生
活
日
誌
Kaishiki X Tjimur 在印度
音樂與肢體實驗交流日誌
Melody & Body Experiment In India
李奕萱、柯佩宜
Li I Hsuan, Eleng
Li I Hsuan, Eleng
第二年的交流計畫,我們6月從印度起跑,我們與Kaishiki舞團在6月前,透過網路視訊開會了好幾次,就是為了讓交流計畫順利,在確定所有工作及日常行程後, 我們討論出第二年的交流主題『2019琉璃計畫-音樂旋律與身體肢體的實驗』,在第 一年我們透過彼此習慣的身體律動和遵循傳統下產出的肢體去交流對話,也很順利成功得創作出兩個很棒的作品,然而在這個過程,雙邊都有認知到彼此的傳統樂曲都很優美,所以特別感興趣,故將今年的主題設定為這樣的概念,彼此都很興奮 ,也根本無法設想成果會是如何呈現,還是根本無法做出像樣的舞作呢?我們帶著 期待的心情前往印度,來一起看看這樣的延彥精神,會碰撞出怎麼樣的火花呢?
六月四號
今天下午,我們從排灣族的呼吸,帶領著Kaishiki團員們進入排灣族的氛圍。 起初,彼此呼吸或快或慢、或深或短,直到每個人的呼吸漸漸一致,在這偌大的空 間中,形成一種完美的和諧,好似更像一家人,帶領大家複習蒂摩爾排灣當代身體 暖身後,我們的巴魯老師直接帶著印度的家人回到排灣族的「家」。從呼吸到排灣 族當代身體律動再到當代創作,巴魯老師帶著舞團其中一個作品「Umaq-烏瑪」, 由「聞、穿、打、吐」四個我們所熟悉家中的老人家,思念得聞手、刺繡縫製服飾 、老人家打檳榔、吐檳榔汁,四個元素讓大家了解我們對家的記憶。巴魯老師也將 這樣的肢體元素作為今年的排灣族當代身體的根本,也實踐我們今年的主題,試著 用當時「Umaq-烏瑪」演出的音樂去做練習、實驗,今天的實驗室,無論是 Kaishiki舞者或Tjimur舞者們都是新體驗,Tjimur舞者說在印度孟買這個環境跳出排 灣族的家,真的很新鮮、很有趣。
六月五號
上午時間,我們先從非常有意涵的暖身套組開始-「Surya Namaskar」。這些動 作元素除了讓舞者們活絡及抒展肢體,其中更有著特別的意義。Daksha Ji坐在教室 前方,耐心地對我們講解:「這套動作就像是對於晨陽表達的感謝之恩,太陽給了 我們12種重要的能量與意義。因此這套暖身套組我們必須做12次。」舞者們在伸展 的同時,感受到印度對大自然以及萬物的感恩,交流不只是舞技,更是文化生活的 深度對話。暖身完畢,蒂摩爾與Kaishiki的共製小品正式展開! Daksha Ji 運用了昨 天所教的 “Pallavi”元素,將舞者們化身為綻放中的花朵,一層一層、一瓣一瓣。每 個人時而像是獨立盛開的花兒,時而像是一朵大花兒中的花瓣。跟著旋律擺動旋轉 著,旋律雖然沒有特別的意涵,但那輕柔優雅的音符像是帶著我們進入另一個虛幻 花的國度。除此之外,舞者們也試著用排灣族的樂曲旋律,加入印度古典舞步,兩 者間的火花越碰越大、越摩越亮,比起昨天有點不協調的肢體,蒂摩爾的舞者們漸 漸找回了去年再熟悉不過的Odissi肢體,和Kaishiki的舞者們不分你我,一起將印度 古典舞用最優雅的姿態呈現於教室中。
下午時光則由巴魯老師進行排灣族當代舞蹈肢體編創。打破了印度古典舞中數拍子 的方式,激盪出新的看似不規則卻有邏輯性的排列法。「1、2、3、4、5、6、7...」一 次又一次的被打亂及重組,像是一場肢體與節奏間的腦力急轉彎。練習時,舞者們 個個露出懊惱得表情,好像眼前的這兩隻手根本不像是自己的,數來數去、點來點 去,如此特殊的數數與節奏,正是這個共製小品最精彩之處!我們持續產生碰撞、 激盪出更亮眼的火花,Kaishiki X Tjimur的第二年深度文化交流,我想絕對不會讓 你們失望的!
六月六日
經由兩天密集的肢體訓練後,身體我們準備好了,一切準備就緒。 Daksha Ji 請來了兩位印度樂手,其中一位以手敲鼓及口技為專業,另一位則是位手風琴專家 的歌手,兩人熟練的打擊彈奏傳統樂器,再搭配像是記憶中寶萊塢電影中熟悉的那 種激昂又蜿蜒式唱腔,相互交融譜出最優美的曲目。強而有力的節奏規律地敲著, 一切顯得如此和諧。更在動人的歌聲薰陶下,使我們與Kaishiki Odissi古典舞的音樂 肢體實驗,對未知的答案有了更明朗的方向。今日同樣也有新的嘗試,Odissi的步 伐踩踏搭配著排灣族傳統古謠,使彼此的舞蹈跟樂曲,都有了新風貌,不衝突,更 唯美!今日的蒂摩爾元素在巴魯老師在拆解印度舞蹈特殊數拍子手法後,邀請兩位 樂師參與下午的排練時光,兩位樂手在旁觀察舞者們的節拍與腳步,手不由自主的 開始敲打起腳邊的鼓,也漸漸的加入了人聲與手風琴的配樂,在樂手及歌手的搭配 下,排灣族當代的肢體語彙顯得更加亮眼!就算每一次搭配的節奏與速度都不同, 兩者間總能自然地達成一種平衡,印度古典舞的節奏及歌聲結合排灣族當代的肢體 ,不管在視覺還是聽覺都是加倍享受。衝擊確違和,同樣的越品味越是耐人尋味! 除了馬不停蹄的排練與調整,甚至是服裝都精心找尋、搭配。每一天都有新的體驗 與看見,期待這一切讓這美好的交流能有錦上添花的表演。
花了數日去嘗試、實驗,對於在印度的實驗過程,我們彼此都非常的滿意, 尤其我們Tjimur舞團對於印度專業的樂手和歌手有非常大的興趣,還啷嚷著好想邀 請他們一起來台灣繼續協助我們交流音樂實驗,也讓台灣觀眾認識他們,無奈時間 、行程的不允許,今年無法帶他們一起去台灣了,但真的非常幸運Kaishiki舞團有 這麼優秀的樂團一同合作,讓我們大開眼界,也吸收了滿滿的印度音樂素養,期待 這樣美妙的樂曲,有一天能夠與台灣觀眾分享。
六月四號
今天下午,我們從排灣族的呼吸,帶領著Kaishiki團員們進入排灣族的氛圍。 起初,彼此呼吸或快或慢、或深或短,直到每個人的呼吸漸漸一致,在這偌大的空 間中,形成一種完美的和諧,好似更像一家人,帶領大家複習蒂摩爾排灣當代身體 暖身後,我們的巴魯老師直接帶著印度的家人回到排灣族的「家」。從呼吸到排灣 族當代身體律動再到當代創作,巴魯老師帶著舞團其中一個作品「Umaq-烏瑪」, 由「聞、穿、打、吐」四個我們所熟悉家中的老人家,思念得聞手、刺繡縫製服飾 、老人家打檳榔、吐檳榔汁,四個元素讓大家了解我們對家的記憶。巴魯老師也將 這樣的肢體元素作為今年的排灣族當代身體的根本,也實踐我們今年的主題,試著 用當時「Umaq-烏瑪」演出的音樂去做練習、實驗,今天的實驗室,無論是 Kaishiki舞者或Tjimur舞者們都是新體驗,Tjimur舞者說在印度孟買這個環境跳出排 灣族的家,真的很新鮮、很有趣。
六月五號
上午時間,我們先從非常有意涵的暖身套組開始-「Surya Namaskar」。這些動 作元素除了讓舞者們活絡及抒展肢體,其中更有著特別的意義。Daksha Ji坐在教室 前方,耐心地對我們講解:「這套動作就像是對於晨陽表達的感謝之恩,太陽給了 我們12種重要的能量與意義。因此這套暖身套組我們必須做12次。」舞者們在伸展 的同時,感受到印度對大自然以及萬物的感恩,交流不只是舞技,更是文化生活的 深度對話。暖身完畢,蒂摩爾與Kaishiki的共製小品正式展開! Daksha Ji 運用了昨 天所教的 “Pallavi”元素,將舞者們化身為綻放中的花朵,一層一層、一瓣一瓣。每 個人時而像是獨立盛開的花兒,時而像是一朵大花兒中的花瓣。跟著旋律擺動旋轉 著,旋律雖然沒有特別的意涵,但那輕柔優雅的音符像是帶著我們進入另一個虛幻 花的國度。除此之外,舞者們也試著用排灣族的樂曲旋律,加入印度古典舞步,兩 者間的火花越碰越大、越摩越亮,比起昨天有點不協調的肢體,蒂摩爾的舞者們漸 漸找回了去年再熟悉不過的Odissi肢體,和Kaishiki的舞者們不分你我,一起將印度 古典舞用最優雅的姿態呈現於教室中。
下午時光則由巴魯老師進行排灣族當代舞蹈肢體編創。打破了印度古典舞中數拍子 的方式,激盪出新的看似不規則卻有邏輯性的排列法。「1、2、3、4、5、6、7...」一 次又一次的被打亂及重組,像是一場肢體與節奏間的腦力急轉彎。練習時,舞者們 個個露出懊惱得表情,好像眼前的這兩隻手根本不像是自己的,數來數去、點來點 去,如此特殊的數數與節奏,正是這個共製小品最精彩之處!我們持續產生碰撞、 激盪出更亮眼的火花,Kaishiki X Tjimur的第二年深度文化交流,我想絕對不會讓 你們失望的!
六月六日
經由兩天密集的肢體訓練後,身體我們準備好了,一切準備就緒。 Daksha Ji 請來了兩位印度樂手,其中一位以手敲鼓及口技為專業,另一位則是位手風琴專家 的歌手,兩人熟練的打擊彈奏傳統樂器,再搭配像是記憶中寶萊塢電影中熟悉的那 種激昂又蜿蜒式唱腔,相互交融譜出最優美的曲目。強而有力的節奏規律地敲著, 一切顯得如此和諧。更在動人的歌聲薰陶下,使我們與Kaishiki Odissi古典舞的音樂 肢體實驗,對未知的答案有了更明朗的方向。今日同樣也有新的嘗試,Odissi的步 伐踩踏搭配著排灣族傳統古謠,使彼此的舞蹈跟樂曲,都有了新風貌,不衝突,更 唯美!今日的蒂摩爾元素在巴魯老師在拆解印度舞蹈特殊數拍子手法後,邀請兩位 樂師參與下午的排練時光,兩位樂手在旁觀察舞者們的節拍與腳步,手不由自主的 開始敲打起腳邊的鼓,也漸漸的加入了人聲與手風琴的配樂,在樂手及歌手的搭配 下,排灣族當代的肢體語彙顯得更加亮眼!就算每一次搭配的節奏與速度都不同, 兩者間總能自然地達成一種平衡,印度古典舞的節奏及歌聲結合排灣族當代的肢體 ,不管在視覺還是聽覺都是加倍享受。衝擊確違和,同樣的越品味越是耐人尋味! 除了馬不停蹄的排練與調整,甚至是服裝都精心找尋、搭配。每一天都有新的體驗 與看見,期待這一切讓這美好的交流能有錦上添花的表演。
花了數日去嘗試、實驗,對於在印度的實驗過程,我們彼此都非常的滿意, 尤其我們Tjimur舞團對於印度專業的樂手和歌手有非常大的興趣,還啷嚷著好想邀 請他們一起來台灣繼續協助我們交流音樂實驗,也讓台灣觀眾認識他們,無奈時間 、行程的不允許,今年無法帶他們一起去台灣了,但真的非常幸運Kaishiki舞團有 這麼優秀的樂團一同合作,讓我們大開眼界,也吸收了滿滿的印度音樂素養,期待 這樣美妙的樂曲,有一天能夠與台灣觀眾分享。
In June, we started the exchange in the second year from India. We had several video conferences with the dance company Kaishiki before June to make sure the initiative could go as planned. After confirming all the tasks and daily schedules, we agreed on the topic for the exchange in the second year, “2019 Lazurite Initiative: The the Experiment of Music and Limbs”. In the first year, we started our conversations through our usual grooving and limb movements created based on traditions. And we successfully came up with two pieces of work. However, during this process, both parties found each other’s traditional songs beautiful and were attracted. Thus, we decided the topic based on this concept. We were all excited. We couldn’t imagine how the result would be and we weren’t sure if we could come up with some presentable dance work. With great expectations, we went to India to find out what kind of spark would we create based on this spirit.
4 th , June
This afternoon, we guided the Kaishiki members into the Paiwan atmosphere through the Paiwan breathing. At first, we all had different speed and depth of breathing. Then, gradually, our breathing became synchronized, creating perfect harmony. We were like families. After leading them to go through the Tjimur Paiwan warm-up again, our choreographer Baru directly took the Indian families back to the Paiwan “home”. From breathing, to the Paiwan contemporary grooving, and then to the contemporary creation, Baru guide the company to perform one piece of our work “Umaq”. There are four key elements in this work, namely “smelling, threading, hitting, and spitting”, associated with what the elderly do in our home: smelling hands for missing someone, threading a needle to saw dresses, hitting betel nuts, and spitting out betel nut juice. These four elements helped them to understand our memories of our home. Baru also used these limb elements as the foundation for this year’s Paiwan contemporary body movements to present our topic. We tried to practice and do experiments using the music from the “Umaq” performance back then. Today, in the lab, both the Kaishiki dancers and the Tjimur dancers had some new experiences. The Tjimur dancers found it refreshing and interesting to dance out the home of the Paiwan people in the context in Mumbai, India.
5 th , June
In the morning, we started from the very meaningful warm-up kit, “Surya Namaskar”. These movement elements could help the dancers to loose and stretch their limbs, and there is a special meaning behind them. Sitting in front of the class in the classroom, Daksha Ji patiently explained to us, “this kit of movements is about showing our gratitude to the morning sun. The sun provides us 12 important energies and meanings. Therefore we have to do this kit 12 times.” When the dancers were stretching, they could also feel the gratitude toward the nature and all things in India. Our exchange was not just about dancing techniques, it was also an in-depth conversation of cultural lives. After the warm-up, it was time to begin the small co-production of Tjimur and Kaishiki! Daksha Ji used the “pallavi” element taught yesterday to transform the dancers into blooming flowers with layers of petals. The dancers were sometimes individual blooming flowers, and sometimes petals of a large flower. They swung and rotated with the melody. Although there was no special meaning behind that melody, those gentle and graceful music notes brought us into another kingdom, a kingdom of imaginary flowers. Moreover, the dancers also tried to integrate the Indian classical dance steps into the Paiwan melodies. The spark was getting stronger and brighter. Yesterday, the Tjimur dancers’ coordination of limbs wasn’t very good. Today, the Odissi limb movements they were so familiar last year were gradually coming back to them. Together with the Kaishiki dancers, we presented the Indian classical dance in the classroom in the most graceful way.
In the afternoon, it was time for Baru’s choreography with the Pawain contemporary limb movements. The way of counting in the Indian classical dance was replaced by a new method which looked irregular while actually being very logical. “1, 2, 3, 4, 5, 6, and 7...” The counting was disarranged and rearranged over and over. It was like brainstorming with limbs and rhythms. When practicing, the dancers all looked upset. Their arms just weren’t like theirs. They counted and counted. They tapped and tapped. This unique way of counting and the rhythms were the most spectacular part of this co-production! We kept on making more and more spark. The Kaishiki X Tjimur in-depth cultural exchange in the second year wouldn’t let you down!
6 th , June
After two days of intensive limb trainings, we were ready physically. Everything was set. Daksha Ji hired two Indian musicians. One of them was an expert in hand drums and beatboxing, while the other was a singer and an expert in accordions. They skillfully placed the traditional music instruments with the passionate and wiggling singing that we knew very well from Bollywood movies in our memories, creating the most beautiful music possible. The rhythms with powerful and strong beats made everything so harmonic. Under the charming singing, we found a clearer direction for our music and limb experiments with Kaishiki’s classical Oddisi dance. Today we also tried something new, which was the combination of the Odissi dance steps and the Paiwan traditional ballad, creating a beautiful new style with each other’s dance and music without conflict. After Baru disassembled and analyzed the unique way of counting in Indian dance, the two musicians were invited to participate in the rehearsal for the Tjimur element this afternoon. The two musicians observed the rhythms and steps of the dancers aside and couldn’t help play the drums by their feet. Gradually, there were vocals and accordion music joining as background music. The Paiwan contemporary limb vocabulary was even more radiant with the cooperation of musicians and singers. Although every time the tempos and rhythms were different, eventually a balance was achieved. The acoustic and visual benefits were doubled with the combination of the rhythms and singing from the Indian classical dance and the Paiwan contemporary limb movements. This style was conflictive while not being out of place at all. Then more you savored it, the more intriguing you would find it to be. Besides continuously doing rehearsals and making adjustments, we also had to spend time looking for suitable dresses. Everyday there were some new experiences. We hope that all these wonderful things in our exchange could make our performance even better.
After spending days in attempts and experiments, both parties were very satisfied with the experiment process in India. Especially, Tjimur was very interested in the professional musicians and singers from India. We talked about how much we wanted to invite them to Taiwan to assist with the exchange and the music experiment and to introduce them to the Taiwanese audience. Sadly, due to the schedule issue, we couldn’t bring them to Taiwan this year. However, Kaishiki was so lucky to be able to work with such an outstanding music group. It was eye-opening for us. And we had learned so much from the Indian music literacy. Hopefully, one day we can share this beautiful music with the Taiwanese audience.
4 th , June
This afternoon, we guided the Kaishiki members into the Paiwan atmosphere through the Paiwan breathing. At first, we all had different speed and depth of breathing. Then, gradually, our breathing became synchronized, creating perfect harmony. We were like families. After leading them to go through the Tjimur Paiwan warm-up again, our choreographer Baru directly took the Indian families back to the Paiwan “home”. From breathing, to the Paiwan contemporary grooving, and then to the contemporary creation, Baru guide the company to perform one piece of our work “Umaq”. There are four key elements in this work, namely “smelling, threading, hitting, and spitting”, associated with what the elderly do in our home: smelling hands for missing someone, threading a needle to saw dresses, hitting betel nuts, and spitting out betel nut juice. These four elements helped them to understand our memories of our home. Baru also used these limb elements as the foundation for this year’s Paiwan contemporary body movements to present our topic. We tried to practice and do experiments using the music from the “Umaq” performance back then. Today, in the lab, both the Kaishiki dancers and the Tjimur dancers had some new experiences. The Tjimur dancers found it refreshing and interesting to dance out the home of the Paiwan people in the context in Mumbai, India.
5 th , June
In the morning, we started from the very meaningful warm-up kit, “Surya Namaskar”. These movement elements could help the dancers to loose and stretch their limbs, and there is a special meaning behind them. Sitting in front of the class in the classroom, Daksha Ji patiently explained to us, “this kit of movements is about showing our gratitude to the morning sun. The sun provides us 12 important energies and meanings. Therefore we have to do this kit 12 times.” When the dancers were stretching, they could also feel the gratitude toward the nature and all things in India. Our exchange was not just about dancing techniques, it was also an in-depth conversation of cultural lives. After the warm-up, it was time to begin the small co-production of Tjimur and Kaishiki! Daksha Ji used the “pallavi” element taught yesterday to transform the dancers into blooming flowers with layers of petals. The dancers were sometimes individual blooming flowers, and sometimes petals of a large flower. They swung and rotated with the melody. Although there was no special meaning behind that melody, those gentle and graceful music notes brought us into another kingdom, a kingdom of imaginary flowers. Moreover, the dancers also tried to integrate the Indian classical dance steps into the Paiwan melodies. The spark was getting stronger and brighter. Yesterday, the Tjimur dancers’ coordination of limbs wasn’t very good. Today, the Odissi limb movements they were so familiar last year were gradually coming back to them. Together with the Kaishiki dancers, we presented the Indian classical dance in the classroom in the most graceful way.
In the afternoon, it was time for Baru’s choreography with the Pawain contemporary limb movements. The way of counting in the Indian classical dance was replaced by a new method which looked irregular while actually being very logical. “1, 2, 3, 4, 5, 6, and 7...” The counting was disarranged and rearranged over and over. It was like brainstorming with limbs and rhythms. When practicing, the dancers all looked upset. Their arms just weren’t like theirs. They counted and counted. They tapped and tapped. This unique way of counting and the rhythms were the most spectacular part of this co-production! We kept on making more and more spark. The Kaishiki X Tjimur in-depth cultural exchange in the second year wouldn’t let you down!
6 th , June
After two days of intensive limb trainings, we were ready physically. Everything was set. Daksha Ji hired two Indian musicians. One of them was an expert in hand drums and beatboxing, while the other was a singer and an expert in accordions. They skillfully placed the traditional music instruments with the passionate and wiggling singing that we knew very well from Bollywood movies in our memories, creating the most beautiful music possible. The rhythms with powerful and strong beats made everything so harmonic. Under the charming singing, we found a clearer direction for our music and limb experiments with Kaishiki’s classical Oddisi dance. Today we also tried something new, which was the combination of the Odissi dance steps and the Paiwan traditional ballad, creating a beautiful new style with each other’s dance and music without conflict. After Baru disassembled and analyzed the unique way of counting in Indian dance, the two musicians were invited to participate in the rehearsal for the Tjimur element this afternoon. The two musicians observed the rhythms and steps of the dancers aside and couldn’t help play the drums by their feet. Gradually, there were vocals and accordion music joining as background music. The Paiwan contemporary limb vocabulary was even more radiant with the cooperation of musicians and singers. Although every time the tempos and rhythms were different, eventually a balance was achieved. The acoustic and visual benefits were doubled with the combination of the rhythms and singing from the Indian classical dance and the Paiwan contemporary limb movements. This style was conflictive while not being out of place at all. Then more you savored it, the more intriguing you would find it to be. Besides continuously doing rehearsals and making adjustments, we also had to spend time looking for suitable dresses. Everyday there were some new experiences. We hope that all these wonderful things in our exchange could make our performance even better.
After spending days in attempts and experiments, both parties were very satisfied with the experiment process in India. Especially, Tjimur was very interested in the professional musicians and singers from India. We talked about how much we wanted to invite them to Taiwan to assist with the exchange and the music experiment and to introduce them to the Taiwanese audience. Sadly, due to the schedule issue, we couldn’t bring them to Taiwan this year. However, Kaishiki was so lucky to be able to work with such an outstanding music group. It was eye-opening for us. And we had learned so much from the Indian music literacy. Hopefully, one day we can share this beautiful music with the Taiwanese audience.