第二個巴別塔:舞踏城寨

日本「暗黑」舞踏 與 香港 「黑暗之城」九龍城寨的 首次交鋒
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第二個巴別塔:舞踏城寨,由一群日本藝術家與香港舞者/

音樂家共同創作,亞洲民眾戲劇節協會、第三屆舞踏節、妄人文明(Wangnin Bunmei)聯合呈獻,即將於2014年9月5日至21日帶來多場兩地藝術家共創的舞踏演出,並由日本藝術家石本華江 Kae Ishimoto、善哉和也 Kazuya Zenzai 和栩秋太洋 Taiyo Tochiaki分別引領別具風格的兩場工作坊、以及推出九龍城寨+舞踏紀錄片同場放映及討論會,共同構成一場十七日的舞踏藝術節!

暗黑舞踏起源自二次世界大戰後的日本社會。當時日本新生代不滿日本傳統舞蹈和西方主流現當代舞蹈拘泥於華美、風格化,而無法深刻表現戰後生靈塗炭的社會現實和人性之殤,於是他們創造出「舞踏 Butoh」這種叛逆的舞蹈,完全脫離當時已有舞蹈形式而自成體系的舞蹈,更是一種探討人性黑暗面的舞蹈哲學。

九龍城寨有時亦被稱為黑暗之城,不止被認為是一個沒有什麼道德可言的地方,其天羅地網式的建築更令其內化成一個暗黑的迷宮。而這近百年的” 三不管”城寨其實自有其一套秩序,個中狂野、反叛及有機性往往讓本地及海外朋友們神為之往,日本亦有許多關於九龍城寨的研究。

二戰後的九龍城寨,可以說自成一座巴別塔。來自中國各地的難民時常將城寨作為首要停留港,並將自己的夢想付諸於城寨的建築上。亦如巴別塔,我們這次創作可說是大膽嘗試一種不可能:試圖穿越時間與文化的鴻溝去觸碰已遺失泯滅之所在。舞踏的美學可以產生一種強有力的表演,來勾勒那座曾經活躍一時而最終走向末路與轉變的九龍城寨,來重新觀視九龍城寨的留存與遺失、秩序與昇華!

我們最感興趣的是:為何九龍城寨擁有如此吸引力? 在更「文明」且清潔衛生的香港或東京,某種城寨的精神是否已經遺失?回歸自己的歷史和神話,我們可以學習到什麼?我們期望可以喚起公眾對過去歷史的關注和對話,創作舞蹈作品來超越歷史重述中的九龍城寨,亦注入我們自身對於自主生存和統轄治理的自我意願和勇氣。

亞洲民眾戲劇節協會及香港舞踏節曾多次引薦日本前沿的舞踏藝術家

來香港舉辦工作坊、與香港藝術家交流演出等,持續推動舞踏這一獨特的舞蹈形式在香港的發展。此次特別邀請日本第三代舞踏藝術家團體「妄人文明」來港創作,曾被「The Nation」評為「最荒誕古怪卻又最令人稱道的劇團之一」。「妄人」原意為癡迷妄想的傻瓜,而加上「文明」這另一端的概念,從主流社會的邊緣視角甚至反面論調來透視日常生活與人類存在的核心,而這種反思在妄人文明的創作中亦不乏詼諧輕鬆的元素,結合舞蹈、音樂、即興創作甚至類似馬戲的娛樂元素。此次與香港本地藝術家梁偉傑、梁嘉能、周可凡等共同創作,值得期待。

Andy: You were safe, but you could also be dead before you knew it

OLYMPUS DIGITAL CAMERAI’m starting to type of bits of the transcript with Andy. (梵谷), whom we interviewed on June 15th. Andy was born and lived in the 城寨 until the age of 6.

[36:43]

Kae: So it means, my understanding is a bit wrong. I thought these people stay all day long here. But people go out do something…

Andy: My parents, they actually work outside. In the morning they just go out to do their job, and in the evening, dinner. Not much about entertainment. Normal family life.

[38:00 How Andy’s family left Kowloon Walled City]

Andy: And… another example I tell you how my family leave this place. At that time we were applying to live in public housing. How to apply? In those days, you applied to 寮仔部 – we didn’t have the Housing Authority back then…

David: 寮仔部 was in charge of demolishing-

Andy: Yes. Demolishing.  And so when we applied, we said: We live in wooden houses. These are self-constructed wooden houses, not proper ones. And 寮仔部 came over to check. Because these places were illegal – of course they were illegal! All these [shanty town] houses were built without government permission. Our landlord was from Chiu-Chou. In those days many of the people living there were from Chiu-Chou. The most influential group then was from Chiu Cho. We called them “Hok-lo” So our Chiu-Chou landlord said: “You dared to call the government to check on me.” And he said very loud voice “As soon as…” and he took out a knife and stood – because back then to enter you had to pass through certain routes and he said, “Any men [from your family] I see I will chop them.” And so the women were terrified.  They went to the entrance of the village (the so called entrance) where the men came home – where the dads came home – because we were four families living there — to stop them when they came home – and overnight found another place and moved out the next day. And that’s how we left the place.

And so people inside could at anytime… you know what  I mean? I said before it was safe but these things can be very not safe! And this kind of danger is, you could die in a blink of an eye. It was like that. That was that state things were in.

Grad: And you left just like that.

Andy: Yes, the next day we were out of there. Moved to To Kwa Wan, near On & On is.

39:00

[Kae asked about symbols and any childhood memories of Andy]

Andy: The green window frame [that indicated a brothel] – I found that out much later when I did some research on the Walled City. As children we never really touched these kinds of things or were aware of them. Many the adults knew but if they didn’t come into contact with those, then they wouldn’t tell you either. I can only say – for example, I lived here, and there were drug addicts on the stairwell. If I needed to go downstairs… I could see them, and I would kick them and they would shrink back. That was their reaction — they wouldn’t get mad because that was how things were. That was the way of things. There was a sort of order to things. You come to my place and get in my way, of course I’m going to kick you. Because they were in my way, it was reasonable to kick them. It like there was a sort of understanding (默契).

In there, I think, there were many kinds of these understanding. No one would tell you – you wouldn’t do anything too extreme – because if you cross a line by mistake, you could die before you knew it. Everyone was careful of each other. So inside slowly… yeah.

41:00

And secondly, with the 黃賭毒 they had their own rules and people to enforce them. If we didn’t touch these things, we wouldn’t be affected by them. Unless you wanted to establish your influence there. But for the normal people who knew about this place but were just living there, you wouldn’t be involved with the power struggles there because you weren’t planning to be there for the long term. And for some people, maybe it was because they couldn’t leave, that’s why they ended up setting up some kind of power base there. For example, if they started – without too much intention – dabbling in 黃賭毒 and managed to make some money. But honestly, you made some money, you [then had the means to] move away and make money elsewhere legally. Because the kingdom of crime was here, once you left you could be a normal person again. Conversely, if you were a criminal and you went in there to hide, you wouldn’t mess around too much because people could chase you out. If they threw you out and then made a phone call “he’s come out on the street” and you would be done for. So if you didn’t touch those things basically you were pretty safe.