2023臺北藝術節:《我們腳踩無敵風火輪，五光十射你的路，與魔鬼共舞在1820》

在Uber發明之前 南非最前衛祖魯人力車夫

在歐洲大受歡迎的她，竟然是南非的麻煩鬼？ 大地搖滾系編舞阿嬤--羅賓・奧林

「編舞家以幽默且巧妙的手法，呈現幼年時期眼前那群啟蒙偶像的生動印記，向其昇華日常的本領致意。」--Le Club de Médiapart / 吉翁．拉瑟（Guillaume Lasserre）

「動動舞舞團的年輕舞者，跟著雙人音樂團體uKhoiKhoi不落俗套、充滿動人力量的歌聲與節奏，在舞台上重現人力車夫鮮明形象。既是對這群無名英雄的致敬，也展現極致生命力，更讓人不時在心中浮現喜歌劇或即興喜劇。」--文化無所不在Ubiquité culture(s) / 布莉姬．賀梅（Brigitte Rémer ）

「無比強大、撼動人心，巧妙轉化取自街頭人力車夫記憶場景的創作元素、豐沛活力與百變服飾；在南非動動舞舞團舞者身上傲然靈動的色彩、布料與身體動作之間，華麗而耀眼。」--Toutelaculture劇評網/傑哈德．馬炎（Gérard Mayen）

「這樣的爭奇鬥艷，絕不能讓人對如此處境隱藏的壓迫與緣由視而不見。它既美好，卻也是某種堅韌抵抗的行為──而這正是羅賓．奧林想要在舞台上強調的深刻矛盾。」--Un fauteuil pour l’Orchestre 評論台/ 丹尼．桑格拉（Denis Sanglard）

越壓迫，越爭豔：五彩繽紛就是咱ㄟ氣力！

桃紅、鮮黃、螢綠、豔紫，他們一身亮彩素T短褲現身於你面前，幽默道白和穿透力十足的吟唱引你一路抵達南非觀光勝地，這裡是他們的地盤，戴上自製牛角裝飾，吆喝你搭上他們的人力車，一場霹靂無敵炸裂到底的絢彩繽紛原力盛宴，在北藝中心大劇院等你狂放加入！

成長於南非種族隔離政策期間的羅賓．奧林，是白人、女性、編舞家，舞蹈啟蒙來自約翰尼斯堡的礦工傳統舞，觀光勝地德班海岸的祖魯人力車夫「像跳舞一樣在空中飛騰」的步伐，也在她孩提心中留下強烈印記。

直到現在，祖魯人力車仍以繽紛到不可思議的車身裝飾和車夫頭頂華麗碩大的牛角吸引旅人目光，編舞家索性將這套祖魯人力車文化搬進劇場，加上生猛狂放的原民女性電音live，就要挑起觀眾的生鮮好奇——不過別懷抱錯誤的獵奇想像，這可是南非人稱「煩人鬼」的編舞家帶來的創作！色彩開到最滿、舞力開到最強、幽默不時飛竄，不講政治正確也不訴諸精巧細緻，南非種族之間最幽微複雜的骯髒歷史和現實暗影，以及人們用絢爛提煉力量的吶喊，才是繽紛表演底下的真實原色。

編舞／羅賓．奧林

羅賓．奧林1955年生於約翰尼斯堡，自幼下定決心要以舞蹈、文化改變生態，對抗各種歧視（包括美學歧視）：從祖魯舞蹈到摩斯．康寧漢，從嘻哈到古典芭蕾…不管是哪一種舞、不管它們來自何方，所有的舞都最棒。而她所展現的美學折衷主義──之於舞蹈與音樂、電影、造型藝術、文學等的「普世主義」－也成為其創作最鮮明的樣貌。

羅賓．奧林1975-1980年間就讀於倫敦當代舞蹈學院（London School of Contemporary Dance，1975-1980），1990-1995年間則進入芝加哥藝術學院（School of the Art Institute of Chicago），隨後於南非開啟身為舞者、編舞家與教師的職業生涯，以作品獨特風格、以及致力於對抗種族隔離政策而在創作中呈現的那種混亂瘋狂，而迅速站上檯面，為人所熟知。

邁入兩千年，羅賓．奧林獲獎不斷的《爸爸，我看了六次了還是不知道他們為什麼要彼此傷害》（Daddy, I’ve seen this piece six times before and I still don’t know why they’re hurting each other）為她建立國際地位，並跟著她巡演歐洲各地。作品嘲諷南非這個年輕國度（所謂「彩虹之國」）面臨的困境與缺陷，以及古典芭蕾成為歧視的媒介，也因此讓法國成為她的創作基地：她在這裡拍攝了首部電影《隱密之美與骯髒歷史》（與法國國立視聽中心、德法公共電視合作，2004）、首齣歌劇「韓德爾合唱劇樂《快板，沉思與中板》」（L'Allegro, il Penseroso ed il Moderato）（巴黎國家歌劇院，2007）、為來自不同背景的表演者分別創作獨角戲，以及她第一次嘗試戲劇製作──演出尚．惹內（Jean Genet）的《女僕》（巴黎巴士底劇院，2019）。同時她也持續在南非進行創作，如由凱特宏舞團（ 演出的《與無家者的靜物畫》（Still Life with homeless，2007）、與Phuphuma Love Minus 歌／舞者合作的《踏著別人的腳步》 （Walking next to our shoes，2009）、《美只會維持一下下…》（Beauty remained for just a moment... ，2012），以及與動動舞舞團合作的《我們腳踩無敵風火輪…》（2021）。

對這位創作力豐沛的藝術家來說，她的劇場世界（如我們所見）混雜各式形式語彙與表演類型，在觀眾眼前呈現既歡樂又不安的舞台情境，既帶有創作者本人的政治批判觀點，也如其人般堅韌有彈性，種種元素共同形塑羅賓．奧林作品的獨特。我們同時也可看見幾個主題意象，執著地反覆出現，像是芭蕾舞裙、橘子，或是更令人參不透的鴨子――一隻或一群，大大小小，五顏六色，各式各樣。

【動動舞舞團】組織

人稱「祖母」（Magogo）的希薇亞．葛拉瑟（Sylvia Glasser），1978年在約翰尼斯堡自家車庫成立動動舞舞團（Moving into Dance Mophatong，縮寫為MIDM），以「非種族主義舞蹈團體」定位，作為對種族隔離政策的抵抗行為；2010年，希薇亞．葛拉瑟榮獲南非藝術文化部長頒發「藝文領域－女性人間國寶」的肯定。動動舞舞團後發展為世界級的職業舞團，提供全職訓練課程與延伸推廣計畫。舞團成立41年來，呈現獨特當代舞蹈體驗，其藝術表現、創作活力與推陳出新的舞蹈語彙，也受到海內外高度肯定。此外，動動舞舞團並藉由訓練課程，為數百名來自弱勢家庭的學生提供獎助學金，使其有機會接觸舞蹈訓練，甚至發展相關職涯。如今已有許多動動舞舞團畢業生成功站上舞台，成為表演者與編舞家。

演出／動動舞職業舞團

當代非洲舞團「動動舞職業舞團」以流暢動作語彙，延展身體極限，創造美妙生動的舞蹈與動作敘事，同時也是國際知名的舞蹈培育組織，栽培無數創作不斷、獲獎連連的舞者、編舞家、藝術管理者與老師，以其備受尊崇的專業舞團聲譽，積極投入舞蹈發展事業。跟著豐富節奏舞步，動動舞職業舞團以獨特形式，巧妙結合西方當代音樂與舞蹈形式以及來自非洲的律動、儀式、音樂。動動舞職業舞團致力創作深具啟發、又能親近的舞蹈作品，並以充滿爆發力、生命力，且觸動人心的表現為核心，持續為來自不同社會階級、年齡與文化背景的南非觀眾，帶來挑戰、鼓舞、刺激與愉快體驗，作品同時也觸及歐亞非、甚至遠征南美洲、美加與馬來西亞，打動海外各國的熱情觀眾。



音樂／uKhoiKhoi

uKhoiKhoi呈現現場樂句循環（Live looping）之音樂演出，涵蓋歌劇、原住民吟唱與讚美詩，結合多語言表現，運用各種傳統與當代樂器，發展某種獨特「非洲未來式」聲響──立基於過往，存在於現今，並通向非洲之未來。 其「原民電音」（indigenous electro）曲目由演奏者暨作曲家尤琴．蘇拉芬（Yogin Sullaphen）與歌者暨表演藝術家安妮莉莎．史托曼（Anelisa Stuurman）共同演出。這兩位約翰尼斯堡音樂家，皆來自南非科伊桑文化（Khoisan）背景，於2019年中開啟合作，特以「uKhoiKhoi」為演出命名，作為對原民部落文化出身的致敬。 首張單曲與音樂影像〈uKhoiKhoi〉（讚美）可至YouTube頻道與SoundCloud線上欣賞。

演職人員名單

動動舞舞團舞者｜Sunnyboy Motau, Oscar Buthelezi, Eugene Mashiane, Lesego Dihemo, Sbusiso Gumede and Teboho Letele

歌者｜Anelisa Stuurman

影像｜Eric Perroys

服裝｜Birgit Neppl

燈光｜Romain de Lagarde

音樂創作｜uKhoiKhoi with Yogin Sullaphen et Anelisa Stuurman

製作經理｜Jean-Marc L’Hostis

音響技術統籌｜Thabo Pule

舞臺監督｜Jordan Azincot

製作單位｜City Theater & Dance Group, MIDM - Moving into Dance Mophatong and Damien Valette Prod

共製單位｜法國蒙彼里耶舞蹈節（ Festival Montpellier Danse）、第32屆德國柏林八月舞蹈節(Tanz im August – 32. Internationales Festival Berlin)、法國夏佑宮國家劇院（Chaillot - Théâtre national de la Danse）、法國南特大劇院（Le Grand T- Theatre de Loire-Atlantique）、比利時沙勒羅瓦編舞中心（Charleroi Danse – Centre choregraphique de Wallonie – Bruxelles）、法國土魯斯加龍劇院（Theatre Garonne – Scene europeenne）、法國紅堡劇院（Chateau-Rouge – scene conventionnee d’Annemasse）

With support from DRAC Ile-de-France

行政暨巡演｜Damien Valette

團務｜Alice Tabernat

主辦單位｜臺北市政府

承辦單位｜臺北表演藝術中心




Robyn Orlin

We wear our wheels with pride and slap your streets with colour … we said ‘bonjour’ to Satan in 1820……

The title pays homage to the rickshaw pullers in the streets of Durban, a colonial practice that thrived through apartheid South Africa. Kindled by their dance-like sprightly steps, flamboyant tunics and headdresses, the South African choreographer created a “rickshaw dance” with explosive colors and mesmerizing beats. Mischievous, exuberant and undaunted, We wear our wheels is a celebration of the pullers’ inventiveness and unyielding strengths to claim their dignity and identity in their fight for life.

Robyn Orlin has been confronting the truths and myths of South Africa’s complex history for the past twenty years with her provocative performance. The origin of the rickshaw, the destitute circumstances of their pullers and their art of subversion are energetically and humorously celebrated by young dancers from Moving into Dance Mophatong, one of the first historically “mixed” companies in South Africa.

Together with the breathtaking songs performed by the duo uKhoiKhoi and the ever-morphing video on stage, the piece sheds light on the Zulu rickshaws and the magnificent ox horns on the pullers’ heads—a token of power, as well as a symbol of their subjugation. As we rock with the spirited dancers forward and back, a journey unfolds into the struggle, resilience and beauty of the rickshaws.

Robyn Orlin, South Africa

Born in 1955 in Johannesburg, Robyn Orlin set out from childhood to develop her choreographic practice and culture in an environment hostile to all discrimination, including aesthetic discrimination: from Zulu dances to Merce Cunningham, from hip-hop to classical ballet... whatever they are and wherever they come from, all dances are favoured. And the aesthetic eclecticism she demonstrates, this "universalism" –choreographic and musical, cinematographic, plastic, literary...– has become one of the salient features of her writing.

Trained at the London School of Contemporary Dance (1975-1980), then at the School of the Art Institute of Chicago (1990-1995), Robyn Orlin began her career as a dancer, choreographer and teacher in South Africa, where she was quickly spotted, as much for the singularity of her writing, the chaos that reigns in her creations, as for her active commitment in the fight against apartheid.

At the turn of the millennium, her (multiple prize-winning) dance piece Daddy, I have seen this piece six times before and I still don’t know why they’re hurting each other, which mocks the difficulties and shortcomings of the young rainbow nation, but also classical ballet as a vector of discrimination, enabled her to tour in Europe and brought her international recognition. France has since become a creative territory for her: she made her first film, Hidden Beauties, Dirty Stories (Ina/Arte, 2004), her first opera, Handel’s L’Allegro, il penseroso ed il moderato (Opéra Garnier, Paris, 2007), numerous solos for performers from different backgrounds, and her first theatre production, Les Bonnes, by Jean Genet (Théâtre de la Bastille, Paris, 2019). At the same time, she continued to work in South Africa, where she created Still Life with homeless... for the Via Katlehong company (2007), Walking next to our shoes... with the singer-dancers of the Phuphuma Love Minus (2009), Beauty remained for just a moment... (2012) and we wear our wheels with pride... (2021) with the Moving into Dance company.

The universe of this prolific artist is trademarked, as we have said, by the mixture of forms, expressions and genres, by the joyful confusion that she creates on stage and in the audience of her shows, by her critical and political character, and by her strong plastic component. It is also recognisable by the presence of a few motifs that recur obsessively: tutus, for example, oranges, or, perhaps more mysteriously, ducks –alone or in groups and made of all kinds of materials, ducks of all kinds, sizes and colours.

Background to Moving into Dance Mophatong Organization

Moving into Dance Mophatong (MIDM) organization was founded by Sylvia ‘Magogo’ Glasser in 1978 as a non-racial dance company in the garage of her house in Johannesburg as a form of resistance to apartheid. In 2010 she was honoured by the Minister of Arts and Culture as one of South Africa’s female “living legends” in the Arts and Culture sector. MIDM has grown into a world class full-time professional dance company with a full-time training course and extensive outreach programmes. For 41 years, this company has been presenting a unique contemporary dance experience and has been praised nationally and internationally for its artistry, vitality and choreographic innovation. MIDM through its training programmes has provided bursaries to hundreds of underprivileged students who would not have had access to dance training or a career path. Many of the MIDM graduates have become successful performers and choreographers.

Moving into Dance Professional Dance Company

The MID Professional Dance Company brings fluency to the language of movement, and extends the limitations of the human body to produce inspired dance and beautiful movement narratives. Internationally recognised as an incubator producing a multitude of award winning and productive dancers, choreographers, arts administrators and teachers, MID has become recognised as a serious development organisation with the ultimate output of a highly acclaimed professional dance company. Wrapped in ribbons of rhythm this Contemporary African dance company produces work that is an original fusion of African movement, ritual and music with Western contemporary dance forms and music. MID aims to present work that is thought-provoking yet accessible, at the same time dynamic, energetic and exciting. MID continues to inspire, delight and challenge audiences across class, culture and age boundaries throughout South Africa as well as in performances for enthusiastic audiences throughout Africa, Malaysia, Europe, South America, Asia, Australia, the USA and Canada.

uKhoiKhoi

uKhoiKhoi is a live looping, musical performance art showpiece, encompassing multilingual expressions through opera, indigenous chants and praise poetry, using a variety of traditional and contemporary instruments to create their unique afro-futuristic sound that is rooted in the PAST, existing in the PRESENT and channeling the FUTURE of AFRICA. The “indigenous electro” act is a collaboration between musician & composer Yogin Sullaphen, alongside vocalist & performing artist Anelisa Stuurman. The duo is based in Johannesburg, South Africa, and they joined forces mid 2019. Their name is as an ode to their shared KhoiSan heritage, a tribe that was one of the original inhabitants of Southern Africa. The first single and video for “uKhoiKhoi (the praise)” is now available on SoundCloud and YouTube.

With Moving Into Dance Mophatong dancers ｜Sunnyboy Motau, Oscar Buthelezi, Eugene Mashiane, Lesego Dihemo, Sbusiso Gumede and Teboho Letele

Singer: Anelisa Stuurman

Video｜Eric Perroys

Costumes｜Birgit Neppl

Light｜Romain de Lagarde

Original music｜uKhoiKhoi with Yogin Sullaphen et Anelisa Stuurman

General Manager｜Jean-Marc L’Hostis

Sound Manager｜Thabo Pule

Stage Manager｜Jordan Azincot

Production｜City Theater & Dance Group, MIDM - Moving into Dance Mophatong and Damien Valette Prod

Co-production｜Festival Montpellier Danse, Tanz im August – 32. Internationales Festival Berlin, Chaillot – Théâtre National de la Danse, Le Grand T- Théâtre de Loire-Atlantique, Charleroi Danse - Centre chorégraphique de Wallonie – Bruxelles, Théâtre Garonne – Scène européenne, Château-Rouge – scène conventionnée d’Annemasse

With support from DRAC Ile-de-France

Administration, booking｜Damien Valette

Coordination : Alice Tabernat

Organizer| Taipei City Government

Implemeter| Taipei Performing Arts Center