生
活
日
誌
激發交流中耀眼火花
To excite the sparks in the exchange between Tjimur & Kaishiki
蒂摩爾古薪舞集 舞者 楊淨皓
TJIMUR DANCE THEATRE PERFORMER - CHIANG HAO YANG
TJIMUR DANCE THEATRE PERFORMER - CHIANG HAO YANG
2018年3月,我們和kaishiki舞團有了第一次的接觸。在這之前,奧迪西(Odissi)是什麼其實一點概念都沒有,只知道大概就是印度的傳統舞蹈,然後服裝和身上飾品都非常華麗,再來我們應該學得很快,就這樣很天真很簡單的思考,它一點都難不倒我們。但我錯了,大錯特錯!一點也不簡單,一點都不輕鬆。回想在孟買上的第一堂課,dakshagi老師講解許多有關印度傳統舞蹈和宗教的關係,才知道舞蹈不只是藝術,更有宗教的含義。舞蹈的產生也是有各式各樣的傳說,但我記得最重要的是舞蹈神-濕婆,她在印度舞蹈史上具有至高無上的地位。在我們每一次上課前和下課後都要做『禮敬-Namaskar』,提醒著我們要時時刻刻感謝上天,感謝大地讓我們有這麼好的地方生活,享用豐富的食物和快樂的跳舞。這對剛初學奧迪西舞蹈的我來說,是印象很深的一課。原來舞蹈不只是舞蹈,它囊括了世間萬物,對天、地、人的重要內涵。
奧迪西(Odissi)舞蹈注重眼神、手勢、步伐、臉部表情、和內心情緒。在前幾次課堂中,我認為這和中國古典舞裡強調『手眼身法步』是一樣的道理,於是我用了我認為的中國舞方法去吸收它,心裡還很得意想著:原來這麼簡單!果然過沒多久,老師向我走來,說我的肋骨和下巴的方向錯邊了、擺頭和眼睛轉動的方向也錯了。好!太好了!原來我又錯了!在這之後,我重新思考,一次又一次非常仔細看著老師和其他舞者們的示範,才意識到我的「認為」在那是行不通的。在幾堂課下來後,才能稍稍地抓到所謂動作的正確性 。在交流中我們也給印度舞者們上了幾堂排灣族當代肢體課。對我來說,這是我擅長的身體慣性,也是蒂摩爾舞者每天必上的課程,我自然自信滿滿!在和不同文化背景的舞者上這堂課時,其實也會小小的緊張,畢竟心裡還是會有比較的心態。但發現她們的身體接收度也很快,在不同舞蹈交流的課堂中,更看見了別人不一樣的身體和不一樣的自己。
記得第二次飛到孟買的時候,心裡還是還是興奮,因為更期待能夠和kaishiki舞團在作品中碰撞出更不一樣的火花,期許更多自己意想不到的收穫。的確,在印度的十天裡,我們除了排練之外,我們也到當地的舞蹈學院和舞蹈教室做身體工作坊和分享演出,不同的國家、不同的文化、不一樣的身體,讓我再一次體會到我可以在任何地方跳舞,跳得淋漓盡致,跳得歇斯底里,同時也可以靜靜的跳在自己的心裡!不論跳得多差、跳得多好,只要用心,它就是獨一無二的。在印度除了學習奧迪西舞蹈之餘,我們也參觀許多古蹟建築和印度必去的名勝景點....!在這兩次的交流計畫中,我想帶給我最大的回饋和價值就是舞蹈教了我「生活」- 台上的生活和台下的生活,舞台上是位專業舞者,下了台因為有了舞蹈的洗滌,讓自己生活周遭的一切事物都變得不一樣了,變得更美了!我也更期待明年第三年的交流計畫,我們能夠有更不一樣的火花產生,更不一樣的身體呈現。
奧迪西(Odissi)舞蹈注重眼神、手勢、步伐、臉部表情、和內心情緒。在前幾次課堂中,我認為這和中國古典舞裡強調『手眼身法步』是一樣的道理,於是我用了我認為的中國舞方法去吸收它,心裡還很得意想著:原來這麼簡單!果然過沒多久,老師向我走來,說我的肋骨和下巴的方向錯邊了、擺頭和眼睛轉動的方向也錯了。好!太好了!原來我又錯了!在這之後,我重新思考,一次又一次非常仔細看著老師和其他舞者們的示範,才意識到我的「認為」在那是行不通的。在幾堂課下來後,才能稍稍地抓到所謂動作的正確性 。在交流中我們也給印度舞者們上了幾堂排灣族當代肢體課。對我來說,這是我擅長的身體慣性,也是蒂摩爾舞者每天必上的課程,我自然自信滿滿!在和不同文化背景的舞者上這堂課時,其實也會小小的緊張,畢竟心裡還是會有比較的心態。但發現她們的身體接收度也很快,在不同舞蹈交流的課堂中,更看見了別人不一樣的身體和不一樣的自己。
記得第二次飛到孟買的時候,心裡還是還是興奮,因為更期待能夠和kaishiki舞團在作品中碰撞出更不一樣的火花,期許更多自己意想不到的收穫。的確,在印度的十天裡,我們除了排練之外,我們也到當地的舞蹈學院和舞蹈教室做身體工作坊和分享演出,不同的國家、不同的文化、不一樣的身體,讓我再一次體會到我可以在任何地方跳舞,跳得淋漓盡致,跳得歇斯底里,同時也可以靜靜的跳在自己的心裡!不論跳得多差、跳得多好,只要用心,它就是獨一無二的。在印度除了學習奧迪西舞蹈之餘,我們也參觀許多古蹟建築和印度必去的名勝景點....!在這兩次的交流計畫中,我想帶給我最大的回饋和價值就是舞蹈教了我「生活」- 台上的生活和台下的生活,舞台上是位專業舞者,下了台因為有了舞蹈的洗滌,讓自己生活周遭的一切事物都變得不一樣了,變得更美了!我也更期待明年第三年的交流計畫,我們能夠有更不一樣的火花產生,更不一樣的身體呈現。
In March 2018, we had the first contact with Kaishiki. Before that, I had no idea of what Odissi dance was. The only thing I knew was that it’s a traditional Indian dance, and that Odissi dancers are dressed in very elaborated clothes and accessories. I also thought that it would be easy for us to learn the dance quickly. Naive as I was, I believed that it wouldn't be challenging for us at all. But I was totally wrong! Odissi is not easy to learn and to dance, at all. In my very first lesson in Bombay, the dance master Dakshagi explained in detail the relationship between traditional Indian dance and religion. That was the first time I understood that Indian dance is not only an art form; it also has religious connotations. There are also all sorts of legends regarding the origin of dance, but I remember the most important is the Lord of Dance- Shiva, who represents the highest status in the history of Indian dance. Before and after every lesson, we were asked to perform “Namaskar” to pay homage to the heaven for providing us with a place to live, the food to enjoy and the happiness of dance. For a beginner of Odissi dance, this lesson left a strong impression on me. I learned that dance is more than dance; it includes everything on earth and carries important messages about the sky, the earth, and the human beings.
Odissi dance focuses on eye movements, hand gestures, steps, facial expressions and inner emotions. In the first few lessons, I thought these were related to the training of “hands, eyes, body, stances and steps” in classical Chinese dance and attempted to learn Odissi dance based on my Chinese dance training. I was even quite proud of my “cleverness.” Not long afterwards, the dance teacher walked to me and corrected me, because my ribcage and chin were pointed at the wrong directions, and my head and eye movements were also wrong. Great! I was wrong again! Since then, I observed the demonstrations given by the teachers and other dancers again and again; I then realised that my wishful thinking was useless. After several lessons, I was finally able to better grasp the so-called correctness of the movements. Of course, during the exchange program, we also gave several Paiwan contemporary body movement lessons to the Indian dancers. For me this is what my body is used to; it is also how Tjimur dancers are trained on a daily basis. I was therefore quite confident of myself. While attending these lessons with dancers from a different cultural background, I still felt a little nervous, since it is inevitable to want to compare. Nevertheless, I noticed that Indian dancers learned very quickly; I was also given the chance to see different bodies, and even a different self in these exchange lessons.
The second time we flew to Bombay my excitement was not less, as I was hoping to be inspired and learn what I had not previously envisioned with Kaishiki. Indeed, during our 10-day stay in India, in addition to attending rehearsals, we also participated in body workshops and performances at local dance academies and dance studios. The differences of countries, cultures and bodies once again reminded me of the fact that I could dance anywhere; I can dance until I drop, dance until I become hysterical, and I can also dance in the tranquility of my heart. As long as I dance wholeheartedly, the dance, whether good or bad, is unique. Apart from learning Odissi dance, we also visited several historical landmarks and famous sightseeing spots. For me, what I’ve gained the most during these two exchanges is the awareness that dance has taught me about life - life on stage and life off stage. I am a professional dancer on stage, and in my life off stage, dance transforms everything around me and changes the way I see things. I look forward to the third exchange program next year, when we will innovate and create different physical possibilities together.
Odissi dance focuses on eye movements, hand gestures, steps, facial expressions and inner emotions. In the first few lessons, I thought these were related to the training of “hands, eyes, body, stances and steps” in classical Chinese dance and attempted to learn Odissi dance based on my Chinese dance training. I was even quite proud of my “cleverness.” Not long afterwards, the dance teacher walked to me and corrected me, because my ribcage and chin were pointed at the wrong directions, and my head and eye movements were also wrong. Great! I was wrong again! Since then, I observed the demonstrations given by the teachers and other dancers again and again; I then realised that my wishful thinking was useless. After several lessons, I was finally able to better grasp the so-called correctness of the movements. Of course, during the exchange program, we also gave several Paiwan contemporary body movement lessons to the Indian dancers. For me this is what my body is used to; it is also how Tjimur dancers are trained on a daily basis. I was therefore quite confident of myself. While attending these lessons with dancers from a different cultural background, I still felt a little nervous, since it is inevitable to want to compare. Nevertheless, I noticed that Indian dancers learned very quickly; I was also given the chance to see different bodies, and even a different self in these exchange lessons.
The second time we flew to Bombay my excitement was not less, as I was hoping to be inspired and learn what I had not previously envisioned with Kaishiki. Indeed, during our 10-day stay in India, in addition to attending rehearsals, we also participated in body workshops and performances at local dance academies and dance studios. The differences of countries, cultures and bodies once again reminded me of the fact that I could dance anywhere; I can dance until I drop, dance until I become hysterical, and I can also dance in the tranquility of my heart. As long as I dance wholeheartedly, the dance, whether good or bad, is unique. Apart from learning Odissi dance, we also visited several historical landmarks and famous sightseeing spots. For me, what I’ve gained the most during these two exchanges is the awareness that dance has taught me about life - life on stage and life off stage. I am a professional dancer on stage, and in my life off stage, dance transforms everything around me and changes the way I see things. I look forward to the third exchange program next year, when we will innovate and create different physical possibilities together.