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[XII] 巴魯・瑪迪霖之創作
[XII] Choreograph by Baru Madiljin
採訪對象 : 蒂摩爾古薪舞集 編舞家 巴魯·瑪迪霖
INTERVIEWEE : TJIMUR DANCE THEATRE CHOREOGRAPHER - BARU MADILJIN
INTERVIEWEE : TJIMUR DANCE THEATRE CHOREOGRAPHER - BARU MADILJIN
今年琉璃計畫的作品,可以說是非常突破的呈現,不僅對我個人和Tjimur舞者 ,甚至是Kaishiki的舞者們,我用他們認為熟悉的『數拍子』去做發想,但並不是大家 想的那麼簡單,因為根本完全不一樣。
在印度,先練習排灣族身體時,我們從呼吸練習到一致,再來是歌謠的吟唱,正 當還在思考今年要怎麼引導Kaishiki的排灣族身體十,我想到過去舞團一個非常有爆發 力的舞作『Umaq~家』,這是第二年的交流,我們彼此早已熟悉成像家人一般,除了 因應今年的音樂肢體實驗主題,選了強烈節奏性及豐富音樂的舞碼,也因為想讓 Kaishiki的家人們認識這樣的故事及排灣族日常習慣,我從由「聞、穿、打、吐」四 個我們所熟悉家中的老人家,思念得聞手、刺繡縫製服飾、老人家打檳榔、吐檳榔 汁,四個元素讓大家了解我們對家的記憶。在講解這些動作時,大家都躍躍欲試, 雖然在講解時很容易,但我將整套動作演繹出來時,他們覺得很驚訝,因為當代舞 真的很神奇,能將簡單的動作發揮到那麼具有美感甚至非常有爆發力,雖然不容易 ,但大家都秉持用舞蹈來認識彼此的文化,很用力、很努力的詮釋我的動作。
這次是『音樂肢體實驗』,當然不能再只是肢體動作的交流,我今年做個了突 破,不是對Tjimur,我想是更會讓Kaishiki舞者們大吃一驚的作品,從第一年的交 流,我就有發現印度古典舞在數拍子時很特別,他們有很多不同數拍子方式,利用 兩隻手,拍手、手指點和將手往外翻,來確認每個拍子的位置,這樣在練習時,可 以很快、很清楚的去發現在哪個拍子出錯了,第二年我們的重點放在音樂上的交流 ,所以再次來到印度,又看見Daksha ji數拍子,我就決定拆解這樣的概念來呈現今 年的『音樂與肢體的交流實驗』,就像我前面提到的,這樣的突破跟創意,對雙方 都是很困難的,對於Kaishiki舞者們來說,他們必須完全拋開傳統編排的方式,去 接受明明是熟悉的數拍卻是完全不同動作;之於我們的舞者當然也是,既使他們很 習慣我不按牌理出牌的排練方式,但這次要學習完全新穎的方式是非常挑戰的,大家都在為了學習新的動作跟概念很是頭痛時,也漸漸覺得有趣,就在大家都覺得很難、很有趣的時候,其實這個作品也漸漸地成形了。
這次作品稱為{7},為什麼是這個名稱呢?7・也就是我們有七個舞者、七 個身體、七個不同跳舞的靈魂、七雙不同的腿,那這些不同,會呈現出怎麼樣的畫 面跟表達怎麼樣的成果呢?因為透過第一年的交流,我們已經很熟悉彼此,也很信 任對方,所以我希望大家能夠的自然地、更全力的表達自己的身體,因此在這個作 品,你會發現除了大量的群舞、還有更多的是每個舞者的獨舞,我想呈現這七個舞 者的獨特性,每一個人各自的魅力。
在印度,先練習排灣族身體時,我們從呼吸練習到一致,再來是歌謠的吟唱,正 當還在思考今年要怎麼引導Kaishiki的排灣族身體十,我想到過去舞團一個非常有爆發 力的舞作『Umaq~家』,這是第二年的交流,我們彼此早已熟悉成像家人一般,除了 因應今年的音樂肢體實驗主題,選了強烈節奏性及豐富音樂的舞碼,也因為想讓 Kaishiki的家人們認識這樣的故事及排灣族日常習慣,我從由「聞、穿、打、吐」四 個我們所熟悉家中的老人家,思念得聞手、刺繡縫製服飾、老人家打檳榔、吐檳榔 汁,四個元素讓大家了解我們對家的記憶。在講解這些動作時,大家都躍躍欲試, 雖然在講解時很容易,但我將整套動作演繹出來時,他們覺得很驚訝,因為當代舞 真的很神奇,能將簡單的動作發揮到那麼具有美感甚至非常有爆發力,雖然不容易 ,但大家都秉持用舞蹈來認識彼此的文化,很用力、很努力的詮釋我的動作。
這次是『音樂肢體實驗』,當然不能再只是肢體動作的交流,我今年做個了突 破,不是對Tjimur,我想是更會讓Kaishiki舞者們大吃一驚的作品,從第一年的交 流,我就有發現印度古典舞在數拍子時很特別,他們有很多不同數拍子方式,利用 兩隻手,拍手、手指點和將手往外翻,來確認每個拍子的位置,這樣在練習時,可 以很快、很清楚的去發現在哪個拍子出錯了,第二年我們的重點放在音樂上的交流 ,所以再次來到印度,又看見Daksha ji數拍子,我就決定拆解這樣的概念來呈現今 年的『音樂與肢體的交流實驗』,就像我前面提到的,這樣的突破跟創意,對雙方 都是很困難的,對於Kaishiki舞者們來說,他們必須完全拋開傳統編排的方式,去 接受明明是熟悉的數拍卻是完全不同動作;之於我們的舞者當然也是,既使他們很 習慣我不按牌理出牌的排練方式,但這次要學習完全新穎的方式是非常挑戰的,大家都在為了學習新的動作跟概念很是頭痛時,也漸漸覺得有趣,就在大家都覺得很難、很有趣的時候,其實這個作品也漸漸地成形了。
這次作品稱為{7},為什麼是這個名稱呢?7・也就是我們有七個舞者、七 個身體、七個不同跳舞的靈魂、七雙不同的腿,那這些不同,會呈現出怎麼樣的畫 面跟表達怎麼樣的成果呢?因為透過第一年的交流,我們已經很熟悉彼此,也很信 任對方,所以我希望大家能夠的自然地、更全力的表達自己的身體,因此在這個作 品,你會發現除了大量的群舞、還有更多的是每個舞者的獨舞,我想呈現這七個舞 者的獨特性,每一個人各自的魅力。
This year, the production for the Lazurite Initiative initiative was a very unique production with breakthroughs, for not just me and the Tjimur dancers, but also the Kaishiki dancers. I based the whole idea on & quotcounting & quot, which they thought they were familiar with. However, it was not as easy as they thought it would be. It was a completely different thing.
In India, we first practiced the Paiwan body movements. We started with breathing until our breathing was synchronized. Then we practiced ballad singing. When I was thinking about how to guide the Kaishiki dancers to do the Paiwan body movements, a very powerful piece of work called "Umaq" came to my mind. In the second year of the exchange, we were already like families. I chose to include strong rhythms and rich music in the dance work because not only that the theme this year was music and limb experiments, but also that I wanted to allow the Kaishiki families to learn more about the story and the Paiwan customs. I started with four elements, namely “smelling, threading, hitting, and spitting”, representing the behaviors of the elderly what we are very familiar with, including smelling hands for missing someone, threading a needle to saw dresses, hitting betel nuts, and spitting out betel nut juice, to help them understanding our memories in relation to our home. When I explained these movements, they were all eager to try. They sounded simple. But when I presented the whole set of movements, they were surprised, as contemporary dance is truly amazing in showing simple movements in an aesthetic and powerful way. Although it wasn’t easy, everyone was trying hard to interpret my choreography based on the idea of getting to know each other’s culture through dance.
This time, the theme was “music and limb experiments”. Of course, the exchange had to go beyond limb movements. I made a breakthrough this year. Not just the Tjimur dancers, I also wanted to surprise the Kaishiki dancers. During the exchange in the first year, I noticed that the way of counting in the Indian classical dance was very special. They counted in various ways, with two hands, clapping hands, tapping with fingers, turning palms outward, etc. They used these ways to confirm the positions of the beats, in order to identify where they did wrong very quickly and very accurately. Our focus in the second year was on the music exchange. We visited India again and saw Daksha ji counting again. That was when I decided to disassemble this concept for this year’s “music and limb experiments”. As I mentioned earlier, this kind of breakthroughs and creativity was difficult for both parties. The Kaishiki dancers had to forget their traditional choreography and accept the counting they were familiar with being integrated with totally different movements. As for our dancers, although they were used to surprises from me during rehearsals, this time it was still very challenging for them to learn something completely new. Learning new movements and concepts wasn’t easy for everybody. Yet they all gradually found it interesting. So, this piece of work was born in the situation where everybody was vexed and intrigued at the same time.
This piece of work is called “7”. Why? 7 means this piece of work would be performed by 7 dancers, 7 bodies, 7 souls of dance, and 7 pairs of legs. With these differences, what kind of images and results will be presented? After the exchange in the first, we became very familiar with each other with strong confidence in each other. Therefore, I hope all the dancers can do their best to make expressions through their bodies in a more natural way. When you see this piece of work, besides a lot of group dances you will even find more solo dances of each dancer. I want to show the uniqueness of each of the 7 dancers as they all have their own charm.
In India, we first practiced the Paiwan body movements. We started with breathing until our breathing was synchronized. Then we practiced ballad singing. When I was thinking about how to guide the Kaishiki dancers to do the Paiwan body movements, a very powerful piece of work called "Umaq" came to my mind. In the second year of the exchange, we were already like families. I chose to include strong rhythms and rich music in the dance work because not only that the theme this year was music and limb experiments, but also that I wanted to allow the Kaishiki families to learn more about the story and the Paiwan customs. I started with four elements, namely “smelling, threading, hitting, and spitting”, representing the behaviors of the elderly what we are very familiar with, including smelling hands for missing someone, threading a needle to saw dresses, hitting betel nuts, and spitting out betel nut juice, to help them understanding our memories in relation to our home. When I explained these movements, they were all eager to try. They sounded simple. But when I presented the whole set of movements, they were surprised, as contemporary dance is truly amazing in showing simple movements in an aesthetic and powerful way. Although it wasn’t easy, everyone was trying hard to interpret my choreography based on the idea of getting to know each other’s culture through dance.
This time, the theme was “music and limb experiments”. Of course, the exchange had to go beyond limb movements. I made a breakthrough this year. Not just the Tjimur dancers, I also wanted to surprise the Kaishiki dancers. During the exchange in the first year, I noticed that the way of counting in the Indian classical dance was very special. They counted in various ways, with two hands, clapping hands, tapping with fingers, turning palms outward, etc. They used these ways to confirm the positions of the beats, in order to identify where they did wrong very quickly and very accurately. Our focus in the second year was on the music exchange. We visited India again and saw Daksha ji counting again. That was when I decided to disassemble this concept for this year’s “music and limb experiments”. As I mentioned earlier, this kind of breakthroughs and creativity was difficult for both parties. The Kaishiki dancers had to forget their traditional choreography and accept the counting they were familiar with being integrated with totally different movements. As for our dancers, although they were used to surprises from me during rehearsals, this time it was still very challenging for them to learn something completely new. Learning new movements and concepts wasn’t easy for everybody. Yet they all gradually found it interesting. So, this piece of work was born in the situation where everybody was vexed and intrigued at the same time.
This piece of work is called “7”. Why? 7 means this piece of work would be performed by 7 dancers, 7 bodies, 7 souls of dance, and 7 pairs of legs. With these differences, what kind of images and results will be presented? After the exchange in the first, we became very familiar with each other with strong confidence in each other. Therefore, I hope all the dancers can do their best to make expressions through their bodies in a more natural way. When you see this piece of work, besides a lot of group dances you will even find more solo dances of each dancer. I want to show the uniqueness of each of the 7 dancers as they all have their own charm.