交
流
反
思
琉璃計畫交流反思
The Reflection of the project
蒂摩爾古薪舞集 總監 路之.瑪迪霖
TJIMUR DANCE THEATRE DIRECTOR _ LJUZEM MADILJIN
TJIMUR DANCE THEATRE DIRECTOR _ LJUZEM MADILJIN
四月裡某一天的一個下午,我把Eleng請來跟她說:「我們與Kaishiki開個會, 好嗎?」Eleng呆呆得看著我,不能理解我這沒頭沒尾的任務,我請她寫信預約與 Kaishiki視訊的時間,並娓娓道來我的用意。
我一直都這麼認為,任何交流都像談場戀愛一般,一開始總是披著武裝去認識 彼此,不輕易打開心房去接受對方,而這樣的尷尬期怎麼結束呢?我們其實在這其中 也從沒有發現如何發生的,這樣的情愫好似就是因為很喜歡對方,而自然而然的接受 並開心與彼此相處,經過第一年的認識、相處,我們確定很喜歡彼此後的每一天,我 都在想著不想失去這樣的情感,怎麼能夠放過如此美好的交流計畫呢?我總是思考要 怎麼做讓彼此的交流更上一層樓,能怎麼做我們才能勝於去年的發展呢?我突然想到 去年Kaishiki有邀請他們的樂手及歌手協助演出,我對於那個樂器很感興趣,對於那位 歌手的嗓音很忘懷不了,我就在想若是將那樣美妙的旋律套用在我們排灣族身體會不 會一樣優雅,令人忘懷呢?靈機一動,所以我就決定與Kaishiki聯絡,想將這樣的概念 分享給他們,很順利的通上視訊,也很愉快得對話,雙方很興奮地也迫不及待得想開 始用『音樂旋律』去做第二年的實驗交流,透過這次的對話,也將去年在印度遇到的 困難提出,期望Kaishiki能提供協助,我們很幸福的有文化部的協助,所以我更希望做 好『社會責任』將每一份預算發揮得淋漓盡致,不辜負所有支持、協助我們的人,所 以我們事先規劃好所有行程,小至日常交通大到交流演出,將這些瑣事解決了,我們 就能更專心於我們的實驗交流了,將以最完美的樣子呈現給觀眾們。
第二年,但依然帶著最初的興奮與期待面對每一天的交流、對話,而『音樂旋 律』這個實驗概念,並沒有打倒我們,反而我看見的是彼此的編舞家和舞者們都突破 了自己,這讓我很興奮也樂於看見,辛苦是值得的,Daksha ji開啟屬於她自己的當代 模樣,還在過程中,但不難發現這樣的突破,對印度古典舞的舞者們來說已經是非常 了不起的嘗試了,還有我們的編舞家巴魯,本身對自己要求就很極致的巴魯,在這樣 的交流後,他細膩的研究、拆解印度舞者在數拍子的方式,拆解對方根深蒂固的習慣 很不容易,但我認為對他自己更是難題,他將如何把這樣的概念重新傳達是很困難的 ,但不服輸的巴魯,拆解了也重組了,同時也將舞者們整慘了,把印度樂團和台灣的 羽擊舞藝術融入到舞作裡,都是非常精彩又具水準的專業演出。
然而提到演出,我很感動透過我們與Kaishiki的交流,讓雙方的觀眾能夠再次認 識彼此的國家,我們已不再是舞蹈的交流,更是國與國、不同文化的對話,當彼此觀 眾回饋到對於我們這樣的交流很訝異、很新奇時,我就會覺得一切的努力都值得了, 真的被看見了!不光是觀眾,對於我自己本身而言也是,被媒體影響的我,對於印度 的觀念,一直都不是那麼的正面,但認識了Kaishiki舞團,真正地踏上了印度,才發覺 自己多麼無知,其實一切都不是那麼的負面,而這樣的交流,也認識不同的舞蹈文化 也認識不同國度風俗民情,很有意義,也覺得很幸運。接著,我們將要啟動第三年的 交流,我們希望觸及到更多的觀眾,能在印度、台灣更多不同的城市演出、交流,除 了將舞作呈現更專業、更完整以外,還傳達更多的愛給這個世界,我們這個世界太需 要更多的愛了,就讓我們與Kaishiki的交流,透過舞蹈讓這世界感受到『愛』。
我一直都這麼認為,任何交流都像談場戀愛一般,一開始總是披著武裝去認識 彼此,不輕易打開心房去接受對方,而這樣的尷尬期怎麼結束呢?我們其實在這其中 也從沒有發現如何發生的,這樣的情愫好似就是因為很喜歡對方,而自然而然的接受 並開心與彼此相處,經過第一年的認識、相處,我們確定很喜歡彼此後的每一天,我 都在想著不想失去這樣的情感,怎麼能夠放過如此美好的交流計畫呢?我總是思考要 怎麼做讓彼此的交流更上一層樓,能怎麼做我們才能勝於去年的發展呢?我突然想到 去年Kaishiki有邀請他們的樂手及歌手協助演出,我對於那個樂器很感興趣,對於那位 歌手的嗓音很忘懷不了,我就在想若是將那樣美妙的旋律套用在我們排灣族身體會不 會一樣優雅,令人忘懷呢?靈機一動,所以我就決定與Kaishiki聯絡,想將這樣的概念 分享給他們,很順利的通上視訊,也很愉快得對話,雙方很興奮地也迫不及待得想開 始用『音樂旋律』去做第二年的實驗交流,透過這次的對話,也將去年在印度遇到的 困難提出,期望Kaishiki能提供協助,我們很幸福的有文化部的協助,所以我更希望做 好『社會責任』將每一份預算發揮得淋漓盡致,不辜負所有支持、協助我們的人,所 以我們事先規劃好所有行程,小至日常交通大到交流演出,將這些瑣事解決了,我們 就能更專心於我們的實驗交流了,將以最完美的樣子呈現給觀眾們。
第二年,但依然帶著最初的興奮與期待面對每一天的交流、對話,而『音樂旋 律』這個實驗概念,並沒有打倒我們,反而我看見的是彼此的編舞家和舞者們都突破 了自己,這讓我很興奮也樂於看見,辛苦是值得的,Daksha ji開啟屬於她自己的當代 模樣,還在過程中,但不難發現這樣的突破,對印度古典舞的舞者們來說已經是非常 了不起的嘗試了,還有我們的編舞家巴魯,本身對自己要求就很極致的巴魯,在這樣 的交流後,他細膩的研究、拆解印度舞者在數拍子的方式,拆解對方根深蒂固的習慣 很不容易,但我認為對他自己更是難題,他將如何把這樣的概念重新傳達是很困難的 ,但不服輸的巴魯,拆解了也重組了,同時也將舞者們整慘了,把印度樂團和台灣的 羽擊舞藝術融入到舞作裡,都是非常精彩又具水準的專業演出。
然而提到演出,我很感動透過我們與Kaishiki的交流,讓雙方的觀眾能夠再次認 識彼此的國家,我們已不再是舞蹈的交流,更是國與國、不同文化的對話,當彼此觀 眾回饋到對於我們這樣的交流很訝異、很新奇時,我就會覺得一切的努力都值得了, 真的被看見了!不光是觀眾,對於我自己本身而言也是,被媒體影響的我,對於印度 的觀念,一直都不是那麼的正面,但認識了Kaishiki舞團,真正地踏上了印度,才發覺 自己多麼無知,其實一切都不是那麼的負面,而這樣的交流,也認識不同的舞蹈文化 也認識不同國度風俗民情,很有意義,也覺得很幸運。接著,我們將要啟動第三年的 交流,我們希望觸及到更多的觀眾,能在印度、台灣更多不同的城市演出、交流,除 了將舞作呈現更專業、更完整以外,還傳達更多的愛給這個世界,我們這個世界太需 要更多的愛了,就讓我們與Kaishiki的交流,透過舞蹈讓這世界感受到『愛』。
One afternoon in April, I asked Eleng to come over and said to her, “Let’s call a conference with Kaishiki, ok?” Eleng looked at me, confused. She couldn’t understand this task I just assigned to her without any context or reason. I asked her to write an email to Kaishiki to schedule a video conference, and then volubly told her my intention.
I have always believed that engaging in exchange is like being in love. At first, both parties always get to know each other with their defenses on. They wouldn’t easily open their hearts to each other. How do we end this awkward period? We have actually been through this and we didn’t know how this awkward period ended. It was like we both liked each other and we just opened our hearts to get along with each other naturally. After we got to know each other and spent some time together in the first year, we were sure that we would love every day with each other since. I was always thinking about how to keep this sentiment.
I had to make good use of this wonderful exchange initiative. But, how? I kept on thinking about how to bring our exchange to the next level and how to transcend what we had done in the previous year. Suddenly, I remembered that Kaishiki invited their musician and singer to help with the performances. We were interested in that music instrument and the voice of that singer. So I began to wonder, would combining that beautiful melody with our Paiwan body movements be as graceful and as memorable? After hitting upon this idea, I decided to contact Kaishiki to share this idea with them. Without any hitch, we talked through the video conference. The conversation was joyful. We were both excited and couldn’t wait to try the experimental exchange in the second year with “music”. During this conference, I talked about the difficulty we encountered in India last year in hopes that Kaishiki would offer some help. We were lucky to be supported by the Ministry of Culture. Thus, I wanted to fulfill our “social responsibility” to make sure every dollar from that budget was spent worthwhile, so that we wouldn’t disappoint everyone who had supported or helped us. Therefore, we planned everything for this trip in advance, from small daily details to exchange performances. After all the trifles were handled properly, we could focus more on our experimental exchange and present the best performances to the audience.
In the second year, we still welcomed everyday of the exchange with our original excitement and expectation. The concept to be experiment, “music”,
didn’t defeat us. What I saw was that the choreographers and dancers from both groups made some breakthroughs, which made me very excited. I was glad what all the efforts were worthy. Daksha ji started a contemporary model for herself. She was still in the middle of the journey. However, this kind of breakthroughs was more than amazing for the Indian classical dancers. And our choreographer Baru had always set high standards for himself. During the exchange, he carefully studied and disassembled the Indian dancers’ way of counting. It was not easy to disassemble some deeply rooted habits. However, I think it was even more difficult for him to re- convey this concept. Baru, who refused to take defeat lying down, eventually completed the disassembly and the reassembly, giving the dancers a hard time. He integrated the performances of the Indian music group and the Feather Art of Drum and Dance from Taiwan into his dance work, resulting in some outstanding and professional performances.
As for the performances, I am deeply touched that, through our exchange with Kaishiki, the audience in both countries could get to know the other country.
It was more than dance exchange. It was conversations between countries and between cultures. When we heard the feedbacks from the audience saying that they were surprised at our exchange and found our performances novel, all the efforts were worthy and recognized. I myself had similar feelings as the audience. Under the influences of media, my impressions on India had been not very positive. However, after meeting Kaishiki and actually going to India, I realized I had been ignorant. Everything I saw in India wasn’t negative. Through this exchange, I got to know a different dance culture and different traditions and customs in a different country. It was meaningful. And I found myself lucky. Soon, the exchange for the third year is about to begin. Hopefully, we can reach more audience by performing in more cities in India and Taiwan. Besides presenting more professional and complete productions to the audience, we will also bring more love to the world. Our world is in desperate needs for more love. Let us send more “love” to the world through dance, through our exchange with Kaishiki.
I have always believed that engaging in exchange is like being in love. At first, both parties always get to know each other with their defenses on. They wouldn’t easily open their hearts to each other. How do we end this awkward period? We have actually been through this and we didn’t know how this awkward period ended. It was like we both liked each other and we just opened our hearts to get along with each other naturally. After we got to know each other and spent some time together in the first year, we were sure that we would love every day with each other since. I was always thinking about how to keep this sentiment.
I had to make good use of this wonderful exchange initiative. But, how? I kept on thinking about how to bring our exchange to the next level and how to transcend what we had done in the previous year. Suddenly, I remembered that Kaishiki invited their musician and singer to help with the performances. We were interested in that music instrument and the voice of that singer. So I began to wonder, would combining that beautiful melody with our Paiwan body movements be as graceful and as memorable? After hitting upon this idea, I decided to contact Kaishiki to share this idea with them. Without any hitch, we talked through the video conference. The conversation was joyful. We were both excited and couldn’t wait to try the experimental exchange in the second year with “music”. During this conference, I talked about the difficulty we encountered in India last year in hopes that Kaishiki would offer some help. We were lucky to be supported by the Ministry of Culture. Thus, I wanted to fulfill our “social responsibility” to make sure every dollar from that budget was spent worthwhile, so that we wouldn’t disappoint everyone who had supported or helped us. Therefore, we planned everything for this trip in advance, from small daily details to exchange performances. After all the trifles were handled properly, we could focus more on our experimental exchange and present the best performances to the audience.
In the second year, we still welcomed everyday of the exchange with our original excitement and expectation. The concept to be experiment, “music”,
didn’t defeat us. What I saw was that the choreographers and dancers from both groups made some breakthroughs, which made me very excited. I was glad what all the efforts were worthy. Daksha ji started a contemporary model for herself. She was still in the middle of the journey. However, this kind of breakthroughs was more than amazing for the Indian classical dancers. And our choreographer Baru had always set high standards for himself. During the exchange, he carefully studied and disassembled the Indian dancers’ way of counting. It was not easy to disassemble some deeply rooted habits. However, I think it was even more difficult for him to re- convey this concept. Baru, who refused to take defeat lying down, eventually completed the disassembly and the reassembly, giving the dancers a hard time. He integrated the performances of the Indian music group and the Feather Art of Drum and Dance from Taiwan into his dance work, resulting in some outstanding and professional performances.
As for the performances, I am deeply touched that, through our exchange with Kaishiki, the audience in both countries could get to know the other country.
It was more than dance exchange. It was conversations between countries and between cultures. When we heard the feedbacks from the audience saying that they were surprised at our exchange and found our performances novel, all the efforts were worthy and recognized. I myself had similar feelings as the audience. Under the influences of media, my impressions on India had been not very positive. However, after meeting Kaishiki and actually going to India, I realized I had been ignorant. Everything I saw in India wasn’t negative. Through this exchange, I got to know a different dance culture and different traditions and customs in a different country. It was meaningful. And I found myself lucky. Soon, the exchange for the third year is about to begin. Hopefully, we can reach more audience by performing in more cities in India and Taiwan. Besides presenting more professional and complete productions to the audience, we will also bring more love to the world. Our world is in desperate needs for more love. Let us send more “love” to the world through dance, through our exchange with Kaishiki.