臺北藝術節 南韓跳,北韓舞

建立日期

22 八月 2019

項目

表演藝術 Performing Art , 藝術節/博覽會 Art Festival/Art Fairs

臺北藝術節 南韓跳,北韓舞

 

臺北藝術節 南韓跳,北韓舞
2019 Taipei Arts Festival "North Korea Dance by Eun-Me Ahn" 2019
地點:中山堂中正廳 Zhongzheng Auditorium, Taipei Zhongshan Hall
日期:8月2324日下午730


二次大戰後,北緯 38 度線成為一條南北韓彼此之間無 法跨越的界線,這條線劃分出兩個世界、兩種截然不同 的文化,長達 70 多年。北韓,對我們而言,總像個謎似 的,除了偶然出現在媒體上那位顢頇模樣的領導人,正 經八百過著樸實生活的人民外,似乎沒有更多關於北韓 的形象描繪;反觀南韓,除了以科技強國自居,令全球 為之瘋狂的 K-Pop 更締造了前所未有的娛樂經濟與文 化形象。如此涇渭分明的兩種文化,如何交會?南韓編 舞家安銀美(Eun-Me Ahn)的〈南韓跳,北韓舞〉即試 圖打破這條藩籬,在舞蹈藝術創作的想像與實驗中,遙 想各種交會的可能性。 舞蹈,這個以身體作為出發點的藝術表演形式,或許更 能貼切地表現南北韓之間強烈的對比與衝突,以及當中 所可能實驗出的可能性。一邊是生硬且強而有力猶如 軍隊操演的動作形式,另一邊則是婀娜作態動感十足的 流行舞蹈;一邊是傳統民俗,另一邊則是嘻哈重金屬; 一邊是在地的文化,另一邊則是全球化的表現 ……。 安銀美試圖透過舞者的身體,尤其是代表南韓舞者的 身體,舞出北韓的舞蹈精髓,從傳統民俗舞蹈、到社交 舞,舞者的身體成為刻畫北韓的畫筆,一道道勾勒出我 們想像中的北韓。就如同披著狼皮的羊,在一次次的扮 演後,原本陌生的逐漸熟稔,本來恐懼的變得無害,最 後,在卸下外衣後,刻畫在身體上的印記一道道浮現, 成就一幅幅想像的詩篇。 在探尋南北韓交會的可能與想像時,政治的意識始終 是條難以跨越的界線,也只有透過藝術才能跳脫意識 形態並恣意的想像,正如同〈南韓跳 北韓舞〉,用南韓 的身體跳出北韓的魂,在魂體交會中,卻也分不清何者 為南何者為北,觀眾看到的則是一支全新的舞作與奇觀 的感受

After World War II, The Military Demarcation Line has become an uncrossable boundary between North and South Korea, which has divided two worlds and two very different cultures for more than 70 years. North Korea, for us, is always a mystery. Apart from the sly leader who appears on the media a lot, and the people who live a simple life, there seems to be no other depictions of North Korea. Yet for South Korea, it is known for its technology and K-Pop industry. How can these two different cultures communicate with each other? South Korean choreographer Eun-Me Ahn aims to break the barrier with "North Korea Dance, as she explores the possibilities of communications through the dance. Dance, a form of artistic performance based on the body, may reflect the strong conflicts and contracts between North and South Korea in many ways. On one side, it is the body action that’s like military exercise, on the other side, it is the pop dance of graceful movements. On one side, it is traditional folk custom, on the other side, it is the heavy metal and hip-hop movements. On one side, it is the local culture, on the other side, it is the globalization movements...Eun-Me Ahn tries to depict the imagined North Korea through the bodies of dancers, especially the South Korean dancers, from traditional folk dance to ballroom dance. Just like a sheep in a wolf skin, after being played again and again, the original strangeness has gradually become familiar, and the fear has vanished. Eventually, reality is revealed through the body, realizing imaginary visual poems. When exploring the possibilities and imaginations of the North-South Korean communication, politics remains to be an uncrossable boundary. Only through art can it go beyond ideology, just like what is shown in "North Korea dance", South Korean bodies dancing the soul of North Korea. In the communication between body and soul, audience will see a new dance with spectacular feelings.