研
究
評
論
尋覓傳統中的當代
In Search of the Contemporary in the Traditional
古淑薰
SHU SHIUN KU
SHU SHIUN KU
蒂摩爾古薪舞集自2006年由路之・瑪迪霖創立,扎根於屏東山地斜坡的地磨兒 部落,一開始即努力從排灣傳統文化探求當代舞蹈的思維與身體語言,近年來更積極向外連結,在交流中發現自己也融入跨文化創作。例如2016年與紐西蘭黑色優雅舞團共製《在一起 2 Gather》,2018-2019連續兩年與印度Kaishiki Nrityabhasha傳統舞團發展更緊密的交流創作,台印雙方持續透過實地工作坊與田野觀察的方式探索彼此的舞蹈文化與表現方式。
創團十多年來,蒂摩爾古薪舞集每年均有新作發表,一直積極在探尋傳統中的當代。路之發現唯有理解傳統文化,才能發展出當代性;不只向內追尋,也向外探險,試圖創造出排灣族多元豐富的當代面貌。因此這兩年,路之積極主辦蒂摩爾藝術生活節,結合排灣手作文化與美食市集、地磨兒在地部落產業(如蜻蜓雅築、沙滔舞琉璃等),也推廣移動劇場與公開售票演出。今年七月底,連續三晚在山裡的部落中售票演出台印國際交流的創作作品。
雖然沒有高規格的專業演藝廳,山裡的蒂摩爾古薪舞集排練場上卻熱鬧非凡,許多村民們或坐在地板上、或坐在椅子上,原本還閒話家常,一旦燈光暗下,再打開時,每個人都沉靜下來。九首交流作品中,由排灣族歌謠〈頌揚大地〉(羽擊舞藝術/潘長娟)劃開序曲。聽著笛聲,我也跟著旋律一起潛入斜坡上奇幻的舞蹈世界。第二齣是由印度Kaishiki Nrityabhasha舞團,展演古典印度奧迪西舞蹈〈Sabhinay〉,闡述印度神話裡的愛神故事。印度傳統舞蹈主要基於波羅多牟尼的《舞論》,有著深厚的內蘊與積累的範式,一向強調由內而外的嚴謹典範,從眼神、表情、手勢、身體到腳踏舞動渾然天成。此次演出因為經費有限,印度樂手沒能一起前來,但透過三位印度舞者腳鈴踩踏的節奏,搭配眼神與手勢呈現了神話故事裡的憂喜,具體而微地展現了奧迪西舞蹈的身心合一。
九首舞曲中令我印象最深刻的是〈哎撒撒〉,編舞家巴魯・瑪迪霖把排灣族生活中的語助詞編進舞碼裡,四位舞者楊淨皓、舞祖.達卜拉旮茲、蒙慈恩、江聖祥分別戴上不同顏色的眼鏡,加上台式藍白拖、紅白拖、紫白拖等,充份展現新世代舞者有時候無厘頭卻又充滿自信、活力十足。整齣舞呈現了當代原民舞者肢體語言的豐富熱情與青春勁力,搭配各式「唉撒撒」等語助詞,十分逗趣,現場的大小觀眾都被歡樂的氣氛逗得樂不可支。〈哎撒撒〉作為蒂摩爾古薪舞集於2019年的創作,看出該舞團歷經十多年的探索追尋,逐漸發展出結合排灣族獨有文化與台灣日常生活中的舞蹈語彙與表現形式,令人期待之後的創作除了讓觀眾更有感外,亦能更呈現當代排灣原民的日常底蘊。
另外台印編舞者交互創作、共同演出的交流作品「原點Bindu」與「7」,分別由Kaishiki與Tjimur舞團的編舞家(Daksha Mashruwala和巴魯·瑪迪霖)創作,其中「XVII」令全場觀眾興味盎然。巴魯從近兩年的台印交流中,發現印度傳統舞蹈的節拍趣味性而創作了「排灣印度數拍法」。透過四位蒂摩爾專業舞者與三位印度傳統舞者的演繹,巴魯奇妙地將此一數拍法融入了彼此的肢體與靈魂中。在舞台上七位舞者穿著印度各色的長衫,時而整齊劃一,時而交互配合著「XVII」的音律配合著手勢拍打著節拍,創造出一種獨特的律動魅力。此作目前還在持續創作中,希望十一月能看到巴魯完整呈現排灣印度合製舞蹈中的創意。
今年的國際交流演出,讓我們看到印度傳統舞蹈積累的豐厚底蘊與內化而成的眼神、手勢與肢體動態,也觀察到蒂摩爾古薪舞集從部落文化與日常生活裡淬鍊的當代身體語言,並且持續透過在地與國際交流中更加瞭解自身,發展當代排灣舞蹈的新靈魂,實踐其生活藝術節中的「我部落,我國際」。
創團十多年來,蒂摩爾古薪舞集每年均有新作發表,一直積極在探尋傳統中的當代。路之發現唯有理解傳統文化,才能發展出當代性;不只向內追尋,也向外探險,試圖創造出排灣族多元豐富的當代面貌。因此這兩年,路之積極主辦蒂摩爾藝術生活節,結合排灣手作文化與美食市集、地磨兒在地部落產業(如蜻蜓雅築、沙滔舞琉璃等),也推廣移動劇場與公開售票演出。今年七月底,連續三晚在山裡的部落中售票演出台印國際交流的創作作品。
雖然沒有高規格的專業演藝廳,山裡的蒂摩爾古薪舞集排練場上卻熱鬧非凡,許多村民們或坐在地板上、或坐在椅子上,原本還閒話家常,一旦燈光暗下,再打開時,每個人都沉靜下來。九首交流作品中,由排灣族歌謠〈頌揚大地〉(羽擊舞藝術/潘長娟)劃開序曲。聽著笛聲,我也跟著旋律一起潛入斜坡上奇幻的舞蹈世界。第二齣是由印度Kaishiki Nrityabhasha舞團,展演古典印度奧迪西舞蹈〈Sabhinay〉,闡述印度神話裡的愛神故事。印度傳統舞蹈主要基於波羅多牟尼的《舞論》,有著深厚的內蘊與積累的範式,一向強調由內而外的嚴謹典範,從眼神、表情、手勢、身體到腳踏舞動渾然天成。此次演出因為經費有限,印度樂手沒能一起前來,但透過三位印度舞者腳鈴踩踏的節奏,搭配眼神與手勢呈現了神話故事裡的憂喜,具體而微地展現了奧迪西舞蹈的身心合一。
九首舞曲中令我印象最深刻的是〈哎撒撒〉,編舞家巴魯・瑪迪霖把排灣族生活中的語助詞編進舞碼裡,四位舞者楊淨皓、舞祖.達卜拉旮茲、蒙慈恩、江聖祥分別戴上不同顏色的眼鏡,加上台式藍白拖、紅白拖、紫白拖等,充份展現新世代舞者有時候無厘頭卻又充滿自信、活力十足。整齣舞呈現了當代原民舞者肢體語言的豐富熱情與青春勁力,搭配各式「唉撒撒」等語助詞,十分逗趣,現場的大小觀眾都被歡樂的氣氛逗得樂不可支。〈哎撒撒〉作為蒂摩爾古薪舞集於2019年的創作,看出該舞團歷經十多年的探索追尋,逐漸發展出結合排灣族獨有文化與台灣日常生活中的舞蹈語彙與表現形式,令人期待之後的創作除了讓觀眾更有感外,亦能更呈現當代排灣原民的日常底蘊。
另外台印編舞者交互創作、共同演出的交流作品「原點Bindu」與「7」,分別由Kaishiki與Tjimur舞團的編舞家(Daksha Mashruwala和巴魯·瑪迪霖)創作,其中「XVII」令全場觀眾興味盎然。巴魯從近兩年的台印交流中,發現印度傳統舞蹈的節拍趣味性而創作了「排灣印度數拍法」。透過四位蒂摩爾專業舞者與三位印度傳統舞者的演繹,巴魯奇妙地將此一數拍法融入了彼此的肢體與靈魂中。在舞台上七位舞者穿著印度各色的長衫,時而整齊劃一,時而交互配合著「XVII」的音律配合著手勢拍打著節拍,創造出一種獨特的律動魅力。此作目前還在持續創作中,希望十一月能看到巴魯完整呈現排灣印度合製舞蹈中的創意。
今年的國際交流演出,讓我們看到印度傳統舞蹈積累的豐厚底蘊與內化而成的眼神、手勢與肢體動態,也觀察到蒂摩爾古薪舞集從部落文化與日常生活裡淬鍊的當代身體語言,並且持續透過在地與國際交流中更加瞭解自身,發展當代排灣舞蹈的新靈魂,實踐其生活藝術節中的「我部落,我國際」。
Tjimur Dance Theatre, founded by Ljuzem Madiljin in 2006, is based in the Tjimur Tribe on the mountain slopes of Pingtung. From the very beginning, it has dedicated to the exploration of the thinking and body language of contemporary dance within traditional Paiwan culture. It has been actively extending its connections to the outside world in recent years, discovering itself while integrating into cross-cultural creations via international exchanges. One example is “2 Gather”, which was co-produced with New Zealand’s Black Grace in 2016. Since 2018, Tjimur has collaborated closely with India’s classical dance troupe Kaishiki Nrityabhasha, marking the two companies’ continuous exploration of dance culture and ways of expression through on-site workshops and observations.
Since its inception, for more than a decade, Tjimur Dance Theatre has presented new works every year, exploring modernity in tradition. Ljuzem Madiljin realised that modernity can only be developed from the understanding of traditional culture. Thus, Tjimur Dance Theatre not only seeks inward but also reaches outwards, attempting to unveil the multi-faceted, contemporary aspects of Paiwan culture. To achieve this, in two consecutive years, Ljuzem Madiljin hosted the Tjimur Arts Festival, which combined Paiwan’s handicraft culture, food markets and Tjimur’s local tribal industries (such as Dragon Beads Art Studio and Shatau Lazurite Art), as well as promoting moving theatres and ticket-selling performances. At the end of July this year, ticket-selling performances were held for three consecutive evenings in the tribe, where creative collaborations between Taiwan and India were presented.
Without a high-profile professional auditorium, Tjimur Dance Theatre still attracted large crowds of audience in their rehearsal studio in the mountains. Villagers chatted about their daily life while seated on the floor or in the chair, but as soon as the house lights dimmed, everyone quieted down. The first of the nine collaborative works was the Paiwan ballad (Feather Art of Drum and Dance/Chang-Juan Pan). I followed the melody of the flute and dived into the fantasy world of dance that took place on the slopes. The second piece was a classical Indian Odissi dance titled “Sabhinay” performed by India’s Kaishiki Nrityabhasha, which illustrated the story of the god of love in Indian mythology. Traditional Indian dance is primarily based on Bharata Muni’s Natya Shastra, which has profound intrinsic connotations and consistent paradigms, which place importance on generating movements from the inside; a dancer’s eye movements, facial expressions, gestures, body language and the stepping of the feet should all coordinate naturally. Although Indian musicians were not invited to come with the dance company due to limited funds, the three Indian dancers subtly but concretely demonstrated the oneness of body and mind in Odissi dance with the rhythms created by their ankle bells, while they embodied the joys and sorrows in Indian mythological stories with their eye moments and hand gestures.
Among the nine dance pieces, what impressed me the most is “ai~ sa sa”, in which choreographer Baru Madiljin incorporated exclamative words used in the daily life of the Paiwan Tribe. Four dancers, including Yang Ching Hao, Ljaucu Tapurakac, Meng Tzu En and Chiang Sheng Hsiang, wear glasses of different colours and Taiwanese slippers of mixed colours, demonstrated the zany but at the same time confident and exuberant nature of the new generation. The entire dance was filled with the enthusiastic passion and youthful energy of modern-day indigenous dancers. This light-heartedness together with all kinds of exclamative words such as “ai sa sa” created a joyful atmosphere, which greatly amused the audience of all ages. A new creation of Tjimur Dance Theatre in 2019, “ai~ sa sa” is the brainchild of Tjimur’s exploration and pursuit of over a decade. Tjimur has gradually developed its dance vocabulary and expressiveness, which combine what is unique to the Paiwan Tribe and what is common in Taiwanese daily life. It is expected that Tjimur’s future creations will not only inspire the audience at a deeper level but also better demonstrate the cultural connotation of contemporary Paiwan lifestyle.
The collaborative works “Bindu” and “XVII” were choreographed respectively by Kaishiki’s Daksha Mashruwala and Tjimur’s Baru Madiljin. “XVII” was particularly fascinating for the audience. Within two years’ artistic exchange with India, Baru Madiljin became interested in the beat-counting in traditional Indian dance and created a special way of counting that blends Paiwan and Indian dance rhythms. Through the interpretation of four professional dancers of Tjimur and three traditional Indian dancers, Baru Madiljin integrated this beat-counting method into the physical and emotional expressions of dancers. The seven dancers, dressed in long and colourful Indian gowns, counted with gestures according to the rhythm of “XVII”, sometimes in sync and sometimes in succession, which generated a unique rhythmic charm. This work is still in progress, and hopefully in November this year, Baru Madiljin will be able to present his creative work which fuses Paiwan and Indian dances in its entirety.
This year’s international exchange and performances allowed us spectators to see the long-accumulated richness of Indian traditional dance as well as eyes, gestures and physical dynamics which have been internalised. We were also able to study Tjimur’s contemporary body language derived from its tribal culture and daily life. Tjimur has continued to discover itself through local and international exchanges and foster a new spirit of contemporary Paiwan dance, putting the arts festival’s slogan “I Tribal, I Global” into practice.
Since its inception, for more than a decade, Tjimur Dance Theatre has presented new works every year, exploring modernity in tradition. Ljuzem Madiljin realised that modernity can only be developed from the understanding of traditional culture. Thus, Tjimur Dance Theatre not only seeks inward but also reaches outwards, attempting to unveil the multi-faceted, contemporary aspects of Paiwan culture. To achieve this, in two consecutive years, Ljuzem Madiljin hosted the Tjimur Arts Festival, which combined Paiwan’s handicraft culture, food markets and Tjimur’s local tribal industries (such as Dragon Beads Art Studio and Shatau Lazurite Art), as well as promoting moving theatres and ticket-selling performances. At the end of July this year, ticket-selling performances were held for three consecutive evenings in the tribe, where creative collaborations between Taiwan and India were presented.
Without a high-profile professional auditorium, Tjimur Dance Theatre still attracted large crowds of audience in their rehearsal studio in the mountains. Villagers chatted about their daily life while seated on the floor or in the chair, but as soon as the house lights dimmed, everyone quieted down. The first of the nine collaborative works was the Paiwan ballad (Feather Art of Drum and Dance/Chang-Juan Pan). I followed the melody of the flute and dived into the fantasy world of dance that took place on the slopes. The second piece was a classical Indian Odissi dance titled “Sabhinay” performed by India’s Kaishiki Nrityabhasha, which illustrated the story of the god of love in Indian mythology. Traditional Indian dance is primarily based on Bharata Muni’s Natya Shastra, which has profound intrinsic connotations and consistent paradigms, which place importance on generating movements from the inside; a dancer’s eye movements, facial expressions, gestures, body language and the stepping of the feet should all coordinate naturally. Although Indian musicians were not invited to come with the dance company due to limited funds, the three Indian dancers subtly but concretely demonstrated the oneness of body and mind in Odissi dance with the rhythms created by their ankle bells, while they embodied the joys and sorrows in Indian mythological stories with their eye moments and hand gestures.
Among the nine dance pieces, what impressed me the most is “ai~ sa sa”, in which choreographer Baru Madiljin incorporated exclamative words used in the daily life of the Paiwan Tribe. Four dancers, including Yang Ching Hao, Ljaucu Tapurakac, Meng Tzu En and Chiang Sheng Hsiang, wear glasses of different colours and Taiwanese slippers of mixed colours, demonstrated the zany but at the same time confident and exuberant nature of the new generation. The entire dance was filled with the enthusiastic passion and youthful energy of modern-day indigenous dancers. This light-heartedness together with all kinds of exclamative words such as “ai sa sa” created a joyful atmosphere, which greatly amused the audience of all ages. A new creation of Tjimur Dance Theatre in 2019, “ai~ sa sa” is the brainchild of Tjimur’s exploration and pursuit of over a decade. Tjimur has gradually developed its dance vocabulary and expressiveness, which combine what is unique to the Paiwan Tribe and what is common in Taiwanese daily life. It is expected that Tjimur’s future creations will not only inspire the audience at a deeper level but also better demonstrate the cultural connotation of contemporary Paiwan lifestyle.
The collaborative works “Bindu” and “XVII” were choreographed respectively by Kaishiki’s Daksha Mashruwala and Tjimur’s Baru Madiljin. “XVII” was particularly fascinating for the audience. Within two years’ artistic exchange with India, Baru Madiljin became interested in the beat-counting in traditional Indian dance and created a special way of counting that blends Paiwan and Indian dance rhythms. Through the interpretation of four professional dancers of Tjimur and three traditional Indian dancers, Baru Madiljin integrated this beat-counting method into the physical and emotional expressions of dancers. The seven dancers, dressed in long and colourful Indian gowns, counted with gestures according to the rhythm of “XVII”, sometimes in sync and sometimes in succession, which generated a unique rhythmic charm. This work is still in progress, and hopefully in November this year, Baru Madiljin will be able to present his creative work which fuses Paiwan and Indian dances in its entirety.
This year’s international exchange and performances allowed us spectators to see the long-accumulated richness of Indian traditional dance as well as eyes, gestures and physical dynamics which have been internalised. We were also able to study Tjimur’s contemporary body language derived from its tribal culture and daily life. Tjimur has continued to discover itself through local and international exchanges and foster a new spirit of contemporary Paiwan dance, putting the arts festival’s slogan “I Tribal, I Global” into practice.