檔案1
印尼艾可舞團《哭泣賈伊洛洛》《Balabala》
EkosDance Company - Cry Jailolo & Balabala
基本資料
2017-07-14
2017/07/14-2017/07/16
在東印尼各地，女子在社會中的地位經常受到父權結構的否定，同時隱瞞不談的是，家庭暴力是很普遍的事。當艾可．蘇部利陽托為觀光節與350位年輕人合作之後，他希望能夠為賈伊洛洛的女子創作一齣作品，讓她們的心聲有個空間可以抒發出來。《哭泣賈伊洛洛》的成功讓當地的民眾對他有更深的信託，也強化他們之間的關係，而得以進行這齣作品。 《Balabala》建立一個讓非常年輕的舞者可以召喚出他們自己的經歷、社會及動作語彙各種層次的空間。根據傳統上由男性演出的西哈馬黑拉島的戰舞卡開勒舞（Cakelel）及北摩鹿加群島（North Maluku）的索亞索亞舞（Soya Soya）創作，擔任演出的女性舞者以她們的肢體表現備戰的藝術。當她們如此做時，讓觀眾聯想起1960年代當卡開勒舞由托貝洛（Tobelo）的女性演出的那段時光，因而將兩個世代連接在一起，重建起女性在東印尼擁有的空間。艾可．蘇部利陽托在賈伊洛洛的工作為舞者、社區及現代舞蹈藝術的理念創造出轉變的途徑。
Throughout Eastern Indonesia, the role of women in society is often strained by patriarchal structures and, although rarely discussed, domestic violence is a pervasive issue. After initially working with 350 young people for the tourism festival, Eko then wished to work on a piece with the women of Jailolo and to create a space for their voices to be heard. The success of Cry Jailolo has deepened the trust and relations with the community, and made it possible to embark on this work. Balabala establishes a space for the five young dancers to re-configure the layers of their own history, society and movement vocabularies. Based on the Cakelel (a war dance from West Halmahera) and Soya Soya (from North Maluku), which are both conventionally performed by males, the girls take the art of war preparation onto their own bodies. In doing so they recall a period of time in the 1960s when the Cakelel was performed by the women of Tobelo, linking the generations and re-establishing the space women hold in Eastern Indonesia. Eko's work in Jailolo has created pathways for transformation, not only for the dancers themselves but also for the communities and the notion of contemporary dance practices.
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媒體類型：紙本
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