2024秋天藝術節 壞鞋子舞蹈劇場《島嶼恍惚》

Bare Feet Dance Theatre: Lingering

基本資料

看不見的岸

從岸離開，靠岸抵達。岸是此時此刻的現在，也是未知的理想境地，在可能抵達的他方。

人類歷史中，移動是常態，我們總是存在在「之間」。在停留和動身之間、在離岸和上岸之間，每次移動都重新劃定界線，離開、抵達……再重新推倒邊界。這些與歷史、文化、環境、他人，彼此交疊的軌跡，勾勒出我們存在的形狀。

今年秋天藝術節以「看不見的岸」為題，講述此岸到彼岸的路途中，所經驗的、被抹除的、斷裂的與縫補的一切，及在漂泊之間，抵達和未曾抵達的故事。旅途上的所見所想，改變了踏上旅程的我們，而我們和自己及世界的新關係也由此而生。

舞作介紹

如果大海有記憶，他會記得什麼？或許每一滴海水都有一個記憶，透過結晶的方式記錄情感與故事。在《島嶼恍惚》這支作品中，這些深藏在海洋中的記憶被召喚出來，連結我們與遺忘的故事，喚醒了沉睡的歷史，透過舞樂讓我們重新面對這些埋藏已久的片段。

故事的起點，是壞鞋子2021年在東港迎王田野採集期間，觀察由印尼移工組成的震隆宮大鼓陣，他們在發財車上用北管樂器敲擊甘美朗（Gamelan）式的樂音，搖晃的發財車上伴隨著樂器的聲響經過了宮廟前，乩身的恍惚與移工的搖晃／恍惚疊合在一起，赫然發現我們已經是共生的民族，他們與我們共同生活在同一片土地上，文化、生活、信仰相互交融和影響。

《島嶼恍惚》從亞洲的南海、爪哇海、臺灣海峽進行故事的採集和詮釋，這艘船搖晃穿越回到歷史中一群漂泊在海上的靈魂，他們是海洋上的流亡者，在無盡的星空下航行。無法預知的航程伴隨著海浪的顛簸，食物與水早已耗盡，胃裡的酸液隨著搖擺吐出，他們只能仰望月光映照的海面，期待著登陸的那一天。但大海最終仍吞沒了流亡者的生命，在夢中，他們的骨灰混合著故鄉的花草撒入海中，香氣隨風飄散，靈魂回到故土，同時飄向了未抵達的嚮往之地，骨灰則深沉入海，成為大海的一部分，延續生命的循環。

《島嶼恍惚》的舞蹈身體與現場擊樂，融入了風火水土和日月星辰的自然運行，表演者的手勢（gesture）描繪著古老寓言的智慧與秘密，他們試圖在當代的語境中拆解與重組這些傳統動作，舉手投足之間，蘊含著對於祖先與自然的敬畏與感知。

《島嶼恍惚》是關於召喚海靈、提醒遺忘，渴望重新連結人類與自然的作品。

編舞家的話

在創作的時候，我常常在想，我對海洋的恐懼，是從什麼時候開始的。

小時候，曾經有一隻在我眼前載浮載沈，陷海浪中的麻雀，在我害怕和猶豫是不是要救她的瞬間，轉眼被下一道浪帶走。對當時的我而言，海洋似乎從此成為一個面向死亡的地方，海岸則是可遠觀卻不可輕易越過的邊界。

長大後再回憶起那隻麻雀的消失，她是不是在告訴我肉身的有與無其實都一樣，看見與沒有看見，只是生命的循環與自然的運作？是我自己將死亡與恐懼牽起來，用海洋拉起一道防鎖線。

於是，在這個記憶與思考的翻攪之間，我開始關注在那些沒有被及時伸出援手，而葬身在大海中的無名氏們；他們是因為邊界的改變、身份的異動而被迫離開家園的人。

古老的文化往往蘊含著豐富的智慧，在地區生活的人們相應著自然，經年累月形成地方獨特的風俗和內涵；但當文化被特定人士用來作為認同的工具，就是另一件事情。在《島嶼恍惚》中，我試圖混雜東南亞的文化符碼來作為模糊邊界的一種手段，藉此讓空間產生裂縫，讓不同的時空維度得以穿越，同時召喚已然沈默的無名氏，將他們的記憶重新在大海中流動，展開在陽光空氣之中。

究竟是海洋在恍惚，還是島嶼在恍惚？

有嘗試過「蘇菲旋轉（Sufi whirling）」的人或許都有一個經驗，就是在旋轉的時候，一開始你知道是你的身體在旋轉，外面環境是不動的；但當身體的軸線與內在精神對齊的時候，突然間你會感受到你是不動的，是外面的環境在轉動，像在看快速切換鏡頭的電影。

在《島嶼恍惚》中，我們試圖切換大腦的界線，透過恍惚搖晃著邊界，藉此召喚精神體的現身，翻轉物質世界的掌控權，然而恍惚的其實是島，而海洋是清醒而穩定的。

最終，我也把在我心中糾結多年的麻雀解放，與大海重新和解。

舞團介紹

壞鞋子舞蹈劇場首演於2014年，現為國家文化藝術基金會「Taiwan Top演藝團隊年度獎助專案」連續六年獎助團隊（2019-2024年）。壞鞋子長期以「田野採集」作為主要的工作方法，深入臺灣民間儀式與自然山林，探索「巫／乩身／泛靈」的身體儀式與能量。

在累積十年的觀察與實踐當中，壞鞋子在儀式中所關注的身體逐步聚焦在「身體通道」的探索，並將其轉化為劇場的身體美學。從這個觀點為起始，我們在舞蹈身體的核心發展上，近年走向了擁有海島意識的亞洲田野路徑。

壞鞋子規劃於2025年初將創作基地南遷至臺灣雲林縣，持續田野採集與當代創作工作。

近年動向與發表作品：

2023–2024年印尼日惹藝術村（Griya Kasunaryan）駐村藝術家；2024年《尋山》VR FILM WIP高雄電影節XR DREAMLAND單元入選；2024年《吃土》雲林藝術宅急便：海線廟口巡演；2023年《嶼空對練》第十九屆台新藝術獎決選入圍；2022年《綺夢遊》臺北藝術節委託創作；2022年國家兩廳院×西班牙花市劇院（Mercat de les Flors）結盟場館計畫首屆駐村交換藝術家；2022年《渺生》西班牙曼雷莎地中海藝術季（Fira Mediterrania Manresa）歐洲首演；2021年HERMES愛馬仕「HERMÈS FIT」演出合作夥伴。

舞者介紹

劉俊德

現為壞鞋子舞蹈劇場之排練指導暨專職舞者，曾為2022 年兩廳院結盟場館計畫─西班牙花市劇院共同駐村藝術家。

劉俊德於2016年加入壞鞋子舞蹈劇場，參與壞鞋子多個舞蹈作品，包含《彩虹的盡頭》、《吃土》和《渺生》等。長期跨域舞蹈與即興古箏演奏，過去多次與不同的藝術家和舞團合作，擁有豐富的演出經驗；演奏方面，參與卡到音即興樂團期間出版專輯《四字成語》獲得第三屆金音創作獎最佳爵士專輯獎、最佳爵士單曲獎，並入圍最佳新人／團獎，《慢》獲得第二十五屆傳藝金曲獎最佳跨界音樂專輯獎。

劉昀

奧地利薩爾斯堡SEAD舞蹈實驗學院研究生（2018–2019年），現為壞鞋子舞蹈劇場專職舞者。

劉昀於2020年加入壞鞋子舞蹈劇場，參與壞鞋子多個舞蹈作品，包含《吃土》和《渺生》等。劉昀有豐富的國際經驗，包含2017–2019年為比利時終極現代舞團（Ultima Vez）的表演者、2018年獲得維也納國際舞蹈藝術節ImPulsTanz獎學金藝術家。曾與多位國際藝術家如西班牙German Jauregui、西班牙GN｜MC舞團、委內瑞拉David Zambrano、義大利Francesco Scavetta、比利時Lisi Estaras、西班牙Jose Agudo等藝術家進行共創與演出。

游育歆

劇場工作者，現為壞鞋子舞蹈劇場合作舞者，參與壞鞋子2024年《吃土》廟口巡演計劃。

樂手介紹

鍾繼儀

從事臺灣傳統音樂表演至今將近二十年，專長為客家戲曲、客家八音、亂彈戲曲、北管音樂演奏及相關研究。現任教於國立臺灣戲曲學院戲曲音樂學系、國立臺灣藝術大學中國音樂學系、國立臺北藝術大學傳統音樂學系，長期參與苗栗陳家班北管八音團、榮興客家採茶劇團、慶美園亂彈劇團演出。目前就讀國立臺灣師範大學音樂學系音樂學組博士班。

張幼欣

擊樂家張幼欣（Sayun Chang），畢業於國立臺北藝術大學音樂學系和美國哈特福大學哈特音樂院碩士班。熱衷於世界音樂、當代音樂與各類跨領域的製作和展演。近年的聲音設計包括：劉玗《假使敘述是一場洪水》（2021）、兒路創作藝術工寮《遊林驚夢：巧遇Hagay》（2022）、浪漫台三線藝術季《探橋》（2023）、新北市美術館「體育課」之《徑》（2024）。今年9月擔任「OneBeatTaiwan台灣一拍」的客席藝術總監。

團隊製作名單

編舞：林宜瑾

創作顧問：周伶芝

舞者：劉俊德、劉昀、游育歆

音樂創作暨現場演出：張幼欣、鍾繼儀

燈光暨空間設計：曾睿琁

音場設計：温承翰

服裝設計：蔡浩天

主視覺設計：貳步柒仔

舞臺監督：鄧湘庭

舞臺技術指導：葉岫穎

舞臺技術人員：蔡庭瑞、陳賢達、朱健鍺 、陳冠廷、許派銳 、蕭如君

燈光技術指導：鄭悠

燈光技術人員：何佩芹、劉柏漢、周俁辰、余婉臻、陳崇文

音響技術人員：李品慢

製作人：鄭伊婷、林志洋

執行製作：葉湘亞

團務經理：張晴雅

社群協力：張芸爾

特別感謝：巫培誠、林采妮、陳聖元、施鷺音、鄭尹真、Anastasia Melati、Indri Wae、Jenny March、Mas Ikbar、Mbak Putri、Mrs. Sri Indaryanti Pak Dodo、Gusti Sudarta、LAROS:Leek Cevin Pratama、Eka Ayu Ningtias

營運顧問：林君庭、Dennis Sung

田野陪伴：Sanggar Sekar Jati - Polowijen.R.A.Tejo Bagus Sunaryo

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Invisible Shore

Depart from shore, arrive on shore. The shore is the present, this moment. It is also the unknown ideal state, and possibly another place to be reached.

In human history, movement is the norm. We exist in the "in-between," between staying and setting off and between leaving shore and arriving on shore. Every time we move, boundaries are redrawn. Leaving, arriving…boundaries are torn down again. These overlapping trajectories with history, culture, environment, and other people outline the shape of our existence.

The theme of this year's Artquake in Autumn festival is "Invisible Shore," which describes all that is experienced, erased, broken, and mended on the journey from one shore to another, as well as tells the stories of those who have drifted, but not necessarily arrived. All we see and think changes us who embark on a journey. Moreover, new relationships are formed between us and ourselves and between us and the world.

About

Lingering

If the ocean had memories, what would it remember? Perhaps every drop of seawater holds a memory, capturing emotions and stories like crystals. In the piece

Lingering

, these memories, hidden deep within the ocean, are summoned, reconnecting us with forgotten stories and awakening long-lost histories. Through dance and music, we are brought face-to-face with these long-buried fragments once again.

It all began with a fieldwork trip to the Donggang King Boat Festival in 2021, where the Bad Shoes Dance Theatre observed a drum troupe from Zhenlong Temple, made up of Southeast Asian migrant workers. The workers played Beiguan instruments on a light truck, creating music similar to Gamelan. As their swaying bodies and the rhythmic sounds of the instruments passed by the temple, the trance-like state of the spirit mediums and the swaying of the migrant workers seemed to blend together. It became clear that we, along with the migrant workers, had formed one community -- living together on the same land, with our cultures, lives, and beliefs deeply interconnected and influencing one another.

Lingering

tells stories collected from the South China Sea, the Java Sea, and the Taiwan Strait. The performance takes us back in time to follow a boat filled with souls drifting at sea. These people were exiles, traveling under an endless starry sky. Their journey was unpredictable, with waves tossing the boat as their food and water ran out. With nothing left but the bile in their stomachs, they looked at the moonlit sea, hoping to reach land one day. But in the end, the sea took their lives. Their ashes, mixed with flowers and plants from their homeland, were scattered into the ocean, the scent carried by the wind. Their souls returned home but also drifted toward the places they dreamed of reaching. Their ashes sank into the sea, becoming part of the ocean and continuing the cycle of life.

The dance movements and live percussion music in

Lingering

are inspired by the natural elements of wind, fire, water, earth, and the sun, moon, and stars. The performers' gestures illustrate the wisdom and secrets of ancient stories. They attempt to deconstruct and reassemble these traditional movements within a contemporary context. Every gesture reflects a deep respect and awareness of ancestors and nature.

Lingering

explores the themes of summoning sea spirits, awakening forgotten memories, and the desire to reconnect humans with nature.

From the Choreographer

While working on this piece, I often thought about when my fear of the ocean began. When I was a child, I saw a sparrow struggling at the shore, floating and sinking. In the moment I hesitated, unsure whether to save it, a wave came and swept it away. To me, the ocean became a place associated with death, and the shore felt like a boundary that could only be observed from a distance, never easily crossed.

As I grew up and recalled that sparrow, I wondered if it was trying to tell me that having a body or not doesn't really matter -- that seeing or not seeing is just part of life's cycle and the natural order. Did I connect death with fear, using the ocean to draw a line of defense?

In reflecting on this memory, I began to think about those who were never rescued in time -- the nameless people who perished at sea, forced to leave their homes due to shifting borders and changing identities.

Ancient cultures often carry profound wisdom. Over time, people living in certain places develop unique customs and traditions in response to nature. However, when culture is used by some as a way to create identity, it transforms into something else. In

Lingering

, I attempt to blend Southeast Asian cultural symbols as a means to blur boundaries, creating spaces where different times and places can meet. At the same time, I call upon the forgotten and unnamed, reviving their memories, letting them flow in the sea and unfold in the sunlight and air.

Is it the ocean that is in a trance, or the island?

Anyone who has tried "Sufi whirling" may have experienced this: at first, you know it's your body spinning while the environment stays still. But once your body aligns with your inner spirit, there's a sudden shift, and it feels as though you're standing still while the world around you spins, like watching a film with rapidly changing scenes.

In

Lingering

, we try to blur the boundaries of the mind, shifting between clarity and trance to bring out the spiritual. Through this, we reverse the control of the material world. It is the island that truly wavers in a trance, while the ocean remains awake and steady.

In the end, I also release the sparrow that had been entangled in my heart for years, finding reconciliation with the sea once again.

Credits

Choreographer: Lin I-chin

Artistic Consultation: Chow Ling-chih

Dancer: Liu Chun-te, Liu Yun, Yu Yu-hsin

Music Designer & Performer: Sayun Chang, Chung Chi-yi

Lighting Designer: Tseng Jui-hsuan (Ray Tseng)

Sound Engineer: Wen Cheng-han

Costume Designer: Tsai Hao-tien (Eric Tsai)

Key Visual Designer: Lunbochilla

Stage Manager: Teng Hsiang-ting

Head of Stage: Yap Siew-yin

Head of Stage: Eric Tsai, Benson Chen, Jian Ze Cho, Ryan Chen, Khor Pai Rui, Hsiao Ru-jhun

Head of Lighting: You Tee

Lighting Crew: Ho Pei-chin, Liu Po-han, Chou Yu-chen, Yu Wan-chen, Chen Chung-wen

Sound Crew: Lee Pin-man

Producer: Jheng Yi-ting (Ella Jheng), Lin Chih-yang

Executive Producer: Yeh Hsiang-ya (Hsiang Yeh)

Administrative Manager: Gina Chang

Social Media Assistant: Ruby Chang

Special Thanks: Wu Pei-cheng, Ninik Wahyun, Awan Seng-goan Tan, Indra Tan, Cheng Yin-chen, Anastasia Melati, Indri Wae, Jenny March, Mas Ikbar, Mbak Putri, Mrs. Sri Indaryanti Pak Dodo, Gusti Sudarta, LAROS:Leek Cevin Pratama, Eka Ayu Ningtias

Operation Consultant: Tammy Lin, Dennis Sung

Field Research Partners: Sanggar Sekar Jati - Polowijen.R.A.Tejo Bagus Sunaryo

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《島嶼恍惚》

"Lingering"

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