisp，曾與香港芭蕾舞團藝術總監謝傑斐有一 段淵源。在1970年當Crisp剛由投稿員轉為全職的芭蕾舞舞 評家時•金融時報給他一大篇幅評價皇家芭蕾舞團的作品。

當時皇家芭蕾舞團上演的是Kenneth

MacMillan的

Mayerling °而其中表演的正是謝傑斐。三十年後，Chsp再 次提筆評謝傑斐，卻已是謝傑斐為港芭編舞的《胡桃夾

"Crisp應港芭之邀於十二月專程來港欣賞 《胡桃夾

Cheuk-yin, Yeung Wai-mei and Zuni Icosahedron.

In

October, CCDC was again invited by the Hong Kong Economic and Trade Office (London) to visit Eastern Europe with Chief Secretary Donald Tsang, to promote Hong Kong and contemporary cultural exchange. On the tour, CCDC performed Helen Lai’s Nine Songs (excerpts) and Willy Tsao's

Chinese Wind, Chinese Fire, two works that present the characteristics of contemporary dance in China, that had

子》，並撰寫舞評。現為 University of Notre Dame, London

Programme講師的Crisp亦將會在留港期間主持多個講座。 第一個講座已定於12月16日早上舉行，題目是「舞評人的 角色和責任」。晚上他會與藝術發展局的審批員、藝術顧

問' 舞評人及舞蹈界人士分享寫作心得。於12月17日Crisp 將就「舞評在舞蹈敎學上的價值」與香港演藝學院的敎職員 進行討論。而最後一個講座「十個愛上芭蕾舞的理由」，則

Robbe的Par敝）fur? Black。這齣作品的首演原定是於2003 年5月假演藝學院舉行。但由於SARS襲港而延期。在這次 兩地學生為期一星期的演出後 ，巴黎的學生將於明年5月來

港與香港學生於「法國五月」合演該作品。這次與Paris

Conservatoire的合作是兩間學院間長期交流計劃的一部份 。 下一部份是由香港編舞家梅卓燕於2004-05年度為香港和巴 黎兩地學生排演其作品，並於兩地演出。

會於澳門文化中心舉行，適合普羅大眾參加。這次是Crisp首

度踏足香港，並為港芭撰寫舞評。查詢：簫小姐2105

動藝《舞躍奔騰2003》和學校巡迴演出

9719 °

經過5個月的培訓，「香港文化中心青少年現代舞推廣計劃」

香港舞者於伯斯和巴黎演出

的學生於2003年11月29日（星期六），下午2:30假香港文 化中心大堂與動藝一班專業舞者合作演出 《舞躍奔騰

一群香港演藝學院舞蹈學院的學生於11月14日離港到澳洲

2003》，展示他們努力的成果。除了這次演出外，動藝亦於

伯斯，與一些香港的專業舞者和當地的西澳洲演藝學院的學

10月起開始學校巡迴演出，向學生推廣舞蹈藝術。同時，動 藝亦與香港善導會合作，舉行動感分享會學校巡迴，結合舞

生合作，於伯斯藝術節中演出潘少輝的新作。為準備這次演

出，潘少輝於9月已開始與本地舞者排練，跟著於11月初前 往澳洲與當地舞者排練。在兩地舞者匯合於伯斯的這兩個星

蹈與曾誤入歧途者之生命見證，務求結合公民敎育與藝術敎

期中，編舞對作品作最後調較，並把兩地舞者整合作同台演

朗朗屏村東莞學校（11月22日10:20am）、元朗信義中學

出。各參與單位亦開始籌備把這個計劃於明年2月帶來香港 演出。與此同時，另一群香港演藝學院的年輕舞者亦準備前

（12月5日10:00am）、佐敦嘉諾撒聖馬利學校（12月11日 2:00pm）

往法國巴黎。這批學生於12月1日，完成其於演藝歌劇院演

水惠州公立學校（下午校）（12月15日3:30pm）及上水惠州

出的《生》後，離開香港。在這個兩個星期的旅程中，演藝

公立學校（上午校）（12月18日10:00am）。

育，貫徹動藝關心社會的藝術方向。這些學校演出包括：元

'元朗朗屏村東莞學校（12月13日9:20am）上

學生將於巴黎聯合Paris Conservatoire的學生演出Herve

previously been performed in England (London), France

and professionals at the Hong Kong Arts Development

(Lyons), Switzerland, Germany, Luxemburg and Austria. On

Council. Another topic is ‘The Value of Dance Critique in

this Tour, the Company performed in the Karnaval Hall in St.

Teaching Dance’，which will be discussed on 17 December

Petersburg (4 October), Dom Musiki in Moscow (6 October),

together with teachers and staff of the Hong Kong Academy

and Congress Hall in Prague (9 October). The performance

for Performing Arts. The last talk entitled ‘Ten Reasons You

in Moscow was a part of the “Dance Inversion”，a festival

Should Love Ballet’ would be conducted in the Macau Cultural

with participants of internationally-well-known dance

Centre for the general public. This is Crisp’s first time to

companies, such as the LaLaLa Human Steps from Canada

travel to Hong Kong and to review Hong Kong Ballet's

and Chunky Move from Australia. CCDC is financially

production. Crisp is looking forward to share his vast

supported by the Hong Kong Arts Development Council. The

experience in the business of ballet with the dance community

tours to Australia and Denmark were supported by the Home

in Hong Kong. Enquiries: Ms Paula Siu 2105 9719.

Affairs Bureau’s Arts Development Fund.

Hong Kong Artists Perform in Perth and Paris Clement Crisp, Stephen Jefferies and The Nutcracker

On 14 November, a group of students from the Hong Kong

Clement Crisp, the world-renowned dance critic who has been writing for the Financial Times (FT) for over thirty years,

Academy for Performing Arts School of Dance left for a two-

has a link with the Artistic Director of Hong Kong Ballet

from the Western Australian Academy for the Performing Arts

Stephen Jefferies. When Crisp turned from Contributor to

and with professional Hong Kong dancers in a work

Ballet Critic of FT in 1970, he was given plenty of space to

write about the Royal Ballet. The production that Crisp saw was Kenneth MacMillan’s Mayerling and Jefferies was

choreographed by Pun Sui-fai for the Perth Arts Festival. Pun worked with Hong Kong dancers from September staging the work and traveled to Australia in early November

among the three casts that Crisp reviewed. Thirty years later, Crisp will be reviewing his work again. But this time it

to work with the Australian dancers. During the two weeks that both groups worked together in Perth, the choreographer

is Hong Kong Ballet's The AZafcracker choreographed by

refined the work and integrated both groups into a collaborative venture between Hong Kong and Australian

Jefferies. Crisp has been invited by the Hong Kong Ballet to review the Company’s The Nutcracker in December. As the Associate Professor of University of Notre Dame, London

Programme, Crisp will also deliver a series of lectures during his stay. The first lecture is on 16 December about the role and responsibility of a Dance Critic. In the evening of the same day, he will share his experience in writing dance reviews with examiners, assessors, consultants, dance critics

week stint in Perth where they will perform with students

artists. Plans are proceeding to bring the whole project back to Hong Kong for a performance in February 2004. While one group of APA dancers traveled to Australia, another group prepared for a two-week tour to Paris, which departed Hong Kong on 1 December immediately after the APA Lyric Theatre (continued on page 15)

舞壇手記

Dance Diary

新舊傳統的挾縫式生存

In the limited space (for traditions that hold no boundary) 文：劉建華 by Lau Kin Wah

（一）《香港平覯正》

(1) Selling Hong Kong

在九月下旬，由康文署舉辦、邁克擔當節目策劃的「2-

During late September, the Leisure and Cultural Services

D舞影錄」，播放了約十多套包羅了從經典芭蕾到當代

Department launched a program series entitled 2-D Dancing:

舞蹈劇場、歌舞電影到舞蹈錄像不同舞碼類型的近三十

Movement in Image, with Michael Lam as curator. More

場節目，讓本地觀眾大開眼界之餘，也難免一時有點消

than a dozen dance-films and videos ranging from classical

化不良。在節目中夾入本地項目《香港平靓正》，則構

ballet to contemporary dance theatre were shown. Among

思意願固然良好，可惜看過放映後，卻覺得黃大徵在場

these, was a special program, Selling Hong Kong, curated

刊上所云：「收到影帶…歸納出一個結構…結果節目的

by Dick Wong. Yet, although Wong claimed the program’s

總長度為七十多分鐘，足以證明舞蹈錄像這回事，在香

videos “show that dance videos are being made in Hong

港的而且確有發生過…」，説法似乎帶點牽強，就是成

Kong,” they did not show much beyond that. The hour­

立，也不能代表什麼。在寥寥無幾打正名堂的「舞蹈錄

long program was patchy, with the inclusion of promotional

像」外•還加入了「舞蹈演出宣傳短片」以及「作為演

videos and dance videos made originally for performance.

出一部份的舞蹈錄像」，就給人湊鉤鐘數的雜亂之感。

Among the promotional category, Bootnbastic Verses included

5 . 2 姜 /

4

在宣傳片類中，《打樂十八層》可算陣容頂盛，但搶眼

some of the best local choreographers, but despite stylish

的服飾似太刻意，未有和環境空間有文化意義上的碰

costumes and stylistic editing, a link between dancers and

撞，或者黃大徵在「穿上舞蹈/跳出時裝」座談會中所

environment was missing - the work’s 'black suit’ could not,

言，黑色西裝作為沒有意念時的保險選擇，於此被不幸

after all, hide its lack of ideas. Film director Zhang Yuan’s

言中？張元導演的《給你一點顏色》最富電影感，但當

Shaw Your Colours, was one of the program’s most cinematic

中在城裡裝瘋的舞者群，遠不及邢亮和桑吉加演出的

productions. However, the film’s dancers, behaving as if they

《裂變》•引領古裝的蠻夷從鄉間闖入城市般富超現實

were insane in the streets, were not as meaningfully out-of­

感和文化張力。《裂變》雖説是從演出中抽出來播放，

place, as the performances of Xing Liang and Sang Jijia in

但錄像的感覺完整，加上舞者投入，敢於瘋狂，製作誠

Estrangement. As these dancers moved from rural to urban

意實在可嘉。至於同組作品中，楊春江的《face

landscape, the video addressed issues of social change.

dance》，標題使我以為播放的會是特寫面孔的五官

Although it was meant only as part of a performance,

舞，最後揭曉原來是把鏡頭置於舞台正上方 ，一次舞蹈

Estrangement was really daring in its execution, and self-

錄像以調動觀舞視點的標準示範。

contained as an enigmatic dance video in its own right. Daniel

Yeung’s piece entitleddance, originally led me to expect 在《香港平靓正》四齣打正「舞蹈錄像」招牌的作品中•

another work related to his special brand of facial gesturing,

樹寧導演的《無聊舞娘特別場》，開場將拖鞋放到舞蹈

but it turned out to be shot from directly above, an example of

的脈络恐怕僅是個抵疋的偶然，繼後無無聊聊的十多分

the shifting of viewing angles frequently used in dance videos.

鐘.就似欠缺了敘事焦點.反像沒有了劇場前台而若有

所失的配搭作品。陳錦樂導演的《Prelude》，以靜止的 統顽捕捉楊惠美在大度天臺背视世紀最後一個黃昏曰落

Among the four short pieces categorized as dance video,

Prelude, directed by Mark Chan，achieved wonderful results

by using only one fixed shot from beginning to end. Not only did a beautiful sunset and passing traffic form backdrops

for the dance by Yeung Wai Mei, but even the music was recorded live within the film’s frame. The artists' nostalgic

contemplation of passing time, acted as silent witness to the precious little moments that are lost in our ever-rushing city

life. Movement #1/10, directed by Ellen Pau, with Dick Wong as its subject was also included on the program. Asa video artist, Pau produced perhaps some of the very first dance

videos in Hong Kong for Zuni, which were unfortunately not shown on this program. Some of these have rather simple

but impressive over-riding post-production visual structures

that most of the pieces in the show lacked. Mon Liu Mou Noeng containing a funny opening play with a pair of slippers

is perhaps only coincidentally relevant as dance. Together 陳敏兒於獨舞秀中演出其作品 《行色匆匆》。攝影：張志偉

with Point Red Point Green, however, I think it demonstrates

Abby Chan in her work Spectrum. Photo: Cheung Chi Wai

a belief, that with the simplest equipment and friends, anyone

can try their hand at making dance videos. 起舞，藝術家對時間細微的依戀懷纟面，和那些公路上飛 驰車輛的匆忙，簡單得來恰好構成了別具象徵意味的抒

A quantitative statement such as “dance videos are being

情畫面。從油街眺望東區走廊，事實上正也是錄像藝術

made in Hong Kong，’，does not guarantee quality. Luckily,

家鮑蔼倫到威尼斯雙年展參展作品的景觀。這次選了鮑

Selling Hong Kong, did not include any ‘canned’

蔼倫給黃大徵拍的《運動#1/10》，則使我想起其早年

documentaries of staged performances, but its inclusion of

給進念演出作了更多後期製作加工的本地舞蹈錄像開山

three categories of works still blurred the distinctiveness of

之作，可惜這次反沒有被選上。至於最後的《點紅點

the dance video as a form of artistic expression in its own

綠》，則大概説明只要找到空間、器材和有心人，基本

right. It has already been a decade since Edward Lam first

上就可以嘗試開拍舞蹈錄像。不過在錄像器材的迅速普

introduced DV8 dance videos to the general public, the genre,

及和愈加輕巧方便同時，要取得成績，還是離不開從舞

however, has not developed much despite equipment becoming

蹈的編排到錄像的分鏡剪接等知識和技巧方面下番苦

more and more commonplace and affordable. With a program

功，在經驗的累積中自我改進，否則影帶容易了無睇

like 2-D Dancing: Movement in Image, providing a chance to

頭，淹在映像的汪洋。

encounter Wim Vandekeybus sharing his experience in making

superb dance videos, and supplying viewers with the inspiring 到底，舞蹈錄像在香港「有發生過」，並沒指涉到任何

revelation of how much better on tape Pina Bausch’s Hong

質的保證，訴説的僅是數量上一次零的突破，但舞蹈錄

Kong production of The Window Cleaner is, next year's

像作為錄像或電影和舞蹈跨媒體協作，卻又能鉤被看成

Jumping Frame program will hopefully offer something really

是自成一格的獨立藝術創作範疇，實際包含（或貴乎

more encouraging than Selling Hong Kong.

於）一種創作上概念思維出發點的根本轉換，從另一嶄

新的角度來看待舞蹈，擺脱僅僅作為演出「罐頭記錄」

(2) Spectrum

的副產品身份。自當年林奕華播放DV8的錄像，雖説

In this year’s Little Asia - Dance Exchange Network, the

把這類型創作引介到香港來，然而在本土卻始終未有開

four 'solo animals, chosen were all women, among them

花結果、形成風氣，這究竟是對實驗性的搞作缺乏興

Abby Chan from Hong Kong. Her work Spectrum, also

趣、人力物力的問題，抑或是因發行的渠道幾乎等同於

incorporated video projection and used optical illusions as

零的緣故？這次「2-D舞影錄」，邀得范德基伯斯暢談

well. These elements were important to the dance, adding

他拍攝他那些獲獎舞蹈電影的經驗心得，而不少觀眾也

external dynamics to the work’s actions. As, for example,

領敎到包殊九七年為香港編的《抹窗人》的錄像比較演

in a scene with the projection of thick lines approaching

出好看的啟示，希望來年城市當代舞蹈團和錄像太奇合

from both sides of the screen, trapping Chan between them;

作的「跳格」，能比這次《香港平靓正》有更專業化的

the lines were simply much more forceful and effective in

突破。

generating momentum. Also, a scene in which the dancers

dress was saturated in red light made good use of the rather

flat color field projection.

（二）《行色匆匆》

Dancing in and out of a lighted zone, and ending squeezed

陳敏兒给今年小亞細亞舞蹈網络的「獨舞秀」中的演出

within a thinning column of light, the work also played with

«行色匆匆》，除有運用胡錫恩的錄像投影’演出資料

tension. Although structural progression was difficult to

中還列有「先幻覺的設計」項’兩者在作品中佔的比重

generate with the work’s swings and turnabouts, Chan’s

該可謂不袒。在抽象的線’面元素中•如在左右夾擊的

constant sideward gaze, added a sense of nervousness to

一段，線在帶動情節上，自然比色面容易和有力’但把

the dramatic expression.

Her white dress, shaped like a

白身的裙身染成一片的紅，也算是成功地自然運用色面

folding lantern aptly echoed the Tang poem, with its musings

的一幕。燈籠般的圓柱服裝，在翻揭時雖有物件劇場的

about moonlight. Kneeling down and pulling the dress over

異趣，但服裝的形體減弱了旋擺的動感'高挑身形折腰

her head, Chan turns it into a curious object, while half-

的角幅•似乎宜屬靜態多於動勢。這似乎也是編舞者加

naked she reveals a subtle feminine quality, at ease with her

插入李白《靜夜思》的命運•雖然能鈞在缓急之間營構

own body. Nevertheless, the dress’ static form hid most of

出繃他，但最終也難逃一切被擠壓的結局。至於舞出舞

the twisting and swinging of the body in motion.

入強光區，光暗反差也突出大黑大白拄往儀牲了小節的

不幸。

(3) As Time Goes By and There, after... Corresponding to Chan’s new presentation to the well-

不同於在藝穗會碰巧復見的《情色男女》錄影中•邢亮

known Tang poem by Li Bai, Pun Siu-fai’s As Time Goes

與梅桌燕按靠著牆反覆轉身而構成的機械節奏張力，陳

By uses as its climax an experimental variation of the popular

敏兒在台中以水平擺手的往返迴旋，不易於摸出一種结

Cantonese opera Xiang Yao. The dance is structured as a

構來，反是通過其頭膊轉動和眼光視線、讓觀者接收到

three-part progression from the familiar secular Cantonese

一種緊張的情緒，引導觀者向演劇神情動作的方向閱

ballad to a more scholastic tradition and then further to new,

讀。（至於進劇場在新演的《舞至愛之终結》中•加入

experimental, unknown territory. However, despite this

定頓形格的舞步，朝向形體劇場的發展，則又反而離間

meaningful musical arrangement, the choreography was

了舞台上的敘事。）至於聞一浩跟隨伍家嶸對《绯紅》

pushed to the sidelines as Amy Wu, “the Queen of Cantonese

棵身的敏感，花了有限評論篇幅在那點乳頭上，我覺得

Ballads” stepped onto the stage. The dance did not really

就反不及白晳肌膚讓我勾想起月照的水瀉銀光切合演出

transform the Cabaret setting, rather it compromised too

主題而重要。尤其把《行色匆匆》和「獨舞秀」中其他

much in bringing back the sort of conservative staging that

表演者對於女性形象煞有介事的演繹相比，陳敏兒的作

serves only to glorify the ‘star’. The sensational ‘Snow

品無疑更淡然地展示了其此方面的坦然，內向尋覓而非

White’ scene was a new imagining to the music but its means

控訴式的反彈。

to attain its impressive effect was not at all innovative. With the satirical use of Cheung-Sam costumes and Tai-Chi

choreography before a mirrored sphere, the dance was

another example of Hong Kong’s postmodernism-at-large

style. The work would have perhaps been more apt as a

5 . 2

Chinese Music Ensemble Legends of China Festival

production rather than a CCDC dance performance.

Also on the CCDC Autumn Sonata Program, was Helen Lai’s There, after ... performed to Zoltan Kodaly’s Sonata for

Unaccompanied Cello, Op.8 played by Bion Tsang. The

music’s somber tone perfectly matched the dance’s only 城市當代舞蹈團演出潘少輝作品《戲夢人生》。攝影：陳德昌

props, dark cloaks, while the minimal stage design

CCDC performs Pun Siu Fai's As Time Goes By. Photo: Ringo Chan

resembling Andy Warhol’s oxidized paintings also fit well

with the sophisticated score. Lai transformed the action of （三）《戲夢人生》、《其後》

putting on and taking off cloaks into stylized gestures full

和《行色匆匆》给李白《靜夜思》來次傳統變奏不約而

of emotional intensity, as if the dancers were performing a

同的•是舞作《戲夢人生》的《香夭》新演繹。在這個

tango with their own shadows; the big cloaks serving well

潘少輝给城市當代舞蹈團新舞季《秋日奏鳴》編的新舞

as metaphors for both protection while at the same time for

作中•編舞者邀來「歌影紅星」胡美儀和中樂組合東

bondage. Paralleling Tsang's virtuosity and revealing Lai’s

路•以音樂曲目由俗人雅來铺排演出的结構。滑稽扮風

attention to the smallest details in her characteristic

*的幼惟開場•甜膩到耳油溢漏的《歌仔靓》.嚇得我

choreographic movements was Janet Chang’s powerful

一時以為靓睹內地一些演藝學院送學生到歌廳實習的悲

kicking and leg stretching as she laid on the ground

醜新聞。誠然演出是對於本土文化和音樂傳統的回溯思

underneath a cloak.

考和向前發展的用心實驗，然而除卻音樂上的考究，舞

台不幸走不出台柱明星式的場面舖陳，舞蹈員淪成配

(4)

角•在伴著歌廳的鏡面球前耍太極，港式後現代的傳統

In the October issue of Arts Iink, Daniel Yeung, pondering

創新注定是要如此不淪不類？以為是把黎鍵（是否瞧不

the future of the Hong Kong dance culture and the possibility

起而）稱之的「廟街貨色」高檔化，實際卻是把已建立

for success and development of individual creation with the

的舞台藝術水平土氣化。给《香夭》純白意境的演繹沒

so-called local cultural heritage, proposed a vision of "you

錯雖新，纸雪的手段卻實平庸不過。於是節目骤然覺得

in me” and “me in you.” The examples in his article testify

似是東路為中國傳奇藝術節製作的音樂節目多於城當的

to the diverse nature of what counts as our traditions, coming

舞作演出。

not only from the East and the West, but also from classical and contemporary sources. So I guess such traditions really

同晚的「秋之涼品」，還包括黎海寧編舞的《其後》，

hold no boundaries, the only limitation is perhaps a lack of

雖然也是由音樂出發，但選來由章雨亭現場演奏的高大

cultural space within our city for them to take root. In matters

宜的《無伴奏大提琴奏鳴曲（第8曲）》，格調可謂截

of traditions, it is always about finding the right person, not

然不的.沉鬱的歐陸樂章帶一種瑟寒，和貫穿整舞的主

just to inherit, but to embody them.

要道具服裝的深色大褸合视非常，如安迪華荷的氧化畫

的簡潔銅色佈景，亦也表達了獨奏樂章在簡潔前題上的

精緻複雜性。舞蹈的動作以人衣多寡的各種組合可能性

訊》所撰的小文中問到「香港的舞蹈文化又是何去何

看凊反覆的推演，難得是披穿寬除的動作設計順暢，而

從.我們從個體創作以至所謂本土繼承間又如何繼往開

正當有感一排人出來纯是為了放下大衣的安排比較欠想

來」時•所以為應該尋求一種「你中有我，我中有你」

像力.原來卻是為了接續開始疊穿重衣而铺路。衣服作

的境界視野。正如這篇文章裡談及我輩各式的所謂傳

為與舞者共生的孤影替身，既是束缚也是保護的身殻，

統，就都自然游走於古今中外之間。本文把標題定為

巧妙地和樂曲中拉弦搪弦的分裂二重性有一種呼應。而

「新舊傳統的狭縫式生存」，並不是要説我們生活在傳

張慈妤隨著快板樂曲，縮身大褸下倚地勁度十足的下肢

統的狭縫：相反地，古今中外的傳統之間所真正共通

伸撐曲褶，則表現出編舞黎海寧對某些一貫動作類型的

的，實際反是它們都發生在此時此刻的這裡，作為未來

鍾愛。

式或還是過去式在文化藝術天地之間根本沒有定案的必

然，卻都要為著在這城市的文化狹縫中生存而找尋進行

（四）

式生命的個體歸宿。

看過了今期談及的幾支舞作和「2-D舞影錄」的不同舞

蹈錄像節目，我很認同楊春江在藝術中心十月份《藝

城市當代舞蹈團演出黎海寧作品《其後》。攝影：陳德昌CCDC performs Helen Lai's There, after. Photo: Ringo Chan

级:敎 + 學

Education

THE ART OF DANCE IN EDUCATION 舞蹈藝術的敎育(VI)

More from the Intelligent Moves Symposium 舞蹈敎育新里程研討會(續) 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. Graduated from Teacher’s Course at 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 has worked 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敎師課程及英國蘇里大學， 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。

tv r

p J

•I

4*

speech in the Intelligent Moves: Dance Education Symposium

咏少呀兄 i

.於《舞蹈敎育新里程》的講詞已

X於上-期《舞蹈手札》刊出。今

was published in the last issue of Dance Journal/HK. In

期本文繼續刊出施素心敎授和高樂麗博士兩位講者於香

this issue, we continue to share with readers the experiences

港推行舞蹈敎育上的經驗和看法。

and visions of the other two speakers, Professor Susan Street and Dr. Paulette Cote-Laurence.

〈香港舞蹈敎育〉 講者：施素心敎授，香港演藝學院舞蹈學院院長，

DANCE EDUCATION IN HONG KONG

世界舞蹈聯盟一亞太舞蹈敎育網絡主席

by Professor Susan Street, Dean of the school of Dance,

The Hong Kong Academy for Performing Arts, Chair of the

最近，在一篇刊登在《南華早報》的文章中，作者提

World Dance Alliance Asia Pacific Dance Education Network

到：『我校對藝術的不認真態度實在令人沮喪。』他接 著又指出：『本地很多成功的藝術家都曾是成績差的學

wo Ina recent editorial in the South China Morning post the

生。這是因為他們在傳統的學科上表現較弱，而他們的

author said, “our schools’ failure to take art seriously is

藝術天份並不能為他們取得優異的分數。』

dispiriting”. It went on to say “many successful local artists

2

were considered poor students, because they were weak in

在這裡，我要問大家一個問題：在製訂出收生準則時，

the traditional academic areas and their artistic talents scored them no points for excellence”.

有多少間大學會考慮學生的藝術成就？很可悲，答案是

很少。自I2000年推出了敎育改革報告後，這個情況出 現了改善的蹟象；然而，現時的進展雖是令人鼓舞，但

Indeed, I ask you how many universities take into account

仍十分緩慢。報告中的敎改，承諾了讓藝術在課程中扮

students’ artistic achievements when they set out entry criteria? Sadly, very few. There are signs that this situation

作的人感到興奮。雖然障礙重重，香港的藝術家仍能表

演一個更加重的角色，實在令我們這些在藝術領域中工

will improve and the current action being taken as a result of the 2000 Education reform report is encouraging but very slow. Those of us who work in the Arts field were thrilled

現出可於世界舞台上競爭的能力。

to read the report which promised education reforms including a much more prominent and important role for

建議。這兩個建議都不容易做到，它們並不是什麼新主

arts education in the curriculum. Despite the obstacles, Hong Kong artists have demonstrated that they are capable of competing on the worlds’ stages.

校課程中應該是組合在一起。現時，舞蹈是體育課程的

今日，我向大家提出兩個可以改善學校藝術敎育狀況的

意，也須要一定的代價。第一，我深深相信，藝術於學 十二分一：戲劇是演講訓練的一部份：而美術和音樂•

雖是比較顯著和普遍，但是卻置於課程中的不同部份。 學生如何能狗欣賞到藝術是什麼？廣義來説.藝術包括

I have two suggestions to put forward today in relation to how to improve the provision of arts education in schools.

了寫作、時裝和平面設計、表演和視覺藝術、電影和電

視等。這些活動的特點.是它們講求美學的本質。

Neither is easily achieved, neither is original nor without

學校中的藝術敎育須要以學生為本 。在剛才提及的文章

cost. Firstly, I strongly believe that the arts should be grouped together in the curriculum. Currently dance makes

「Hello Kitty」畫像，而非其學生的自由創作。』我們於

up one twelfth of the PE curriculum, drama is often part of

今日所提倡的舞蹈敎育模式’正是一■種認同了以學生為

speech training and music and art although more visible

中心的敎學方法，可以根據學校的特別情況來使用。

中亦説到：『幼稚園中牆上的裝飾是乏味的米奇老鼠和

and more widely taught, are variously placed within the

curriculum. How then does a student come to appreciate

我要提出的第二個建議，是本港應開辦一所演藝專科中

what the arts are? When broadly definedm, the arts, writing,

學，令到一些有天份的學生可以得到適當的早期培訓，

fashion and graphic design, performing and visual arts, film

使他們成為可於世界舞台上演出的成功藝術家。舞蹈家

and television etc. It is the aesthetic nature of these activities

和音樂家的培訓必須於早年開始，才可以擁有成功的最

that distinguish them.

好條件。如果我們真的全心相信藝術的價值是與其他傳

統學科一樣•那麽我們便要建立起一個架構，令到年青

Arts activities in schools need to be student-centered. The article

的一代可以得到最好的機會，來達到最高水平的成就。

I referred to earlier, said, “tacky images of Mickey Mouse and Hello Kitty are more likely to be celebrated on the walls of

總結來説，在這個變更的時代中，我們要細心考慮這兩

kindergarten than its pupils’ uninhibited early creations.” The

個建議。我們要及早對問題作出決定，使到正確的課程

model for dance education that we are promoting today strongly

發展可以出現•盡早發展合適的敎師培訓。如果沒有適

supports a student-centered approach. It can be used according to

合的藝術敎師，今天的討論還只不過是一場空談 。

the specific context of each school.

My second suggestion is that Hong Kong invest in a

〈香港舞蹈敎育的傳統和新意：對敎育改革的回應〉

specialist performing arts high school where gifted young

講者：高樂麗博士，

people can get the start they need to become successful artists

香港敎育學院體育及運動科學系高級講師

performing on the stages of the world. For dancers and

musicians, training must start at an early age to enable the best possible conditions for success. If we are going to truly embrace the notion that the arts will be valued equally

with the more traditional learning areas then we must set up

基於三個原因，本人出席這個極具意義的研討會：

•舞蹈一向在我的個人、尊業和學術上的生活皆扮 演了重要角色；

•今天我們於這個研討會中所提倡的，以「三元敎

the structures for young people to have the best possible

學」的演出、創作和欣賞三個過程來敎授舞蹈，

chance for success at the highest possible levels.

正是我所認同的舞蹈教育哲學，是個人經過多年

的舞蹈學習和敎授所總結出的經驗；

In conclusion, I think these two ideas should be thought

•最後，來自加拿大的我來到香港後，發覺香港的

through carefully during this period of change. These issues

舞蹈敖育所面對的難題、關注、困難和挑戰與世

need to be decided on early in order that the right curriculum

界上很多其他的國家相似。香港有如我的祖家一

development can occur and also so that appropriate teacher

樣，都是很捧的地方。我早已把香港視作為一個

training courses can be developed sooner rather than later,

新的家，所以我很開心可以出席這個研討會。

for without trained teachers in the arts all of this discussion remains simply that, discussion.

今天，我到底要談些什麼呢？現在，我們嘗試把舞蹈華

進學校，如果説我對於這個挑戰已有答案，那未免是看 小了這個問題。但是，我希望可以在此提出一些問題來

Tradition and Innovation in Dance Education in Hong Kong: Addressing Education Reform

與大家討論，並希望可以從中整理出一些答案。

by Paulette Cote-Laurence, PhD, Senior Lecturer,

於2000年的課程指引中，敎育署（今敎育統籌局）建議

Department of Physical Education and Sports Science, Hong Kong Institute of Education

了數個主要的敎改重點。這裡，我選擇了其中三項： •由專科技巧轉為通用技巧 （總共九項，其中數項

屬於認知性的，例如：判斷思考、創意和解難）

I am honored to take part in this most worthwhile symposium for three reasons:

• Dance has always played a major role in my personal, professional, and academic life; • The approach for teaching dance promoted today, that is, teaching dance from the three key learning processes ofperforming，creating, and appreciating dance, is precisely my philosophy of dance education, a philosophy I have developed over many years of studying and teaching;

•由短期或即時學習轉為终身學習 •由傳統轉為創意的敎_學模式 我所提出.的問題也是與這三個改變有關。 1.我們如何以舞蹈敎育來培育學生的判斷思考？

判斷思考是指判斷、分析、比較、確認立場和作出

結論的能力。判斷思考的能力基本上是反映了對某

一內容的理解。我們須要作出些什麼改變來令到這

於舞蹈課中出現?我們的敫學模式?一個典型課堂中的

某些內容?舞蹈敎育的課程?我們的課堂目的和重點？

• And finally, coming from a great country，Canada,

2.

終身學習於舞蹈敎育中究竟有什麼意義 ？

如果我們細心看「三元學習」的三個過程•便會看

to this equally great part of the world, I have come to realize that dance education here in Hong Kong seems

到在這個舞蹈敎育理念之下，有一小部份的學生會

to encounter the dilemmas, concerns, issues, and

成為專業藝術家，這便會成為終身的學習。更加小

challenges faced in many other parts of the world.

的一部份會成為編舞家。但至於「三元學習」中的

Therefore, I feel right at home. In fact, Hong Kong is

第三個過程— —欣賞呢？那便是明天的舞蹈觀眾了。

my new home, and I am very proud to be here today.

所有學生都可以發展出對舞蹈的欣賞能力，终身享 受舞蹈。我們如何可以培育他們在這方面的興趣？

So, what is my message today? It would be rather presumptuous for me to claim that I have answers to the challenges we are facing in trying to bring dance to the schools

3.

敎/學中的創意究竟是什麼？ 傳統是否全都不好？創意是否全都是好？我們怎樣去

of Hong Kong. However, I would like to raise questions, and

敎「演出」這一過程？換句話説，學生如何學習某一

perhaps together, we can dare formulate some answers.

特定舞蹈形式的演出？傳統的方法？我們如何敎導 「創作」這個過程？學生如何去學編舞？傳統的方法?

In its 2002 curriculum guide, the Education Department

那是什麼?我們又可以如何去敎「欣賞」這一個過程？

(now EMB) has proposed several major shifts in focus. I

如何去學習欣賞舞蹈？什麼敎/學模式最為適合？

select three: • From subject-specific skills to generic skills (9 in total,

我們須要解答這些問題。我相信，今天我們可以得到一

several cognitive in nature such as critical thinking,

定的成果，並找到一些答案。但首先，我們一定要抱著

creativity, and problem solving)

一個開放的態度來面對這些問題 。我們不應害怕改變，

• From short-term or immediate learning to lifelong learning

尤其是這些改變最後會使到所有的香港學生可以認識到

• From traditional to innovative teaching-learning methods

舞蹈，和學識到如何去欣賞舞蹈。

The questions that I raise are related to these three shifts.

1. How can we help students develop critical thinking in dance education?

習」的演出、創作和欣賞三個過程來進行舞蹈敎育，是

確保舞蹈於學校中作為一藝術形式來敎授的唯一方法。

Critical thinking refers to the ability to judge, analyze,

只著重其中一個過程是不能接受的。我們要清楚一點，

compare, defend a position, and draw conclusions.

舞蹈敎育的目標是作為藝術敎育的一環 ，而並不是訓練

Critical thinking skills basically reflect understanding

專業舞者。因此，舞蹈課不應只集中在技巧上。第二，

of a content. What must we change to make this happen

我相信不論舞蹈是屬於那一個學科之中 ，無論是藝術或

in dance classes? Our teaching methods? Some of the

是體育，最重要的是可以提供给香港每一間學校的每一

content of a typical lesson? The dance education

個學生。我深深相信，我們一起，就算大家有不同的背

curriculum? Our lesson objectives?

境，但藉著我們對舞蹈的熱愛，我們是一定會成功的。

2. What does lifelong learning exactly mean in dance education?

5 . 2

最後，我希望提出兩點來作總結。第一，以「三元學

we must first approach these questions with an open mind.

If we look at the three key learning processes, a small

We must not be afraid of changes, if at the end these changes

portion of the student population will become professional

will make it possible for all students in Hong Kong to be

artists, and that will be for life. An even smaller portion

introduced to dance, and learn to appreciate dance.

will become choreographers. What about the third process,

appreciation? We are talking about the dance audience of

As conclusion, I would like to make two comments.

M

tomorrow. All students can develop dance appreciation,

• First, dance education through the three key learning

and enjoy dance for the rest of their lives. How do we develop their motivation to do so?

processes of performing, creating, and appreciating dance, is the ONLY way to ensure that dance is taught

3. What docs innovation in teaching/learning exactly mean?

as an art form in the schools. To only stress one of the three is simply not acceptable. Let us keep in mind

Is tradition all bad? And is innovation all good? How

that the goal of dance in education is to provide an

do we teach the performing process? Or how does one learn to perform in a particular dance form? The traditional

education of the art, and not to train professional

way? How do we teach the creating process? Or how

does one learn to choreograph? The traditional way? And what is that? How do we teach the appreciation process? Or how does one learn to appreciate dance? What teaching/learning method works best? To these questions, we must find answers. I believe that today we can accomplish a lot and find some answers. However，

dancers. For that reason, dance lessons in education must not focus on technique only. • My second and last comment is, I believe that, no matter where dance is housed, whether in the arts or in physical education, it is most important to reach all students in all of the schools in Hong Kong. And I strongly believe that, together, regardless of our background, and through our passion for dance, we will succeed.

專稿

Article

Interview with Hong Kong Ballet principal dancer

Nobuo Fujino by Kevin Ng

2S

Nobuo Fujino, who joined the Hong

Kong Ballet in 1997 and was promoted

to a principal in 2002, is the premiere dancer in the company

at present. He normally dances the first night of each programme with his regular partner Faye Leung. This year he won the Rising Artist Award from the Hong Kong Arts

Developement Council.

I first asked Nobuo when we met in mid-October if he prefers dramatic ballets or pure dance ballets. “I’d rather do something

more emotional, so I prefer acting roles to purely technical roles. It’s good to be someone else on stage. My favourite

roles are Romeo, Prince Calaf in Turandot, and the Beast in

Beauty and the Beast. However pure dance ballets are still a

good challenge for me, to keep up my technique.”

Pictures on page 11 and 13 - Nobuo in rehearsal. Photo: Wayne Hu

Nobuo seems very happy with his work in the Hong Kong

Ballet. “I feel quite at home here with all the dancers. It’s

frequently in recent years. “The company has toured to

good experience for my career, because I get so many

some new places in China where people haven’t seen ballet

opportunities to dance the main roles I’ve danced so many

before. In Hong Kong, the audience is well behaved, but

different ballets since I joined six years ago.” Does he feel

the audiences in China don’t know the manners. They speak

any pressure that he dances on so many first nights? “No,

during the performances, leave their mobile phones on, and

it's actually a good challenge for me, and of course it feels

they also bring their dogs which can be heard barking.

good to lead the company and to set a good example.”

Nevertheless, on the tours we have more performances than

in Hong Kong. I rarely have a night off.”

However Nobuo confessed that he experienced some difficulties a short while ago. “After I was promoted to

In 2001 Nobuo spent three months guesting with the

principal, I was slightly losing my way because I cannot

Australian Ballet as a corpyphee. “We toured all round

move up the ranks any further. But I’ve since regained my

Australia with the ballet Tivoli. We had about 60 shows.”

confidence. There was a lot happening in my personal life,

And last year he guest danced at his school in Japan, where

but nowadays I’ve learnt to separate my personal life from

he trained before joining the Australian Ballet School.

my dancing career.” Nobuo, whose family lives in Osaka, now lives in Discovery

Then we discussed the company’s performances. “We only

Bay. “Hong Kong is such an exciting city. My mother

perform about once every two months, and there is quite a

came to see me dance in Turcmdot in September. My mother

long gap in between. We have to rehearse the same ballet for

wanted to become an actress, but she didn’t manage in the

a whole month, and it can be difficult to keep up the feeling

end, and she later encouraged me to take up a career in the

from the first rehearsal to the first performance on stage.”

performing arts.”

Actually the Hong Kong Ballet has toured China quite

(continued on page 13)

專稿

Article

An Experience from Singapore —

I Dance Central by Nigel Grant

I

.

/is a new, non-profit organization working to

*

promote, support and develop dance in Singapore. Its

collecting materials of past and current performances and events.

But the Archive will be a living one, too, with

video and audio material including interviews with artists.

Central Information and Resource Centre for Dance opened

on 8 September 2003.

I Dance Central hosted the Dance Matters Forum on 30

September. Participants represented most sectors of the

The aim of the Information and Resource Centre, broadly

Singapore dance industry - performing companies,

speaking, is to provide information on the dance industry in

tertiary colleges, private dance studios, performing

Singapore, from teachers to classes, venues to performances.

venues, independent dance artists, school teachers,

Visitors can watch dance videos and DVDs, read the latest

Chinese, Indian and Middle Eastern dance, ballet,

dance magazines from all over the world, pick up dance

contemporary and modern styles.

school brochures and performance fliers and browse our growing library of dance books, which are available for loan,

The event was endorsed by the National Arts Council

to those who subscribe to one of I Dance Central’s networks,

(NAC) and the NAC was well represented at the Forum.

the Friends of I Dance Central or the 100 Club.

Carol Tan, Acting CEO of the NAC at the time, gave the Opening Remarks. Tan asked “How can we get dance

«

The Centre is creating a monthly Dance Diary, a Dance

onto the front page of the Straits Times?” - not the dance

Archive, and a Dance Directory and is adjoined by the I Dance

of the overweight Bolshoi ballerina (Straits Times 13

Central offices and small conference facilities, where members

September 2003) but some of the many excellent things

of the public, Friends of I Dance Central, or Network

that are happening in Singapore’s dance community.

subscribers may come to discuss pertinent issues, ask advice,

Why is dance, which receives some 20% of NAC’s

or just relax with fellow dance enthusiasts with a coffee.

budget allocation (second only to theatre), “typically the

least prominent of the performing art forms”？ Was it Henry Ford who said “History is bunk”？ More or less.

What he actually said was “History is more or less bunk. It’s

Fresh from the World Dance Alliance Asia Pacific region

tradition. We want to live in the present and the only history

meeting in Kuala Lumpur, the morning’s two main speakers,

that is worth a tinker’s damn is the history we make today.”

Julie Dyson and Professor Susan Street, represented arguably the two most active WDAAP chapters.

Well, Ford was an entrepeneur and I guess he was only

interested in getting people to look forward to the day

Professor Susan Street, Dean of Dance at the Hong Kong

when the motor car - his motor car - would be the

Academy for Performing Arts gave an overview of dance in

preferred means of transport. But our history defines our

Hong Kong. The key issue at the moment is to develop dance

culture and makes us what we are today. I’ve had many

in the school curriculum. With this aim in mind, the Hong

conversations with dance professionals over the years

Kong Dance Alliance has created a Resource Kit for schools.

about the teaching of dance history and many agree that

a knowledge of history informs the present and a sense

I Dance Central’s Nigel Grant gave a brief summary of

of history determines the future.

Dance UK’s Healthier Dancer Programme, noting that it

Hence our Dance Archive project. At present the Centre is

had taken four years to reach the first significant event - a conference. Worthwhile projects can take a long time!

Julie Dyson, Executive Director of Ausdance, gave an

•

overview of Ausdance’s more than 20 years as probably

educational benefits of dance training

the world’s most highly regarded dance support

•

organization. She described an important “arts mapping”

•

project and highlighted two of their major projects as

the Safe Dance research and the National Competency

Formulate a research programme to investigate the

Research the dance industry economy Undertake a feasibility study into a Talent Development

programme and Youth Dance company

•

Standards for dance teachers.

Create a public relations programme, extolling the virtues and benefits of dancing as a healthy, expressive and educational activity

Ausdance’s programme development has always followed

•

Create a working group to study the Ausdance

a clear path. The vision has been to create a properly-

competency standards for dance teachers and explore

conducted, transparent profession which could claim

the ways in which similar standards could be

educational and vocational legitimacy alongside well-

implemented in Singapore

established professions. Safe Dance, the Code of Ethics,

•

Competency Standards and the Safe Dance insurance scheme

Create a working group to study the ways in which dance

can be incorporated into school curriculums

are all components of this strategy which seeks to

‘professionalize’ the dance teaching sector and to provide it

I Dance Central will continue to lobby for strategic planning,

with the respect and acknowledgment it deserves.

start a public relations campaign for dance, create distribution

systems for information and resources, and build a range of

There was much to think about for those in Singapore. The

Networks to bring like-minded dance professionals together.

afternoon sessions were devoted to group work in three areas:

Dance Matters 2 is in the planning stage driven by working

dance in education, dancer employment, and developing

groups dealing with:

mechanisms for working together in Singapore. Each group had a specific question to answer and, after discussion, they

•

A web site for dance in Singapore

reported their conclusions to the Forum.

•

Planning a Dance Convention

•

Dance in education

For the future I Dance Central is seeking to persuade the

•

Promoting dance - a public relations campaign

National Arts Council to endorse a long term strategy

•

including the following components:

Dance teacher guidelines/competencies/codes - a closer

look at Ausdance’s work

("Interview with Nobuo Fujino" continued from p. 11) So what new roles can Nobuo look forward to in the future?

Nobuo always makes a point to see the dance companies

“Stephen Jefferies will choreograph The Great Archer on

and artists visiting the city. “I saw earlier this month Joaquin

me. We actually started a year ago, but it’s going slowly.

Cortes at the Convention Centre. He’s really good, and he

Natalie Weir will create another ballet in future, and I’ll be

gave me some hints into my own dancing. I bought his

in it, but it’s not confirmed yet. And I was told that the

DVD as well. I need to see performances (and videos) to

company will do Don Quixote in the future.”

give myself tips for dancing. Among the visiting companies

to Hong Kong recently, I’ve been most impressed with the ABT ( American Ballet Theatre).” Some of the ABT stars -

Jose Carreno, Angel Corella, and Vladimir Malakhov - as

well as Mikhail Baryshnikov are the ballet stars most admired

by Nobuo. Turning to choreographers, Nobuo particularly admires the Australian choreographer Natalie Weir who in September

choreographed Turandot for the Hong Kong Ballet. “Natalie is very different. She knows how to put emotions and expressions into the movement, so that I can bring them out naturally.

I feel that Prince Calaf in Turandot was

choreographed on me.”

Article Dancing the SARS Away:

CCDC’s Xing Liang by Michelle Vosper Hong Kong Representative of the Asian Cultural Council

57）

打〃,

the fundraising

in the style of professional ballet schools of the Soviet Union.

event that was

His father, a translator of French documents, viewed a

staged Friday May 23 at Ciy Hall in aid of children affected

career in dance as a secure future for his only child.

by SARS, was a heart-warming evening of music, dance

and drama pulled together by six local performing groups

“China was very poor when I was growing up,” Xing Liang

working under impossible time constraints. Bravo.

explains. “People worried about survival, not about things like interests and preferences.”

The show-stopper of the evening was the simplest piece on the program, a solo modem dance piece performed without

He graduated in 1991 and the same year won the coveted

set or props or special lighting to Ennio Morricone’s uplifting

“Taoli Cup” in China’s National Dance Competition. From

music On Earth as it is in Heaven which some of us associate

that moment his future as a leading soloist in China was

with Robert De Niro’s The Mission.

sealed. He joined the China Youth Dance Troupe and began performing with the company all around the world.

Performed by Xing Liang, the astonishing four-minute piece, I Want to Fly left the audience stunned as though an

A year later, at the age of 21, he suddenly gave up this

apparition had flown in and out again. The dancer’s

security and joined the newly-formed modern dance

movements showed a technical prowess rarely witnessed in

program of the Guangdong Dance School where, for the

Hong Kong, or anywhere else for that matter, and the

first time, he learned modem dance techniques and worked

choreography was a mystical combination of modern dance

with prominent choreographers imported from the U.S. and

and Chinese martial arts which resists any label. People in

Europe. After two years of training, he won the gold medal

the audience had to be wondering: Who WAS that guy?

in the Paris International Dance Competition in the modem dance male solo category.

Xing Liang is the Resident Artist of City Contemporary

2

Dance Company in Hong Kong and has been dancing and

I asked Xing Liang why he took this risk when he was clearly

choreographing with CCDC since 1998. In November, he

on his way to the top in Chinese dance.

appeared in CCDC’s full-length production The Enigma of

turning point story when in 1992 Hong Kong choreographer

Desire: Dali vs. Gala, which he jointly choreographed and

Willy Tsao choreographed the piece Bird Song for the China

performed at the Fringe with Mui Cheuk Yin and

Youth Dance Company and Xing Liang performed a solo.

performance artist Kung Chi Shing.

“I had never before experienced that feeling of freedom,”

He related his

he recalled over coffee. “From the first moment I knew I I talked with Xing Liang in my office the day before his

had found what was right for me.”

performance. On stage he could pass for a Shaolin monk with his powerful, lean body and shaven head. Off stage he sports

Chinese dance is an art form that is taught as a strict

a cowboy bandana tied pirate-style behind his ears and shiny

discipline with rigidly prescribed movements, postures and

Michael Jordan trainers. Dancers take care of theiret.

even facial expressions.

Xing Liang was born in Beijing and at the age of eleven

“In Chinese dance, the teacher tells you what is best and you

was coerced by his father to study Chinese dance at the

imitate as closely as possible without questioning anything,”

Beijing Dance School, an academy established in the fifties

Xing Liang explained. “Modern dancers have to decide for

themselves how to express the movements and interpret the

interested in contemporary art,” Xing Liang explained. “Us

choreographer’s ideas. You have to think a great deal.”

development depends on China’s overall development. The country is opening up more and more. The restrictions are

In 1995 Xing Liang received the Asian Cultural Council’s

no longer political but rather economic. If someday China’s

CITIC Fellowship and spent six months in the U.S. where

business enterprises are willing to support modern dance

he attended the American Dance Festival, danced with the

like they do in the U.S., it will develop very rapidly. There

Bill T. Jones company, and took classes in every style of

is definitely an audience.”

modern dance that New York could offer. And he learned

about the lifestyle of young dancers.

Xing Liang is at the forefront of what could eventually be a tipping point for modern dance in China, but for now he is

“I was amazed by the dedication of modem dancers in the U.S.”,

tending his own garden. Dancers all dread the day when

he called. “They always made me feel lazy by comparison.”

the years force them to retire from the stage and move into the wings as choreographers or teachers. At 32, Xing Liang

Modern dancers in New York are often university graduates

seems to defy nature with his virtuoso performances.

who live beneath the poverty line and exist solely to dance.

They often perform without salary and work as waiters or

When asked about his plans for the next few years, he talks

kitchen staff which permits them to take classes every day

about a growing interest in a new kind of dance theatre which

and be available for a chance to perform.

uses more visual content.

“They work so hard at dancing and they suffer so much to

“But for now’’，he says. “I just want to keep on dancing.”

make a living,” Xing Liang observed. “ But they are doing what they want to do, and they are always at peace with

Xing Liang appeared on the Hong Kong stage in October in

themselves. Chinese dancers don’t feel that kind of peace.”

the new CCDC Autumn Sonata production choreographed

by Helen Lai and Pun Siu Fai. Xing Liang returned to China to work for CCDC in Hong

Kong and for two years served as the artistic director of the Guangdong Modern Dance Company. He came back to CCDC last year and in his new position as Resident Artist

has more freedom to travel and perform abroad. Next week he will perform I Want to Fly in Vancouver at the 20th

Anniversary of the Goh Ballet.

Xing Liang represents the first generation of dancers and

choreographers from mainland China who have trained in modem dance abroad. He is among a group of pioneers who

are searching, amidst a cacaphony of international influences,

Xing Liang performs in The Enigma of Desire. Photo: Ringo Chan

to find a unique voice to express themselves and the New China.

There are now four modern dance companies in China. The

(“HK Artists Perform in Perth & Paris" continued from p. 3)

Guangdong Modern Dance Company is the only

Partition in Black. The work, whose original premiere was

government-supported troupe. There are privately-funded

planned at the Academy for May 2003, was postponed because of the SARS crisis. While in Paris, both groups of

companies in Beijing, Shanghai and Xiamen. Willy Tsao of CCDC has played a major role in launching the modern dance movement in China, both a patron and visionary. I asked Xing Liang what he predicts for the future of modem

students will perform the work together during a week-long season after which the French students will travel to Hong Kong in May 2004 to perform it with their Hong Kong counterparts during the French May season. The project

“Modern dance has a huge following among young people

with the Paris Conservatoire is part of an on-going exchange. The next phase will see Hong Kong choreographer Mui Cheuk-yin stage a work for both groups during the 2004/05 season with this work also being shown in both Paris and

in China, especially university students and other people

Hong Kong.

dance on the mainland.

■j

專*

Article

News from Taiwan by Professor Susan Street Dean of dance HKAPA

n

a visit to the Taipei National University of the Arts in

Students study both eastern and western dance forms for five

October 2003 I was lucky to see their new production

years before specialization in either area for their final two

of Nutcracker MIT. The MIT stands for Made in Taiwan and

years. The school is also actively exploring opportunities for

the title of Nutcracker was later renamed Butterfly Valley

their students to study abroad for a semester. Of the 241

Fantasy. This huge production engaged students from both

graduates produced by the institution, 60% have worked as

the Dance and Music Colleges and also the stage production

dancers, teachers, or researchers of dance.

students who made the sets, costumes and props for the show.

The College of Dance enjoys a close and long standing Choreographed by Zhang Xiao-xiong the work was created

partnership with the world famous Cloudgate Dance

using both ballet and contemporary dance techniques. All

Company. The majority of dancers in the company are

seven levels of dance students were used in the production

graduates of TNUA. The Artistic Director Lin Hwa-min

performed at the National Theatre in Taipei. The idea to create

was instrumental in establishing the College of dance and

the work came from the University President Kung-Liang Chu

was its first Chair, with Chung-Shiuan the College’s first

who wanted to celebrate the twenty-first anniversary of the

Dean. After seeing the dance students in classes and

institution with a major collaborative project. The orchestra

performance one can see how versatile and competent they

was of outstanding quality and provided a rich and powerful

become as a result of this unique seven year programme.

accompaniment for the one hundred plus cast of dancers. The dancers were totally engaged in the work and gave strong and

The TNUA is a model for dance training in Asia. Its unique

assured performances.

and progressive programme has given rise to a thoroughly

deserved reputation in the region. The vision to create

5 . 2

The Dance College of the TNUA was established in 1982

dancers with movement skills from both east and west

to encourage and develop the state of the arts in Taiwan.

ensures that the institution will continue to produce artists

The goal of the institution is to crate new modem Chinese

with a unique and expansive movement vocabulary.

arts based on Taiwan’s cultural heritage. As well as offering IS紅第17頁)

Degree level courses, TNUA has graduate programmes in

至

music (MA, MFA, PhD), fine arts (MFA), theatre arts (MA,

I

MFA, PhD), dance choreography and performance (MFA),

在舞的開端，即把人(性)的本能，借男子睡夢中的勃起

traditional culture and arts (MFA), and arts administration

呈現，拓開慾望的「她者」維度，讓整次演出感染潛意

and management (MA). The current Chairperson for the

識世界的神秘性，此岸彼岸難分。而兩男舞者緩慢的以

College of Dance is Prof. Cheng Shu-gi.

放到背後的手輕輕扣觸來開始他們的長串動作，更是不 得不提剛中帶柔的妙步，當中的化學作用令人難忘。至

The unique model for training dancers and choreographers is based

於女子把打成漿的青蛙喝下，然後在銀幕上，再次從水

on seven years of study. Students enter in their final two years of

底女子的口中游出重生，意念非理性悦變的神采也實在

secondary schooling and continue to spend five years at the graduate

叫人為之咋舌。臨到《绯紅》最後一幕.搖擺著的吊燈

level. The philosophy of the training model is to give students

偶爾照出散立舞台一角的舞者一幕，更使我不期然的想

understanding of the dance traditions of both the East and West.

起K. Kieslowski在電影《藍》結尾那長長緩移的鏡頭所

Western training includes ballet and modem. Eastern training

喚發的，一份把那些散落在黑暗中的孤獨個體串織起來

includes study in Tai chi, Chinese classical and folk dance and

的人性感懷。

classes based on the movement of Chinese Opera.

舞評

Review

《绯紅》：原始的人性俗世的天堂 文：劉建華

I-范德基伯斯(WimVandekeybus)領導的比利時终極

基伯斯講究「神緒」(楊春江語)的直覺溝通，其中對

舞團(Ultima Vez)在九月十九及二十曰於葵青劇

於身體政治、人性個體的刻劃把握，寧願反諸和自然世

院所演出的舞作《绯紅》(Blush)-絕對是本地近年所見

界的交手，反不會像包殊般借披上各式文化外衣來遮遮

最精彩的當代舞蹈演出，幾乎把所看過的其他舞作都一

掩掩。最後若果説范德基伯斯其舞蹈沒有 「創新」，那

一比下去。Random Dance的所謂的多媒體，套配頓呈

他被理解為歐洲「新」舞蹈浪潮的其中表表者，難道僅

生硬■平板' DV8或Robert Tannion所謂的骸人嫉俗，不

是一場大誤會？

過是身體政治欠想像力的劇場移植、雲門當然沒有得挑

剔1除了其背著時代的方向走；論到舞蹈演出的兵行險

讀心理學出身的范德基伯斯，沒有受正規的舞蹈訓練，

著，大概只有Jerome Bel可及，但《繼續跳舞》豈不才

卻能穩站欧洲新舞蹈的前臺，全憑其有自己一套鮮明個

是舞步「可惜不多」？若然從整體可觀性來比，那就唯

人風格的編舞哲學，讓身體先行於腦袋，捕捉和發揮求

有不得不重提另一支比利時現代舞團「芭蕾C之B」於

生本能的反射動作，在即興接觸中找到一種動作流程的

2000年藝術節的精彩演出：《巴哈浮世繪》。比較兩

動力，其幂多舞步，已發展到體能沒有去到最盡、或是

者，「C之B」舞蹈劇場和古典音樂的碰撞中，巴哈所

惜身一點，就根本跳不出來的地步。而且不止是在體能

牽起的人性漣漪可謂仍居功不少。(楊春江形容到「芭

要求上推展到極限|范德基伯斯還往往要求舞者將個人

蕾B之C」來屆藝術節的《信逝》將比《巴哈浮世繪》

身體安全全數付托在拍擂的手裡，借外力於最後關頭化

還要再上一層樓，自然叫人萬般引頸以待。)但反觀像

險為夷的援手介入，偷取那沒有「刹掣」而來的多一點

《绯紅》這般一個全靠同輩班子實力得出的協作演出•

力量感，於是叫觀眾感到焦慮，處處替舞者們的犯險捏

從這方面來計，成績或可説更為驕人！ D. E. Edwards

一把冷汗。但二人合作的動作鏈，范德基伯斯似乎還嫌

帶動全場節奏的強勁原創音樂，實使《绯紅》活像是個

短促，於是又有三人四人…的組合，編舞與觀者的腦袋

《巴哈浮世繪》的現世音樂版，只是在范德基伯斯自己

同樣被推至極限，眼前發生的猶如一次危險的骨牌效

導演、與舞台舞蹈演出混成一體的錄像中，舞者進進出

應。在如此的舞蹈形式中，人際肢體的彼此角力衝撞和

出的那個水底世界，又出奇地反讓觀幂彷彿瞥見人類文

接濟相助，意義內容兩者其實早已無間地互重牽動。在

化世界失落的原始夭堂。

范德基伯斯的舞作中，一班大男孩間的比試較量，固然

往往把遊戲玩得淋漓盡致，但男女舞者間的廬撞，動作 因此，當看過伍家榮在《信報》文化版(九月廿六曰)

則又自然地衍生了舞者之間另一類型的心理張力。

给《绯紅》的月旦，實在大感錯愕，替范德基伯斯大呼 不值，覺得或有逐點反駁的必要。先是關於「棵體」的

在剛過去的「2-D舞影錄」節目中•也先後總共播了五

演出部份，這從來本也不應是一件值得要大驚小怪 、或

齣范德基伯斯的作品，除了從早期7?(we/a«(/(1990)到近

該如作者般兀然從演出脈络中抽出來獨立談論的東西。

作 /« Spite of Wishing and Wanting (1999/2001)'給我們

而若要數舞蹈劇場中的「舞蹈份量」，伍氏所舉的包殊

一睹其一班追隨舞者的瘋狂投入，如何深夜裡於舊建榘

(Pina Bausch)'舞作更經常以剩場手段插科打琿、避重

中穿廳過廊，烈日下於山崗間追趕跑跳碰，將舞作又重

就輕，風格和范德基伯斯貨真價實的以舞為本根本不可

新化整為獨立自足的另一套動感映像流程，此外，還有

同曰而語。説范德基伯斯編舞作品的「內容薄弱」，這

比較紀錄性的Silver ( 2001)和介(2002)的演出’不但可

更是不知從何談起。《绯紅》的背後，有Peter Verhelst

以讓我們充分見證到其一套編舞哲學的貫徹始终 ’以及

負責文本的創作，由開首獨白對於成為想成為的人的重

其對舞蹈錄、電影語言的愈況駕輕就熟，連同其形而上

生渴望，到中段相信愛情和唯物主義爭論的人性意義和

呈示人生成長的近期得焚短片(2000) ’則更

虚無，都起點題的作用。但更重要的是，「舞蹈」作為

好引證其對於生命'生死等思考的不離不棄’《緋紅》

「內容」明明在其舞台上演得活龍活現，難道真要有清 晰的「敘事性」•舞作才可以算作具有「內容」？竅德

(下接第16頁)

舞評

Review

Roles and Journeys by Tom Brown

at the Art Centre’s McAuley

setting the stage with a car’s bumper, strewing the floor with

Theatre on 16 to 18 October,

beer cans, and wearing spiked shoes - not Manolo Blahnik’s,

offered four solos by Kay Armstrong from Australia, Hong

but the kind with inch-long metal spikes liberally studded

Kong’s Abby Chan, Shigemi Kitamura from Japan, and

on the soles. Because of the juxtaposition of these laddish

Taipei dancer Chan Yu-chun. Rather than dealing with

accoutrements with her intricate movement and a long-

abstractions, historical narratives, or thematic material that

sleeved chiffon mini-skirted costume, her mincing around

sought a broader gloss on culture, by approaching dance

the chaotic set offset cliched feminine stereotypes with a

from different perspectives and

female archetype who didn’t feel the

backgrounds, the artists used the

need to relinquish lightness in favor

body as a site of discourse to examine

of Dionysian abandonment.

expectations and representations of

Towards the end of the piece, she

the roles women play.

took off her shoes and tiptoed across

the stage, using the beer cans as

stepping-stones, deserting the mess

Armstrong’s Rcira Avis, with spoken

text and recorded singing - “I am a

spread about the floor, and maybe,

very stylish girl” - used extensions,

the mass of cultural baggage that

flexions, rotations, twists, folding, and

growing up a girl entails.

sequencing of the limbs and torso, in complex combinations for gesture and

In Spectrum, Abby Chan presented

locomotion within a qualitative range

simpler more straightforward

characterized by suspension and

movements, involving the body

withdrawal of weight to torrents of

moving as a whole in easy-going

diving and succumbing to the

circles and swings, within a narrower

momentum of falling. Throughout she

qualitative range in an un-emphasized

manipulated movement material,

fragmenting it, repeating it with

non-declaratory manner. Armstrong in her work Rara Avis. Photo: Cheung Chi Wai.

different emphasis, and showing it

Chan

explored how colors convey emotional states. She began by lying

from different angles and with different accompaniment as if

down, arms wrapped around chest, knees bent, and feet

she were trying it on to see how it fit. At times, there was a

splayed. In repose, it was as if she were snuggled up within

ritualistic sense to the work, as if her movements were the

the earth’s embrace. Wearing a simple white shift she was a

practiced responses of a religious service while at others, as in

blank slate. When she stood, however, we see her face is

a scene where she bounced beer cans off her head, she was in

painted, mask-like, each side a different color, and when she

revolt.

later took her dress off she revealed a breast painted pink.

Chan also assayed various guises through lighting and by

Although the smallest of the four, Armstrong, whose

taking her dress off and putting it on in different ways -

extensive ballet training has imbued her with a highly

covering her head, as a cape, on one side of her body. Using

developed and specifically articulated use of the body,

light projections to saturate the space with colors and a film

seemed almost statuesque. To counter her movement’s

of lines and shadows projected on the cyclorama, her

delicate and anti-gravitational tendencies she hutched it up,

unstressed movement took on a variety of emotional edges.

Overhead light

gestures to karate-like kicks; impatient, angry, or dissatisfied,

squashed her, a

they were a mix of passive-aggressive, obsessive-compulsive,

narrowing light

and maniacal rants that were at times hilarious and at others

column squeezed

deeply introspective. Her adroit manipulation of items of

her, red light

clothing was highly evocative of the roles associated with the

excited her, blue

garments she chose.

light becalmed

her. It was as if

A common tie to all the works was the way in which the

she had plunked

artists explored material. Rather than harangue about missed

herself down in

opportunities or inequities, they carried on a dialogue.

the middle of

Whether

Munch’s Cry, however, rather

than the crier

monolithically or

distorting the

with

environment, in

complex clusters

Chan’s work, the lights

more

of movement,

Abby Chan in her work Spectrum. Photo: Cheung Chi Wai.

straightforwardly

transformed our

or indirectly, the

perception of her relaxed movements and allowed them to

outcome was a

project the vortex of her emotions, externalizing her internal

deft

state. The movement remained restrained, reserved, masked;

thoughtful

the way we saw it, however, was altered.

interrogation of

and

their observations The remaining two choreographers danced with sturdiness,

on the roles they

moving limbs and the whole body in solid blocks with force

assume.

and abruptness. In Songfor Life, Kitamura’s use of a flower as a prop against the background of powerful movement

Kitamura's Song for Life. Photo: Cheung Chi Wai.

lent a surreal quality to her work. She began turning slowly, then slowly pushed a rose out of her mouth as if it were

blossoming from her lips. Her manipulation of the flower structured the dance into a free association format, one idea led to another; surveying the gamut of roles expected of a

women with a flower. At one point she stood upstage with her back to the audience and raised her leg until she became overbalanced and fell, crashing to the floor like a tree cut

down in the forest, the role-playing overwhelming her. In

other episodes she was battered around the stage or struggled to keep her dress from rising around her waist. At the end

On 21 and 22 November at Sheung Wan Civic Centre Theatre,

of the piece she stuck the rose in-between her toes, her

CCDC dancers offered ruminations of a different sort. In a

movements becoming formal and restrained. The necessity

program entitled All ofA Sudden, seven company dancers

to keep the flower clutched between her toes ostensibly

took on the added mantle of choreographer to present new

contributed to her restraint, but the resemblance of the flower

works, each preceded by a brief video by Goh Boon Ann.

on the toe to a ring on a finger was unmistakable.

Among other things, these introductions showed the

choreographers warming-up, taking class, and relaxing 'at-

Chan Yu-chun not only changed into an assortment of costumes

home5. Two of the seven featured pet dogs, one highlighted a

in her Sounds in the Mist but also rummaged through a drawer

stuffed animal collection, in one a choreographer went through

pulling out and flinging into the audience exotic silk panties,

contortions in a closet, while another sat with legs stretched

occasionally stopping to examine a stained crotch on one or

directly to her sides which she then blithely stretched even

sniffing another. Her movements ranged from cleansing

further. Two of the videos dealt with isolated images of

different parts of the dancer’s body, while in one a

or separately. Occasionally all stopped and formed a square

choreographer rhapsodized about having a glass of wine in

around a spot where previously a dancer restively moved. The

Lan Kwai Fung. Basically, the videos were about the

stillness of these moments and the dancers reaching out to the

choreographers preparing for work, working, and taking

empty space they bordered, evoked a sense of profound loss,

sustenance, comfort, and rest alone or with animate or

as if mourning the movement’s demise or attempting to find

inanimate pets - so much for dancers’ glamorous lives. No

its source within the empty space.

wonder the works were very personal statements, dealing with

their own fix on the world about them and their place in it.

The clarity and directness of Chan Yi Jing’s Bench And Benches was due to the choreographer’s unhurried development of

了 /v

5 . 2

Janet Chang’s Ready... Go was a romp which mused on the

simple movement ideas into a rich exploration of how tasks

adventures and travails of two dancers on their journey through

inform and transform our journey through life. Exquisitely

life - as school girls, competitors, compeers, and bent-over

performed by Lily Tsai, Noel Pong, Dominic Wong, and Bruce

old ladies still chasing after an illusive pot of gold. Loosely

Wong to the minimalist songs of Laurie Anderson and Meredith

connected by a recurring sports coach figure who signaled the

Monk, Chan’s austere piece began with a dancer dragging a

beginning and end of each episode, the work was heavy on

wooden bench. The movement echoed the clean lines of the

mugging and displays of prowess but unconcerned with

work-a-day prop. Using only the needed motions to pull and

invention or development. Self-obstination, by Lam Po and

place the bench, to lean against it, crawl under it, step atop it,

Jay Jen Loo’s Solo (the), solos danced by the choreographers,

shift it on end, and rock with it, the first dancer is joined by

explored their creators’ psyches. Lam’s meditation on

another. Together they continue, amplifying the solo,

frustration featured slow struggling movement within a narrow

performing it in unison, neatly building on its motifs by

space cautiously performed with brief bursts of release. He

interacting with each other, passing their benches back and

moved with import, weightiness, and muscularity enabling

forth to each other, and creating more complex forms that

his spare movements to leave lasting imprints on the space.

involve benches and dancers in single and multiple actions.

Loo’s work, on the other hand traveled with dense reckless

After the first dancer leaves the space, the second huddles

movement along a line from upstage left to downstage right,

beneath his bench. A third and fourth dancer join, alternately

remarkably rarely wandering from this passageway. He

performing together with the first two or separately in further

advanced and retreated, alternately luxuriating in his progress

solos, duets, trios, and quartets. Throughout, the basic

and being repelled by it. On the few occasions he strayed, he

movement vocabulary, simple task-like handling and

stumbled and groped until finding his way back. Loo dances

manipulation of the benches, continues to develop in sequences

in a loose-limbed instinctive style that appears spontaneous

in which the dancers interact with each other and with their

and unplanned, yet his repetition and development of motifs

benches. One particularly beautiful moment occurred when

enabled the viewer to organize the storm of movement into a

two dancers left the stage leaving their benches sitting on end

coherent line as clear as the dancer’s diagonal path.

at the edge of the space. From offstage, only their arms are

seen reaching for the benches. They repeat the reaching with Michael Lopez in Who Dares? and Noel Pong in When the

their legs. It is a poignant moment in which their separation

Wind Stops, explored group dance where one or more solo

from the benches seems unbearable.

dancers were outcast or at odds with other members of the

WAI /

group. In Lopez’ work, three couples alternately perform pas

The program ended with Dominick Wong’s Mens Chop Suey.

de deux in tandem or canon, three men perform one part and

Inspired by Colombian painter Fernando Botero, Linda Lee

three women another, or six individuals dance on their own.

created three brilliant fat suits for Wong’s dancers, Chan Yi

The inventive and energetic movement was expertly performed

Jing, Lam Po, and Bruce Wong that together with painterly

on and around large oil barrels, with fast changes of directions,

makeup and hairstyles made Botero’s figures come alive.

deft interactions, and large-scale movement that gobbled up

Rather than echo Botero’s cynicism on the excesses of modem

the space. Pong on the other hand began her work with a solo

culture, Wong chose to animate his characters as modern

for herself in the downstage left corner. Wearing a silky top

innocents, slightly roguish and totally eccentric. The ensuing

and pants with bits of fabric dangling from it, Pong’s agitated

shenanigans and mayhem flawlessly performed to hilarious

flapping legs and arms was done against a wind machine so

vocalizations and excerpts from Bach’s Goldberg Variations

that her costume was also restless, fluttering. After this

were a perfect ending to an evening ofjourneys, reminding us

opening, the dance alternated between solos and the echoing

that the beginning and end of our journey are as children and

of these by a Greek chorus-like trio who moved either in unison

with luck we return to childlike journeys as often as possible.

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Hong Kong Dance Company's Pinocchio 香港舞蹈國《木偶奇

﹒

! ιrm

遇記} • Hong Kong Dance Federation's

> . YURI

Ho ng Kong Dan ce Expo '03 :j年港舞蹈總會

Hong Kong Dance Awards 2004

and

< 0 3 香港舞蹈博覽}

DanceArt Hong Kong's

香港舞蹈年槳 2004

mpany danciNG 's te of Spring 伍列宇

Nomination

:ong Ballet's Coppé/i a

Heartstrings 動藝《驛

才是名

動 心 弦》

oj ec t

港舞蹈聯盟

ig Apple 舞蹈交流三十 } • Hong Kong llet Group 's Young 1let Star的 A ward 香港

uth Ballet of Asia 's //et Latino 亞洲青少 芭蕾舞團《塵世美一

蕾拉 T 二 重 ffjt}

﹒

A Hong Kong Arts Festival Plus prograrnme sponsored by the Leisure and Cultural Services Depar加e肘， 出e 6th annual Hong Kong Dance Alliance Hong Kong Dance Awards will be prese的d on 1 March 2004 at the Kwai Tsing Theatre in a Gala presentation with perforrnances by the City Contemporary Dance Company, the Hong Kong Ballet Company， 位le Hong Kong Dance Company and The Hong Kong Academy for Performing Arts. Established in 1999 , the Hong Kong Dance I

NOMINATION DETAILS Individuals , organizations or events may be nominated in

.

any dance related area. (e.g., choreography , performan凹， scholarship , education , writing , administration , technical suppo肘， notation , leadership , etc.)

• Each nomination must include the name of the individual , organization , or event being nominated and a brief reason for the nomination . Any number of nominations may be gngd non submitled.

Awar由 recognize

outstanding and

significant contributions to dance for work accomplished during the year - 1 January to 31 December. Rather than on a ∞mpetitive basis, award selection is made through

創

沾自

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• Nominated individuals or organizations are 旦旦t required to be members of the Hong Kong Dance Alliance

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open nominations with final

時咱

lo ng Kong Danc e Il iance ' s Dan ce

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。0-2 001 香港舞蹈界 席會議《香港舞蹈年

2000- 2 001 } • ance Art Hong Kong's Starving Dancer

• Nominations must be returned by 31 January 2004 by fax to 2802 3856 , or in person , or by post to: Office of Associate Dean , School of Dance , HKAPA , #1 Gloucester Road , Wanchai , Hong Kong. 由 香港舞蹈聯盟將於 2004 年 3 月 1 日 假

e ries" 一 Dan cingfor

葵青劇院頒發第 六 屆香港舞蹈 年 。是次

eace 動藝「饑鎧舞蹈

頒獎禮將 以 舞蹈匯演 的 形式 進行， 獎項

i 象:9 t J J<為和平而舞》

的 頒發穿插 於 香港 芭 蕾舞團、香港舞蹈

Hong Kong Balle t's u//et Extravaganza 香 i 芭蕾舞團《芭蕾精

\} .

Hon g Kong

ialle t's Th e S/eeping

蹈學院 的 演 出之中 ，是 2004 年 香港藝術

節 加 料節 目 之 一 ，並 由 康樂及文 化 事務 署贊 助 。創 立 於 1999 年的 「香港舞蹈 年 漿 J 表揚每 年( 由 1 月 1 日至 12 月 3 1 日 )

擾美人》

﹒ C CDC 's

對舞蹈 有 突 出和 重要貢獻 的工作 。「 年

he Enigma ofDesire lalí vs Ga/a 城 市 當代

獎」 並不 是競爭 性的 雙項 ，而 是 由 香港

determination by a panel comprised

The frrst 50 individuals submitting nominations will receive

two 企ee

tickets to the Gala presentation , if they in c1 ude contact information with their nomination.

﹒ 對香港舞蹈發展 中 任何範籌有所貢獻的個人、

團體或事項 ， 均有資格成為候選人。舞蹈範籌 的例子包括 。 編舞 、 表演、學術、教育 、 寫

作、行政、技術支援 、 舞蹈記錄及領導。 ﹒ 每份提名都須列出被提名者的名稱及提名原

因。提名次數不限。 . 候選人或團體主且為香港舞蹈聯盟會員。

﹒ 候選人提名於 2004 年 1 月 31 日截止。請將提

舞蹈聯盟理事委員所組成 的 評審圖從 公 開提名 的 名單 中 退 出 。

ance Ensemble 's Red •

tng Kong Dance Alliance's

蹈無界 fR} • Hong Kong Ballet's Turandot 香港芭蕾舞團《杜蘭

朵} •

Hong Kong Art

Development Council's Dan ce Research & Marketing Project 香港 藝街發展局《舞蹈調

查研究及推廣計劃》

• Hong Kong Balle t's Beauty and the Beast 香 港芭蕾舞團《美女與

野獸} • Miranda Chin

Dance Company 's Tai Chi Fantasy 錢秀蓮舞 Hong Kong Dance Company's Th e Four B ea uties 香港舞蹈國

《四 大 美人}

•

CCDC's A// of a Sudden 城 市 當代舞蹈國《失

驚無神夢驚魂}

•

Hong Kong Ballet's The Nutc ra cker 香港芭蕾 舞國《胡桃夾 子 }

•

C C D C 's Autumn Sonat a 城 市 當代舞蹈

國《秋 日 奏鳴}

•

DanceArt Hong Kong's Beau昕d Life 動藝《美

麗人生} • Academy Dance Ensemble 's Life

名傳真至 28023856 ' 或交至/寄往香港灣

演藝舞蹈國《 生 》

仔告士打道一號，香港演藝學院，舞蹈學院副

Open Daily's In Sew它h ofEi/ een Chang年中無

院長辦公室，香港舞蹈聯盟收

~ vs加 j土》 ﹒ Academy i 藝舞蹈閩《紅}

﹒ 草動派創作開《舞

蹈國《太松隨想曲》 ﹒

皇宜豈宜L

園 、 城 市 當 代 舞蹈團 和 香港演藝學院舞

!eauty 香港芭著舞困

蹈團《情色男女一達

en

And y Wong 's And then... ? 王 廷琳《 一 刻》

蕾舞學會《香港芭蕾

﹒

o p

Daily 's Fetish: Stories

1

超新星大賞〉

﹒

年中無休《戀物癖} •

港芭蕾舞團《魔偶情

} • Hong Kong nce Alli ance 's Big 'p/e Dance Exchange

•

﹒

休《尋找張愛玲} • 2-

D dan cing

< 2-D 舞影

年蹈 年 獎 2004 現 已 接受提名 。首 五十 名提名 者 可免費獲得《香港舞蹈 年 漿匯演》 入 場卷

錄》

兩張。如欲取得免費門票 ， 請 於才是名 時付上 才是名者 的 聯絡資料。

Ti me K waidan

﹒ C CD C's

That

城市 當

d叫 Dance Edi叫tion

代舞蹈囡《那時怪談》

'eQ/τ，h and Deve/opment

Daily ' s

roJect 香港舞蹈聯盟 學校舞蹈教育研究

發展計劃》

﹒

. Open

* Events listed are not complete , and are for reference only. 列出的舞屆活動並非完整，只作參考之用。

Form/ ess 年 中 無休 《無形體態}

• S%

Anima/ s

獨舞秀

Beautiful Life《美麗人生》

Sweet & Sour Hong Kong《酸酸甜甜香港J

DanceArt Hong Kong 動藝

Hong Kong Repertory Theatre 香港話劇團

1/12 7:25pm ACrjndMu>iMlbt*vH«igKangl)qin1an IhMlw, Hon( Kong Omar C

九龍尖沙咀地鐵站清真寺出口

香港話劇囿香港中樂

Hong Kong Chinese Orchestra 香港中樂團

Hong Kong Dance Cdmpany 香港舞蹈團

29-30/11,2-7/12

Choreographers 編舞：

7:45pm,

6/12

2:45pm

Grand Theatre, Hong Kong Cultural Centre

Andy Wong王廷琳

香港文化中心大劇院

尋 我 惑久玲

1,: R卵今离時西:f.冷•昤两莰格的1m焱捧./ K

充:f賤_ r^ij ■' im般H賴 天空下J官喊^糊自已的嚴英耕科:面喝采

港甘

s u e L I o c o 3 I J 3

Choreographers 編舞：

Jiang Huaxuan 蔣華軒 Enquiries 查詢：3103 5900/3185 1600/3103 1810 W*刪WWMWVWMWMW醐IWWB E HmWIWWftViM^'mwmWWnWhBE jmWM

'4-o M U J e a

WWi b敝他■曲 smfc££ZW£M£2Zq«IW mwwwwimmeZfflH flWMWiW 麵*E腳誡te EZ ---狀湘做 EE€ZOTEZZ2dMiWW»mWAWW«m»WWW»lW«E2H» ------•---•-- - -+-flKEEEWi mEEEZN

:(z) u l

Wt $ 中，心;、 Fii-Mm：

5-7.1 i.iWi

^EfeZ22222Z2t EEEEEE22Z2ZZ,

In Search of Eileen Chang《尋找張愛玲》

Formless《無形體態》

Taipei Crossover Dance Company

Produced by Open Daily 年中無休製作

台北越界舞團

5-7/12

8:00pm,

11-15/12

3:00pm

7/12

8:00pm,

3:00pm

13-14/12

Studio Theatre, Hong Kong Cultural Centre

Exhibition Hall, Hong Kong City Hall

香港文化中心劇場

香港大會堂展覽廳

Choreographers 編舞：

Movement 形體

Taiju Matsumoto, Mao Arata

Helen Lai, Lo Man Fei黎海寧、羅曼菲

叱零决

U's Snowing In WflgVo

松本大樹、新田真生

Enquiries 查詢：2268 7323

Thel\jtePache? H

Enquiries 查詢：2268 7323

Dance Platform 03 Final Cut

..細陳為

《舞蹈平台03终演》

cede

Hong Kong Dance Alliance 香港舞蹈聯盟 19-20/12

奠鵬膠rr

7:30pm

«8E«K f棚醒亢蜃腿1堪關典赃』'«民捕

KrMMi ’cteL daring and beautiful. Definitely a djssit .'-.MitaregD^

Theatre, Ngau Chi Wan Civic Centre

26-27.12.03 'SU-AFri-Sd* 8pm Auditorium, K«ii Tsing Theatre S«50,120,90

牛池灣文嫉中心劇院

那 時 THAT TIME

KWAIDAN

Different Programmes 2 晚不同節目

怪 談

Enquiries 查詢：25848753 編舞作 Choreography

介Q 終演

U0 Final Cut

HONG KONG BALLET

香港芭蕾舞囿

The Nutcracker《胡桃夾子》 That Time K而油az《那時怪談》 CCDC城市當代舞蹈團

Hong Kong Ballet香港芭蕾舞團

18,23-25/12

7:30pm

21/12

8:15pm

Auditorium, Kwai Tsing Theatre

20-21,24-26/12

2:30pm

葵青劇院演藝廳

Grand Theatre, Hong Kong Cultural(

26-27/12

8:00pm

Choreography 編舞：

Maggi Sietsm瑪姬.茜思瑪 Sunny Pang彭錦耀 Enquiries 查詢：2268 7323 / 2326 8597

香港文化中心大劇院

Choreography/ Production 編舞 / 製 1

Stephen Jefferies 謝傑斐 Enquiries 查詢：2105 9724