生
活
日
誌
Kaishiki X Tjimur 在台灣
音樂與肢體實驗交流日誌
Melody & Body Experiment In Taiwan
李奕萱、柯佩宜
Li I Hsuan, Eleng
Li I Hsuan, Eleng
我們剛結束在印度最後一場演出交流,大家都興奮得和總監、編舞和舞者們分 享剛才看完演出的心得,分享道:「實在意猶未盡,你們真得明天就離開印度了嗎 」、「我好想帶你們去其他地方演出,大家都會愛死你們,你們應該做印度巡演的 」、「我真的沒想過印度古典舞和排灣族當代舞能有如此驚人的結合,太不可思議了 」大家相爭拍照留影,握手、擁抱...... 啊!機場快到了,彷彿只是昨天,今天7/17號,我要去小港機場迎接Kaishiki的家人們 了,對於在印度交流,回憶溫度都還是熱的,沒想到,緊接著我們就要在台灣屏東排 灣族部落做更深層的藝術文化交流了。
印度的家人早已熟悉台灣的生活、天氣,所以在隔日上午半天的休息,我們就在 下午開始了『2019音樂旋律與身體肢體的實驗』 先登場的是我們的巴魯老師,在印度可以說是『整慘』了雙邊舞者們,為了讓將 接下來的交流工作順利,我們期望在音樂多做變化就好,但俗話說「藝術家總是不願 意輕易得放過自己」,在不到一個月的時間,巴魯老師有多了更多靈感,迫不及待要 實驗在舞者們身上,除了編改了些動作,甚至也大量嘗試了不同的音樂旋律搭配著舞 作,看到這裡,雖然舞者們被突如其來的改變,錯愕不已,但大家都非常的專業嘗試 ,揣摩著巴魯老師要求的動作,說好不更改的編舞內容,巴魯老師卻是讓 {7} 這個 作品看似錦上添花,而舞者們更是為了呈現最美的肢體畫面,熱烈討論,甚至不放 過休息時間!台灣版的 {7} 到底會如何呈現呢?
「藝術家總是不願意輕易得放過自己」這句話套用在Daksha ji身上真的是剛剛 好,或許是環境不同,又或者是巴魯老師激發了她更多創意,Daksha ji不僅將印度的 舞碼換掉,直接換成另一個概念『Bindu』意味著『原點』,Daksha ji表示我們的交流 無論在那裡,用什麼樣子去呈現,我們的創意都離不開最初的共識,就像是『Bindu』 的意義,雖然在重新編創舞作的過程中,遇到時間壓力及動作無法完全表達,有一段 小碎步繞圈的呈現,一開始看是Odissi的舞步,但一次一次的嘗試,畫面又好像百步 蛇在行走的樣子,在大家同心協力腦力激盪下,也是順利成了,看是印度古典舞的舞 步,又卻有著濃濃排灣族的味道,除了改變舞碼的概念,Daksha ji甚至更大膽的挑戰 印度古典舞的編創方式,讓舞者跟著旋律隨意的舞動身體,打破所有既定的框架,也 因為我們沒有印度樂手和歌手,也讓Daksha ji想出了更多音樂上實驗上的可能性,她 表示也不知道會不會成功,但她就是執意要這麼嘗試。
在七月22號,我們邀請了「羽擊舞藝術」(Feather art of drum and dance)的老 師們,帶著不同的樂器,嘗試不同的文化身體以及音樂節奏,Daksha ji請老師們彈 奏音樂及敲打節拍,讓舞者們用自己的身體去感受音樂,再加上奧迪西的音樂,試 著結合彼此的本身的身體律動,在這瞬間,不是刻意的結合,而是就這麼融合了一 起,先是播放印度古典旋律,再來加入Daksha ji平常使用的節拍器,像是小鈸 (cymbals)的樂器,敲擊幾聲,開始唸出印度文,好似朗誦又好像是數節拍,很特別 的呈現,再來加入我們羽擊舞藝術的樂器以及歌手的吟唱,該怎麼表達對這個作品 的看法呢?很新穎?很異國?當我們找不到形容詞時,突然有個聲音說道:「這是 我們創造的新舞蹈語彙」就是屬於Kaishki舞團和蒂摩爾古薪舞集的肢體語彙。
在沒有令人驚艷印度樂手和歌手配合下,一開始還擔心今年的音樂實驗在台灣 無法順利工作,但我們的羽擊舞藝術完全沒有讓我們失望,排灣族樂曲的素養,一 點都不亞於印度古典樂曲,在數日的練習、溝通下,彼此越來越有默契,甚至漸漸 不需要翻譯,彼此也能理解對方的傳達的概念,『藝術無國界』在這些日子的交流 ,真的漸漸體會這世界萬物的奧妙,超越語言跟國度,很驚人也這樣的美妙,讓工 作很順利。
印度的家人早已熟悉台灣的生活、天氣,所以在隔日上午半天的休息,我們就在 下午開始了『2019音樂旋律與身體肢體的實驗』 先登場的是我們的巴魯老師,在印度可以說是『整慘』了雙邊舞者們,為了讓將 接下來的交流工作順利,我們期望在音樂多做變化就好,但俗話說「藝術家總是不願 意輕易得放過自己」,在不到一個月的時間,巴魯老師有多了更多靈感,迫不及待要 實驗在舞者們身上,除了編改了些動作,甚至也大量嘗試了不同的音樂旋律搭配著舞 作,看到這裡,雖然舞者們被突如其來的改變,錯愕不已,但大家都非常的專業嘗試 ,揣摩著巴魯老師要求的動作,說好不更改的編舞內容,巴魯老師卻是讓 {7} 這個 作品看似錦上添花,而舞者們更是為了呈現最美的肢體畫面,熱烈討論,甚至不放 過休息時間!台灣版的 {7} 到底會如何呈現呢?
「藝術家總是不願意輕易得放過自己」這句話套用在Daksha ji身上真的是剛剛 好,或許是環境不同,又或者是巴魯老師激發了她更多創意,Daksha ji不僅將印度的 舞碼換掉,直接換成另一個概念『Bindu』意味著『原點』,Daksha ji表示我們的交流 無論在那裡,用什麼樣子去呈現,我們的創意都離不開最初的共識,就像是『Bindu』 的意義,雖然在重新編創舞作的過程中,遇到時間壓力及動作無法完全表達,有一段 小碎步繞圈的呈現,一開始看是Odissi的舞步,但一次一次的嘗試,畫面又好像百步 蛇在行走的樣子,在大家同心協力腦力激盪下,也是順利成了,看是印度古典舞的舞 步,又卻有著濃濃排灣族的味道,除了改變舞碼的概念,Daksha ji甚至更大膽的挑戰 印度古典舞的編創方式,讓舞者跟著旋律隨意的舞動身體,打破所有既定的框架,也 因為我們沒有印度樂手和歌手,也讓Daksha ji想出了更多音樂上實驗上的可能性,她 表示也不知道會不會成功,但她就是執意要這麼嘗試。
在七月22號,我們邀請了「羽擊舞藝術」(Feather art of drum and dance)的老 師們,帶著不同的樂器,嘗試不同的文化身體以及音樂節奏,Daksha ji請老師們彈 奏音樂及敲打節拍,讓舞者們用自己的身體去感受音樂,再加上奧迪西的音樂,試 著結合彼此的本身的身體律動,在這瞬間,不是刻意的結合,而是就這麼融合了一 起,先是播放印度古典旋律,再來加入Daksha ji平常使用的節拍器,像是小鈸 (cymbals)的樂器,敲擊幾聲,開始唸出印度文,好似朗誦又好像是數節拍,很特別 的呈現,再來加入我們羽擊舞藝術的樂器以及歌手的吟唱,該怎麼表達對這個作品 的看法呢?很新穎?很異國?當我們找不到形容詞時,突然有個聲音說道:「這是 我們創造的新舞蹈語彙」就是屬於Kaishki舞團和蒂摩爾古薪舞集的肢體語彙。
在沒有令人驚艷印度樂手和歌手配合下,一開始還擔心今年的音樂實驗在台灣 無法順利工作,但我們的羽擊舞藝術完全沒有讓我們失望,排灣族樂曲的素養,一 點都不亞於印度古典樂曲,在數日的練習、溝通下,彼此越來越有默契,甚至漸漸 不需要翻譯,彼此也能理解對方的傳達的概念,『藝術無國界』在這些日子的交流 ,真的漸漸體會這世界萬物的奧妙,超越語言跟國度,很驚人也這樣的美妙,讓工 作很順利。
We just finished the last performance for this exchange in India. Everybody was so excited and couldn’t wait to share their feelings with the director, choreographers, and dancers. Their feedbacks include the followings: “I wish this hadn’t ended. Do you really have to leave India tomorrow?” “I really want to take you to other places to perform. People would love you. You should plan a tour.” “I truly didn’t expect such amazing result by combining the Indian classical dance and the Paiwan contemporary dance. It was just incredible.” People all crowded together, taking pictures, shaking hands, hugging each other... Ah, the airport was just ahead. Everything seemed to have just happened yesterday. It was 17 th , July. I was going to the Kaohsiung International Airport to pick up our Kaishiki families. The memories of the exchange in India were still warm. And right away we were about to do even deeper art and cultural exchanges in the Paiwan community in Pingtung, Taiwan.
The Indian families were already familiar with the lifestyle and weather in Taiwan. Therefore, on the second day, after the rest in the morning, we started the “2019 music and limb experiments” in the afternoon. We started with the choreographer Baru. In India, the dancers from both companies really had had a “hard time”. To make the exchange work smoother, we decided to simply make some changes in the music. Yet, there is saying that “artists would never make it easy for themselves.” In less than a month, Baru found more inspiration and couldn’t wait to do some experiments with the dancers. Besides changing some parts of the choreography, Baru also tried to use different music melodies to go with the dance work. Although the dancers were surprised to see these changes, they were still doing their best as professionals to try to complete the movements Baru wanted to see. Though it had been decided not to change the choreography, what Baru did gave the work additional splendor. The dancers discussed enthusiastically in order to present the best limb images even during their breaks. How would the Taiwanese version of {7} be presented?
The saying that “artists would never make it easy for themselves” could perfectly apply to Daksha ji. Maybe it was because of the different environment, or because she was inspired by Baru in terms of creativity, Daksha ji directly replaced the Indian dance with another concept called “Bindu”, which means “the origin”. Daksha ji suggested that no matter where and how our exchange results would be presented, our creativity was always based on our initial common consensus, like “bindu”. During the process of re-choreographing, due to the time pressure and limitation on expressions of movements, a section of circling in choppy steps looked like Odissi dance steps at first. However, after one attempt after another, it began to look like a hundred pacer walking. With the brainstorming of the team, this section was completed successfully. It looked like a combination of Indian classical dance steps and strong Paiwan flavor. Besides changing the concept of the dance work, Daksha ji even baldly challenged the way of choreography of the Indian classical dance, allowing the dancers to move their bodies with the melody freely without any set constraints. Because we didn’t have any Indian musician or singer, Daksha ji came up with more possibilities for music during the experiment. She didn’t know if it was going to work. But she was determined to try.
On 22 nd , July, we invited the master musicians from the Feather Art of Drum and Dance to come with various music instruments for different cultural body movements and music rhythms. Daksha ji asked the musicians to play some music with beats so that the dancers could feel the music through their own bodies. Then the Odissi music was also included. Everyone was trying to blend in with their body movements. At this moment, the integration wasn’t completed through conscious efforts. Everything just integrated like that. First, the Indian classical melody was played. Then the cymbal-like metronome which Daksha ji often used was also adopted for the beats to go along with the Hindi chanting. It was a special presentation. Then the music from the instruments of the Feather Art of Drum and Dance and the singing from the singers were included. How should we describe this piece of work? Was it novel? Was it exotic? When we couldn’t find a term for it, someone said, “We created a new dance vocabulary.” This vocabulary of limb movements was for Kaishiki and Tjimur only.
Without any help from the outstanding Indian musicians and singers, at first we were worried that the music experiments in Taiwan wouldn’t go as smooth as expected. However, the Feather Art of Drum and Dance did not let us down. The quality of their Paiwan music was no less than that of the Indian classical music. After days of practices and communication, we had better tacit understanding. Gradually, we no longer needed any translation to deliver our ideas to each other. “There is no boundary in art.” During these days of exchange, we came to appreciate the subtlety of all things in this world beyond languages and countries. It was amazing and wonderful. And we completed the tasks smoothly.
The Indian families were already familiar with the lifestyle and weather in Taiwan. Therefore, on the second day, after the rest in the morning, we started the “2019 music and limb experiments” in the afternoon. We started with the choreographer Baru. In India, the dancers from both companies really had had a “hard time”. To make the exchange work smoother, we decided to simply make some changes in the music. Yet, there is saying that “artists would never make it easy for themselves.” In less than a month, Baru found more inspiration and couldn’t wait to do some experiments with the dancers. Besides changing some parts of the choreography, Baru also tried to use different music melodies to go with the dance work. Although the dancers were surprised to see these changes, they were still doing their best as professionals to try to complete the movements Baru wanted to see. Though it had been decided not to change the choreography, what Baru did gave the work additional splendor. The dancers discussed enthusiastically in order to present the best limb images even during their breaks. How would the Taiwanese version of {7} be presented?
The saying that “artists would never make it easy for themselves” could perfectly apply to Daksha ji. Maybe it was because of the different environment, or because she was inspired by Baru in terms of creativity, Daksha ji directly replaced the Indian dance with another concept called “Bindu”, which means “the origin”. Daksha ji suggested that no matter where and how our exchange results would be presented, our creativity was always based on our initial common consensus, like “bindu”. During the process of re-choreographing, due to the time pressure and limitation on expressions of movements, a section of circling in choppy steps looked like Odissi dance steps at first. However, after one attempt after another, it began to look like a hundred pacer walking. With the brainstorming of the team, this section was completed successfully. It looked like a combination of Indian classical dance steps and strong Paiwan flavor. Besides changing the concept of the dance work, Daksha ji even baldly challenged the way of choreography of the Indian classical dance, allowing the dancers to move their bodies with the melody freely without any set constraints. Because we didn’t have any Indian musician or singer, Daksha ji came up with more possibilities for music during the experiment. She didn’t know if it was going to work. But she was determined to try.
On 22 nd , July, we invited the master musicians from the Feather Art of Drum and Dance to come with various music instruments for different cultural body movements and music rhythms. Daksha ji asked the musicians to play some music with beats so that the dancers could feel the music through their own bodies. Then the Odissi music was also included. Everyone was trying to blend in with their body movements. At this moment, the integration wasn’t completed through conscious efforts. Everything just integrated like that. First, the Indian classical melody was played. Then the cymbal-like metronome which Daksha ji often used was also adopted for the beats to go along with the Hindi chanting. It was a special presentation. Then the music from the instruments of the Feather Art of Drum and Dance and the singing from the singers were included. How should we describe this piece of work? Was it novel? Was it exotic? When we couldn’t find a term for it, someone said, “We created a new dance vocabulary.” This vocabulary of limb movements was for Kaishiki and Tjimur only.
Without any help from the outstanding Indian musicians and singers, at first we were worried that the music experiments in Taiwan wouldn’t go as smooth as expected. However, the Feather Art of Drum and Dance did not let us down. The quality of their Paiwan music was no less than that of the Indian classical music. After days of practices and communication, we had better tacit understanding. Gradually, we no longer needed any translation to deliver our ideas to each other. “There is no boundary in art.” During these days of exchange, we came to appreciate the subtlety of all things in this world beyond languages and countries. It was amazing and wonderful. And we completed the tasks smoothly.