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Daksha ji 談在台灣的編創 [Bindu]
Referring to the [Bindu]
採訪對象:Kaishiki 舞團 總監 Daksha Mashruwala
INTERVIEWEE : KAISHIKI NRITYABHASHA DIRECTOR - DAKSHA MASHRUWALA
INTERVIEWEE : KAISHIKI NRITYABHASHA DIRECTOR - DAKSHA MASHRUWALA
正當Kaishiki舞者們和Tjimur舞者們討論起,六月份對於Daksha ji 的舞作,事多麼新鮮、有趣,彼此還調侃對方做出古典舞的樣子,好像 多了個排灣族當代的身體,大夥兒嘻嘻笑笑等著Daksha ji過來指導 ,Daksha ji輕鬆地與大家打招呼,也回應彼此真是可愛在討論六月的舞 作、彼此的身體能力都有些突破,而後請大家手牽著手,看起來好像排 灣族四部舞喔!果不其然,Daksha ji正是要他們往排灣族四部舞開始。 沒錯!這樣的開始與六月不同,正當大家都在疑惑時,Daksha ji提到要 變換舞作概念,因為我們沒有帶著印度樂手和歌手,那樣音樂旋律無法 在台灣呈現,那我要挑戰另一個可能性,我們是實驗家、冒險家啊!大 家本是一陣困惑,突然豁然開朗接受了挑戰,大家想啊、試啊,就是希 望呈現出不一樣台灣版Daksha ji編舞舞作。
在台灣的製作會不一樣的原因是,Daksha ji說:「身為一個編舞 家、創作家是沒辦法預先做好全然的計畫及決定最後的舞作呈現,只有 目標和概念,但其中的變化,是連自己常常都無法預料的,有時候創意 就是突發奇想的,也因為不同的環境、狀況和舞者去做變化,這都是常 發生的事,更何況,我們的交流是加上實驗,看見當代舞不同的身體及 編創概念,讓我想要更大膽的嘗試、創新。」那在今年的交流主題是彼 此音樂旋律與身體的實驗,這樣的概念根深蒂固在Daksha ji的腦海裡, 且也認知到印度的樂手及歌手不在身邊,Daksha ji立刻想嘗試另一個概 念去呈現音樂旋律與肢體的實驗,抵達台灣前兩天,Daksha ji深思熟慮 的一番,在做今年的交流創作時,到底是什麼開啟了我的創意而去編舞 及創作呢?突然有個字浮出在Daksha ji的腦海裡,在印度有個意象稱 Bindu,意思是中心的點、原點,而這個原點會延伸漣涎出去,一圈一圈 的延伸,而這些浮出的圓圈都是與原點有關聯的,無論那些圓圈發展出 多麼絢麗、精彩,而最終那些圓圈會漸漸回到中心的原點,這樣的意念 像極了我們在交流工作一樣,我們從一個共同的概念及信念,從原點出 發,我們彼此在這原點外圍創造多更多更大的圓,也就是彼此音樂及肢 體的可能性,但我們始終離不開印度古典舞和排灣族文化的音樂旋律與 肢體概念,而那就是原點(Bindu)
很幸運的,正當彼此很擔心無法呈現有印度樂手和歌手那樣的專 業音樂水準後,蒂摩爾合作的羽擊舞藝術的樂手、歌手們沒有讓排灣族 失望,無論敲擊樂器、吹奏排灣族傳統樂器-鼻笛或者是歌手優雅的吟唱 傳統古謠,每個環節都在在顯示顯示出排灣族文化的音樂素養,這使 Daksha ji能夠充分利用這些美妙的聲音,化成養分去創作呈現Daksha ji 在台灣的作品,這樣的突破跟創新,對於彼此又是個很特別且不一樣的 經驗。
在台灣的製作會不一樣的原因是,Daksha ji說:「身為一個編舞 家、創作家是沒辦法預先做好全然的計畫及決定最後的舞作呈現,只有 目標和概念,但其中的變化,是連自己常常都無法預料的,有時候創意 就是突發奇想的,也因為不同的環境、狀況和舞者去做變化,這都是常 發生的事,更何況,我們的交流是加上實驗,看見當代舞不同的身體及 編創概念,讓我想要更大膽的嘗試、創新。」那在今年的交流主題是彼 此音樂旋律與身體的實驗,這樣的概念根深蒂固在Daksha ji的腦海裡, 且也認知到印度的樂手及歌手不在身邊,Daksha ji立刻想嘗試另一個概 念去呈現音樂旋律與肢體的實驗,抵達台灣前兩天,Daksha ji深思熟慮 的一番,在做今年的交流創作時,到底是什麼開啟了我的創意而去編舞 及創作呢?突然有個字浮出在Daksha ji的腦海裡,在印度有個意象稱 Bindu,意思是中心的點、原點,而這個原點會延伸漣涎出去,一圈一圈 的延伸,而這些浮出的圓圈都是與原點有關聯的,無論那些圓圈發展出 多麼絢麗、精彩,而最終那些圓圈會漸漸回到中心的原點,這樣的意念 像極了我們在交流工作一樣,我們從一個共同的概念及信念,從原點出 發,我們彼此在這原點外圍創造多更多更大的圓,也就是彼此音樂及肢 體的可能性,但我們始終離不開印度古典舞和排灣族文化的音樂旋律與 肢體概念,而那就是原點(Bindu)
很幸運的,正當彼此很擔心無法呈現有印度樂手和歌手那樣的專 業音樂水準後,蒂摩爾合作的羽擊舞藝術的樂手、歌手們沒有讓排灣族 失望,無論敲擊樂器、吹奏排灣族傳統樂器-鼻笛或者是歌手優雅的吟唱 傳統古謠,每個環節都在在顯示顯示出排灣族文化的音樂素養,這使 Daksha ji能夠充分利用這些美妙的聲音,化成養分去創作呈現Daksha ji 在台灣的作品,這樣的突破跟創新,對於彼此又是個很特別且不一樣的 經驗。
When the Kaishiki dancers talked to the Tjimur dancers about the novel and interesting things that had happened while practicing Daksha ji’s dance work in June, they even made fun of what each other had looked like when doing the classical dance. It was like they had an extra Pawain contemporary body. They had fun while waiting for Daksha ji to come over and offer them guidance. Daksha ji was very relaxed and came to say hi to everybody. She also found the dancers very cute when discussing the dance work in June and suggested that they had all made some breakthroughs in physical abilities. Then she asked them to hold hands. The formation looked like that of the Paiwan four-step dance. Just as expected, Daksha ji wanted them to start with the Paiwan four-step dance. Indeed! This starting section was indeed different from that in June. While they were all confused, Daksha ji said that she would like to change the concept for this piece of work. Because we didn’t bring any Indian musician or singer with us, we couldn’t present the music that we had tried to use in June. So she wanted to do some challenge for a new possibility. We were experimentalists and explorers! The confused crew was suddenly enlightened. They were all thinking and testing in hopes of presenting a different Taiwanese version of the work choreographed by Daksha ji.
Regarding the reason why the production was different in Taiwan, Daksha ji said, “As a choreographer and creator, I cannot make a perfect plan in advance and just decide how a piece of work will be presented. All I have is a goal and a concept. Even I can’t expect what changes will happen. And, sometimes, creativity is about sudden inspiration. And we may make changes according to our environment, conditions, and dancers. It’s very common. Furthermore, we included some experiments in this exchange to try different contemporary dance movements and ideas for choreography. With this in mind, I wanted to make some bold attempts and innovations.” The theme for the exchange this year was the music and body experiments. This idea was deeply rooted in Daksha ji’s mind. Knowing that it was not possible to bring the Indian musicians and singers along, Daksha ji immediately came up with another concept to do experiments with music and limb movements. Two days before arriving at Taiwan, Daksha ji pondered deeply over about what inspired her choreography and creation for this year’s exchange. Suddenly, a word appeared in her mind, bindu. It’s a Hindi word with the image of a center or an origin with ripples around it and extending out. All these ripples are related to the origin. No matter how splendid and brilliant these ripples are, eventually they all go back to the origin in the center. This image resembled our exchange work. Our common concept and faith were the origin. Starting from this origin, we created more ripples around this origin. These ripples were the possibilities of our music and limb movements. However, all along we wouldn’t deviate from the Indian classical dance and the Paiwan music and limb concepts, which formed the origin (bindu).
Luckily, when we were worried about not being able to achieve the professional standard of music without the Indian musicians and singers, the musicians and singers from the Feather Art of Drum and Dance, a music group cooperating with Tjimur, didn’t let the Paiwan people down. All the links, including playing the percussion instrument and the Paiwan traditional music instrument nose flute, and singing the traditional ballads, were of high standards in terms of the musical literacy of the Paiwan culture. Therefore, Daksha ji could fully utilize these beautiful sounds as nutrition to present the Taiwanese version of her work. This was a unique and different experience with breakthroughs and innovations for both parties.
Regarding the reason why the production was different in Taiwan, Daksha ji said, “As a choreographer and creator, I cannot make a perfect plan in advance and just decide how a piece of work will be presented. All I have is a goal and a concept. Even I can’t expect what changes will happen. And, sometimes, creativity is about sudden inspiration. And we may make changes according to our environment, conditions, and dancers. It’s very common. Furthermore, we included some experiments in this exchange to try different contemporary dance movements and ideas for choreography. With this in mind, I wanted to make some bold attempts and innovations.” The theme for the exchange this year was the music and body experiments. This idea was deeply rooted in Daksha ji’s mind. Knowing that it was not possible to bring the Indian musicians and singers along, Daksha ji immediately came up with another concept to do experiments with music and limb movements. Two days before arriving at Taiwan, Daksha ji pondered deeply over about what inspired her choreography and creation for this year’s exchange. Suddenly, a word appeared in her mind, bindu. It’s a Hindi word with the image of a center or an origin with ripples around it and extending out. All these ripples are related to the origin. No matter how splendid and brilliant these ripples are, eventually they all go back to the origin in the center. This image resembled our exchange work. Our common concept and faith were the origin. Starting from this origin, we created more ripples around this origin. These ripples were the possibilities of our music and limb movements. However, all along we wouldn’t deviate from the Indian classical dance and the Paiwan music and limb concepts, which formed the origin (bindu).
Luckily, when we were worried about not being able to achieve the professional standard of music without the Indian musicians and singers, the musicians and singers from the Feather Art of Drum and Dance, a music group cooperating with Tjimur, didn’t let the Paiwan people down. All the links, including playing the percussion instrument and the Paiwan traditional music instrument nose flute, and singing the traditional ballads, were of high standards in terms of the musical literacy of the Paiwan culture. Therefore, Daksha ji could fully utilize these beautiful sounds as nutrition to present the Taiwanese version of her work. This was a unique and different experience with breakthroughs and innovations for both parties.