研
究
評
論
我們在部落但很國際
"I tribe, I global"
戴君安
JIUN AN DAI
JIUN AN DAI
打著「#我部落#我國際」的口號,2019蒂摩爾藝術生活節於7/25至7/28,在三地門的沙滔舞琉璃藝術空間熱烈展開。7/25當天以手作陶、琉璃珠兩項工作坊及無限暢飲的小活動,為往後三天的大活動暖身開場,7/26-7/28才是重頭戲,滿滿三天包含手作工坊、移動劇場、身體工作坊及臺灣與印度舞蹈聯合創作演出。這些活動讓三地門充滿人氣,有如歐洲各國的小鄉小鎮,平時悠閒恬靜,一到藝術節期間即湧入大量人潮。
在手作系列方面,透過邀請部落達人指導,讓參與民眾深入石板屋、工寮或民宅,學習各式各樣的排灣族手工藝或美食,每場3小時,在傳承與分享上都能看到賓主盡歡的成效。受邀的市集雖然只有四個攤位,但也能在沙滔廣場上,讓等候入場參加工作坊,或是純粹到此一遊的民眾獲得吃飽喝足的享受。未來如再持續辦理蒂摩爾藝術生活節,建議擴大市集的攤位數,邀請更多在地的飲食業者、工藝飾品商家或是藝術家共襄盛舉,以豐富市集的多樣性。
移動劇場則是由即興舞者分別於上午及下午在不同據點演出,每場20分鐘,地點包含三地門的7-11頭目門市及蜻蜓雅築外的小空地。可惜天公不作美,數場移動劇場的演出因為大雨而取消。但在有舉行成功的移動劇場表演中,除了舞者的個人表演外,也見到舞者與民眾的即興共舞,過程相當融洽。聚集觀賞的人潮不僅回響熱烈,也在演出結束後,隨即走進店家消費,為協力店家帶來不小的業績。移動劇場中的即興共舞,切合多數原住民的生活文化,值得大力推廣。
身體工作坊於每天下午舉行一場,時間90分鐘,7/26及7/28由蒂摩爾古薪舞集團長路之.瑪迪霖帶領其舞團團員共同指導,7/27的印度奧迪西身體工作坊則由印度古典舞團(Kaishiki Dance Academy)的團長暨藝術總監Daksha Mashruwala帶領其舞團的舞者指導參與的學員。身體工作坊每場開放15個名額,參與民眾多為舞蹈素人,經由課程介紹、學習,學員對於排灣族傳統樂舞轉化的當代身體
動作及印度古典舞有了基礎概念,且更能深刻了解,看似簡單的動作卻內涵不簡單的寓意,執行上也非想像中的輕而易舉。
每天晚上7點至9點的舞蹈表演是此次活動的高潮,由蒂摩爾古薪舞集和印度古典舞團攜手擔綱,既有個別節目,也有聯合演出。全長兩小時的節目中,共有9段小品,其中的第7段和第9段是兩團共創合演的新製作品。此次演出也邀請了羽.擊舞藝術的成員參與現場歌謠演唱與擊樂演奏,他們的參與讓演出生色不少。未來如果能讓印度的樂師也加入演奏行列,將使印度舞團的呈現更加豐富。同時,演出中也看到了瑪迪霖家族第三代成員的露出,三位少女雖然年輕卻有大將之風,她們在新創排灣族樂舞的表現讓眾人驚豔。蒂摩爾古薪舞集和印度Kaishiki舞團歷經多次互訪交流後,國際共構的成效在此次節目中可見已漸趨成熟,兩團團員的默契十分緊密,未來的進階發展應更加可期。在演後座談中
,可感受到觀眾的迴響十分熱烈。雖然席中不少人提議讓此節目移到大舞台演出,但我認為將節目留在山上,吸引更多人上山觀賞,才是行銷三地門最好的做法。
繼第一屆蒂摩爾藝術生活節開鑼後展現的初始成果,今年的活動顯得更加豐碩,不僅帶動周邊環境的商業活動,也活絡更多民眾對於藝術參與的興趣。今年更巧的是,「斜坡上的話-2019大山地門當代藝術節」也在此期間於瑪家鄉台灣原住民族文化園區展出,讓遠道來的民眾可以上一趟山得到兩種收穫。然而,七月向來是颱風季節,不適於在山上舉行戶外活動,未來如還有持續辦理蒂摩爾藝術生活節,應考慮選擇於非颱風頻仍的季節舉行較為妥適。此外,結合官方或其他民間活動同時舉行節慶,也是招攬更多人參與的可行模式。預想未來,蒂摩爾藝術生活節應可更加壯大,而前來參與的群眾也將有更多機會深入欣賞三地門的美好。
在手作系列方面,透過邀請部落達人指導,讓參與民眾深入石板屋、工寮或民宅,學習各式各樣的排灣族手工藝或美食,每場3小時,在傳承與分享上都能看到賓主盡歡的成效。受邀的市集雖然只有四個攤位,但也能在沙滔廣場上,讓等候入場參加工作坊,或是純粹到此一遊的民眾獲得吃飽喝足的享受。未來如再持續辦理蒂摩爾藝術生活節,建議擴大市集的攤位數,邀請更多在地的飲食業者、工藝飾品商家或是藝術家共襄盛舉,以豐富市集的多樣性。
移動劇場則是由即興舞者分別於上午及下午在不同據點演出,每場20分鐘,地點包含三地門的7-11頭目門市及蜻蜓雅築外的小空地。可惜天公不作美,數場移動劇場的演出因為大雨而取消。但在有舉行成功的移動劇場表演中,除了舞者的個人表演外,也見到舞者與民眾的即興共舞,過程相當融洽。聚集觀賞的人潮不僅回響熱烈,也在演出結束後,隨即走進店家消費,為協力店家帶來不小的業績。移動劇場中的即興共舞,切合多數原住民的生活文化,值得大力推廣。
身體工作坊於每天下午舉行一場,時間90分鐘,7/26及7/28由蒂摩爾古薪舞集團長路之.瑪迪霖帶領其舞團團員共同指導,7/27的印度奧迪西身體工作坊則由印度古典舞團(Kaishiki Dance Academy)的團長暨藝術總監Daksha Mashruwala帶領其舞團的舞者指導參與的學員。身體工作坊每場開放15個名額,參與民眾多為舞蹈素人,經由課程介紹、學習,學員對於排灣族傳統樂舞轉化的當代身體
動作及印度古典舞有了基礎概念,且更能深刻了解,看似簡單的動作卻內涵不簡單的寓意,執行上也非想像中的輕而易舉。
每天晚上7點至9點的舞蹈表演是此次活動的高潮,由蒂摩爾古薪舞集和印度古典舞團攜手擔綱,既有個別節目,也有聯合演出。全長兩小時的節目中,共有9段小品,其中的第7段和第9段是兩團共創合演的新製作品。此次演出也邀請了羽.擊舞藝術的成員參與現場歌謠演唱與擊樂演奏,他們的參與讓演出生色不少。未來如果能讓印度的樂師也加入演奏行列,將使印度舞團的呈現更加豐富。同時,演出中也看到了瑪迪霖家族第三代成員的露出,三位少女雖然年輕卻有大將之風,她們在新創排灣族樂舞的表現讓眾人驚豔。蒂摩爾古薪舞集和印度Kaishiki舞團歷經多次互訪交流後,國際共構的成效在此次節目中可見已漸趨成熟,兩團團員的默契十分緊密,未來的進階發展應更加可期。在演後座談中
,可感受到觀眾的迴響十分熱烈。雖然席中不少人提議讓此節目移到大舞台演出,但我認為將節目留在山上,吸引更多人上山觀賞,才是行銷三地門最好的做法。
繼第一屆蒂摩爾藝術生活節開鑼後展現的初始成果,今年的活動顯得更加豐碩,不僅帶動周邊環境的商業活動,也活絡更多民眾對於藝術參與的興趣。今年更巧的是,「斜坡上的話-2019大山地門當代藝術節」也在此期間於瑪家鄉台灣原住民族文化園區展出,讓遠道來的民眾可以上一趟山得到兩種收穫。然而,七月向來是颱風季節,不適於在山上舉行戶外活動,未來如還有持續辦理蒂摩爾藝術生活節,應考慮選擇於非颱風頻仍的季節舉行較為妥適。此外,結合官方或其他民間活動同時舉行節慶,也是招攬更多人參與的可行模式。預想未來,蒂摩爾藝術生活節應可更加壯大,而前來參與的群眾也將有更多機會深入欣賞三地門的美好。
Under the slogan of “#ITribal #IGlobal”, the 2019 Tjimur Arts Festival was held from July 25th to 28th at Shatau Lazurite Art (沙滔舞琉璃藝術空間) in Sandimen Township. On July 25th, two workshops, Handmade Pottery and Lazurite Beads, together with an activity featuring unlimited drinks, warmed up the festival in which bigger events would take zplace in the following days, featuring activities such as Handicraft Workshop, Moving Theatre, Body Workshop and collaborated works performed by Taiwanese and Indian dancers. These activities attracted crowds to Sandimen, reminding the author of some European towns which are generally quiet and peaceful but surged
with visitors during art festivals.
In the Handicraft Workshop, tribal masters were invited to guide participants to visit slate houses, factories or houses, learning a variety of Paiwan handicrafts or culinary art. Each session lasted 3 hours; the length enabled both the event holders and the participants to enjoy at maximum in terms of cultural inherence and sharing.
Although there were only four stalls in the market, participants who were waiting for the workshop, as well as festival visitors were able to quench their thirst and hunger on Shatau Square. In the future, if the Tjimur Arts Festival continues to be held, it might be a good idea to expand the number of stalls in the market and invite more
local restaurant owners, handicraft business holders or artists to participate in order to enrich the diversity of the market.
The Moving Theatre consisted of dancers’ improvisations at different locations in the morning and afternoon. Each session lasted twenty minutes, and thelocations included a 7-11 convenience store in Sandimen and a yard just outside the Dragonfly Beads Art Studio (蜻蜓雅築). Several sessions were forced to be cancelled, however, due to heavy rain showers. Nevertheless, during successfully held performances, in addition to the showcases performed by individual dancers, there were also harmonious interactions between dancers and audience members who improvised together. These performances not only won positive acclaim but also encouraged the audience to enter the shops to make purchases afterwards, whichhelped boosting their sales figures. The group dance improvisations in Moving Theatre is well in line with the everyday culture of the indigenous tribes, which deserves great promotion.
The Body Workshop was held daily in the afternoon for 90 minutes. The sessions on the 26th and 28th of July were co-led by Tjimur’s Ljuzem Madiljin and his company members; the session on the 27th was directed by Head and Artistic Director Daksha Mashruwala of India’s Kaishiki Dance Academy and taught by company members. Each session was open to 15 participants, most of whom were new to dance. At the end of the session, participants were able to obtain a basic idea of contemporary Paiwan dance movements and classical Indian dance. They also learned that even the simplest movement could carry deep implications, and the execution of the movements was not as easy as they might seem.
The daily dance performances scheduled from 7 PM to 9 PM were the highlight of this festival. The performances included dance works performed by either of the two companies as well as their collaborations. The two-hour programme contained 9 pieces, among which the 7th and the 9th were new productions produced and performed by the two companies collectively. Members of Feather Art of Drum and Dance(羽.擊舞藝術)were also invited to give vocal and instrumental performances, which were an outstanding addition to the event. We believe that if Indian musicians can be incorporated in the future, the presentations of the Indian dance company could be enriched even more. Meanwhile, it is worth mentioning that the third generation from the Madiljin family also participated in the performance. The three young ladies’ professionalism in the newly-choreographed Paiwan dance greatly amazed the audience. The close and frequent international exchange between Tjimur Dance Theatre and Kaishiki has been fruitful and was well exemplified in this festival. In the post-performance talk, several audience members proposed that the dance performances be staged in theatres. I personally believe that presenting these works in the tribe will attract more people to travel to the mountains, which is the best way of marketing Sandimen.
Following the initial success of the first Tjimur Arts Festival, this year’s event has been more fruitful; it not only promoted the business in the vicinity, but also increased the public’s interest in art. What is coincidental this year is that the festival “When Kacalisian Culture Meets the Vertical City- Contemporary Art from Greater Sandimen” also took place at Majia Township Taiwan Indigenous Culture Park during the same period. This enabled festival-goers from afar to attend both events. However, July has always been subject to typhoons and is not always suitable for outdoor activities in the mountains. In the future hosting of the Tjimur Arts Festival, weather conditions should be
taken into consideration. In addition, holding the festival in conjunction with other public or private activities is also a viable way to increase the number of participants. We look forward to the growth of the festival in which participants will have more opportunities to appreciate the beauty of Sandimen.
with visitors during art festivals.
In the Handicraft Workshop, tribal masters were invited to guide participants to visit slate houses, factories or houses, learning a variety of Paiwan handicrafts or culinary art. Each session lasted 3 hours; the length enabled both the event holders and the participants to enjoy at maximum in terms of cultural inherence and sharing.
Although there were only four stalls in the market, participants who were waiting for the workshop, as well as festival visitors were able to quench their thirst and hunger on Shatau Square. In the future, if the Tjimur Arts Festival continues to be held, it might be a good idea to expand the number of stalls in the market and invite more
local restaurant owners, handicraft business holders or artists to participate in order to enrich the diversity of the market.
The Moving Theatre consisted of dancers’ improvisations at different locations in the morning and afternoon. Each session lasted twenty minutes, and thelocations included a 7-11 convenience store in Sandimen and a yard just outside the Dragonfly Beads Art Studio (蜻蜓雅築). Several sessions were forced to be cancelled, however, due to heavy rain showers. Nevertheless, during successfully held performances, in addition to the showcases performed by individual dancers, there were also harmonious interactions between dancers and audience members who improvised together. These performances not only won positive acclaim but also encouraged the audience to enter the shops to make purchases afterwards, whichhelped boosting their sales figures. The group dance improvisations in Moving Theatre is well in line with the everyday culture of the indigenous tribes, which deserves great promotion.
The Body Workshop was held daily in the afternoon for 90 minutes. The sessions on the 26th and 28th of July were co-led by Tjimur’s Ljuzem Madiljin and his company members; the session on the 27th was directed by Head and Artistic Director Daksha Mashruwala of India’s Kaishiki Dance Academy and taught by company members. Each session was open to 15 participants, most of whom were new to dance. At the end of the session, participants were able to obtain a basic idea of contemporary Paiwan dance movements and classical Indian dance. They also learned that even the simplest movement could carry deep implications, and the execution of the movements was not as easy as they might seem.
The daily dance performances scheduled from 7 PM to 9 PM were the highlight of this festival. The performances included dance works performed by either of the two companies as well as their collaborations. The two-hour programme contained 9 pieces, among which the 7th and the 9th were new productions produced and performed by the two companies collectively. Members of Feather Art of Drum and Dance(羽.擊舞藝術)were also invited to give vocal and instrumental performances, which were an outstanding addition to the event. We believe that if Indian musicians can be incorporated in the future, the presentations of the Indian dance company could be enriched even more. Meanwhile, it is worth mentioning that the third generation from the Madiljin family also participated in the performance. The three young ladies’ professionalism in the newly-choreographed Paiwan dance greatly amazed the audience. The close and frequent international exchange between Tjimur Dance Theatre and Kaishiki has been fruitful and was well exemplified in this festival. In the post-performance talk, several audience members proposed that the dance performances be staged in theatres. I personally believe that presenting these works in the tribe will attract more people to travel to the mountains, which is the best way of marketing Sandimen.
Following the initial success of the first Tjimur Arts Festival, this year’s event has been more fruitful; it not only promoted the business in the vicinity, but also increased the public’s interest in art. What is coincidental this year is that the festival “When Kacalisian Culture Meets the Vertical City- Contemporary Art from Greater Sandimen” also took place at Majia Township Taiwan Indigenous Culture Park during the same period. This enabled festival-goers from afar to attend both events. However, July has always been subject to typhoons and is not always suitable for outdoor activities in the mountains. In the future hosting of the Tjimur Arts Festival, weather conditions should be
taken into consideration. In addition, holding the festival in conjunction with other public or private activities is also a viable way to increase the number of participants. We look forward to the growth of the festival in which participants will have more opportunities to appreciate the beauty of Sandimen.