交
流
反
思
在屏東部落認識印度
- Odissi身體工作坊
The India Classic - Oddisi workshop
Kaishiki 舞團 總監 Daksha Mashruwala
KAISHIKI NRITYABHASHA DIRECTOR _ DAKSHA MASHRUWALA
KAISHIKI NRITYABHASHA DIRECTOR _ DAKSHA MASHRUWALA
今年的Odissi的工作坊,配合了Tjimur Arts Festival讓民眾能夠參與並認識印度 古典舞,聽說在報名階段時,早早就爆滿,在課程的當天還有多民眾爭相想報名呢! 這讓我們Kaishiki很感動,除了Tjimur大力推動我們的工作坊以外,也很驚訝其實很多 台灣人很喜歡印度的文化和舞蹈,也很願意放下成見去認識我們印度古典舞的歷史, 我與Kaishiki的舞者們非常開心,也很期待這個與台灣朋友交流的機會。
我們先從歷史聊起,古典舞起源於二世紀,是歷史非常久遠的一門藝術,然而現 今我們能在很多壁畫或寺廟的雕刻上,看到舞蹈動作的樣子,反之,我們其實是從那 些歷史淵源及壁畫和雕像延伸現在的舞作,印度古典舞是非常依照歷史脈絡而傳承的 ,不是脫離這些束縛,故我們能流傳千年,好幾個世代,說到這裡,學員們開始分享 去過印度的經驗還有學習其他古典舞的過程,看到這樣熱絡的氛圍,差點忘記這裡是 台灣呢!這很神奇,在台灣時和與Tjimur相處時常常就是讓我們這麼溫暖、備受關心 ,就像在家一樣,大夥兒分享到一個階段,我開始了今天的主題-印度古典舞Oddis的 身體工作坊,Oddisi是印度古典舞8種中的其中之一,從基本四位(4 basic body positions)去讓學員們練習,看似優雅、文靜的動作,卻讓學員吃不消,以為很容 易只是擺擺姿勢,當Kaishiki的舞者親自調整動作和核心用力位置後,學員們才真的感 受到好幾千的歷史舞蹈,真的不是簡單容易的啊!做到移動重心的部分,大家開始因 為舞蹈底子不一樣,而開始有落差時,但每一位學員都很珍惜練習Oddisi的機會,不 斷的詢問自己是否有做對,每個人都很認真的面對我們遠從印度帶來的身體交流,最 後做到重心又更往下,呈現像似半蹲的角度,但同時又要維持Odissi美美的姿勢時, 開始有了尖叫聲,因為大腿肌肉承受的能量,有人漸漸受不了,但當我回頭看,她依 然維持著舞姿,我會心了一笑,也把這很美的畫面永存心中,在台灣,那位學員的認 真面對。
我將這基本四位傳授完後,我放下音樂,請學員去感受剛剛學習的動作並搭配本 身的心情和身體自由發揮,古典舞的根本很多其實就是從萬物起源的,我想在台灣感 受這樣的奧妙,想看看台灣人能產出怎麼樣的肢體美感,Kaishiki和Tjimur舞者們帶領 學員們感受、創作,漸漸地大家各自的身體呈現出看似完整的作品,我很欣慰能在這 個村莊遇見對Odissi舞蹈感興趣的台灣朋友們,大家打破語言的隔閡,解除彼此對彼 此的防備心,用心的面對每一個指令,盡最大的可能做出最相似的動作,用舞蹈到世 界交朋友,本應該是不容易的夢想,但因為Tjimur,我們彼此都用舞蹈交到來自世界 各地的朋友,甚至我們成了一家人。
我們先從歷史聊起,古典舞起源於二世紀,是歷史非常久遠的一門藝術,然而現 今我們能在很多壁畫或寺廟的雕刻上,看到舞蹈動作的樣子,反之,我們其實是從那 些歷史淵源及壁畫和雕像延伸現在的舞作,印度古典舞是非常依照歷史脈絡而傳承的 ,不是脫離這些束縛,故我們能流傳千年,好幾個世代,說到這裡,學員們開始分享 去過印度的經驗還有學習其他古典舞的過程,看到這樣熱絡的氛圍,差點忘記這裡是 台灣呢!這很神奇,在台灣時和與Tjimur相處時常常就是讓我們這麼溫暖、備受關心 ,就像在家一樣,大夥兒分享到一個階段,我開始了今天的主題-印度古典舞Oddis的 身體工作坊,Oddisi是印度古典舞8種中的其中之一,從基本四位(4 basic body positions)去讓學員們練習,看似優雅、文靜的動作,卻讓學員吃不消,以為很容 易只是擺擺姿勢,當Kaishiki的舞者親自調整動作和核心用力位置後,學員們才真的感 受到好幾千的歷史舞蹈,真的不是簡單容易的啊!做到移動重心的部分,大家開始因 為舞蹈底子不一樣,而開始有落差時,但每一位學員都很珍惜練習Oddisi的機會,不 斷的詢問自己是否有做對,每個人都很認真的面對我們遠從印度帶來的身體交流,最 後做到重心又更往下,呈現像似半蹲的角度,但同時又要維持Odissi美美的姿勢時, 開始有了尖叫聲,因為大腿肌肉承受的能量,有人漸漸受不了,但當我回頭看,她依 然維持著舞姿,我會心了一笑,也把這很美的畫面永存心中,在台灣,那位學員的認 真面對。
我將這基本四位傳授完後,我放下音樂,請學員去感受剛剛學習的動作並搭配本 身的心情和身體自由發揮,古典舞的根本很多其實就是從萬物起源的,我想在台灣感 受這樣的奧妙,想看看台灣人能產出怎麼樣的肢體美感,Kaishiki和Tjimur舞者們帶領 學員們感受、創作,漸漸地大家各自的身體呈現出看似完整的作品,我很欣慰能在這 個村莊遇見對Odissi舞蹈感興趣的台灣朋友們,大家打破語言的隔閡,解除彼此對彼 此的防備心,用心的面對每一個指令,盡最大的可能做出最相似的動作,用舞蹈到世 界交朋友,本應該是不容易的夢想,但因為Tjimur,我們彼此都用舞蹈交到來自世界 各地的朋友,甚至我們成了一家人。
This year, the Odissi workshop was integrated with the Tjimur Arts Festival so that people who attended the Festival could also get to know the Indian classical dance. We heard that there was no vacancy left long before the registration deadline. And on the day of the workshop, there were many people wanting to register. The Kaishiki members were very touched. Tjimur had put in a lot of efforts to promote our workshop. And we were surprised that so many Taiwanese people were interested in the Indian culture and dance and were willing to put down their prejudice to truly learn the history of our Indian classical dance. I myself and the Kaishiki dancers were very happy and looking forward to this opportunity to communicate with the Taiwanese people.
We started with the history. The classical dance was created in the 2nd century. It is an art of a long history. Nowadays, we can still see some dance movements in wall paintings and engravings of temples. Actually, our current dance works are based on those historical origins, paintings, and engravings. For the Indian classical dance, inheritance following the historical context without breaking away from these constraints is very crucial. That is why this culture has been passing on for thousands of years through generations. At this moment, the participants started to share their experiences of visiting India or learning other types of classical dance. I almost forgot that I was in Taiwan when I saw this atmosphere with such enthusiasm. It was amazing. During our time with Tjimur in Taiwan, we often felt this warmth and care, as if being home. After the sharing came to an end, the event today, the Body Workshop of the Indian Classical Dance, began. There are 8 types of classical dance in India. Odissi is just one of them. We let the participants begin with practicing the 4 basic stances or body positions. The movements which looked graceful and gentle actually gave the participants a hard time. At first, they thought it was just about posing. After the Kaishiki dancers personally adjust their postures and taught them how to use their core strength, they started to understand how remarkable this dance with thousands of years of history is. When the participants were learning how to move their body center of gravity, due to their different backgrounds and dance experiences, their performances varied. However, every one of them cherished the chance to practice Odissi and kept on asking if he/she was doing the movements right. All the participants took the body exchange we brought from distant India very seriously. Finally, they did what they were asked to do with the body center of gravity. Then they had to go even lower to a squat-like posture while maintaining the aesthetics of Odissi. Someone started to scream. This person couldn’t hold any more as her leg muscles were overloaded. However, I looked back her and found her still maintaining her dance posture. I smiled, and kept this image in my heart.
In Taiwan, that participant did this with earnest and conscientiousness.
After teaching the four basic stances, I played the music and allowed the participants to dance freely using the movements they had just learned based on their moods. The foundation of the classical dance is all God’s creation. I wanted to feel this subtlety in Taiwan and wanted to see how Taiwanese people show their limb aesthetics. The Kaishiki dancers and the Tjimur dancers guided the participants to feel and to create. Gradually, everyone was able to present using his body a piece of work that looked complete. I truly appreciate the chance to meet the Taiwanese friends who were interested in Odissi in this village. We removed the language obstacle, and lowered our defenses against each other, while everybody was trying his best to do the most similar movement based on the instrucitions he received. Making friends around the world through dance is a dream that seems unachievable. However, because of Tjimur, we all made some friends from different corners of the world through dance. And we even became families.
We started with the history. The classical dance was created in the 2nd century. It is an art of a long history. Nowadays, we can still see some dance movements in wall paintings and engravings of temples. Actually, our current dance works are based on those historical origins, paintings, and engravings. For the Indian classical dance, inheritance following the historical context without breaking away from these constraints is very crucial. That is why this culture has been passing on for thousands of years through generations. At this moment, the participants started to share their experiences of visiting India or learning other types of classical dance. I almost forgot that I was in Taiwan when I saw this atmosphere with such enthusiasm. It was amazing. During our time with Tjimur in Taiwan, we often felt this warmth and care, as if being home. After the sharing came to an end, the event today, the Body Workshop of the Indian Classical Dance, began. There are 8 types of classical dance in India. Odissi is just one of them. We let the participants begin with practicing the 4 basic stances or body positions. The movements which looked graceful and gentle actually gave the participants a hard time. At first, they thought it was just about posing. After the Kaishiki dancers personally adjust their postures and taught them how to use their core strength, they started to understand how remarkable this dance with thousands of years of history is. When the participants were learning how to move their body center of gravity, due to their different backgrounds and dance experiences, their performances varied. However, every one of them cherished the chance to practice Odissi and kept on asking if he/she was doing the movements right. All the participants took the body exchange we brought from distant India very seriously. Finally, they did what they were asked to do with the body center of gravity. Then they had to go even lower to a squat-like posture while maintaining the aesthetics of Odissi. Someone started to scream. This person couldn’t hold any more as her leg muscles were overloaded. However, I looked back her and found her still maintaining her dance posture. I smiled, and kept this image in my heart.
In Taiwan, that participant did this with earnest and conscientiousness.
After teaching the four basic stances, I played the music and allowed the participants to dance freely using the movements they had just learned based on their moods. The foundation of the classical dance is all God’s creation. I wanted to feel this subtlety in Taiwan and wanted to see how Taiwanese people show their limb aesthetics. The Kaishiki dancers and the Tjimur dancers guided the participants to feel and to create. Gradually, everyone was able to present using his body a piece of work that looked complete. I truly appreciate the chance to meet the Taiwanese friends who were interested in Odissi in this village. We removed the language obstacle, and lowered our defenses against each other, while everybody was trying his best to do the most similar movement based on the instrucitions he received. Making friends around the world through dance is a dream that seems unachievable. However, because of Tjimur, we all made some friends from different corners of the world through dance. And we even became families.