顧盼千禧下一波之與龍共舞

「2020年，出生於千禧世代的孩子已屆成年。

他們手中不但握著未來，還決定了未來世界的樣貌。」

作為亞洲地區土生土長的年輕世代，20歲意味著前途無限，也是身心靈快速變化、開始獨立思考的起點。他們一方面與時代緊密相依，另一方面也肩負守護千年傳統的重擔，在這個前浪與後浪交替夾擊的處境下，他們會為亞洲舞蹈界帶來什麼樣貌與未來？

南韓編舞教母安銀美二度造訪衛武營，繼2019年引領阿珠嬤台上歡跳，這次將腦筋動到剛滿20歲的千禧龍寶寶。他們來自不同國家、擁有不同身體、但同生於西元2000年。承載著世界的期許，六位屬龍的舞者將與安銀美舞團成員攜手共舞，深入探索貫穿舞蹈作品的動態力量，揣想亞洲舞蹈的未來走向；而丟出問題的那顆石子，就是舞台上翩翩起舞的一群龍。

Anticipating the Next Dance with Dragons

"In 2020, the children of the millennial generation will have reached adulthood. They have their future and the world's future in their hands."

For young people in Asia, reaching 20 means unlimited prospects, rapid physical and mental changes, and a starting point for independent thinking. While they are closely tied to the times, they also bear the burden of preserving thousand-year-old traditions. What will they bring to the Asian dance world and its future in this transitional climate?

After leading ajummas on stage in 2019, the Godmother of South Korean choreography, Eun-Me AHN, returns to Weiwuying alongside six twenty-year-old millennial dragons. They are of different nationalities and physical attributes, but all were born in 2000. The six dragon dancers, carrying the expectations of the world, will join hands with the dancers of Eun-Me Ahn Company to explore dynamics and energy and to imagine the trend of Asian dance. The ones to raise the issue are the dragons dancing on the stage.

演出人員暨製作團隊介紹

編舞暨藝術總監｜安銀美

音樂｜張領圭

服裝暨舞台設計｜安銀美

燈光設計｜張晉榮

影像｜李台錫

動作設計｜李台錫、李旼晶(Addnine)

創作技術總監｜金智明

舞者｜安銀美、金知妍、金慧徑、盧藝瑟、趙善材、鄭意泳、韓高安、文勇植

影像舞者｜諾．希雅斯妲 哈茲米（馬來西亞）、高橋灯（日本）、鄭紙完（南韓）、 思寇．賽炎托（印尼）、蒂．娜薩．阿吉．伊娜諾（印尼）、周冠廷（臺灣）

製作單位｜安銀美舞團、Gadja Productions

本節目由衛武營國家藝術文化中心、韓國首爾藝術文化基金會、韓國首爾永登浦藝術廳、韓國釜山文化會館、法國巴黎市立劇院、法國里昂舞蹈雙年展、奧地利聖波爾坦藝術中心、盧森堡市立劇院及比利時布魯塞爾藝術展演空間共同製作

※本製作獲韓國文化藝術委員會、印尼舞蹈節、馬來西亞國家藝術學院、橫濱紅磚倉庫2號館、舞者職業發展中心支持

合作夥伴｜高雄春天藝術節

Choreography & Artistic Direction| Eun-Me AHN

Music｜Young-Gyu JANG

Costumes & Set Design｜Eun-Me AHN

Lighting Design｜Jin-Young JANG

Video Direction｜Tae-Seok LEE

Motion Design｜Tae-Seok LEE, Min-Jeong LEE (Addnine)

Creation Technical Director｜Jim-Yung KIM

Dancers｜Eun-Me AHN , Jee-yeun KIM, Hye-kyoung KIM, Ye-seul ROH, Sun-jae JO, Ui-young JUNG, Gaon HAN, Yong-sik MOON

Dancers on Screen｜Nur Syahidah Binti Hazmi (Malaisia), Akari TAKAHASHI (Japan), Ji-Wan JUNG (South Korea), Siko Setyanto (Indonésie), Dwi Nusa Aji Winarno (Indonésie), Guan-Ting ZHOU (Taiwan)

Production｜ Eun-Me Ahn Company, Gadja Productions

Co-produced by National Kaohsiung Center for the Arts (Weiwuying), Seoul Foundation for Arts and Culture, Yeongdeungpo Art Hall, Busan Cultural Center, Théâtre de la Ville-Paris, Biennale de la Danse de Lyon, Festspielhaus St Pölten, Les Théâtres de la Ville de Luxembourg and Les Halles de Schaerbeek

With the support of Arts Council Korea, Indonesian Dance Festival, ASWARA - Akademi Seni Budaya Dan Warisan Kebangsaan, Yokohama Red Brick Warehouse N°1, Dancers’ Career Development Center

Partner｜ Kaohsiung Spring Arts Festival

藝術家介紹

編舞暨藝術總監｜安銀美

安銀美為韓國表演藝術界首屈一指的藝術家，1988年於首爾成立舞團，並於1999年移居美國紐約。2001年返回韓國持續進行舞碼創作，致力於重新演繹韓國經典舞蹈並探討時下社會議題，常與非科班舞者合作。深受各國藝術界肯定的她，編創舞碼超過150齣，作品包括經典舞碼《巴里公主辛佛卡》（Symphoca Princess Bari）、《讓我改變你的名字》（Let Me Change Your Name）和《跳舞ㄚ嬤》（Dancing Grandmothers）等，均曾在世界各地知名舞台上演出。安銀美現為巴黎市立劇院合作駐館藝術家。
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每個藝術家都曾經面對這樣的掙扎：一方面理解、整合古代藝術，另一方面又需要遺忘、克服這些框架而尋求創新。在這個議題上，安銀美找到了一個既新穎又超乎眾人期待的方式。這個靈感來自她的旅行：學習與探索薩滿教傳統的過程、多年在紐約的經驗以及她和碧娜・鮑許深厚的友誼（碧娜．鮑許多次邀請安銀美前往烏伯塔）。韓國與大都會；一個前衛主義者與2002大邱世界盃足球賽開幕典禮的官方編舞家，並曾在許多重要國際藝術節演出，安銀美知道該如何凸顯對比的美，例如碎花、條紋與圓點；她知道如何在最肅穆的苦行前運用最流行的色彩；知道如何將剎那轉換於陰陽之間；知道如何運用慢的節奏營造狂熱節奏的爆發。
在嚴苛、準確、高標準的韓國教育系統中，安銀美也是一位夜魔俠般的表演者，隨時準備好進行各種破壞行為。曾有人目睹她從起重機上一躍而下，並用斧頭和剪刀摧毀一台鋼琴；在表演舞作《泰迪熊》時撕毀自己仙女般的白色洋裝，並將碎片發給觀眾；在氣球中將自己埋在小丑的衣服下；將自己與雞鎖在同一個籠子裡；將自己裝扮成蘑菇⋯⋯。但這些不應被視為挑釁，而是一種好奇心，在作品中以出奇不意的風格展現自由。

Choregraphy & Artistic Direction｜Eun-Me AHN
Eun-Me AHN is one of the leading artists in the Korean performing arts industry. She established a dance company in Seoul in 1988 and moved to New York in 1999. In 2001, she returned to Korea to continue choreographing, reinterpreting Korean classics and exploring current social issues, often collaborating with non-traditionally trained dancers. She has received international acclaim from the arts community and has created over 150 dance pieces, including Symphoca Princess Bari, Let Me Change Your Name, and Dancing Grandmothers, all of which have been staged at renowned venues around the world. AHN is taking residency at the Théâtre de la Ville in Paris.
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How many creators have struggled to find the way to describe what is finally the lot of every artist : on the one hand to know, understand, integrate what the ancients did ; on the other to forget them, overcome them and hope to find something new. Quite a vast program...
On this level, Eun-Me AHN that France discovered in 2013 and 2014 thanks to Festival Paris Quartier d’Eté, has found new, unexpected and Eun-Me AHN “La gaité appellee le bonheur. La danse appelle le bonheur.” exciting ways. This comes first from her own itinerary, marked as much by the learning and exploration of shamanic traditions as by the many years spent in New York or a profound friendship with the missed Pina BAUSCH (who invited her many times in Wuppertal). Korean and cosmopolitan, figure of the avant-garde but also choreographer of the very official opening ceremony of the FIFA World Cup in Daegu in 2002 and presented in the most important international festivals, she knows how to improve the beauties of contrast, mix polka dots, stripes and flowers, how to play with the most pop colors before switching to the most solemn austerity, how to play with the most subtle shades of androgyny, or use slowness to make trance rhythm burst...
Educated at the school of rigor, precise, demanding and of all Korean discipline, Eun-Me AHN is also a daredevil performer, ready for all kinds of piracies. One have seen her jump from the top of a crane, then attack a piano with axe and scissors, rip off herself her fairy dress made of white ties to distribute the pieces to the audiences while performing a teddy bear dance, bury herself with a clown costume under a rain of balloons, locked up behind bars in a duet with a chicken, or dressed up as a mushroom... But one would be wrong thinking it is provocation. It is rather the affirmation of a curiosity and a freedom held by work and style pushed to their most unexpected limits.

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