交
流
反
思
琉璃計畫交流反思
The Reflection of the project
Kaishiki 舞團 總監 Daksha Mashruwala
KAISHIKI NRITYABHASHA DIRECTOR _ DAKSHA MASHRUWALA
KAISHIKI NRITYABHASHA DIRECTOR _ DAKSHA MASHRUWALA
透過第一年和第二年的交流,與其說是交流不如說是再次與世界學習,先說到自己本身的印度古典舞的部分,我們自古以來,除了遵循自己心靈舞蹈老師的舞作去做更深層的研究,透過心靈舞蹈老師教導到人生道理及歷史脈絡去傳承以外,『創新』在我的人生字典裡,並不是很深刻的字眼,印度古典舞對歷史脈絡是有非常強烈得寄託束縛,不容易輕易改變的,但在自己有榮幸當上別人的老師時,當我們開始受邀到其他國家演出時,我開始思考,這個世界其實正在改變,印度舞蹈界亦是如此,我應該取捨什麼?我很幸運,雖說我的心靈導師傳授都是很傳統的概念,但我也能開始理解他其中更深層的奧妙,『傳統』固然是重要,但心態更是,你怎麼面對你的傳統,你如何指導你的學生才是我的心靈導師真心想要我學習、深思的,我的心靈老師很傳統但也非常善解人意,我想這就是我為什麼能夠尊重並接納其他文化或舞蹈意涵,甚至嘗試帶給我的學生們,鼓勵他們學習,現在向老師習舞已不像過去,在過去,舞者必須與老師同住,學習舞蹈也學習人生知識,時代不同,但我依然想將我的心靈導師傳給我的愛發揚廣大,所以我選擇讓我的學生們在認識本身傳統古典舞舞步和意涵的同時,也與世界接軌,拓展她們的視野,而很幸運地透過與Tjimur交流,不僅僅認識不同的舞蹈,甚至是將排灣族的生活與文化都成了未來創作的養分。
在舞蹈生涯30於載的過程中,與印度古典舞舞團合作是非常有經驗的,相較與現代舞團合作,又是帶著濃濃台灣原住民排灣族文化氣息的舞團,這樣的結合交流,這讓我很訝異且大開眼界,說是現代舞,但Tjimur卻不失他們的傳統文化,所有舞作的產出都與排灣族文化息息相關,甚至小到連暖身課程,都有系統化的『排灣當代身體』課程,我很驚訝這樣的成就,維持著傳統,但卻因應現代的呈現方式,形成屬於該文化的『當代』。我反思,我以創新的方式來呈現印度古典舞是反骨叛逆還是傳承文化的另一個方式,我想這兩年,我漸漸找到答案,雖然尚未明朗,但我很清楚,這樣對我的舞者、學生是有益處的,這兩年,我堅持將我的舞者的Odissi基本舞步訓練到紮實,也將這樣的精神帶給Tjimur舞者,但是透過Tjimur排灣族當代肢體及他們平時的芭蕾舞課程,增強Kaishiki舞者的身體強度,我們並沒有要成為現代舞者或芭蕾舞者,但藉由這樣讓他們看世界,我想身為他們的導師,應該問心無愧的,但傳統與當代的平衡是我還需要再思索、在努力的。
今年的交流,加上了『音樂』的元素,我們從簡單的舞蹈交流結緣,也因為有足夠的經費預算,讓我們彼此能夠到對方的國家、生活的地方去吸取養份,進而有了文化傳統上的交流,今年又進階了音樂上的交流,我們能夠如此的循序漸進地認識彼此舞蹈、吸收彼此的文化、甚至延伸更深層的藝術領域,這是始料未及的,但卻是最感恩的部分。在過程中,無論在印度或是在台灣,彼此對於舞蹈演出中的音樂如何產生都是很陌生的,我甚至花了一個下午與大家討論對於旋律和節奏之於身體的反應是怎麼看待的,大家回答出各式各樣的回覆,這樣的不一樣很美妙,因為對於我們都將是最重要養分,搭配不同的樂團,表演的呈現就不一樣,無法比較好壞,因為都是最經典的演出,由深層對話、交流所產出的作品。
最後,這兩年最深刻的反思就是對於『困境與協助』,Tjimur很幸運地有台灣政府文化部、在地公部門和在地居民的協助跟支持,足以讓我們的交流、演出非常的順利,反觀我們的Kaishiki,我們反思的部分是希望藉由這兩年的經驗和成果,能和印度方的贊助爭取更多被看到的機會,我自認我們已不是淺淺的兩個舞團交流,而是深層到文化與文化、國與國的對話,不在於利益,而是向世界傳達一個訊息,我們應該更謙虛地面對的世界宇宙,還有太多值得我們學習,我們應該互相尊重,我們能做的只是藉由『舞蹈』來傳遞這樣美好的意念給全世界。
在舞蹈生涯30於載的過程中,與印度古典舞舞團合作是非常有經驗的,相較與現代舞團合作,又是帶著濃濃台灣原住民排灣族文化氣息的舞團,這樣的結合交流,這讓我很訝異且大開眼界,說是現代舞,但Tjimur卻不失他們的傳統文化,所有舞作的產出都與排灣族文化息息相關,甚至小到連暖身課程,都有系統化的『排灣當代身體』課程,我很驚訝這樣的成就,維持著傳統,但卻因應現代的呈現方式,形成屬於該文化的『當代』。我反思,我以創新的方式來呈現印度古典舞是反骨叛逆還是傳承文化的另一個方式,我想這兩年,我漸漸找到答案,雖然尚未明朗,但我很清楚,這樣對我的舞者、學生是有益處的,這兩年,我堅持將我的舞者的Odissi基本舞步訓練到紮實,也將這樣的精神帶給Tjimur舞者,但是透過Tjimur排灣族當代肢體及他們平時的芭蕾舞課程,增強Kaishiki舞者的身體強度,我們並沒有要成為現代舞者或芭蕾舞者,但藉由這樣讓他們看世界,我想身為他們的導師,應該問心無愧的,但傳統與當代的平衡是我還需要再思索、在努力的。
今年的交流,加上了『音樂』的元素,我們從簡單的舞蹈交流結緣,也因為有足夠的經費預算,讓我們彼此能夠到對方的國家、生活的地方去吸取養份,進而有了文化傳統上的交流,今年又進階了音樂上的交流,我們能夠如此的循序漸進地認識彼此舞蹈、吸收彼此的文化、甚至延伸更深層的藝術領域,這是始料未及的,但卻是最感恩的部分。在過程中,無論在印度或是在台灣,彼此對於舞蹈演出中的音樂如何產生都是很陌生的,我甚至花了一個下午與大家討論對於旋律和節奏之於身體的反應是怎麼看待的,大家回答出各式各樣的回覆,這樣的不一樣很美妙,因為對於我們都將是最重要養分,搭配不同的樂團,表演的呈現就不一樣,無法比較好壞,因為都是最經典的演出,由深層對話、交流所產出的作品。
最後,這兩年最深刻的反思就是對於『困境與協助』,Tjimur很幸運地有台灣政府文化部、在地公部門和在地居民的協助跟支持,足以讓我們的交流、演出非常的順利,反觀我們的Kaishiki,我們反思的部分是希望藉由這兩年的經驗和成果,能和印度方的贊助爭取更多被看到的機會,我自認我們已不是淺淺的兩個舞團交流,而是深層到文化與文化、國與國的對話,不在於利益,而是向世界傳達一個訊息,我們應該更謙虛地面對的世界宇宙,還有太多值得我們學習,我們應該互相尊重,我們能做的只是藉由『舞蹈』來傳遞這樣美好的意念給全世界。
The exchange in the first and second years was more like learning from the world. In the aspect of our own Indian classical dance, since ancient times,
we have been following our dance mentors for deeper research. We would pass on the philosophy of life taught by our dance mentors along the historical context. The word “innovation” wasn’t significant in my dictionary for life. In the field of Indian classical dance, the historical context is a very important foundation as well as constraint. It is not easy to make any change. However, after I had the honor to become a teacher in this field, we began to receive invitations to perform in other countries. And I started to think about how I should weigh the pros and the cons as the world is always changing and so is the field of Indian classical dance.
I have been lucky. Although the concepts my mentors had taught me are all very traditional, I began to discover the deeper layers of these concepts. “Traditions” are important. But mindsets are even more important. My mentors actually wanted me to learn and think about how to face the traditions and how to guide my students. I think this is why I can respect and accept other cultures or other meanings of dance and can even try to bring these different elements to my students to encourage their learning. Nowadays, learning dance from a teacher is no longer like before. In the past, dancers had to live with their teachers to learn more about dance as well as life. It’s a different time now. I still want to glorify the love my mentors had given me. So I choose to encourage my students to be connected to the world while getting to know the dance steps and meanings of the traditional classical dance and to expand their views. Luckily, through the exchange with Tjimur, we got to see not only different dance, but also the Paiwan life and culture, which can become the nutrition for future creation.
I have a lot of experiences working with other Indian classical dance companies from the 30 plus years of my dance career. In comparison, this experience of the exchange with a contemporary dance company with strong cultural features from the Paiwan people in Taiwan actually surprised me and opened my eyes. Although Tjimur is a contemporary dance company, they still remember their traditional culture. All their dance productions are closely related to the Paiwan culture. Even their warm-up, which is just a small thing, was systemized with a “Paiwan contemporary body movements” course. What they have done really surprised me. They maintain their traditions while making modern presentations. They have created something “contemporary” for that culture. Thus, I reflected on the issue whether I presenting the Indian classical dance using an innovative way is being rebellious or finding another method to pass on our culture.
I think I am on the right track of finding the answer during these two years though I haven’t found it yet. I just know that what we have done is good for my dancers and students. During these two years, I insisted to make sure that my dancers’ Odissi dance steps were solid through trainings and brought this spirit to the Tjimur dancers. The Kaishiki dancers’ physical strength was improved through practicing Tjimur’s Paiwan contemporary limb movements and taking the ballet course. We didn’t ask the dancers to become contemporary dancers or ballet dancers. However, they could see the world from a different perspective through all this. As their mentor, I think I have no regret. However, I still need to think more about the balance between the traditional and the contemporary and put in more efforts.
The element “music” was included in this year’s exchange. Our relationship began with the simple dance exchange. Because our budget allowed us to visit each other’s country, where each other lived, to absorb nutrition, we also did some cultural exchange. This year, we took one more step to include music exchange. We didn’t expect to be able to get to know each other’s dance and learn more about each other’s culture to the deeper extent of the field of arts like this. Yet, this was what we appreciated the most. During this process, whether we were in India or Taiwan, we were unfamiliar with how each other’s music was developed.
I even spent one afternoon discussing with the team about their thoughts on their body’s reactions to melodies and rhythms. They came up with all kinds of answers. These differences were wonderful, as they were the essential nutrition for us. Our performances are different when we work with different groups.
It is not possible to make any comparison. All these performances are the most classic. They are all productions of deep conversations and exchange. Lastly, the most profound introspection during these two years is about “difficulties and helps”. Tjimur was lucky to receive supports and helps from the Ministry of Culture of the Taiwanese government, the local public sector, and local residents. That was why our exchange and performances were so successful. As for Kaishiki, our introspection was about using the experiences and achievements from these two years to get more sponsors and win more opportunities to be seen. I think this exchange was not just between two dance companies. It was deeper with conversations between cultures and those between countries. It was not about profits, but sending the world a message, that we should face the universe more humbly as there is so much to learn and should respect each other. All we did was sending this beautiful idea to the world through dance.
we have been following our dance mentors for deeper research. We would pass on the philosophy of life taught by our dance mentors along the historical context. The word “innovation” wasn’t significant in my dictionary for life. In the field of Indian classical dance, the historical context is a very important foundation as well as constraint. It is not easy to make any change. However, after I had the honor to become a teacher in this field, we began to receive invitations to perform in other countries. And I started to think about how I should weigh the pros and the cons as the world is always changing and so is the field of Indian classical dance.
I have been lucky. Although the concepts my mentors had taught me are all very traditional, I began to discover the deeper layers of these concepts. “Traditions” are important. But mindsets are even more important. My mentors actually wanted me to learn and think about how to face the traditions and how to guide my students. I think this is why I can respect and accept other cultures or other meanings of dance and can even try to bring these different elements to my students to encourage their learning. Nowadays, learning dance from a teacher is no longer like before. In the past, dancers had to live with their teachers to learn more about dance as well as life. It’s a different time now. I still want to glorify the love my mentors had given me. So I choose to encourage my students to be connected to the world while getting to know the dance steps and meanings of the traditional classical dance and to expand their views. Luckily, through the exchange with Tjimur, we got to see not only different dance, but also the Paiwan life and culture, which can become the nutrition for future creation.
I have a lot of experiences working with other Indian classical dance companies from the 30 plus years of my dance career. In comparison, this experience of the exchange with a contemporary dance company with strong cultural features from the Paiwan people in Taiwan actually surprised me and opened my eyes. Although Tjimur is a contemporary dance company, they still remember their traditional culture. All their dance productions are closely related to the Paiwan culture. Even their warm-up, which is just a small thing, was systemized with a “Paiwan contemporary body movements” course. What they have done really surprised me. They maintain their traditions while making modern presentations. They have created something “contemporary” for that culture. Thus, I reflected on the issue whether I presenting the Indian classical dance using an innovative way is being rebellious or finding another method to pass on our culture.
I think I am on the right track of finding the answer during these two years though I haven’t found it yet. I just know that what we have done is good for my dancers and students. During these two years, I insisted to make sure that my dancers’ Odissi dance steps were solid through trainings and brought this spirit to the Tjimur dancers. The Kaishiki dancers’ physical strength was improved through practicing Tjimur’s Paiwan contemporary limb movements and taking the ballet course. We didn’t ask the dancers to become contemporary dancers or ballet dancers. However, they could see the world from a different perspective through all this. As their mentor, I think I have no regret. However, I still need to think more about the balance between the traditional and the contemporary and put in more efforts.
The element “music” was included in this year’s exchange. Our relationship began with the simple dance exchange. Because our budget allowed us to visit each other’s country, where each other lived, to absorb nutrition, we also did some cultural exchange. This year, we took one more step to include music exchange. We didn’t expect to be able to get to know each other’s dance and learn more about each other’s culture to the deeper extent of the field of arts like this. Yet, this was what we appreciated the most. During this process, whether we were in India or Taiwan, we were unfamiliar with how each other’s music was developed.
I even spent one afternoon discussing with the team about their thoughts on their body’s reactions to melodies and rhythms. They came up with all kinds of answers. These differences were wonderful, as they were the essential nutrition for us. Our performances are different when we work with different groups.
It is not possible to make any comparison. All these performances are the most classic. They are all productions of deep conversations and exchange. Lastly, the most profound introspection during these two years is about “difficulties and helps”. Tjimur was lucky to receive supports and helps from the Ministry of Culture of the Taiwanese government, the local public sector, and local residents. That was why our exchange and performances were so successful. As for Kaishiki, our introspection was about using the experiences and achievements from these two years to get more sponsors and win more opportunities to be seen. I think this exchange was not just between two dance companies. It was deeper with conversations between cultures and those between countries. It was not about profits, but sending the world a message, that we should face the universe more humbly as there is so much to learn and should respect each other. All we did was sending this beautiful idea to the world through dance.