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舞蹈影像的跨領域本質賦予其關注各個領域的特性。本屆，我們邀來台北之好友平臺「舞映島」，共同策展《植然流動 Moving through Nature》專題舞蹈影像展，一起回顧近年關注的一些生態文化相關議題，包括但不限於環境、保育、生命變化、多元身份等，以展覧方式淺談舞蹈影像與自然生態及人類世代之呼應。
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The interdisciplinary nature of dance film allows it to address a wide range of topics. This year, we are collaborating with our partner platform Dancescreen Collective from Taipei to co-curate the special exhibition Moving through Nature. The exhibition revisits recent topics related to ecoculture, including but not limited to the environment, conservation, life transformations, and diverse identities. Through this exhibition, we explore the connections between dance film, natural ecosystems, and the Anthropocene.
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ROLLOUT 精選 ROLLOUT Selections
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Vision of the future or images from a parallel universe? In breathtaking natural sceneries, automated industrial landscapes and deserted ruins, a journey through time and living spaces unfolds. Strange LUVOS beings from Editta Braun's body illusion theatre conquer the screen to Thierry Zaboitzeff's powerful and sensitive music.
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Merging Hindu myth and human stories wrapped in a visceral soundscape, the film presents an intimate impression of the changing environment.
A Japanese Ama, the ocean waves of Ise-Shima coastlines and the peripheral appearance of the sea monster Makara made up the enigmatic protagonists of the film. Incessant ocean waves pounding against the mundane rustic existence by the coastlines edged a dance story of profane an profound to savour. |
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This journey of becoming and imagining unfolds as a personal ritual with each step taken in the wilds of Lapland, Finland. The traveller walks into the void, experiencing both profound solitude and a wealth of sensations. As they wander through the reindeer herding grounds, they nurture an intimate connection with the plants and the environment around them.
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Is a dance film created and produced by Meghann Michalsky.
Odeon features two performers who have been placed in an arena where they were left behind to begin again. They are dealing with a state of emergency - an end-of-world apocalypse. The landscape is bare, broken - only the performers and sand in sight. They are distraught, crumbling, and panicking about their survival on their quest for water. An allegory of longing for something so much that we lose sight of what is currently happening. When we arrive – the destination feels different from what we expected or dreamt of. The performers surrender the sins of humanity and prevail with an innate understanding of both past and present. However, is Odeon a spectacle that "will repeat again"? Odeon comments on survival, evolution, mutation, human extinction, environmental devastation, water crisis, capitalist mindset, apocalyptic warnings, grappling with our place in this collapsing world, and the spectacle of control. |
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Sininen (The Blue) is a fantasy fairytale about a bird-like figure in the embrace of the forest. The central character of the film has developed over the years, as Vappu has been searching for his powerful character through dance and movement. The film depicts gentle forces and magical skills, independence and the self-directed ability to create life, meaning and encounters around oneself. Each of us has something unique to offer going forward. The script was written together with the performers and the choreography was made by Vappu Virkkula.
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In an abandoned city, in the middle of a field left barren by the harvest, on a deserted railway track, travels an autumnal figure transformed by the places she inhabits. First, a playful sprite who wanders the frontier between asphalt and wasteland under a sparrowhawk’s gaze, she changes form as she enters a flat stretch of farmland, now a nomad.
Like migrating birds, the exile must make this journey to come back to the self. The meandering ends in the forest. Now a witch, this strange figure peacefully returns to the sand, the river, the plants and the roots. With a calm wildness, amidst the rustling of raven wings, she is absorbed into the earth, finding solace at last. |
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The body serves as a vessel that stores self-awareness.
This film initially develops through the sense of touch, picking up traces of various emotions left along the journey. It constantly moves, pauses, and intersects, driven by the power generated through shifting of balance, prompting a dialogue between the body and memory, re-experiencing the mutual influence of "internal" and "external," thus reflecting on one's own state of floating unease. As the final note of music fades away, the consciousness of constraints is awakened. After experiencing all of this, is it ultimately gaining the drive to move forward? Or is it discovering oneself endlessly trapped in a cycle like Sisyphus? |
舞映島 Dancescreen Collective Taiwan
Reflecting Weereewa -the Aura of Bodyscape and Land｜Taiwan｜Peng Hsiao-yin | 2018 | 12'50
導演／編舞 彭筱茵 攝影指導 陳逸書 剪接／調光 曾煥炘 行政統籌 Barbie Robinson、陳逸書、鍾儀 美術 彭宇弘 音樂設計 大恭 表演者 伊莉莎白・陶曼、Vivienne Rogis、Amanda Tutalo、Miranda Wheen( Mirramu 舞團) 陳怡靜、陳福榮、鍾儀（舞蹈生態系創意團隊） 本創作由國藝會補助 Director/ Choreographer: Peng Hsiao-yin Director of Photography: Chen Yi-shu Editor/ Colorist: Tseng Huan-shin Executive Director: Barbie Robinson, Chen Yi-shu, Chung Yi Music: Da Kung Art Director: Peng Yu-hung Performer: Elizabeth Cameron Dalman OAM, Vivienne Rogis、Amanda Tutalo、Miranda Wheen (Mirramu Dance Company) Chen Yi-ching, Chen Fu-rong, Chung Yi (Dancecology) |
此作為「Contours身體系譜計畫」系列作品，為舞蹈生態系創意團隊（台灣）、Mirramu舞團（澳洲）與Sue Healey共同的製作。以澳洲舞蹈先驅伊莉莎白・陶曼博士為核心表演者，及承續陶曼博士舞蹈自然思維的台澳舞者們，共同發展並展現各自精湛的演出。
「天人合一」，是Reflecting Weereewa中最核心的概念。置身五百萬年歷史的喬治湖（原住民名Weereewa），在其古老、多樣化的地景層次中，置身其中的人和舞蹈，面對遼闊的地景，如何感知自身的存在或融入其中？持續變動中的自然元素，如何驅使身體產生無所不在的動能？反之，人體渺小的尺寸與動量，如何抗衡整體巨大無邊的生命能量？ 透過不同世代、種族的舞者，以舞蹈的身體質感、人的年歲輪廓，構築與遼闊且多樣貌的地景呼應的「身景」，叩問身體／自然的時空更迭與傳承。 The core concept of Reflecting Weereewa is “the holism of human beings and universe”. The whole film was shot in Lake George (Weereewa), the 5th old lake in the earth for 5 million years old. In the ancient and vast wilderness, how can the human beings exist or integrate into nature? Confronting the changing environment, how can the dancers find the eternal kinetic energy? And in comparison with the great nature, how the tiny mankind can contend with the boundless power of life? Through different generation, races, and quality of dance, the director Peng revealed her eternal inquiries to human and nature, and embodied the grandiose land/ body-scape crossing time and space. |
Let the Tree Talk｜Taiwan｜Peng Hsiao-yin | 2023
導演／剪接 彭筱茵 攝影指導 陳逸書 音樂 大恭 表演者 伊莉莎白・陶曼、陳栩樂 Director and Editor : Peng Hsiao-yin Director of Photography: Chen Yi-shu Music: Da Kong Performers: Elizabeth Cameron Dalman, Chen Hsu-le |
生態舞蹈跨世代研究計畫《Let the Tree Talk》
此生態舞蹈跨世代研究計畫，由澳洲Mirramu藝術中心和舞蹈生態系合作，以不同的生態主題和不同族群、世代的舞者進行對話、實作和研究，透過共同研究創作，書寫和影像紀錄，以文字影音出版、多媒體展演、場域特定演出和舞蹈影像展映等呈現。 2023年4月開始第一階段，邀請陶曼博士（89歲）與小舞者陳栩樂（6歲），和中生代的彭筱茵（42歲），就同一主題進行第一階段－計畫啟動的討論和拍攝〈Sheoak木麻黃〉（澳洲原生種），並由陳逸書擔任攝影指導。 "Let the Tree Talk" is part of the Eco-dance Intergenerational Project collaborated by Dancecology and Mirramu Creative Arts Centre. In this project, dancers from different generation and culture will gather to develop creative process under different ecological topics, and present in dance films, live performances and texts. In April, 2023, Dr. Elizabeth (89), Chen Hsu-le(6) and Peng Hsiao-yin (42) initiated the first stage of the dialogue with special Sheoak tree in Mirramu, Australia, and filmed by Chen Yi-shu. |
Planting the Cycle of Pure｜Taiwan｜Peng Hsiao-yin | 2020 | 7'42
導演／編舞：彭筱茵 舞者： 陳怡靜、陳福榮、陳栩樂 攝影：呂威聯、陳逸書、曾煥炘、黎宇文、丘智華 副導演／剪接／調光： 曾煥炘 美術：彭宇弘 音樂 ：吳志寧、大恭 Director/ Choreographer: Peng Hsiao-yin Dancer: Chen Yi-ching, Chen Fu-rong, Chen Hsu-le Cinematographer: Willaim Lü, Chen Yi-shu, Tseng Huan-shin (Sigo), Maurice Lai, Chiu Chih-hua Assistant Director/ Editor/ Colorist : Tseng Huan-shin (Sigo) Art Director: Peng Yu-hung (Chief) Music : Zulin Wu, Da Gong |
給花 給草 給田 給樹 給路 給人
本作於彰化溪洲－詩人吳晟的台灣原生樹林「純園」拍攝。回應其數十年來「種」樹的動作，以及人與林間萬物對應的流轉，在種下的之前和之後、當下與未來，開啟了一個純粹的循環時間。 三位表演者象徵著日光、沃土和種子的交互作用，以及男性、女性和孩子的交會道路。 To flower, to grass, to field, to tree, to road and to human Planting the Cycle of Pure was shot at Pure Dream Garden, Xichou, Changhua, the private forest of poet Wu Sheng. Inspired by Wu’s action: planting trees for over 30 years, the director Peng Hsiao-yin created the pure cycle of time between present and future, before and after the “planting”. The three performers symbolized the interactions of sunlight, fertile soil and the seed, and the rendezvous road of male, female and child. |
Mirror Image | Taiwan｜Tseng Huan-shin, Elizabeth Cameron Dalman, Peng Hsiao-Yin | 2015 | 13'17
導演／剪接 曾煥炘 攝影指導 陳逸書 第二攝影師 彭宇弘 編舞 伊莉莎白・陶曼、彭筱茵 音樂 大恭（原曲：Dead Lake） 鐘聲 “yuraki” by Toshi Tsuchitori. 表演者 伊莉莎白・陶曼、陳怡靜、陳福榮、彭筱茵 標題題字 王瑞儀 Director and Editor : Tseng Huan-shin Director of Photography: Chen Yi-shu Second Camera: Peng Yu-hung Choreography: Elizabeth Cameron Dalman, Peng Hsiao-Yin Music: Da Kong (Original soundtrack “Deaf Lake”) Bell sounds from “yuraki” by Toshi Tsuchitori. Performers: Elizabeth Cameron Dalman, Peng Hsiao-Yin, Chen Fu-Rong, Chen Yi-Ching |
鏡：來自宇宙中的光與影，境：活在土地上的身與心，在雲、天、海、石之中，不斷上演扎根、繁衍、消化與新生的循環鏈。鏡反射著時間的亙古恆久，境又上演著生生滅滅，永不止息。 本片是挑戰重新編寫舞蹈劇場作品而成，將舞台帶出室外，取景於有拍攝難度的老梅石槽、卓蘭大峽谷及南方澳。
Mirror: light and shadow from beyond the universe, Image: life on earth with body and soul. There are clouds, sky, sea and stones. There are cycle of rooting, reproduction, digestion and new born. Mirror reflects the eternity of time and formation of Image is followed by the reincarnation of life and never stops. This film rewrites the theatric dance work as a challenge and shot on Taiwan ‘s famous outdoor locations: LaoMei Green Reef, Zhuolan Grand Canyon and sea shore of Nanfangao. |
台灣第一個以結合自然生態主題、環境議題和表演藝術為核心的跨領域創作團隊。以跨越物種／領域／族群的「共生」為核心理念，集結舞蹈、影像、裝置等藝術。作品呈現形式多元如劇場、特定空間或環境劇場、舞蹈電影(dance film)等。長於跨域合作（劇場、生態、教育、科學、人文)，表現自然與人文關懷的議題，致力於藝術與生活的共融。
舞映島－台灣舞影聚落
2020年，由一群台灣舞蹈影像工作者創立，以平台的形式推出計畫、製作、課程、放映、講座等舞蹈影像（Dance Film）相關活動，旨在串連並推動舞蹈影像在台灣的多元發展。
主要計畫：
舞蹈影像環島計畫（青年工作坊＋導師駐地創作）、主題工作坊與論壇、舞影小聚推廣放映講座等。
舞映島－台灣舞影聚落
2020年，由一群台灣舞蹈影像工作者創立，以平台的形式推出計畫、製作、課程、放映、講座等舞蹈影像（Dance Film）相關活動，旨在串連並推動舞蹈影像在台灣的多元發展。
主要計畫：
舞蹈影像環島計畫（青年工作坊＋導師駐地創作）、主題工作坊與論壇、舞影小聚推廣放映講座等。
Dancecology = Dance + Ecology
Taiwan's first interdisciplinary creative team combining natural ecology, environmental issues, and performing arts. With the core concept of "symbiosis" that transcends species, fields, and communities, Dancecology integrates dance, video, installation, and other art forms. Their works are presented in various formats such as theater, site-specific or environmental theater, and dance films. The team excels in cross-disciplinary collaboration (theater, ecology, education, science, humanities), addressing issues of nature and humanistic care, and striving for the integration of art and life.
There are two main series of their projects including “Dance in Nature” and “Plastic Project”. They’ve been touring internationally with performances and film screenings in Taiwan, Australia, Italy, Portugal, Malaysia, Nepal, Norway, USA, China, Netherlands and Mexico.
Dancescreen Collective Taiwan
In 2020, a group of Taiwanese dance-film professionals established a platform to launch projects, productions, courses, screenings and lectures related to dance film. The aim is to connect and promote the diverse development of dance film in Taiwan.
Taiwan's first interdisciplinary creative team combining natural ecology, environmental issues, and performing arts. With the core concept of "symbiosis" that transcends species, fields, and communities, Dancecology integrates dance, video, installation, and other art forms. Their works are presented in various formats such as theater, site-specific or environmental theater, and dance films. The team excels in cross-disciplinary collaboration (theater, ecology, education, science, humanities), addressing issues of nature and humanistic care, and striving for the integration of art and life.
There are two main series of their projects including “Dance in Nature” and “Plastic Project”. They’ve been touring internationally with performances and film screenings in Taiwan, Australia, Italy, Portugal, Malaysia, Nepal, Norway, USA, China, Netherlands and Mexico.
Dancescreen Collective Taiwan
In 2020, a group of Taiwanese dance-film professionals established a platform to launch projects, productions, courses, screenings and lectures related to dance film. The aim is to connect and promote the diverse development of dance film in Taiwan.
彭筱茵
舞蹈生態系創意團隊藝術總監、舞映島－台灣舞影聚落創辦人。國立台北藝術大學舞蹈創作所碩士、國立臺灣大學農藝系。曾任新古典舞團舞者。以「為自然發身，與自然共舞」理念，從事舞蹈影像和環境劇場創作和教學。近年積極推動舞蹈影像工作坊，包含與北藝中心、澳洲Circling the Brink合作，及發起「舞映島－舞蹈影像環島計畫」，以駐地創作和工作坊形式進駐台灣多處。曾獲2017跳格國際舞蹈影像節競賽首獎、2013台新藝術獎「樹梅坑溪環境藝術行動」。
Peng Hsiao-yin
Peng Hsiao-yin is the Artistic Director of Dancecology, founder of Dancescreen Collective Taiwan. She is a choreographer, dance-film director, and dance teacher. Peng received a B.A. in Agronomy and M.F.A. in Choreography.
Her practices focus on the connection between nature’s ecosystem and dancers’ movements. She enjoys developing interdisciplinary and intergenerational works, teaching and dancing with different people. She won the 2017 1-min dance-film competition of Jumping Frames International Dance Video Festival. In 2020 till now, she curated “Island Dance Film Project” including professional workshops and resident film productions around Taiwan.
舞蹈生態系創意團隊藝術總監、舞映島－台灣舞影聚落創辦人。國立台北藝術大學舞蹈創作所碩士、國立臺灣大學農藝系。曾任新古典舞團舞者。以「為自然發身，與自然共舞」理念，從事舞蹈影像和環境劇場創作和教學。近年積極推動舞蹈影像工作坊，包含與北藝中心、澳洲Circling the Brink合作，及發起「舞映島－舞蹈影像環島計畫」，以駐地創作和工作坊形式進駐台灣多處。曾獲2017跳格國際舞蹈影像節競賽首獎、2013台新藝術獎「樹梅坑溪環境藝術行動」。
Peng Hsiao-yin
Peng Hsiao-yin is the Artistic Director of Dancecology, founder of Dancescreen Collective Taiwan. She is a choreographer, dance-film director, and dance teacher. Peng received a B.A. in Agronomy and M.F.A. in Choreography.
Her practices focus on the connection between nature’s ecosystem and dancers’ movements. She enjoys developing interdisciplinary and intergenerational works, teaching and dancing with different people. She won the 2017 1-min dance-film competition of Jumping Frames International Dance Video Festival. In 2020 till now, she curated “Island Dance Film Project” including professional workshops and resident film productions around Taiwan.