交
流
反
思
排灣族手牽全世界-
排灣肢體美學工作坊
The Paiwan body aesthetics in India
柯佩宜、李奕萱
ELENG, I HSUAN LI
ELENG, I HSUAN LI
在2019的琉璃計畫,我們很幸運可以與除了Kaishki舞團以外的舞蹈團體交流 ,這樣的安排,讓我們能夠更深度的了解印度舞蹈界的發展,也讓我們讓更多的舞 蹈朋友認識『排灣族當代身體』
六月七日星期五 Friday, 7 th , June
今天我們來到Nalanda舞蹈學院,Nalanda舞蹈學院在國內和國際上被公認為印度古 典舞蹈和相關學科的教育和研究的主要機構之一,並擁有學術上高素質的教師和教 學人員的著名大師,從外觀看不出來實際空間的容納數,好奇到底有多少人參與我 們在印度第一場到工作坊。之後學生們陸陸續續抵達場地,約莫100位穿著紗麗的 女孩們齊聚一堂,這樣的人數實在讓我們受寵若驚,好開心有這麼多人關注,並且 對於我們文化及舞蹈感到很有興趣!工作坊悄悄的在排灣族的歌聲開始了... 在排 灣族的傳統我們是以歌入舞,所以古謠當然是我們第一個要分享給現場的女孩們, 雖然他們不了解我們的語言,也未曾接觸過排灣族文化,但我們一起大聲歡樂得齊 唱,頓時語言已不是彼此的隔閡了。開嗓後,接下來要帶著各位印度女孩們一起跳 我們的傳統四步舞。從已婚男性、未婚男性、未婚女性到已婚女性,大家按照自己 的身分站定位置,齊聲古謠搭配最純粹的四步舞,真的好似已經回到部落,像是一 起參加婚禮的歡樂與喜悅,我們甚至還讓女孩們體驗排灣族傳統新郎背新娘的橋段 ,學員們跳得不亦樂乎,笑聲四起,不想停止這樣的歡樂。接下來我們開始引導學 員做呼吸的調整,學習「排灣族的呼吸」。漸漸的調整至同樣的呼吸後,開始了一 連串的排灣族當代的身體訓練。這樣的身體律動產出,有別於課程所學,並不是他 們所熟悉的,但每個人都很努力把握這次與我們交流的機會,每個人認真嘗試的跳 出最精準屬於排灣族當代的肢體。工作坊結束,學員們踴躍得發表心得,有人說道 「根本不了解我們的語言甚至文化,但透過歌曲、舞蹈,好似我們曾經認識彼此, 很溫暖也感受到滿滿的愛」、「聽到有這樣的課程、一開始很抗拒,因為認為自己 印度古典舞的身體無法做到排灣族當代的身體,但經由我們指導,其實不難,除了 大開眼界,也讓自己對於舞蹈有更大信心」、「我們來自不同國家、文化,但無論 歌聲或動作,好像都有相似之處,讓我感到很驚訝。」這一切的分享使在座的蒂摩 爾大夥兒們感到無比的心暖,像是已經回到部落,看著這些愛跳舞的孩子們跳著屬 於我們的舞蹈,是舞蹈讓我們彼此間沒有距離!很感謝Daksha Ji 引薦我們給 Nalanda舞蹈學院的校長Mrs. Uma,提供這麼棒的環境及很優秀認真的學員,讓蒂 摩爾古薪舞集倍感溫暖,心中滿滿說不出的感動。 Nalanda舞蹈學院也回饋了三場 印度古典舞的演出,舞蹈充滿對神明的讚美以及感謝,每個動作優美並有靈性,傳 統的服裝與華麗的配飾更是讓台下的我們目不轉睛,!今天也是我們2019Kaishiki X Tjimur音樂身體實驗室共製的第一場演出,在這麼短的時間內,兩位編舞家與舞 者們用了緊湊的時間,創作出兩支舞碼。雖然一切速成,但演後的回應非常熱烈, 不僅讓印度古典舞有了新的面貌,也讓排灣族當代身體多了更多的可能性。最後我 們呈現了去年在歐洲巡演連續42場,已經走訪法國亞維農、英國愛丁堡、韓國首爾 、加拿大溫哥華的《Vurhung~Heart to Heart 心事誰人知》。演畢,舞者謝幕,台下 掌聲如雷,全場站起來為台上四位舞者鼓掌,我們今天在印度說心事,再一次地, 絕對是一場令彼此難忘心對心的記憶....
六月九日星期六 Saturday, 9 th , June
很開心今天和SNDA(Sumeet Nagdev Dance Arts)的學員進行第二天的工作坊,具有當代舞蹈背景的他們,個個玲瓏有致,在課堂的一開始,SNDA的學員們一樣與 我們一起唱著排灣傳統古謠,或許是平常沒有這樣的國際交流,尤其是很特殊的台 灣排灣族文化,他們不管發音對錯,儘管大聲的唱出來,而課程在漸漸轉為嚴肅專 業時,有些學員或許在看Tjimur舞者示範時,認為身為專業的現代舞者能夠輕易地 做到舞步,而一派輕鬆,但在自身嘗試後,大家開始收起笑容,認真的揣摩Tjimur 的身體,甚至有人感受到沮喪,路之老師暫停了課程,鼓勵大家勇敢嘗試、拋開舊 的身體,我們聊到SNDA的學員們都是從小學習西方舞蹈的,在過去的訓練他們被 要求能跳多高就高,核心位置不一樣,所以要精確做出蒂摩爾身體是不容易的,我 們是生活在斜坡上的族群,所以我們的重心是往下的,很多動作產出也跟我們的生 活息息相關,是與西方舞蹈動作是不一樣的,透過路之老師的講解後,大家多了信 心,也真的暫時拋開了過去習慣的身體嘗試的『排灣族當代身體』看著大家認真嘗 試新舞步的樣子,很感動,也很美,賦予了排灣族當代新的靈魂,同樣在工作方結 束後,除了蒂摩爾與Kaishiki呈現這週交流所產出的共製小品外, SNDA同樣準備 了由舞蹈中心的藝術總監Sumeet Nagdev所編相當精彩的當代舞選粹。最後今天的 心事來到了高潮,蒂摩爾舞者拿出百分之百的實力表現回饋給在場所有關注我們的 印度家人,我們在印度的交流暫時畫上完美的分號。
六月七日星期五 Friday, 7 th , June
今天我們來到Nalanda舞蹈學院,Nalanda舞蹈學院在國內和國際上被公認為印度古 典舞蹈和相關學科的教育和研究的主要機構之一,並擁有學術上高素質的教師和教 學人員的著名大師,從外觀看不出來實際空間的容納數,好奇到底有多少人參與我 們在印度第一場到工作坊。之後學生們陸陸續續抵達場地,約莫100位穿著紗麗的 女孩們齊聚一堂,這樣的人數實在讓我們受寵若驚,好開心有這麼多人關注,並且 對於我們文化及舞蹈感到很有興趣!工作坊悄悄的在排灣族的歌聲開始了... 在排 灣族的傳統我們是以歌入舞,所以古謠當然是我們第一個要分享給現場的女孩們, 雖然他們不了解我們的語言,也未曾接觸過排灣族文化,但我們一起大聲歡樂得齊 唱,頓時語言已不是彼此的隔閡了。開嗓後,接下來要帶著各位印度女孩們一起跳 我們的傳統四步舞。從已婚男性、未婚男性、未婚女性到已婚女性,大家按照自己 的身分站定位置,齊聲古謠搭配最純粹的四步舞,真的好似已經回到部落,像是一 起參加婚禮的歡樂與喜悅,我們甚至還讓女孩們體驗排灣族傳統新郎背新娘的橋段 ,學員們跳得不亦樂乎,笑聲四起,不想停止這樣的歡樂。接下來我們開始引導學 員做呼吸的調整,學習「排灣族的呼吸」。漸漸的調整至同樣的呼吸後,開始了一 連串的排灣族當代的身體訓練。這樣的身體律動產出,有別於課程所學,並不是他 們所熟悉的,但每個人都很努力把握這次與我們交流的機會,每個人認真嘗試的跳 出最精準屬於排灣族當代的肢體。工作坊結束,學員們踴躍得發表心得,有人說道 「根本不了解我們的語言甚至文化,但透過歌曲、舞蹈,好似我們曾經認識彼此, 很溫暖也感受到滿滿的愛」、「聽到有這樣的課程、一開始很抗拒,因為認為自己 印度古典舞的身體無法做到排灣族當代的身體,但經由我們指導,其實不難,除了 大開眼界,也讓自己對於舞蹈有更大信心」、「我們來自不同國家、文化,但無論 歌聲或動作,好像都有相似之處,讓我感到很驚訝。」這一切的分享使在座的蒂摩 爾大夥兒們感到無比的心暖,像是已經回到部落,看著這些愛跳舞的孩子們跳著屬 於我們的舞蹈,是舞蹈讓我們彼此間沒有距離!很感謝Daksha Ji 引薦我們給 Nalanda舞蹈學院的校長Mrs. Uma,提供這麼棒的環境及很優秀認真的學員,讓蒂 摩爾古薪舞集倍感溫暖,心中滿滿說不出的感動。 Nalanda舞蹈學院也回饋了三場 印度古典舞的演出,舞蹈充滿對神明的讚美以及感謝,每個動作優美並有靈性,傳 統的服裝與華麗的配飾更是讓台下的我們目不轉睛,!今天也是我們2019Kaishiki X Tjimur音樂身體實驗室共製的第一場演出,在這麼短的時間內,兩位編舞家與舞 者們用了緊湊的時間,創作出兩支舞碼。雖然一切速成,但演後的回應非常熱烈, 不僅讓印度古典舞有了新的面貌,也讓排灣族當代身體多了更多的可能性。最後我 們呈現了去年在歐洲巡演連續42場,已經走訪法國亞維農、英國愛丁堡、韓國首爾 、加拿大溫哥華的《Vurhung~Heart to Heart 心事誰人知》。演畢,舞者謝幕,台下 掌聲如雷,全場站起來為台上四位舞者鼓掌,我們今天在印度說心事,再一次地, 絕對是一場令彼此難忘心對心的記憶....
六月九日星期六 Saturday, 9 th , June
很開心今天和SNDA(Sumeet Nagdev Dance Arts)的學員進行第二天的工作坊,具有當代舞蹈背景的他們,個個玲瓏有致,在課堂的一開始,SNDA的學員們一樣與 我們一起唱著排灣傳統古謠,或許是平常沒有這樣的國際交流,尤其是很特殊的台 灣排灣族文化,他們不管發音對錯,儘管大聲的唱出來,而課程在漸漸轉為嚴肅專 業時,有些學員或許在看Tjimur舞者示範時,認為身為專業的現代舞者能夠輕易地 做到舞步,而一派輕鬆,但在自身嘗試後,大家開始收起笑容,認真的揣摩Tjimur 的身體,甚至有人感受到沮喪,路之老師暫停了課程,鼓勵大家勇敢嘗試、拋開舊 的身體,我們聊到SNDA的學員們都是從小學習西方舞蹈的,在過去的訓練他們被 要求能跳多高就高,核心位置不一樣,所以要精確做出蒂摩爾身體是不容易的,我 們是生活在斜坡上的族群,所以我們的重心是往下的,很多動作產出也跟我們的生 活息息相關,是與西方舞蹈動作是不一樣的,透過路之老師的講解後,大家多了信 心,也真的暫時拋開了過去習慣的身體嘗試的『排灣族當代身體』看著大家認真嘗 試新舞步的樣子,很感動,也很美,賦予了排灣族當代新的靈魂,同樣在工作方結 束後,除了蒂摩爾與Kaishiki呈現這週交流所產出的共製小品外, SNDA同樣準備 了由舞蹈中心的藝術總監Sumeet Nagdev所編相當精彩的當代舞選粹。最後今天的 心事來到了高潮,蒂摩爾舞者拿出百分之百的實力表現回饋給在場所有關注我們的 印度家人,我們在印度的交流暫時畫上完美的分號。
During the 2019 Lazurite Initiative, we were lucky to be able to exchange with some dance groups besides Kaishiki. With this arrangement, we were able to learn more about the development in the field of dance in India. And we could bring “Paiwan contemporary bodies” to more friends of dance.
Friday, 7 th , June
Today, we went to the Nalanda Dance Research Centre, which had been recognized domestically and internationally as one of the major education and research institutions of Indian classical dance and other related disciplines with teachers and masters of strong academic backgrounds. From the outside, we could not tell how many people could fit in the space. We wondered how many people would participate in our first workshop in India. Then, the students started to show up. About 100 girls in sarees gathered in a room. We were so flattered by this number. It was a joy to know that so many people noticed and were interested in our culture and dance! The workshop quietly began in the Paiwan singing. One of the Paiwan traditions is dancing in coordination with singing. Therefore, the first thing we wanted to share with the Indian girl was an ancient ballad. Although they didn’t understand our language and had never been involved in the Paiwan culture before, we all sang together joyously and loudly. All of sudden, the language barrier was gone. After singing, the next thing was to teach the Indian girls our traditional four-step dance. Based on our genders and marital statuses (married male, unmarried male, unmarried female, and married female), we took different positions. We danced the purest four-step dance while singing the ancient ballad. It was like being back in our community. We were so happy and joyful as if being in a wedding. We even let the girls experience the Paiwan tradition of the groom carrying the bride. The participants enjoyed it with endless laughers. No one wanted this fun to end. Next, we guided the participants to adjust their breathing and taught them the “Paiwan breathing”. After our breathing was synchronized, a series of Pawain contemporary physical trainings began. They were not familiar with this kind of grooving which was different from what they had learned in other courses. Yet, everyone worked hard and made very good use of this exchange opportunity. They all took this seriously and tried to be very precise in physically presenting the Paiwan contemporary dance. After the workshop, the participants all eagerly shared their thoughts and feelings. Some of their feedbacks are as below: “We seemed to know each other through singing and dancing although we knew nothing about each other’s language and culture. It was a warm experience and I felt so much love.” “When I heard about this course, I was actually resisting in the beginning for I didn’t believe my body of Indian classical dance could become a body of Paiwan contemporary dance. However, it wasn’t hard under the guidance. My eyes were opened. And I became more confident in dancing.” “We are from different countries with different cultures. However, we seem to have something in common in singing and movements. And that surprised me.” The Tjimur members there were deeply touched by all these feedbacks. It was like we were in our community and watching these kids who loved to dance do our dance. Dancing brought us closer. We were grateful to Daksha Ji for introducing us to the president of the Nalanda Dance Research Centre, Mrs. Uma, who provided such a great space and brought these outstanding and earnest participants. Tjimur was deeply moved and the feeling was beyond words. In return, the Nalanda Dance Research Centre presented three Indian classical dance performances with praises to god and gratefulness. All the movements were graceful and spiritual. And we just couldn’t move our focus away from the traditional dresses and splendid ornaments. The first performance of the 2019 Kaishiki X Tjimur co-productions was also on this day. In such a short period, the two choreographers and the dancers had created and practiced two dance works. Although everything was done in a hurry, the response after the show was very favorable. Now the Indian classical dance had a new face, and the Paiwan contemporary bodies had more possibilities. Lastly, we presented “Vurhung~Heart to Heart”. Last year we had 42 shows of this work during the European tour. We had brought it to Avignon, France, Edinburgh, UK, Seoul, South Korea, and Vancouver, Canada. After the curtain fell and the dancers were on the stage thanking the audience, the hall erupted into a thunderous applause. All the audience stood up to applaud for the four dancers. This day, we were in India showing what was weighing on our minds, once again creating a heart-to-heart memory we could all hard to forget.
Saturday, 9 th , June
This day, with joy, we started the second day of the workshop with the participants from the SNDA (Sumeet Nagdev Dance Arts). They all had some contemporary dance background and were in great shape. When the course began, the SNDA participants sang the traditional Paiwan ballad with us. Probably because they hadn’t had any chance for this kind of international exchange, especially with this unique Paiwan culture from Taiwan, they just sang out loud without worrying about the correctness of their pronunciations. Then the course started to become more serious and professional. When watching the Tjimur dancers demonstrate some dance movements, some participants thought they could do those easily as they were professional contemporary dancers and were quite relaxed. However, after trying to do those movements personally, their smiles were gone. They started to carefully study how the Tjimur dancers did them physically. Some of them even felt frustrated. Director Ljuzem called a time-out and encouraged them to try bravely and to get rid of their old bodies. We talked about the issue that the SNDA participants had been learning western dance since childhood with trainings to jump as high as they could. The cores of their bodies were different. Thus it was not easy for them to imitate the Tjimur bodies. Our centers of gravity were rather low as we lived on slopes. And many of our movements were closely related to our daily lives and thus different from western dance movements. After Director Ljuzem explained this, they became more confident. And they actually temporarily got rid of their old bodies to try to imitate the “Paiwan contemporary bodies”. It was touching and beautiful to watch them working hard to learn something new. They gave the Paiwan contemporary dance new souls. Similarly, after the workshop ended, Tjimur presented a small co-production developed with Kaishiki during this week. And the SNDA also presented some very spectacular contemporary dance selection from the art director Sumeet Nagdev. It was the climax of the heart-to-heart exchange that day. The Tjimur dancers gave their upmost to perform in return to thank all the Indian families who cared about us. We temporarily appended a perfect semicolon to our exchange in India.
Friday, 7 th , June
Today, we went to the Nalanda Dance Research Centre, which had been recognized domestically and internationally as one of the major education and research institutions of Indian classical dance and other related disciplines with teachers and masters of strong academic backgrounds. From the outside, we could not tell how many people could fit in the space. We wondered how many people would participate in our first workshop in India. Then, the students started to show up. About 100 girls in sarees gathered in a room. We were so flattered by this number. It was a joy to know that so many people noticed and were interested in our culture and dance! The workshop quietly began in the Paiwan singing. One of the Paiwan traditions is dancing in coordination with singing. Therefore, the first thing we wanted to share with the Indian girl was an ancient ballad. Although they didn’t understand our language and had never been involved in the Paiwan culture before, we all sang together joyously and loudly. All of sudden, the language barrier was gone. After singing, the next thing was to teach the Indian girls our traditional four-step dance. Based on our genders and marital statuses (married male, unmarried male, unmarried female, and married female), we took different positions. We danced the purest four-step dance while singing the ancient ballad. It was like being back in our community. We were so happy and joyful as if being in a wedding. We even let the girls experience the Paiwan tradition of the groom carrying the bride. The participants enjoyed it with endless laughers. No one wanted this fun to end. Next, we guided the participants to adjust their breathing and taught them the “Paiwan breathing”. After our breathing was synchronized, a series of Pawain contemporary physical trainings began. They were not familiar with this kind of grooving which was different from what they had learned in other courses. Yet, everyone worked hard and made very good use of this exchange opportunity. They all took this seriously and tried to be very precise in physically presenting the Paiwan contemporary dance. After the workshop, the participants all eagerly shared their thoughts and feelings. Some of their feedbacks are as below: “We seemed to know each other through singing and dancing although we knew nothing about each other’s language and culture. It was a warm experience and I felt so much love.” “When I heard about this course, I was actually resisting in the beginning for I didn’t believe my body of Indian classical dance could become a body of Paiwan contemporary dance. However, it wasn’t hard under the guidance. My eyes were opened. And I became more confident in dancing.” “We are from different countries with different cultures. However, we seem to have something in common in singing and movements. And that surprised me.” The Tjimur members there were deeply touched by all these feedbacks. It was like we were in our community and watching these kids who loved to dance do our dance. Dancing brought us closer. We were grateful to Daksha Ji for introducing us to the president of the Nalanda Dance Research Centre, Mrs. Uma, who provided such a great space and brought these outstanding and earnest participants. Tjimur was deeply moved and the feeling was beyond words. In return, the Nalanda Dance Research Centre presented three Indian classical dance performances with praises to god and gratefulness. All the movements were graceful and spiritual. And we just couldn’t move our focus away from the traditional dresses and splendid ornaments. The first performance of the 2019 Kaishiki X Tjimur co-productions was also on this day. In such a short period, the two choreographers and the dancers had created and practiced two dance works. Although everything was done in a hurry, the response after the show was very favorable. Now the Indian classical dance had a new face, and the Paiwan contemporary bodies had more possibilities. Lastly, we presented “Vurhung~Heart to Heart”. Last year we had 42 shows of this work during the European tour. We had brought it to Avignon, France, Edinburgh, UK, Seoul, South Korea, and Vancouver, Canada. After the curtain fell and the dancers were on the stage thanking the audience, the hall erupted into a thunderous applause. All the audience stood up to applaud for the four dancers. This day, we were in India showing what was weighing on our minds, once again creating a heart-to-heart memory we could all hard to forget.
Saturday, 9 th , June
This day, with joy, we started the second day of the workshop with the participants from the SNDA (Sumeet Nagdev Dance Arts). They all had some contemporary dance background and were in great shape. When the course began, the SNDA participants sang the traditional Paiwan ballad with us. Probably because they hadn’t had any chance for this kind of international exchange, especially with this unique Paiwan culture from Taiwan, they just sang out loud without worrying about the correctness of their pronunciations. Then the course started to become more serious and professional. When watching the Tjimur dancers demonstrate some dance movements, some participants thought they could do those easily as they were professional contemporary dancers and were quite relaxed. However, after trying to do those movements personally, their smiles were gone. They started to carefully study how the Tjimur dancers did them physically. Some of them even felt frustrated. Director Ljuzem called a time-out and encouraged them to try bravely and to get rid of their old bodies. We talked about the issue that the SNDA participants had been learning western dance since childhood with trainings to jump as high as they could. The cores of their bodies were different. Thus it was not easy for them to imitate the Tjimur bodies. Our centers of gravity were rather low as we lived on slopes. And many of our movements were closely related to our daily lives and thus different from western dance movements. After Director Ljuzem explained this, they became more confident. And they actually temporarily got rid of their old bodies to try to imitate the “Paiwan contemporary bodies”. It was touching and beautiful to watch them working hard to learn something new. They gave the Paiwan contemporary dance new souls. Similarly, after the workshop ended, Tjimur presented a small co-production developed with Kaishiki during this week. And the SNDA also presented some very spectacular contemporary dance selection from the art director Sumeet Nagdev. It was the climax of the heart-to-heart exchange that day. The Tjimur dancers gave their upmost to perform in return to thank all the Indian families who cared about us. We temporarily appended a perfect semicolon to our exchange in India.