生
活
日
誌
Kaishiki 的舞者來聊聊
Eye-opening
柯佩宜
ELENG
ELENG
在2019年的琉璃計畫,Kaishiki舞團與Tjimur舞團都有一位新的團員是第 一次的交流,有熟悉的面孔也有新鮮的體驗,但無論是怎麼樣的形式,最後所 有的舞者們,卻結合在一起,並無違和感,對於彼此從陌生的接觸、交流,到 像兄弟姐妹般的聊天、互相關心,撇除了語言上的隔閡,多得是舞蹈、文化的 對談,在印度時,Kaishiki的舞者們都盡心盡力地照顧我們Tjimur的團員們,協 助Tjimur的舞者找回Oddisi的身體記憶,甚至讓Tjimur舞者們演繹更精確,帶領 我們將Daksha Ji的作品發揮得淋力盡致。
無論是第二次接觸巴魯老師作品的Kaishiki舞者們(Namrata和Siddi),還 是第一次認識巴魯老師的Namaha,巴魯老師一如往常得標新立異,讓舞者們炸 腦的排練,不段挑戰和創新,也讓這次在第二年的交流碰撞出了很刺激、很異 想不到呈現。 以下是,Tjimur國際專員-Eleng與Kaishiki舞者們聊天的內容,讓她們來 聊聊今年的交流心情分享,也說說有趣的事以及困境吧! Eleng請兩位第二年與Tjimur交流的Namrata和Siddi分享這兩年的不同, 第二年有什麼特別想分享的嗎?
Namrata : 對於去年來說,就是個開始、未知,只能先去認識對方,了解 彼此的文化及彼此的舞蹈,很重要的是,了解並嘗試蒂摩爾古薪舞集創 作發展的方式及對於本身排灣當代舞蹈的原則,在去年的彼此熟悉後, 今年Tjimur舞團在印度時,就提到想要加入一些特別課程,讓Kaishiki的 舞者認識除了Tjimur身體克,Tjimur還做了什麼樣的訓練?所以在台灣工 作時,我們還特別接觸、學習了芭蕾,芭蕾老師提到是專門安排給 「Odissi舞者的芭蕾課」(真的很有趣,但也的確較得心應手,謝謝老師 的用心),即使對我來說,這是完全不同的境界跟層次,但我認為這樣交 流學習體驗很有趣,因為我想了解彼此能藉由對方從自身的舞蹈原則、 身體技巧與日常訓練得到什麼樣的好處,今年的交流當然我們更深層的 互相學習,進階到了下一個層次,就連2019的Tjimur藝術生活節,我們 見證了這一切的發展過程,例如去年蒂摩爾藝術節只有兩天而今年為期 三天,再來是購票,去年的演出是免費入場觀賞演出,但今年我們的演 出是需要購票進場的,我認為這個調整非常重要,利用這樣的機會,進 而教育觀眾,買票支持藝術創意是很重要的,有這樣過程發展及進步是 必須的。
Siddhi:對於古典舞舞者來說,我們編舞及日常訓練是很嚴格的,通常也都 是按照我們既定古典舞歷史傳承和原則去做遍排、練習,所以對我來說 ,接觸芭蕾和現代舞的肢體訓練是很不容易、很挑戰的,這兩年的交流 對我而言都是很辛苦的,但意外的是,也沒有艱難到我們做不到,「有志者事竟成」畢竟我們真得花了很多時間,在印度花了半個月,在台灣 也一樣同等時間,我們不斷的碰撞、交流,接著尊重並融會貫通在自己 的身體裡,不畏懼的嘗試新的肢體,挑戰自己也是身為舞者很重要的課 題,很感謝這兩年的交流嘗試,真的是很棒、很難得的經驗。
Namaha是第一次與Tjimur舞團交流的Kaishiki舞者,去年因為去新加坡讀 書,所以錯失了第一年的機會,不過Namaha無論是個性或表演,都非常 快的與大家打成一片,在排練演出中,也很快速地進入狀況,甚至在印 度時,常常貼心的協助Tjimur的日常生活和排練上,讓我們來聽聽看 Namaha的分享,對於第一次的合作,有什麼特別想跟大家分享的,在過 去的交流經驗中,Tjimur給Namaha有什麼不一樣經驗呢?
Namaha:(第一次交流)對我個人而言,我非常興奮對於印度古典舞和排灣 當代身體交流會產生什麼樣的化學反應,最特別的經歷是我對Tjimur編 舞家-Baru的編舞製作,Baru的作品我是最有興趣分享的,原因是,他很 會循序漸進將舞作變得困難,但同時又非常刺激、有趣,今年的編製, 編舞家-巴魯將簡單的7拍漸漸發展成很複雜的動作、很有節奏感且有意 思,而在編舞和演出的當下,我根本無法思考任何其他事情,這樣的舞 作使我必須專心在當下,這對我是古典舞舞者來說是很挑戰的、不容易 的,還有,因為對我過去的經驗,與Tjimur合作,這樣的形式是完全不 同的表演方式,通常,我們會有熟悉、常合作的樂手在旁邊伴奏,歌手 會為我們舞者吟唱,古典舞舞者在演出中是不會這Tjimur舞團一樣邊跳 邊唱,我們也不會去做太多另外變化,因為我們的作品都是過去偉大的 老師們傳承下來的,而我們透過這樣的交流,完全打破我的既定的概念 和形式,對我而言,真得是大開了眼界,拓展了視野,也體驗到更多很 特別難得的經驗,藉由與蒂摩爾古薪舞集的交流計畫裡,我得到了很多 過去我所無法接觸的知識。
聊到這裡,三個舞者有著一樣興奮、激動的反應,開始分享起這樣的經 驗,對於她們有多不可思議......
Namrata補充道:「真的是大開眼界,是像我們Daksha ji提到的,不再只 是遵循傳統的概念跟想法,應該也需要去看看、體驗其他的視野,而這 樣的視野跟眼界,對我們而言,真的是出乎意料的驚奇。」
無論是第二次接觸巴魯老師作品的Kaishiki舞者們(Namrata和Siddi),還 是第一次認識巴魯老師的Namaha,巴魯老師一如往常得標新立異,讓舞者們炸 腦的排練,不段挑戰和創新,也讓這次在第二年的交流碰撞出了很刺激、很異 想不到呈現。 以下是,Tjimur國際專員-Eleng與Kaishiki舞者們聊天的內容,讓她們來 聊聊今年的交流心情分享,也說說有趣的事以及困境吧! Eleng請兩位第二年與Tjimur交流的Namrata和Siddi分享這兩年的不同, 第二年有什麼特別想分享的嗎?
Namrata : 對於去年來說,就是個開始、未知,只能先去認識對方,了解 彼此的文化及彼此的舞蹈,很重要的是,了解並嘗試蒂摩爾古薪舞集創 作發展的方式及對於本身排灣當代舞蹈的原則,在去年的彼此熟悉後, 今年Tjimur舞團在印度時,就提到想要加入一些特別課程,讓Kaishiki的 舞者認識除了Tjimur身體克,Tjimur還做了什麼樣的訓練?所以在台灣工 作時,我們還特別接觸、學習了芭蕾,芭蕾老師提到是專門安排給 「Odissi舞者的芭蕾課」(真的很有趣,但也的確較得心應手,謝謝老師 的用心),即使對我來說,這是完全不同的境界跟層次,但我認為這樣交 流學習體驗很有趣,因為我想了解彼此能藉由對方從自身的舞蹈原則、 身體技巧與日常訓練得到什麼樣的好處,今年的交流當然我們更深層的 互相學習,進階到了下一個層次,就連2019的Tjimur藝術生活節,我們 見證了這一切的發展過程,例如去年蒂摩爾藝術節只有兩天而今年為期 三天,再來是購票,去年的演出是免費入場觀賞演出,但今年我們的演 出是需要購票進場的,我認為這個調整非常重要,利用這樣的機會,進 而教育觀眾,買票支持藝術創意是很重要的,有這樣過程發展及進步是 必須的。
Siddhi:對於古典舞舞者來說,我們編舞及日常訓練是很嚴格的,通常也都 是按照我們既定古典舞歷史傳承和原則去做遍排、練習,所以對我來說 ,接觸芭蕾和現代舞的肢體訓練是很不容易、很挑戰的,這兩年的交流 對我而言都是很辛苦的,但意外的是,也沒有艱難到我們做不到,「有志者事竟成」畢竟我們真得花了很多時間,在印度花了半個月,在台灣 也一樣同等時間,我們不斷的碰撞、交流,接著尊重並融會貫通在自己 的身體裡,不畏懼的嘗試新的肢體,挑戰自己也是身為舞者很重要的課 題,很感謝這兩年的交流嘗試,真的是很棒、很難得的經驗。
Namaha是第一次與Tjimur舞團交流的Kaishiki舞者,去年因為去新加坡讀 書,所以錯失了第一年的機會,不過Namaha無論是個性或表演,都非常 快的與大家打成一片,在排練演出中,也很快速地進入狀況,甚至在印 度時,常常貼心的協助Tjimur的日常生活和排練上,讓我們來聽聽看 Namaha的分享,對於第一次的合作,有什麼特別想跟大家分享的,在過 去的交流經驗中,Tjimur給Namaha有什麼不一樣經驗呢?
Namaha:(第一次交流)對我個人而言,我非常興奮對於印度古典舞和排灣 當代身體交流會產生什麼樣的化學反應,最特別的經歷是我對Tjimur編 舞家-Baru的編舞製作,Baru的作品我是最有興趣分享的,原因是,他很 會循序漸進將舞作變得困難,但同時又非常刺激、有趣,今年的編製, 編舞家-巴魯將簡單的7拍漸漸發展成很複雜的動作、很有節奏感且有意 思,而在編舞和演出的當下,我根本無法思考任何其他事情,這樣的舞 作使我必須專心在當下,這對我是古典舞舞者來說是很挑戰的、不容易 的,還有,因為對我過去的經驗,與Tjimur合作,這樣的形式是完全不 同的表演方式,通常,我們會有熟悉、常合作的樂手在旁邊伴奏,歌手 會為我們舞者吟唱,古典舞舞者在演出中是不會這Tjimur舞團一樣邊跳 邊唱,我們也不會去做太多另外變化,因為我們的作品都是過去偉大的 老師們傳承下來的,而我們透過這樣的交流,完全打破我的既定的概念 和形式,對我而言,真得是大開了眼界,拓展了視野,也體驗到更多很 特別難得的經驗,藉由與蒂摩爾古薪舞集的交流計畫裡,我得到了很多 過去我所無法接觸的知識。
聊到這裡,三個舞者有著一樣興奮、激動的反應,開始分享起這樣的經 驗,對於她們有多不可思議......
Namrata補充道:「真的是大開眼界,是像我們Daksha ji提到的,不再只 是遵循傳統的概念跟想法,應該也需要去看看、體驗其他的視野,而這 樣的視野跟眼界,對我們而言,真的是出乎意料的驚奇。」
One of the members of Kaishiki and one of the members of Tjimur participating in the 2019 Lazurite Initiative were doing this kind of exchange for the first time. There were familiar faces and fresh experiences. However, no matter which form was adopted, in the end, all the dancers blended together without any sense of discomfort. At first, we were strangers getting to know and exchanging with each other. And then we chatted and cared about each other like brothers and sisters. After the language barrier was broken, there were so many conversations about dance and cultures. In India, the Kaishiki dancers took very good care of our Tjimur members, and helped them to find their body memories of Odissi, so that they could interpret Daksha Ji more precisely and in the best way they could.
There were dancers who were not new to Baru Madiljin’s works (Namrata and Siddhi) as well as those who got to know Baru for the first time. Like always, Baru started on something new. In rehearsals, he kept on challenging the dancers with innovation. During this second exchange, some exciting and unexpected presentation was developed through the exchange and impacts.
The conversations between the international specialist of Tjimur, Eleng, and Kaishiki dancers are summarized below. Let’s hear what they said about this exchange and the fun and difficulties along the way. Eleng asked Namrata and Siddi, who participated the exchange for the second time, about the differences between the exchanges in these two years and if there was anything they wanted to share particularly.
Namrata: The exchange last year was just an unknown beginning. We could only try to understand each other's cultures and dance. It was very important that we learned and tried the way Tjimur used for their creative works and the Paiwan principles of contemporary dance. After getting to know each other last year, this year when Tjimur was in India, we discussed the idea of including some special courses, so that the Kaishiki dancers could know more about Tjimur’s training besides the physical courses. So when we went to Taiwan to work, we even learned ballet through a special course. The ballet course for Odissi dancers. It was really fun. But it was also easy for us to learn. We appreciated the efforts of instructors. To me, this was a completely different level and situation. However, I found this exchange and learning experience very interesting, because I wanted to know how we could benefit from each other‘s dancing principles, physical skills, and daily training. During the exchange this year, of course, we learned from each other at a different level. We went further into the next level. In the 2019 Tjimur Art Festival, we witnessed the development of all these. For example, last year, the Festival was only two-day long. This year, it was extended to three days. As for the ticketing, last year, the performances were all free. This year, if you wanted to see our performances, you needed to purchase a ticket. I think this adjustment was very important. It was an opportunity to educate audience that supporting arts by purchasing tickets is crucial. This kind of development and progress are necessary.
Siddhi: For classic dancers, choreography and daily trainings are very strict. Usually, our choreography and practices are based on the historical inheritance and principles of classic dance. So, for me, the physical trainings of ballet and contemporary dance are not easy, actually very challenging. The exchanges during these two years were hard for me. However, out of our expectation, we still made it. “Where there is a will Nothing is impossible to a willing mind.” After all, we had spent a lot of time, like half a month in India and another half a month in Taiwan. With continuous impacts and exchanges, we respected what we had learned and integrated it into our bodies. We were not afraid to try new limb movements, as challenging ourselves is important for us dancers. We are truly grateful for the exchanges and efforts during these two years. These experiences are indeed wonderful and precious.
This was the first time Namaha, a Kaishiki dancer, working with Tjimur. Last year, she went to Singapore to study and missed the first exchange. However, because of her personality, she could get along with everybody very well. In rehearsals, she got into it very quickly. In India, she was often very thoughtful and helped Tjimur with their daily activities and rehearsals. Let’s hear what Namaha had to say about participating in the cooperation for the first time and the differences between past exchanges and this one with Tjimur.
Namaha: Personally, regarding the first time participating in the exchange, I was very excited the chemical reactions caused by the interactions between the classic Indian dance and the Paiwan contemporary physical performances. The most unique experience I had was the choreography by Baru, Tjimur’s choreographer. I am really interested in talking about Baru’s work. The reason is that he made his dance work more and more difficult step by step. Yet it was very exciting and fun. For the production this year, Baru progressively turned the simple 7-count movements into complex ones with good rhythms and meanings. In the process of choreography and performance, I couldn’t think about other things. A work like this forced me to focus on what I was doing in the moment. That was very challenging and not easy for a classic dancer like me. Moreover, because of my past experiences, form of performance we used while working with Tjimur was completely different. Usually, in classic dance, we have acquainted musicians on the side who have been working with us playing accompaniments and singers singing for we dancers. Classic dancers don’t sing while dancing like Tjimur does. And we don’t have a lot of changes. The works we perform are mostly passed down from great masters. Through this exchange, the concepts and forms I knew were completely broken. For me, it was an eye-opening experience. My view was expanded. This kind of experience is hard to come by. Through this exchange project with Tjimur, I learned a lot of knowledge that I hadn’t learned before.
At this point of our chatting, the three dancers showed the same reaction: being excited and thrilled. They all began to share their similar experiences and how these experiences were amazing to them.
Namrata added, “my horizon was widened. As Daksha ji mentioned, we went beyond our traditional concepts and ideas. We got to see and experience different things. This brand new perspective was unexpectedly marvelous.”
There were dancers who were not new to Baru Madiljin’s works (Namrata and Siddhi) as well as those who got to know Baru for the first time. Like always, Baru started on something new. In rehearsals, he kept on challenging the dancers with innovation. During this second exchange, some exciting and unexpected presentation was developed through the exchange and impacts.
The conversations between the international specialist of Tjimur, Eleng, and Kaishiki dancers are summarized below. Let’s hear what they said about this exchange and the fun and difficulties along the way. Eleng asked Namrata and Siddi, who participated the exchange for the second time, about the differences between the exchanges in these two years and if there was anything they wanted to share particularly.
Namrata: The exchange last year was just an unknown beginning. We could only try to understand each other's cultures and dance. It was very important that we learned and tried the way Tjimur used for their creative works and the Paiwan principles of contemporary dance. After getting to know each other last year, this year when Tjimur was in India, we discussed the idea of including some special courses, so that the Kaishiki dancers could know more about Tjimur’s training besides the physical courses. So when we went to Taiwan to work, we even learned ballet through a special course. The ballet course for Odissi dancers. It was really fun. But it was also easy for us to learn. We appreciated the efforts of instructors. To me, this was a completely different level and situation. However, I found this exchange and learning experience very interesting, because I wanted to know how we could benefit from each other‘s dancing principles, physical skills, and daily training. During the exchange this year, of course, we learned from each other at a different level. We went further into the next level. In the 2019 Tjimur Art Festival, we witnessed the development of all these. For example, last year, the Festival was only two-day long. This year, it was extended to three days. As for the ticketing, last year, the performances were all free. This year, if you wanted to see our performances, you needed to purchase a ticket. I think this adjustment was very important. It was an opportunity to educate audience that supporting arts by purchasing tickets is crucial. This kind of development and progress are necessary.
Siddhi: For classic dancers, choreography and daily trainings are very strict. Usually, our choreography and practices are based on the historical inheritance and principles of classic dance. So, for me, the physical trainings of ballet and contemporary dance are not easy, actually very challenging. The exchanges during these two years were hard for me. However, out of our expectation, we still made it. “Where there is a will Nothing is impossible to a willing mind.” After all, we had spent a lot of time, like half a month in India and another half a month in Taiwan. With continuous impacts and exchanges, we respected what we had learned and integrated it into our bodies. We were not afraid to try new limb movements, as challenging ourselves is important for us dancers. We are truly grateful for the exchanges and efforts during these two years. These experiences are indeed wonderful and precious.
This was the first time Namaha, a Kaishiki dancer, working with Tjimur. Last year, she went to Singapore to study and missed the first exchange. However, because of her personality, she could get along with everybody very well. In rehearsals, she got into it very quickly. In India, she was often very thoughtful and helped Tjimur with their daily activities and rehearsals. Let’s hear what Namaha had to say about participating in the cooperation for the first time and the differences between past exchanges and this one with Tjimur.
Namaha: Personally, regarding the first time participating in the exchange, I was very excited the chemical reactions caused by the interactions between the classic Indian dance and the Paiwan contemporary physical performances. The most unique experience I had was the choreography by Baru, Tjimur’s choreographer. I am really interested in talking about Baru’s work. The reason is that he made his dance work more and more difficult step by step. Yet it was very exciting and fun. For the production this year, Baru progressively turned the simple 7-count movements into complex ones with good rhythms and meanings. In the process of choreography and performance, I couldn’t think about other things. A work like this forced me to focus on what I was doing in the moment. That was very challenging and not easy for a classic dancer like me. Moreover, because of my past experiences, form of performance we used while working with Tjimur was completely different. Usually, in classic dance, we have acquainted musicians on the side who have been working with us playing accompaniments and singers singing for we dancers. Classic dancers don’t sing while dancing like Tjimur does. And we don’t have a lot of changes. The works we perform are mostly passed down from great masters. Through this exchange, the concepts and forms I knew were completely broken. For me, it was an eye-opening experience. My view was expanded. This kind of experience is hard to come by. Through this exchange project with Tjimur, I learned a lot of knowledge that I hadn’t learned before.
At this point of our chatting, the three dancers showed the same reaction: being excited and thrilled. They all began to share their similar experiences and how these experiences were amazing to them.
Namrata added, “my horizon was widened. As Daksha ji mentioned, we went beyond our traditional concepts and ideas. We got to see and experience different things. This brand new perspective was unexpectedly marvelous.”