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Daksha ji 談在印度的編創 [Pallavi]
Referring to the [Pallavi]
採訪對象:Kaishiki 舞團 總監 Daksha Mashruwala
INTERVIEWEE : KAISHIKI NRITYABHASHA DIRECTOR - DAKSHA MASHRUWALA
INTERVIEWEE : KAISHIKI NRITYABHASHA DIRECTOR - DAKSHA MASHRUWALA
相較於去年的經驗,我們在還沒前往印度之前,我們就密切的與Kaishiki聯繫討論 ,2019的計畫,共同決定了2019的主題【音樂與肢體的實驗】,路之老師與Daksha ji認為在第一年的身體交流實驗,非常順利成功,我們將彼此身體原則打破,也融 入了對方的舞蹈身體於彼此的創作裡,而在去年的過程,一直都有聽到彼此的傳統 樂曲及旋律,也深深對此感到興趣,在簡短的討論,很快的得到了共識,我們將嘗 試用彼此的樂曲旋律去做自己的身體,不知道會有什麼奇妙的結果呢?
帶著這樣的實驗精神,我們於印度開始了工作,因為早已有了共識,在工作上很快 開始,Dakshi ji花了一天讓Tjimur舞者找回Odissi的身體,而隔天,在大家暖身時 ,Daksha ji默默說起什麼是「Pallavi」、「Pallavi」有萌芽、茁長、綻放、繁榮茂 盛的意思。在Odissi舞蹈中,這是一段抒情的純舞蹈段落。舞者會先從慢而優雅的 眼、頸、胸、腳等基本動作開始發展,流暢地由簡入繁,動作持續擴大的同時,音 樂漸強,速度也隨著段落層次變化而變快,並在強度與速度都到達頂點時做結束。 在簡單的基本動作後,Daksha ji請舞者們圍成個圓,而後延伸成一朵花,從花苞, 漸漸地成長,花瓣慢慢打開、花蕊漸漸的露出,直到像是一朵花盛開,舞作的開始 只有單純的旋律,吟唱著沒有意義的虛詞,而此時Daksha ji詢問是否我們也有像這 樣的音樂,有的,事實上,我們排灣族經典那魯灣歌謠就是有這樣的雷同之處,歌 詞中沒有特別意義,就是些虛詞的吟唱旋律,我們哼唱著排灣族古調旋律加上 Odissi的舞蹈動作,本以為會加深編舞的困難度,但相反的,這樣的旋律跟肢體竟 然毫無違和的和諧,並反而讓Daksha ji的作品很順利的完成,最後還因為這樣的和 諧巧合,我們路之老師隨性的舞動了起來,也成了這個作品的後段,兩位老師在最 後與排灣族古調,Daksha ji跳著優雅的印度古典舞,路之老師呈現早期的排灣族當 代身體,而這樣的畫面,竟也成了這個作品最精彩的段落。
帶著這樣的實驗精神,我們於印度開始了工作,因為早已有了共識,在工作上很快 開始,Dakshi ji花了一天讓Tjimur舞者找回Odissi的身體,而隔天,在大家暖身時 ,Daksha ji默默說起什麼是「Pallavi」、「Pallavi」有萌芽、茁長、綻放、繁榮茂 盛的意思。在Odissi舞蹈中,這是一段抒情的純舞蹈段落。舞者會先從慢而優雅的 眼、頸、胸、腳等基本動作開始發展,流暢地由簡入繁,動作持續擴大的同時,音 樂漸強,速度也隨著段落層次變化而變快,並在強度與速度都到達頂點時做結束。 在簡單的基本動作後,Daksha ji請舞者們圍成個圓,而後延伸成一朵花,從花苞, 漸漸地成長,花瓣慢慢打開、花蕊漸漸的露出,直到像是一朵花盛開,舞作的開始 只有單純的旋律,吟唱著沒有意義的虛詞,而此時Daksha ji詢問是否我們也有像這 樣的音樂,有的,事實上,我們排灣族經典那魯灣歌謠就是有這樣的雷同之處,歌 詞中沒有特別意義,就是些虛詞的吟唱旋律,我們哼唱著排灣族古調旋律加上 Odissi的舞蹈動作,本以為會加深編舞的困難度,但相反的,這樣的旋律跟肢體竟 然毫無違和的和諧,並反而讓Daksha ji的作品很順利的完成,最後還因為這樣的和 諧巧合,我們路之老師隨性的舞動了起來,也成了這個作品的後段,兩位老師在最 後與排灣族古調,Daksha ji跳著優雅的印度古典舞,路之老師呈現早期的排灣族當 代身體,而這樣的畫面,竟也成了這個作品最精彩的段落。
With the experience last year, this time, before we went to India, we kept in touch with Kaishiki to discuss the plans for the 2019 initiative. Finally we agreed on the 2019 theme “the experiment of music and limbs”. Director Ljuzem and Daksha ji believed that the experiment of body exchange in the first year was very smooth and successful. We both went beyond our body principles and integrated each other’s dance bodies in our works. During the exchange initiative last year, we had listened to each other’s traditional music and melodies and been deeply interested. After a short discussion, we reached a common consensus: We would like to discover the wonderful results of integrating our own bodies with each other’s music.
With this spirit of experimentation, we started to work in India. Since we had already reached a common consensus, we worked efficiently. Dakshi ji spent a day helping the Tjimur dancers to find their Odissi bodies. The next day, during the warm-up, Dakshi ji started to talk about “pallavi”. “Pallavi” means sprouting, growing, blossoming, and thriving. In Odissi dance, it is a lyric section of pure dancing. The dancers started with slow and graceful movements of eyes, necks, chests, and feet and developed from there. Smoothly, the movements began to get more complex. While the movements continuously scaled up, the music got stronger and the rhythms got faster according to the changes in sections and levels. The whole thing ended with the intensity and speed at the highest points. After practicing the basic movements, Dakshi ji asked the dancers to form a circle and the circle was then extended into a flower. It started as a bud. As it grew, the petals opened outwards and the pistils showed up. Eventually, it blossomed into a flower. The music for the initial section of this work was just simple melodies and singing with meaningless lyrics. At this point, Dakshi ji asked us if we have any music like this. In fact, yes, the Paiwan classical ballad Nalowan is just like that, singing with meaningless lyrics. We hummed and sang the ancient melody from Nalowan with the Odissi dance movements. We thought it would make it more difficult for choreography. But it wasn’t the case. The melody and the limb movements were incredibly harmonious. Dakshi ji’s work was completely smoothly. Due to this harmonious coincident, our director Ljuzem started to dance freely, forming the final section of this work. In the final section, the two masters danced to the Paiwan ancient melody with Dakshi ji presenting the graceful Indian classical dance and director Ljuzem presenting the early Paiwan contemporary body. This image was the most spectacular part of this work.
With this spirit of experimentation, we started to work in India. Since we had already reached a common consensus, we worked efficiently. Dakshi ji spent a day helping the Tjimur dancers to find their Odissi bodies. The next day, during the warm-up, Dakshi ji started to talk about “pallavi”. “Pallavi” means sprouting, growing, blossoming, and thriving. In Odissi dance, it is a lyric section of pure dancing. The dancers started with slow and graceful movements of eyes, necks, chests, and feet and developed from there. Smoothly, the movements began to get more complex. While the movements continuously scaled up, the music got stronger and the rhythms got faster according to the changes in sections and levels. The whole thing ended with the intensity and speed at the highest points. After practicing the basic movements, Dakshi ji asked the dancers to form a circle and the circle was then extended into a flower. It started as a bud. As it grew, the petals opened outwards and the pistils showed up. Eventually, it blossomed into a flower. The music for the initial section of this work was just simple melodies and singing with meaningless lyrics. At this point, Dakshi ji asked us if we have any music like this. In fact, yes, the Paiwan classical ballad Nalowan is just like that, singing with meaningless lyrics. We hummed and sang the ancient melody from Nalowan with the Odissi dance movements. We thought it would make it more difficult for choreography. But it wasn’t the case. The melody and the limb movements were incredibly harmonious. Dakshi ji’s work was completely smoothly. Due to this harmonious coincident, our director Ljuzem started to dance freely, forming the final section of this work. In the final section, the two masters danced to the Paiwan ancient melody with Dakshi ji presenting the graceful Indian classical dance and director Ljuzem presenting the early Paiwan contemporary body. This image was the most spectacular part of this work.