本屆TJIMUR藝術生活節邀請來自印度、印尼與泰國的四位亞洲女性藝術家進駐地磨兒部落，除了在藝術生活節的尾聲將有藝術家們的駐村成果展演，駐村藝術家也將在蒂摩爾劇場與蒂摩爾古薪舞集進行Triple-bill/ Double-bill的作品演出，每場演出結束後將有藝術家的交流分享。
For this year’s Tjimur Arts Festival, we’ve invited four female dancers from India, Indonesia, and Thailand to work as resident artists in Timur. In addition to putting on a performance at the end of the festival, they will each put on another show of their own with the troupe at the troupe’s performance venue. Each show will be followed by a 30-minute discussion of the piece.
For this year’s Tjimur Arts Festival, we’ve invited four female dancers from India, Indonesia, and Thailand to work as resident artists in Timur. In addition to putting on a performance at the end of the festival, they will each put on another show of their own with the troupe at the troupe’s performance venue. Each show will be followed by a 30-minute discussion of the piece.
國際演出-1：蒂摩爾古薪舞集X駐村藝術家
International Performance-1 :
Tjimur Dance Theatre & Artists in Residence
時間 Time：2023.8.16（三／WED）16:00-17:30
地點 Location：蒂摩爾劇場 Studio of Tjimur Dance Theatre
節目內容 Program：
* 本活動全程90分鐘，包含60分鐘演出，30分鐘演後分享。
* Duration: 90 minutes, including 60 minutes performance and 30 minutes post-talk.
* Duration: 90 minutes, including 60 minutes performance and 30 minutes post-talk.
蒂摩爾古薪舞集《kemeljan．知！所以？》(臺灣) 選粹 1
臺灣首支以國際、義大利、臺灣手語發展之「有聲靜默當代舞蹈作品」。
Kemeljang 排灣族語譯為了解；懂得；知道之意。
是一齣挖掘不同於自己的深層心事，透過排灣族歌謠聲線震動，導引出不同語彙的分享。
巴魯說：舞蹈有時候是抽象的，身體是符號或是暗示，可是「手語」不行。手語是溝通，它是無聲世界的精準語言。我在這兩者之間尋找平衡。這個作品在一般觀眾的眼裡是舞蹈，但在聽障人士的眼裡是充滿可以解讀訊息的另一種詮釋。
《kemeljang・知！所以？》是擴展到不同族群內在想要說的話。 透過一支舞作，邀請觀眾走進這個安靜的世界。
知道了，所以呢？你真的知道嗎？你知道了什麼？
團長暨藝術總監｜路之．瑪迪霖
舞蹈總監編舞家｜巴魯．瑪迪霖
排練指導暨演出者｜楊淨皓、舞祖．達卜拉旮茲
演出者｜江聖祥、康書瑄、王秋茹
特別感謝 國際暨義大利手語指導／藝術顧問｜Riccardo Olivier、Cesare Benedetti、Nikita Lymar (Supported by Crossing the Sea)
臺灣手語指導／藝術顧問｜蘇麗華、連浩軍、吳雅麗、洪筱涵
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Tjimur Dance Theatre kemeljang ‧ so ? Highlight 1 (TW)
"kemeljang．so?" is the sign-language version of "Varhung~Heart to Heart". Kemeljang is a Paiwan word, meaning to understand, to know, or to comprehend. This piece digs deeper into the things that weigh on our minds! Everyone has something weighing on his mind. However, while we are able to talk about or vaguely gloss over things on our minds, there is a group of people who can't choose the way of expression. Due to some congenital or external reason, sounds are strange to them. When they feel some psychological pain and want to pour it out, they communicate through fingers and facial expressions. Yet, if we don't know anything about sign language, how can we understand their pain?
Founder and Artistic Director｜Ljuzem MADILJIN
Dance Director and Choreographer｜Baru MADILJIN
Rehearsal Directors and Performers｜YANG Ching-hao, Ljaucu TAPURAKAC
Performers｜CHIANG Sheng-hsiang、KANG Shu-hsuan、WANG Chiu-ju
Special Thanks To International And Italy Sign Language／Art Advisor｜Riccardo Olivier、Cesare Benedetti、Nikita Lymar (Supported by Crossing the Sea)
Taiwan Sign Language／Art Advisor｜SU Li-hua、LIAN Hao-jyun、WU Ya-li、HONG Siao-han
臺灣首支以國際、義大利、臺灣手語發展之「有聲靜默當代舞蹈作品」。
Kemeljang 排灣族語譯為了解；懂得；知道之意。
是一齣挖掘不同於自己的深層心事，透過排灣族歌謠聲線震動，導引出不同語彙的分享。
巴魯說：舞蹈有時候是抽象的，身體是符號或是暗示，可是「手語」不行。手語是溝通，它是無聲世界的精準語言。我在這兩者之間尋找平衡。這個作品在一般觀眾的眼裡是舞蹈，但在聽障人士的眼裡是充滿可以解讀訊息的另一種詮釋。
《kemeljang・知！所以？》是擴展到不同族群內在想要說的話。 透過一支舞作，邀請觀眾走進這個安靜的世界。
知道了，所以呢？你真的知道嗎？你知道了什麼？
團長暨藝術總監｜路之．瑪迪霖
舞蹈總監編舞家｜巴魯．瑪迪霖
排練指導暨演出者｜楊淨皓、舞祖．達卜拉旮茲
演出者｜江聖祥、康書瑄、王秋茹
特別感謝 國際暨義大利手語指導／藝術顧問｜Riccardo Olivier、Cesare Benedetti、Nikita Lymar (Supported by Crossing the Sea)
臺灣手語指導／藝術顧問｜蘇麗華、連浩軍、吳雅麗、洪筱涵
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Tjimur Dance Theatre kemeljang ‧ so ? Highlight 1 (TW)
"kemeljang．so?" is the sign-language version of "Varhung~Heart to Heart". Kemeljang is a Paiwan word, meaning to understand, to know, or to comprehend. This piece digs deeper into the things that weigh on our minds! Everyone has something weighing on his mind. However, while we are able to talk about or vaguely gloss over things on our minds, there is a group of people who can't choose the way of expression. Due to some congenital or external reason, sounds are strange to them. When they feel some psychological pain and want to pour it out, they communicate through fingers and facial expressions. Yet, if we don't know anything about sign language, how can we understand their pain?
Founder and Artistic Director｜Ljuzem MADILJIN
Dance Director and Choreographer｜Baru MADILJIN
Rehearsal Directors and Performers｜YANG Ching-hao, Ljaucu TAPURAKAC
Performers｜CHIANG Sheng-hsiang、KANG Shu-hsuan、WANG Chiu-ju
Special Thanks To International And Italy Sign Language／Art Advisor｜Riccardo Olivier、Cesare Benedetti、Nikita Lymar (Supported by Crossing the Sea)
Taiwan Sign Language／Art Advisor｜SU Li-hua、LIAN Hao-jyun、WU Ya-li、HONG Siao-han
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Ayu Permata SARI 《負擔？》(印尼)
Ayu 在外漂泊 10 年後回到北楠榜省，是催生這部作品的出發點，身為楠榜省王座部落社會出生成長的女性，父母親族均對她寄予厚望，尤其是在婚姻方面。楠榜省人的婚姻習俗，明確反映了女性與男性在社會結構裡的不同地位，根據族人的婚姻觀念，嫁娶是由二元對立的概念構成，例如「Piil」(驕傲) 和「Liyom」(害羞)，「Cangget」(女性的 begawi 傳統婚禮) 和「Igol」(男性的 begawi 傳統婚禮) 等。根據 Ayu 的觀察，這樣的二元對立，合乎多數人期許的社會穩定功能，同時也從這種既定結構裡，實際發現了各種負面刻板印象以及違反平權的問題。拉開距離，冷靜觀察這種社會結構，賦予了 Ayu 主觀的內省空間。然而，在她更近距離觀察而產生更多共鳴後，她在勾勒自身處境與決定之際，顯露了更具策略性的意識。她決定既不徹底反抗，也拒絕艱辛地忍受屈從，而是選擇優先遵從自己的意識。因此，Ayu 的作品「負擔？」透過研究 Sigeh Punguten 舞蹈，觀察楠榜省王座部落的社會結構，以及自己的家庭背景，來捕捉其內省的想法與意識。
編舞家與舞者：Ayu Permata SARI
舞蹈構作：Nia AGUSTINA
製作人：Sekar HANDAYANI
感謝：Zurcher Theater Spektakel 聯合製作並負責 Karakoa 專案
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Ayu Permata SARI Load？(ID)
Ayu’s going back to North Lampung after 10 years wandering is the starting point of this work. As a woman who was born and growing up within Lampung Pepadun society, there are many expectations put on her, especially related to marriage issues. Marriage for Lampung’s people is a clear reflection to represent how woman and man are put within social construction. In their marriage mythology, it is structured by some binary opposition for instance “Piil” (pride) and “Liyom” (shy), “Cangget” (traditional wedding of begawi for woman) and “Igol” (traditional wedding of begawi for man), etc. Based on Ayu’s observation, these binaries opposition are expected to keep stability of society. Meanwhile, practically there are found various stigma and inequality from this established structure. Making a distance with this social construction can make Ayu has a space to reflect herself subjectively. However, when she came closer to become more empathy, it emerges her consciousness to be more strategic in mapping her position and decision. She decided neither to be radically rebelling, nor enduring so hard, but she chooses to prioritize her consciousness. Thus, “Load?” will catch the reflection and Ayu’s consciousness through the exploration of Sigeh Punguten dance, observation of Lampung Pepadun social construction, and her family background.
Choreographer and dancer : Ayu Permata Sari
Dramaturg : Nia Agustina
Producer : Sekar Handayani
Thanks for : Zurcher Theater Spektakel as Co-Production and Karakoa Project
Ayu 在外漂泊 10 年後回到北楠榜省，是催生這部作品的出發點，身為楠榜省王座部落社會出生成長的女性，父母親族均對她寄予厚望，尤其是在婚姻方面。楠榜省人的婚姻習俗，明確反映了女性與男性在社會結構裡的不同地位，根據族人的婚姻觀念，嫁娶是由二元對立的概念構成，例如「Piil」(驕傲) 和「Liyom」(害羞)，「Cangget」(女性的 begawi 傳統婚禮) 和「Igol」(男性的 begawi 傳統婚禮) 等。根據 Ayu 的觀察，這樣的二元對立，合乎多數人期許的社會穩定功能，同時也從這種既定結構裡，實際發現了各種負面刻板印象以及違反平權的問題。拉開距離，冷靜觀察這種社會結構，賦予了 Ayu 主觀的內省空間。然而，在她更近距離觀察而產生更多共鳴後，她在勾勒自身處境與決定之際，顯露了更具策略性的意識。她決定既不徹底反抗，也拒絕艱辛地忍受屈從，而是選擇優先遵從自己的意識。因此，Ayu 的作品「負擔？」透過研究 Sigeh Punguten 舞蹈，觀察楠榜省王座部落的社會結構，以及自己的家庭背景，來捕捉其內省的想法與意識。
編舞家與舞者：Ayu Permata SARI
舞蹈構作：Nia AGUSTINA
製作人：Sekar HANDAYANI
感謝：Zurcher Theater Spektakel 聯合製作並負責 Karakoa 專案
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Ayu Permata SARI Load？(ID)
Ayu’s going back to North Lampung after 10 years wandering is the starting point of this work. As a woman who was born and growing up within Lampung Pepadun society, there are many expectations put on her, especially related to marriage issues. Marriage for Lampung’s people is a clear reflection to represent how woman and man are put within social construction. In their marriage mythology, it is structured by some binary opposition for instance “Piil” (pride) and “Liyom” (shy), “Cangget” (traditional wedding of begawi for woman) and “Igol” (traditional wedding of begawi for man), etc. Based on Ayu’s observation, these binaries opposition are expected to keep stability of society. Meanwhile, practically there are found various stigma and inequality from this established structure. Making a distance with this social construction can make Ayu has a space to reflect herself subjectively. However, when she came closer to become more empathy, it emerges her consciousness to be more strategic in mapping her position and decision. She decided neither to be radically rebelling, nor enduring so hard, but she chooses to prioritize her consciousness. Thus, “Load?” will catch the reflection and Ayu’s consciousness through the exploration of Sigeh Punguten dance, observation of Lampung Pepadun social construction, and her family background.
Choreographer and dancer : Ayu Permata Sari
Dramaturg : Nia Agustina
Producer : Sekar Handayani
Thanks for : Zurcher Theater Spektakel as Co-Production and Karakoa Project
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Namrata MEHTA《Krishnamayi……永恆的對話》(印度)
自遠古以來，克里希納神（Lord Krishna）和拉達（Radha）就與印度神話、文學、民間傳說和藝術密不可分。
Krishnamayi是編舞者想像克里希納神和拉達在天堂再度相遇時對話的情景。
拉達在天上，而克里希納神仍以人類的形體在地上。她仍然記得她所深愛的克里希納神，他愛戀著身穿藍天、戴上孔雀羽毛和耳環的她，以及她額頭上朱紅的吉祥痣，這身打扮也和克里希納神的穿戴一模一樣。她手持牧笛，當她憶起與愛人相聚的時光，霎那間她感到一陣痛楚，獵人賈拉從人間射向她所帶來的痛苦。
他們很快就相會了，克里希納神親眼見到了拉達蓮花般的臉蛋，種種情感湧上心頭。克里希納神說：「噢！拉達，我沒有一天不惦記著妳！我沒有一天不在流淚，沒有一天不在期待我們永生重逢的那⼀天。拉達，妳也和我⼀樣嗎？」
拉達熱切的回應著：「與我重逢？我沒有一天因為失去了你而感到哀傷，因為在我的心底，我們從未分開！在我噗通噗通的心跳裡，在我閃耀著光芒的眼神裡，我⼀直惦念著你。為了不失去眼中愛戀著你的光芒，我從未想過留下任何一滴眼淚。」
拉達催促著克里希納神吹奏他手中的牧笛，樂聲悅耳悠揚，周圍的動物們聞聲而至，可是牠們分不清誰是真正的克里希納神，因為這對愛侶的外貌如出一徹，不過動物們打從心底明瞭眼中看見克里希納神的才是美麗的拉達。
印度詩人蘇爾達斯(Surdas)為此寫下一首優美的詩歌，提到：
克里希納神看著鏡中的自己，問拉達：「我們倆人，誰長的美麗呢？」拉達回答：「難道你看不出來嗎？我的面容宛如滿月，而你的面貌如同黑夜
（兩人相得益彰，沒有漆黑的夜空就沒有皎潔的明月，少了明月的夜空是如此的空白！）」
拉達繼續說：「你的雙瞳在煙燻眼妝的襯托下更顯深邃；而我的眼睛之所以迷人，是因為我的眼中有你。更何況，你只要靠你的小拇指就能舉起一座山，而我卻把你牢牢的烙印在我心底！」
本詩篇最後以拉達和克里希納神合而為一的舞蹈作結，這個結局對於虔誠的信徒來說，是相當殊勝的。
音樂｜Manoj Desai & Vijay Tambe
韻律｜G Ramprasad
概念、編舞與演出｜Namrata Mehta
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Namrata MEHTA KRISHNAMAYI… The eternal dialogue (IN)
Radha and lord Krishna have been a part of Indian poetry, drama and folklore since time immemorial.
Krishnamayi is a choreographic imagination of the conversation between Radha and Krishna when they meet in heaven.
Radha is in the heavens and Krishna is still in his human physical form on the earth. She is remembering her beloved Krishna and adores herself as him she wraps herself with blue sky wears the peacock feather, earrings and red mark on her forehead just the way he wears it and takes the flute and as she is in reminiscing her times with her beloved she suddenly feels the pain from the arrow that has shot by hunter Jara on the earth and pines for Krishna.
Very soon they meet each other, Krishna is overwhelmed with various emotions as he witnessed the lotus face of Radha,
Krishna says "Oh radha! not a day has gone by when I haven’t thought of you. Not a day has gone by when I haven’t remembered our days in joyful union and shed a tear; when I haven’t looked forward to our eternal reunion. Did that happen to you Radha"?
Radha replies: with me? not a day has gone by when I have mourned the loss of your presence, as in my mind we were never separated. I have always held you, in the beating of my heart and in the twinkle of my eyes, and have never thought to shed a tear, lest I lose the twinkle in which you reside.
She urges him to play his flute and the melody is so messmerising that even the animals get drawn towards them but wait a minute they are confused as to who is the real Krishna? as both Radha and Krishna are in same physical forms but they know it's Radha the beautiful one who has krishna in her eyes.
There is traditional conversation song, beautifully penned by sant poet surdas of India.
Which says:
Krishna looking at a mirror in his hand, asks Radha, ‘between the two of us, whose face is beautiful?’ Radha, replies, ‘Don’t you see the obvious?! My face is like the full moon and yours is like the dark night (both complement each other as the moon cannot be seen without the night sky and the night sky is so vacant without the moon!).’
Radha continues, ‘Your eyes are beautifully defined by black Kajal, while my eyes are pretty because your image reflects in my eyes. Also, you only lifted the mountain on your little fingernail, but I carry you, the lifter of mountain in my heart!
The piece ends with a dance of union between Radha and Krishna when they become one, and this imagery is divine for the devotee.
Music｜Manoj Desai & Vijay Tambe
Rhythm｜G Ramprasad
Concept, Dance and Choreography｜Namrata Mehta
自遠古以來，克里希納神（Lord Krishna）和拉達（Radha）就與印度神話、文學、民間傳說和藝術密不可分。
Krishnamayi是編舞者想像克里希納神和拉達在天堂再度相遇時對話的情景。
拉達在天上，而克里希納神仍以人類的形體在地上。她仍然記得她所深愛的克里希納神，他愛戀著身穿藍天、戴上孔雀羽毛和耳環的她，以及她額頭上朱紅的吉祥痣，這身打扮也和克里希納神的穿戴一模一樣。她手持牧笛，當她憶起與愛人相聚的時光，霎那間她感到一陣痛楚，獵人賈拉從人間射向她所帶來的痛苦。
他們很快就相會了，克里希納神親眼見到了拉達蓮花般的臉蛋，種種情感湧上心頭。克里希納神說：「噢！拉達，我沒有一天不惦記著妳！我沒有一天不在流淚，沒有一天不在期待我們永生重逢的那⼀天。拉達，妳也和我⼀樣嗎？」
拉達熱切的回應著：「與我重逢？我沒有一天因為失去了你而感到哀傷，因為在我的心底，我們從未分開！在我噗通噗通的心跳裡，在我閃耀著光芒的眼神裡，我⼀直惦念著你。為了不失去眼中愛戀著你的光芒，我從未想過留下任何一滴眼淚。」
拉達催促著克里希納神吹奏他手中的牧笛，樂聲悅耳悠揚，周圍的動物們聞聲而至，可是牠們分不清誰是真正的克里希納神，因為這對愛侶的外貌如出一徹，不過動物們打從心底明瞭眼中看見克里希納神的才是美麗的拉達。
印度詩人蘇爾達斯(Surdas)為此寫下一首優美的詩歌，提到：
克里希納神看著鏡中的自己，問拉達：「我們倆人，誰長的美麗呢？」拉達回答：「難道你看不出來嗎？我的面容宛如滿月，而你的面貌如同黑夜
（兩人相得益彰，沒有漆黑的夜空就沒有皎潔的明月，少了明月的夜空是如此的空白！）」
拉達繼續說：「你的雙瞳在煙燻眼妝的襯托下更顯深邃；而我的眼睛之所以迷人，是因為我的眼中有你。更何況，你只要靠你的小拇指就能舉起一座山，而我卻把你牢牢的烙印在我心底！」
本詩篇最後以拉達和克里希納神合而為一的舞蹈作結，這個結局對於虔誠的信徒來說，是相當殊勝的。
音樂｜Manoj Desai & Vijay Tambe
韻律｜G Ramprasad
概念、編舞與演出｜Namrata Mehta
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Namrata MEHTA KRISHNAMAYI… The eternal dialogue (IN)
Radha and lord Krishna have been a part of Indian poetry, drama and folklore since time immemorial.
Krishnamayi is a choreographic imagination of the conversation between Radha and Krishna when they meet in heaven.
Radha is in the heavens and Krishna is still in his human physical form on the earth. She is remembering her beloved Krishna and adores herself as him she wraps herself with blue sky wears the peacock feather, earrings and red mark on her forehead just the way he wears it and takes the flute and as she is in reminiscing her times with her beloved she suddenly feels the pain from the arrow that has shot by hunter Jara on the earth and pines for Krishna.
Very soon they meet each other, Krishna is overwhelmed with various emotions as he witnessed the lotus face of Radha,
Krishna says "Oh radha! not a day has gone by when I haven’t thought of you. Not a day has gone by when I haven’t remembered our days in joyful union and shed a tear; when I haven’t looked forward to our eternal reunion. Did that happen to you Radha"?
Radha replies: with me? not a day has gone by when I have mourned the loss of your presence, as in my mind we were never separated. I have always held you, in the beating of my heart and in the twinkle of my eyes, and have never thought to shed a tear, lest I lose the twinkle in which you reside.
She urges him to play his flute and the melody is so messmerising that even the animals get drawn towards them but wait a minute they are confused as to who is the real Krishna? as both Radha and Krishna are in same physical forms but they know it's Radha the beautiful one who has krishna in her eyes.
There is traditional conversation song, beautifully penned by sant poet surdas of India.
Which says:
Krishna looking at a mirror in his hand, asks Radha, ‘between the two of us, whose face is beautiful?’ Radha, replies, ‘Don’t you see the obvious?! My face is like the full moon and yours is like the dark night (both complement each other as the moon cannot be seen without the night sky and the night sky is so vacant without the moon!).’
Radha continues, ‘Your eyes are beautifully defined by black Kajal, while my eyes are pretty because your image reflects in my eyes. Also, you only lifted the mountain on your little fingernail, but I carry you, the lifter of mountain in my heart!
The piece ends with a dance of union between Radha and Krishna when they become one, and this imagery is divine for the devotee.
Music｜Manoj Desai & Vijay Tambe
Rhythm｜G Ramprasad
Concept, Dance and Choreography｜Namrata Mehta
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國際演出-2：蒂摩爾古薪舞集X駐村藝術家
International Performance-2 :
Tjimur Dance Theatre & Artists in Residence
時間 Time：2023.8.17（四／THU）16:00-17:30
地點 Location：蒂摩爾劇場 Studio of Tjimur Dance Theatre
節目內容 Program：
* 本活動全程90分鐘，包含60分鐘演出，30分鐘演後分享。
* Duration: 90 minutes, including 60 minutes performance and 30 minutes post-talk.
* Duration: 90 minutes, including 60 minutes performance and 30 minutes post-talk.
蒂摩爾古薪舞集《kemeljan．知！所以？》選粹 2（臺灣）
臺灣首支以國際、義大利、臺灣手語發展之「有聲靜默當代舞蹈作品」。
Kemeljang 排灣族語譯為了解；懂得；知道之意。 是一齣挖掘不同於自己的深層心事，透過排灣族歌謠聲線震動，導引出不同語彙的分享。 巴魯說：舞蹈有時候是抽象的，身體是符號或是暗示，可是「手語」不行。手語是溝通，它是無聲世界的精準語言。我在這兩者之間尋找平衡。這個作品在一般觀眾的眼裡是舞蹈，但在聽障人士的眼裡是充滿可以解讀訊息的另一種詮釋。 《kemeljang・知！所以？》是擴展到不同族群內在想要說的話。 透過一支舞作，邀請觀眾走進這個安靜的世界。 知道了，所以呢？你真的知道嗎？你知道了什麼？
團長暨藝術總監｜路之．瑪迪霖
舞蹈總監編舞家｜巴魯．瑪迪霖
排練指導暨演出者｜楊淨皓、舞祖．達卜拉旮茲
演出者｜江聖祥、康書瑄、王秋茹
特別感謝 國際暨義大利手語指導／藝術顧問｜Riccardo Olivier、Cesare Benedetti、Nikita Lymar (Supported by Crossing the Sea)
臺灣手語指導／藝術顧問｜蘇麗華、連浩軍、吳雅麗、洪筱涵
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Tjimur Dance Theatre kemeljang ‧ so ? Highlight 2 (TW)
"kemeljang．so？" is the sign-language version of "Varhung~Heart to Heart". Kemeljang is a Paiwan word, meaning to understand, to know, or to comprehend. This piece digs deeper into the things that weigh on our minds! Everyone has something weighing on his mind. However, while we are able to talk about or vaguely gloss over things on our minds, there is a group of people who can't choose the way of expression. Due to some congenital or external reason, sounds are strange to them. When they feel some psychological pain and want to pour it out, they communicate through fingers and facial expressions. Yet, if we don't know anything about sign language, how can we understand their pain?
Founder and Artistic Director｜Ljuzem MADILJIN
Dance Director and Choreographer｜Baru MADILJIN
Rehearsal Directors and Performers｜YANG Ching-hao, Ljaucu TAPURAKAC
Performers｜CHIANG Sheng-hsiang、KANG Shu-hsuan、WANG Chiu-ju
Special Thanks To International And Italy Sign Language／Art Advisor｜Riccardo Olivier、Cesare Benedetti、Nikita Lymar (Supported by Crossing the Sea)
Taiwan Sign Language／Art Advisor｜SU Li-hua、LIAN Hao-jyun、WU Ya-li、HONG Siao-han
臺灣首支以國際、義大利、臺灣手語發展之「有聲靜默當代舞蹈作品」。
Kemeljang 排灣族語譯為了解；懂得；知道之意。 是一齣挖掘不同於自己的深層心事，透過排灣族歌謠聲線震動，導引出不同語彙的分享。 巴魯說：舞蹈有時候是抽象的，身體是符號或是暗示，可是「手語」不行。手語是溝通，它是無聲世界的精準語言。我在這兩者之間尋找平衡。這個作品在一般觀眾的眼裡是舞蹈，但在聽障人士的眼裡是充滿可以解讀訊息的另一種詮釋。 《kemeljang・知！所以？》是擴展到不同族群內在想要說的話。 透過一支舞作，邀請觀眾走進這個安靜的世界。 知道了，所以呢？你真的知道嗎？你知道了什麼？
團長暨藝術總監｜路之．瑪迪霖
舞蹈總監編舞家｜巴魯．瑪迪霖
排練指導暨演出者｜楊淨皓、舞祖．達卜拉旮茲
演出者｜江聖祥、康書瑄、王秋茹
特別感謝 國際暨義大利手語指導／藝術顧問｜Riccardo Olivier、Cesare Benedetti、Nikita Lymar (Supported by Crossing the Sea)
臺灣手語指導／藝術顧問｜蘇麗華、連浩軍、吳雅麗、洪筱涵
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Tjimur Dance Theatre kemeljang ‧ so ? Highlight 2 (TW)
"kemeljang．so？" is the sign-language version of "Varhung~Heart to Heart". Kemeljang is a Paiwan word, meaning to understand, to know, or to comprehend. This piece digs deeper into the things that weigh on our minds! Everyone has something weighing on his mind. However, while we are able to talk about or vaguely gloss over things on our minds, there is a group of people who can't choose the way of expression. Due to some congenital or external reason, sounds are strange to them. When they feel some psychological pain and want to pour it out, they communicate through fingers and facial expressions. Yet, if we don't know anything about sign language, how can we understand their pain?
Founder and Artistic Director｜Ljuzem MADILJIN
Dance Director and Choreographer｜Baru MADILJIN
Rehearsal Directors and Performers｜YANG Ching-hao, Ljaucu TAPURAKAC
Performers｜CHIANG Sheng-hsiang、KANG Shu-hsuan、WANG Chiu-ju
Special Thanks To International And Italy Sign Language／Art Advisor｜Riccardo Olivier、Cesare Benedetti、Nikita Lymar (Supported by Crossing the Sea)
Taiwan Sign Language／Art Advisor｜SU Li-hua、LIAN Hao-jyun、WU Ya-li、HONG Siao-han
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Kornkarn (Gade) RUNGSAWANG《舞祭》階段呈現（泰國）
「舞祭」是結合擴增實境 (AR)、虛擬現實 (VR) 與舞蹈的發展構想，這種混合式的舞蹈表演，呈現泰國傳統舞蹈 RUM-KEA-BON 的更新與另類形式，將各式舞蹈動作化為人類與神祇或聖靈間的談判工具，向神聖的高階存在提出懇求或願望。身為人類，我們並不認為自己只是向神乞討的臣民，而是在我們的願望實現之際，也有能力提供回報或等價交換的平等生物。本作邀請觀舞群眾向數位神殿許願或祈禱，透過這樣的數位神殿，打造可供寄託希望、願望與信念的想像空間，並以 Kornkarn 的肢體與巧思演繹舞姿，將各形各色的願望與祈禱「傳送」給數位神殿裡的滿天高靈。
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Kornkorn (Gade) RUNGSAWANG Dance Offering (work in progress) (TH)
Dance Offering is a developmental idea that combines augmented reality (AR), virtual reality (VR) and dance. It is a hybrid dance performance that presents an updated and alternative form to the traditional Thai RUM-KEA-BON where dance is used as a negotiation tool between human and higher or sacred beings; for making requests or wishes to the sacred beings. As humans, we see ourselves not as mere subjects who beg from the higher-ups but as beings who have something to offer in exchange, when our wishes are fulfilled. The audience members are invited to make their wishes or prayers to a digital shrine. The digital shrine is an imaginary space where hopes, desires and beliefs can reside. Kornkarn assists in ‘sending’ these wishes and prayers through dance to higher beings in the digital shrine.
「舞祭」是結合擴增實境 (AR)、虛擬現實 (VR) 與舞蹈的發展構想，這種混合式的舞蹈表演，呈現泰國傳統舞蹈 RUM-KEA-BON 的更新與另類形式，將各式舞蹈動作化為人類與神祇或聖靈間的談判工具，向神聖的高階存在提出懇求或願望。身為人類，我們並不認為自己只是向神乞討的臣民，而是在我們的願望實現之際，也有能力提供回報或等價交換的平等生物。本作邀請觀舞群眾向數位神殿許願或祈禱，透過這樣的數位神殿，打造可供寄託希望、願望與信念的想像空間，並以 Kornkarn 的肢體與巧思演繹舞姿，將各形各色的願望與祈禱「傳送」給數位神殿裡的滿天高靈。
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Kornkorn (Gade) RUNGSAWANG Dance Offering (work in progress) (TH)
Dance Offering is a developmental idea that combines augmented reality (AR), virtual reality (VR) and dance. It is a hybrid dance performance that presents an updated and alternative form to the traditional Thai RUM-KEA-BON where dance is used as a negotiation tool between human and higher or sacred beings; for making requests or wishes to the sacred beings. As humans, we see ourselves not as mere subjects who beg from the higher-ups but as beings who have something to offer in exchange, when our wishes are fulfilled. The audience members are invited to make their wishes or prayers to a digital shrine. The digital shrine is an imaginary space where hopes, desires and beliefs can reside. Kornkarn assists in ‘sending’ these wishes and prayers through dance to higher beings in the digital shrine.
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Daksha MASHRUWALA《觸景生情》(印度)
「大自然」這位巧奪天工的藝術家，面對越沉靜的人們，大自然就越能夠與之溝通。
大自然有節奏、歌曲、舞蹈，同樣有著情感，我們無時無刻不在體驗這些美妙，但卻往往忽略到它的存在。印度文化和美學理論中著名的Navarasa，就是指大自然喚起我們內在不同的「九種情感」。
因此，身為人類的我們不是那位巧奪天工的藝術家，而是大自然，祂繪製了一幅幅生動的畫作，喚醒了我們內在的情感，我們因此而成為觀者。
在兩千年以前的印度戲劇與舞蹈文獻記載中，Nava-rasa代表了九種本質或心理狀態，也是印度表演藝術最重要的理論基（Natyashastra）。這九種情感層次分別是：愛情、歡笑、恐懼、悲傷、厭惡、憤怒、力量、驚奇與安定。這個古典舞劇片段，分別描述：
為了證明因為觸景生情的心裡狀態，我們因此描繪春天（Vasant）和愛情（Sringar）。
歡笑（Hasya），涓涓流水迴盪著女孩們嬉戲打鬧的笑聲，水邊嬉戲的猴子們也牽動了人們發自內心的笑聲。
悲痛（Karuna），無情的獵人擊中翱翔中的鳥兒，從半空中隕落，百年神木在眨眼間，就被斧頭砍下，這深深地令人感到悲
傷與痛苦。
厭惡（bibhatsya rasa），禿鷹以屍骨為食，讓人感到厭惡。
憤怒（Raudra rasa），火山噴發，熾熱的熔岩在地表蔓延開來，我們感受到了大自然聖者的全然力量。
恐懼（bhaya），漆黑的夜晚喚醒了內心潛藏懼怕，連月兒都躲入雲層，不願露面。
勇敢（veer rasa），再隨著大自然生生不息地繁衍，我們目睹並感受了一群大象徒步過森林的強度與力量。
驚奇（Adbhuta），時間的循環是大自然最奧妙的傑作。奇妙的是，當第一道陽光和煦的照耀著大地時，花朵綻放，日落時又閉合。是花朵綻放時見到了太陽，還是太陽升起的那一瞬間聞到了花朵綻放的香氣？
安定（Shanta），當我們看見靜止的群山、水和樹木，內心油然升起一股平和安定之感。
音樂｜Manoj Desai & Vijay Tambe
概念與編舞｜Daksha Mashruwala
演出｜Daksha Mashruwala & Namrata Mehta(協演)
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Daksha MASHRUWALA NAVARASA....the moods evoked by mother nature (IN)
'Nature' the supreme artist can communicate the most when man offers his silence to it.
Nature has rhythm, song, dance as well as emotion that is experienced by us all the time but often not recognised in consciousness. The Navarasa is the identification of the nine rasas evoked by nature that surrounds us.
Here, it is not us but Mother Nature who is the artist, painting vivid pictures and evoking rasas in us, as we become the spectators.
Nava-Rasa, a somewhat literal translation of which is “the nine essences” or “the nine emotions”. The Nava-Rasa is the most fundamental theory of Indian performing arts, laid down about 2000 years ago in the original texts of theatre and dance, called the Natyashastra. It describes nine different states of mind, or “rasas” that are evoked in an audience by a performer. These are: Love, Laughter, Fear, Sorrow, Disgust, Anger, Strength, Wonderment and Peace.
In an attempt to identify these rasas evoked by nature, we depict the Vasant or the spring season evoking Sringar or Love.
Hasya – Laughter, as the gurgling streams echo the sound of giggling girls splashing about in play, also the monkeys fooling around on the banks of the stream evoke laughter.
Karuna – deep Sorrow and pain is felt at the site of a bird falling in mid-flight as the ruthless hunter hits its mark and the tree that took hundreds of years to grow is cut down with blade of an axe.
Vibhatsa – Disgust, vultures are seen scavenging on the meat and bones of carcasses evoking disgust.
Raudra – Anger, volcanos erupt and hot fiery lava spreads over the earth as we feel the full force of nature’s anger evoking the Raudra rasa.
Bhaya – Fear, is evoked by a dark night where even the moon hides behind the clouds.
Veera – Bravery, when we see and experience the strength and power of a herd of elephants passing through a forest, nature depicts the Veera rasa.
Adbhuta – The cycle of time is the most wondrous work of nature. Wonderment, as the first rays of the sun shine down on earth, the flowers bloom and close again at sunset. The flower blooms seeing the sun or sun rises the smelling the blooming flowers?
Shanti – Peace, when we see still large mountains or still water or still tress a sense of peace is invoked within.
Music｜Manoj Desai & Vijay Tambe
Concept & Choreography｜Daksha Mashruwala
Dance｜Daksha Mashruwala & Namrata Mehta(Supported)
「大自然」這位巧奪天工的藝術家，面對越沉靜的人們，大自然就越能夠與之溝通。
大自然有節奏、歌曲、舞蹈，同樣有著情感，我們無時無刻不在體驗這些美妙，但卻往往忽略到它的存在。印度文化和美學理論中著名的Navarasa，就是指大自然喚起我們內在不同的「九種情感」。
因此，身為人類的我們不是那位巧奪天工的藝術家，而是大自然，祂繪製了一幅幅生動的畫作，喚醒了我們內在的情感，我們因此而成為觀者。
在兩千年以前的印度戲劇與舞蹈文獻記載中，Nava-rasa代表了九種本質或心理狀態，也是印度表演藝術最重要的理論基（Natyashastra）。這九種情感層次分別是：愛情、歡笑、恐懼、悲傷、厭惡、憤怒、力量、驚奇與安定。這個古典舞劇片段，分別描述：
為了證明因為觸景生情的心裡狀態，我們因此描繪春天（Vasant）和愛情（Sringar）。
歡笑（Hasya），涓涓流水迴盪著女孩們嬉戲打鬧的笑聲，水邊嬉戲的猴子們也牽動了人們發自內心的笑聲。
悲痛（Karuna），無情的獵人擊中翱翔中的鳥兒，從半空中隕落，百年神木在眨眼間，就被斧頭砍下，這深深地令人感到悲
傷與痛苦。
厭惡（bibhatsya rasa），禿鷹以屍骨為食，讓人感到厭惡。
憤怒（Raudra rasa），火山噴發，熾熱的熔岩在地表蔓延開來，我們感受到了大自然聖者的全然力量。
恐懼（bhaya），漆黑的夜晚喚醒了內心潛藏懼怕，連月兒都躲入雲層，不願露面。
勇敢（veer rasa），再隨著大自然生生不息地繁衍，我們目睹並感受了一群大象徒步過森林的強度與力量。
驚奇（Adbhuta），時間的循環是大自然最奧妙的傑作。奇妙的是，當第一道陽光和煦的照耀著大地時，花朵綻放，日落時又閉合。是花朵綻放時見到了太陽，還是太陽升起的那一瞬間聞到了花朵綻放的香氣？
安定（Shanta），當我們看見靜止的群山、水和樹木，內心油然升起一股平和安定之感。
音樂｜Manoj Desai & Vijay Tambe
概念與編舞｜Daksha Mashruwala
演出｜Daksha Mashruwala & Namrata Mehta(協演)
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Daksha MASHRUWALA NAVARASA....the moods evoked by mother nature (IN)
'Nature' the supreme artist can communicate the most when man offers his silence to it.
Nature has rhythm, song, dance as well as emotion that is experienced by us all the time but often not recognised in consciousness. The Navarasa is the identification of the nine rasas evoked by nature that surrounds us.
Here, it is not us but Mother Nature who is the artist, painting vivid pictures and evoking rasas in us, as we become the spectators.
Nava-Rasa, a somewhat literal translation of which is “the nine essences” or “the nine emotions”. The Nava-Rasa is the most fundamental theory of Indian performing arts, laid down about 2000 years ago in the original texts of theatre and dance, called the Natyashastra. It describes nine different states of mind, or “rasas” that are evoked in an audience by a performer. These are: Love, Laughter, Fear, Sorrow, Disgust, Anger, Strength, Wonderment and Peace.
In an attempt to identify these rasas evoked by nature, we depict the Vasant or the spring season evoking Sringar or Love.
Hasya – Laughter, as the gurgling streams echo the sound of giggling girls splashing about in play, also the monkeys fooling around on the banks of the stream evoke laughter.
Karuna – deep Sorrow and pain is felt at the site of a bird falling in mid-flight as the ruthless hunter hits its mark and the tree that took hundreds of years to grow is cut down with blade of an axe.
Vibhatsa – Disgust, vultures are seen scavenging on the meat and bones of carcasses evoking disgust.
Raudra – Anger, volcanos erupt and hot fiery lava spreads over the earth as we feel the full force of nature’s anger evoking the Raudra rasa.
Bhaya – Fear, is evoked by a dark night where even the moon hides behind the clouds.
Veera – Bravery, when we see and experience the strength and power of a herd of elephants passing through a forest, nature depicts the Veera rasa.
Adbhuta – The cycle of time is the most wondrous work of nature. Wonderment, as the first rays of the sun shine down on earth, the flowers bloom and close again at sunset. The flower blooms seeing the sun or sun rises the smelling the blooming flowers?
Shanti – Peace, when we see still large mountains or still water or still tress a sense of peace is invoked within.
Music｜Manoj Desai & Vijay Tambe
Concept & Choreography｜Daksha Mashruwala
Dance｜Daksha Mashruwala & Namrata Mehta(Supported)
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國際演出-3：蒂摩爾古薪舞集X駐村藝術家
International Performance-3 :
Tjimur Dance Theatre & Artists in Residence
時間 Time：2023.8.18（五／FRI）16:30-18:00
地點 Location：蒂摩爾劇場 Studio of Tjimur Dance Theatre
節目內容 Program：
* 本活動全程90分鐘，包含60分鐘演出，30分鐘演後分享。
* Duration: 90 minutes, including 60 minutes performance and 30 minutes post-talk.
* Duration: 90 minutes, including 60 minutes performance and 30 minutes post-talk.
蒂摩爾古薪舞集《bulabulay mun？》選粹（臺灣）
《bulabulay mun？》是一齣根據「牡丹社事件」發展的舞蹈作品，蒂摩爾古薪舞集以南排灣「新保將e ne lja古謠讚」，重現這段淹沒於時光的戰爭史，踩著前進戰場的步伐，在古謠百轉千迴的律動之中，我們再次向天地放聲嘶喊，百年前守護家園的身影，難道不應該深深烙印在歷史的印記中嗎？
團長暨藝術總監｜路之．瑪迪霖
舞蹈總監暨編舞家｜巴魯．瑪迪霖
藝術顧問｜吳宗祐 Derjk Wu
排練指導暨演出者｜楊淨皓、舞祖．達卜拉旮茲
演出者｜江聖祥、康書瑄、王秋茹
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Tjimur Dance Theatre bulabulay mun？ Highlight (TW)
Tjimur Dance Theatre adopted the “e ne lja sinvaudjan a nia qati” from Southern Paiwan to reconstruct this historical battle that has been forgotten as time goes by. We walked in step like soldiers going to war. With the ever-changing rhythms of the ancient ballad, once again, we shouted to heaven and earth. Shouldn’t those who defended their homeland a hundred years ago be carved in history?
Artistic Director｜Ljuzem MADILJIN
Choreographer/Custom designer｜Baru MADILJIN
Artistic adviser｜WU Tsung-Yu
Rehearsal Director and Performers｜YANG Ching-Hao、Ljaucu TAPURAKAC
Performers｜CHIANG Sheng-Hsiang、KANG Shu-Hsuan、WANG Chiu-Ju
《bulabulay mun？》是一齣根據「牡丹社事件」發展的舞蹈作品，蒂摩爾古薪舞集以南排灣「新保將e ne lja古謠讚」，重現這段淹沒於時光的戰爭史，踩著前進戰場的步伐，在古謠百轉千迴的律動之中，我們再次向天地放聲嘶喊，百年前守護家園的身影，難道不應該深深烙印在歷史的印記中嗎？
團長暨藝術總監｜路之．瑪迪霖
舞蹈總監暨編舞家｜巴魯．瑪迪霖
藝術顧問｜吳宗祐 Derjk Wu
排練指導暨演出者｜楊淨皓、舞祖．達卜拉旮茲
演出者｜江聖祥、康書瑄、王秋茹
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Tjimur Dance Theatre bulabulay mun？ Highlight (TW)
Tjimur Dance Theatre adopted the “e ne lja sinvaudjan a nia qati” from Southern Paiwan to reconstruct this historical battle that has been forgotten as time goes by. We walked in step like soldiers going to war. With the ever-changing rhythms of the ancient ballad, once again, we shouted to heaven and earth. Shouldn’t those who defended their homeland a hundred years ago be carved in history?
Artistic Director｜Ljuzem MADILJIN
Choreographer/Custom designer｜Baru MADILJIN
Artistic adviser｜WU Tsung-Yu
Rehearsal Director and Performers｜YANG Ching-Hao、Ljaucu TAPURAKAC
Performers｜CHIANG Sheng-Hsiang、KANG Shu-Hsuan、WANG Chiu-Ju
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Daksha MASHRUWALA＆ Namrata MEHTA《天體》（太陽與12個太陽星座）(印度）
蘇里亞星圖：自吠陀時代起，蘇里亞（Surya Stuti）即為光明、溫暖和智慧的象徵，也是光主要的來源。作為黑暗的驅散者和七界之光，蘇里亞駕馭著七匹馬的戰車前來，受到人們的重敗，因此也擁有很多名字。
Arksh（黃道十二宮／太陽星座）：通過奧迪西（Odissi）舞蹈動作的各種細微差別，深入研究十二生肖中的動物和人類符號，為每一個生肖創作一幅栩栩如生動人的圖畫。
代表白羊座的公羊，天真活潑的奔跑著，就此掀開了序幕。
金牛座的公牛，象徵著陽剛、威嚴和男子氣概，但非常的牛脾氣。
雙子座顧名思義是一對雙胞胎，相互映照又各自獨立，唯有成雙成對的時候才算完整。
有著危險雙鉗的螃蟹，正是巨蟹座的代表。
獅子座，叢林之王的獅子，他的動作宛如緩緩展開的絲綢，那麼的美麗而優雅。
處女作，永恆的聖女，輕快而柔和。
天秤座，天秤維持著宇宙間微妙的平衡。
天蠍座，來勢洶洶、咬人致命的蠍子。
射手座，奔騰、嬉戲、友好的半人馬，手持弓箭。
摩羯座，狂野又專注的海羊，頭上有角，尾巴有魚。
水瓶座，持水者，她將湖中的水注入湖中，潺潺流動，沁人心脾。
雙魚座，兩條永遠相對的魚，處於永恆的二元對立之中。當雙魚座遊走時，舞者出現了，她欣喜若狂，因為她實現了自己的夢想，只用自己的身體動作就完成了這一趟黃道十二宮之旅。
太陽篇
音樂｜Manoj Desai & Vijay Tambe
舞蹈、編舞｜Daksha Mashruwala
太陽星座篇
音樂｜Tabla Maestro Nayan Ghosh
韻律｜Vinayak Netke
編舞｜Daksha Mashruwala
概念與舞蹈｜Namrata Mehta
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Daksha MASHRUWALA & Namrata MEHTA Celetial bodies (Sun & Sunsigns) (IN)
Surya Stuti
From Vedic times, Surya has been worshipped as the chief source of light, warmth, and wisdom. The dispeller of darkness and the light of seven worlds, Surya is worshipped with many names who comes riding his chariot drawn by seven horses.
Arksh (Zodiacs/ Sun signs): delves into the twelve zodiac symbols of animals and humans using Odissi movements in all its nuances to create a moving pictorial of each zodiac sign.
Starting from Aries, there is the innocent, lively prancing of a ram.
Taurus the bull, the symbol of virility, majesty, masculinity, is yet very much bovine.
Gemini, the twins, perfectly reflecting each other, separate yet only complete when in a pair.
Cancer, the crab, with its dangerously nipping pincers,
Leo the King of the jungle, a beautiful Lion whose movements resemble the grace of slowly unfurling silk,
Virgo – the eternal Virgin, lilting and soft,
Libra – the Scales, holding all the universe in delicate balance,
Scorpio – The menacing scorpion with its fatal bite,
Sagittarius – the galloping, playful, friendly centaur with its bow and arrow,
Capricorn – the wild, yet focused sea-goat with its horned head and fishtail
Aquarius – The water bearer as she fills her pot with gushing, flowing, tingling water
And lastly Pisces, two fish, forever in opposite diametry to each other, always in eternal duality. As Pisces swims away, the dancer emerges, in ecstasy of having fulfilled her dream of journeying through the Zodiac using just the movements of her own body.
Sun
Music｜Manoj Desai & Vijay Tambe
Dance & Choreography｜Daksha Mashruwala
Sunsigns
Music｜Tabla Maestro Nayan Ghosh
Rhythm｜Vinayak Netke
Choreography｜Daksha Mashruwala
Concept & Dance｜Namrata Mehta
蘇里亞星圖：自吠陀時代起，蘇里亞（Surya Stuti）即為光明、溫暖和智慧的象徵，也是光主要的來源。作為黑暗的驅散者和七界之光，蘇里亞駕馭著七匹馬的戰車前來，受到人們的重敗，因此也擁有很多名字。
Arksh（黃道十二宮／太陽星座）：通過奧迪西（Odissi）舞蹈動作的各種細微差別，深入研究十二生肖中的動物和人類符號，為每一個生肖創作一幅栩栩如生動人的圖畫。
代表白羊座的公羊，天真活潑的奔跑著，就此掀開了序幕。
金牛座的公牛，象徵著陽剛、威嚴和男子氣概，但非常的牛脾氣。
雙子座顧名思義是一對雙胞胎，相互映照又各自獨立，唯有成雙成對的時候才算完整。
有著危險雙鉗的螃蟹，正是巨蟹座的代表。
獅子座，叢林之王的獅子，他的動作宛如緩緩展開的絲綢，那麼的美麗而優雅。
處女作，永恆的聖女，輕快而柔和。
天秤座，天秤維持著宇宙間微妙的平衡。
天蠍座，來勢洶洶、咬人致命的蠍子。
射手座，奔騰、嬉戲、友好的半人馬，手持弓箭。
摩羯座，狂野又專注的海羊，頭上有角，尾巴有魚。
水瓶座，持水者，她將湖中的水注入湖中，潺潺流動，沁人心脾。
雙魚座，兩條永遠相對的魚，處於永恆的二元對立之中。當雙魚座遊走時，舞者出現了，她欣喜若狂，因為她實現了自己的夢想，只用自己的身體動作就完成了這一趟黃道十二宮之旅。
太陽篇
音樂｜Manoj Desai & Vijay Tambe
舞蹈、編舞｜Daksha Mashruwala
太陽星座篇
音樂｜Tabla Maestro Nayan Ghosh
韻律｜Vinayak Netke
編舞｜Daksha Mashruwala
概念與舞蹈｜Namrata Mehta
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Daksha MASHRUWALA & Namrata MEHTA Celetial bodies (Sun & Sunsigns) (IN)
Surya Stuti
From Vedic times, Surya has been worshipped as the chief source of light, warmth, and wisdom. The dispeller of darkness and the light of seven worlds, Surya is worshipped with many names who comes riding his chariot drawn by seven horses.
Arksh (Zodiacs/ Sun signs): delves into the twelve zodiac symbols of animals and humans using Odissi movements in all its nuances to create a moving pictorial of each zodiac sign.
Starting from Aries, there is the innocent, lively prancing of a ram.
Taurus the bull, the symbol of virility, majesty, masculinity, is yet very much bovine.
Gemini, the twins, perfectly reflecting each other, separate yet only complete when in a pair.
Cancer, the crab, with its dangerously nipping pincers,
Leo the King of the jungle, a beautiful Lion whose movements resemble the grace of slowly unfurling silk,
Virgo – the eternal Virgin, lilting and soft,
Libra – the Scales, holding all the universe in delicate balance,
Scorpio – The menacing scorpion with its fatal bite,
Sagittarius – the galloping, playful, friendly centaur with its bow and arrow,
Capricorn – the wild, yet focused sea-goat with its horned head and fishtail
Aquarius – The water bearer as she fills her pot with gushing, flowing, tingling water
And lastly Pisces, two fish, forever in opposite diametry to each other, always in eternal duality. As Pisces swims away, the dancer emerges, in ecstasy of having fulfilled her dream of journeying through the Zodiac using just the movements of her own body.
Sun
Music｜Manoj Desai & Vijay Tambe
Dance & Choreography｜Daksha Mashruwala
Sunsigns
Music｜Tabla Maestro Nayan Ghosh
Rhythm｜Vinayak Netke
Choreography｜Daksha Mashruwala
Concept & Dance｜Namrata Mehta
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注意事項 Notice
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