2018年3月28日 星期三

從座標軸與地球科學視角看Bal Anat (二)



殞石撞地球後---Bal Anat的後座力

站在這個座標點上回顧了Bal Anat的成立,當我們沿著縱軸線向下看去,不難發現一條由幾個或大或小的座標點所構成的綿延銀線


這就是現在人們所知道的部落風格肚皮舞(Tribal Bellydance)家族樹。

另一條閃爍耀眼光芒的銀線,AmCam(美式夜店風格肚皮舞,American Cabaret Style Bellydance)—即興、紗巾、地板動作為其特色,則來自於Jamila Salimpour開立夜店時期,為因應大量好奇的西方觀眾而發展出的表演形式。

許多Jamila的學生及同儕,白天在街頭或民俗風味濃重的藝術節活動裡,以異國風情為發想,戴著指拔對應簡單手鼓,配合他們能找到的各種道具刀、水壺、茶盤、蛇,即興演出;夜幕低垂時分,舞者們換上兩截式Bedlah舞衣,帶著指鈸、紗巾與刀或手杖,走進夜店裡,在由來自中東地區不同地區的樂手所組成的小樂團現場彈奏下演出。

部落風與東方舞,對舞者們來說不過是因為白天或夜晚的不同場合及觀眾而有不同的裝束,而對應音樂,展現個人真誠情感的闡釋,則是放諸四海皆準的不變法則

至於專業阿拉伯樂團,以及以阿拉伯觀眾為主流的餐廳或夜店表演,要等到1980年代後,Jamila的女兒Suhaila那世代的舞者才會經歷此一全新樣貌

站在這棵開枝散葉蓬勃發展的家族樹下我們不禁要問是什麼造成了這樣的現象

我還記得有幸與Jamila本人上課時,她是這樣說的:「觀眾喜歡。」確實,數年前我邀請不曾接觸過肚皮舞表演的表姐們同去觀賞由Amy Sigil發起,眾多知名舞者及團體共襄盛舉,向Jamila致敬的Reference Show,她們看得興緻盎然津津有味問了許多問題那些異國風情的舞衣與裝束不同的手具與舞蹈舞者們饒富個性的情感與超級洗腦的呼號聲這是經歷過歲月淬煉與考驗去蕪存菁的經典簡單來說不就是這樣嗎?!

不只一般觀眾喜歡知名舞者Rachel Brice曾表示自己看過由Bal Anat第一代茶盤舞者John Compton領軍的Habi’Ru表演後大受感動而走進了肚皮舞的世界從此不曾回頭過許多當年Bal Anat的成員及在Jamila的夜店裡工作過的舞者也持續著表演與教學的工作,從那個座標點開散而出的點點火花,落在不同的時間點與地理位置上,細緻的銀線未曾停止前行,交織成宛如點點繁星的壯麗夜空。

不就是美國人的新鮮玩意兒嗎?!或許有人會這樣說。

但歷史觀上常有所謂的平行時空裡同時發生事件的現象四大遠古河流文明在前後差不多的時間點上發生,更有跨越地理與文化蕃籬的對話與交流。現在堪稱肚皮舞的國際制服Bedlah(兩截式表演服裝)受到西方好萊塢電影影響在埃及黃金時期的電影裡發揚光大就是最好的例子

君不見有著「開羅河畔的莫斯科」美譽的瑞達舞團(Reda Troupe),創辦人M. Reda即深受美國舞王金凱利啟發?Reda從未說自己的創作是民俗舞蹈,他踏遍埃及國土,廣行田野調查,從類似今日一村一特色的概念出發,以各地區的在地風土人情為本,創造出專業舞台表演的舞碼。

但以日常生活裡唾手可得的尋常物件入舞也是具民俗舞蹈精神的舞蹈共同的特色。舉壺舞為例:壺是人類文明進步的重要發明,不但儲存生命所需的寶貴水源,更免於去水邊汲水遭動物攻擊的風險:壺一如頂著它去取水的女人,成為部落生命延續的生存關鍵。

以壺入舞因此見於許多古老文化:印度古典舞Kuchipudi令人炫目神迷的Tarangam、拉賈斯坦藝高人膽大的Bhavai、塔米納都邦的Karakattam、斯里蘭卡與菲律賓亦有類似的古老舞蹈。在中東北非地區,以頭頂物是攜帶物品的傳統方式。突尼西亞的忘憂島傑爾巴島以陶藝著稱,在婚禮上頂陶壺跳舞是經典,更是國舞。瑞達舞團亦以尼羅河畔打水為題,創作出歡愉純真的陶壺舞。

Jamila在美國西岸夜店表演時,見過北非舞者頂壺表演,她將這手具納入Bal Anat的表演節目中,壺舞(Pot Dance)於是離開久遠異地,進入現代世界。在與壺共舞的時刻裡,從歷史中喚醒部落生活的記憶與情感,鮮活呈現於今世人們眼前。

Jamila從不諱言Bal Anat是出自於異國文化的綺想產物,但這天馬行空的想像力仍於史有據,來自於現實生活裡的某些事件啟發擔任美術系學生寫生模特兒換來的一張古老版畫,激發Jamila的刀舞創作,將夜店裡那些中東舞者們的手具表演納入,或因為收留一尾無家可去的小蛇所發明的蛇舞Bal Anat的想像世界為後世舞者們的創意呈現舖路,打開無限可能的大門。

行筆至此,不禁想到肚皮舞「接軌國際」的初始也是來自於1893年芝加哥世界博覽會上的江湖走藝團表演。某種程度上Bal Anat沿續了這個歷史傳統引發觀眾們對中東世界的好奇想像帶領他們走過一趟穿越時空文化與語言的藝術行旅

2018年3月19日 星期一

從座標軸與地球科學的視角看Bal Anat


前言
我喜歡讀歷史,對我來說那是另一種型態的數學:由縱軸與橫軸所交織出來的美麗圖案。時光長河是那條持續向前行進的縱軸,在某個特定的時間點或地點的特殊事件是與縱軸交會的橫軸,因此每個座標點都是一個交會點;我也常想像自橫軸出發的那些事件與人物,像漆黑夜空中急速閃過的耀眼彗星或殞石,最後墮落於地球,撞擊出火花,刻畫了地表,留下某些明確的,深刻的,獨特的印記。

這也是經過這麼多年學習肚皮舞,因而接觸中東文化與歷史後,我嘗試訴說Bal Anat的視角。

難忘的Bal Anat初體驗
但是,真正美好的事物又何需言說與解釋呢?!

我無法忘懷第一次看Bal Anat時的震撼與感動,先是音樂深深吸引了我—高昂的雙管鎖鈉聲與渾厚的手鼓聲,聲聲擊打扣人心弦,令人熱血沸騰,眼前浮現出藍天白雲下廣濶無邊的黃土沙漠,然後看了VHS版的2000年Bal Anat公演紀錄(這是在DVD與Youtube之前的史前載器)—這群奇裝異服,恍若自時光機上走下來的人們又是誰?!不只表演舞蹈,這些人有著屬於自己部落或村落的特色與個性,他們有血有肉好真實,整場表演令人目不轉睛,心醉神迷,彷彿是進入夢境,既真實又神祕。

後來有機會親眼目睹Bal Anat的演出,眼見同台的其他舞者會為場中央的表演者喝采打氣,現場氣氛與效果強烈而友善溫暖,我心裡不禁有了「希望有朝一日我也能加入這樣型態的演出與團體」的念頭。

多年後,我有幸成為Bal Anat的一員,看待這個半百之齡的悠久舞團,又是全然不同的視角與感受。

那麼就先來談談Bal Anat這個座標軸。

縱軸—從家書、電影與夜總會表演中傳承累積的阿拉伯/中東舞蹈
橫軸—Summer Love運動與嬉皮世代、文藝復興藝術節(Renaissance Fair)
座標點—管好妳的學生!!

肚皮舞與中東音樂確實是值得分享的美好藝術—駐紮埃及的軍人父親將市井街道上的格瓦濟女郎表演寫進給Jamila Salimpour的家書裡;思鄉情重的亞美利亞籍女房東和Jamila Salimpour固定去看每月上映一次的阿拉伯電影,回家試著重現螢幕上Samia Gamal、Naima Akef與Tahiya Karioka等人的美妙舞姿;從應邀參加阿拉伯或中東裔移民家庭的家庭派對,到在夜總會表演時觀摩來自中東地區的同儕表演,Jamila將她看見的步法與動作分門別類地整理成不同的動作家族,以一捲錄音帶教授學生在同樣的音樂裡展現不同動作,重新闡釋音樂的即興方式…,噢,Jamila還是第一位提供現場中東音樂與肚皮舞表演的夜店老闆!我有提過她還是位傑出的節奏藝術家,自學指鈸並發展出以數字為主的繁複指法系統嗎?

60及70年代初期的舊金山受嬉皮運動洗禮,對異國文化敞開而好奇,許多年輕人走進教室向Jamila學習指鈸與不同的步法及動作,更多的是對肚皮舞感到好奇的美國觀眾走進她的夜店,樂手們來自不同的阿拉伯國家或中東地區:摩洛哥、伊朗、阿爾及利亞…,宛如小型聯合國。

Jamila有非常多學生—肚皮舞成為一門顯學,時尚又流行,但她發現許多學生上過幾堂課後就消失無影踪,她不知道學生們去哪兒了,直到她走進每年固定舉行的文藝復興藝術節會場,Jamila不但每三步遇見一名肚皮舞者,小丘上或樹蔭下也是充斥了無數舞者,藝術節主辦單位疲於奔命,束手無策,於是要求Jamila「管好妳的學生!」

年輕時曾待過馬戲團、喜愛鑽研中東與阿拉伯文化歷史的Jamila於是將這群學生們組成一個來自異想世界的江湖走藝團,讓學生輪流出列表演不同的手具與民俗舞蹈—這些手具有些來自她對中東文化的綺想,有些則來自夜總會表演時期中東舞者們的貢獻。

Bal Anat,在一個女人與肚皮舞密不可分的奇妙因緣,以及嬉皮風潮的撞擊下,在那個夏日之愛(Summer Love)的夏天,成為時間縱軸上一個耀眼無比的座標。

2017年4月29日 星期六

A Random Affair came into a Home-coming Journey

My encountering with the Salimpour School and certification programs seems like a random affair: my cousin who lives nearby the studio drove by one day and she saw the sign of school. Later she dropped me there on one of my regular visit to her and other relatives in the States.

At that time, I was just a baby in this big bellydance world. I love travelling and I love to see what locals do. Since bellydance is my new flame, why not just drop in few classes wherever I go?

The class I dropped in was so different from what I had back to my country: it is very physical challenging. The most amazing thing to me is that they sat on floor to squeeze their butts!! Then students all walked in a circle following instruction, which obviously is English but I was not quite sure about those timing, downbeat…. But I like the little combo we had by the end of class. It is pretty and fun.

I didn’t quite understand the whole thing. However, when I return home and back to my regular bellydance class at Taipei, my teacher saw the huge difference and improvement on me. She was curious about what changed me from this experience, so we decided to visit this school.

In 2007, we went dropped in all evening classes at the Salimpour School as we could. This time we had finger cymbals – as ATS dancers, we were more than happy and confident at playing finger cymbal and dancing at the same time. But, what do those numbers mean? It is like magic spell. When the instructor called out some numbers, those dancers would immediately change into something else and delightfully go cross dance floor.

It became a little serious when I shortly taught ATS for a period of time and students asked me the difference between ATS and Jamila Salimpour format. Honestly I had no idea and as a responsible teacher I went join one Jamila Salimpour workshop at Rakkasah Festival to check it out. It was so overwhelmed in terms of stamina and techniques. So I ended up having a banana sitting by corner and I could only just watch them. But I like this circle. It is beautiful to watch. All women in different size, shape, age, race, are so beautiful and powerful in this circle.

I like it. I want to be part of this circle.

In the meanwhile, I had a small surgery to remove tumors around my womb. My doctor estimated that I could check out hospital within three days. It is not. It took me two weeks of intensive care, 5,000cc blood transfusion, and few comas. During my hospitalization, I thought of the butt squeeze and cymbal numbers – I already studied Suhaila technique with another local instructor then. Since my both hands were needled for all kinds of injection all day long, the free parts of my body were my butt and my brain. I had some weak and uncertain butt squeezes and listened to “Cymbal with Jamila” during those endless injections. At first I just thought this was great way to distract from the painful waiting time. Then I realize this actually helps me to feel alive.

I learned that the first Jamila Salimpour certification workshop was about to happen in upcoming September during my hospitalization. I told myself that if I would walk out of this hospital, I want to take this workshop to celebrate my rebirth.

So I did, with medical girdle.

Is the rest just history? No! Little do I know that it is only a start point of my long journey in training and education on the field of Arab music, culture, dance, and beyond.

There are several levels in this certification program. In each level, I also pave myself into different goals and mindset: from Level 1- just give myself a chance to try, to Level 2 – stamina and fight against resistance, till now I am working on “be ready” for Level 3 testing. The journey is long and challenging, sometimes frustrated and self-doubted. It is never easy.

And it is so real. In an era the world is so flat and seemingly borderless via internet, life can be very superficial and virtual-real: You swap on cellphone and you buy things. You send an email and someone will do something for you. It is fast but sometimes you don’t feel. Those training, drills and practice on dance floor make my life very real and momentum. Also I can see myself improving little by little. Sometimes my body does not feel right, and I learn to live with this frustration. I feel centered and focused. I also learn to live with things that are important to me in an ordered and yet flexible way: there is always something I can do to train myself, even just research a classic Arab song or some historical material reading.

This certification program is especially important and meaningful to me because in a culture that traditionally women are commonly asked to “sacrifice” or “compromise” for their family, husband and children, this certification program delivers a positive message: you have to take care of yourself, to fulfill your dream, and to develop before you can take care others. You have to nurture yourself as a human being and as a woman. It is not selfish. It is, for a long run, mutual benefit for us, friends, and family because we are more capable to be there for them. This may sound cliché, but it is so true.

I really love to dance and this program helps me to dance in a genuine and well-prepared way. I love to learn about other’s culture, art, and myself. This is a place where all the above can happen organically. This is a place that is safe enough to express and to share. I met so many incredible women/men here and we share a sweaty classroom, tears, laughs, and life!! It is a family in a sense. Even when I saw friends on social media, I feel this expanding family grow vividly. I am not alone. We spend real life together on this dance floor and we are here for each other.

As Maya Angelou said: “The ache for home lives in all of us, the safe place where we can go as we are and not be questioned.” This random affair almost ten years ago, eventually led me to a homecoming journey. I came to learn and to nurture, and then I have more courage to walk on my own journey to reach out the world and life.

For more information on the Salimpour School and certification programs please see http://www.salimpourschool.com/

2013年11月13日 星期三

阿拉伯貓王Abdel Halim Hafez經典名曲中文歌辭賞析-Gana al Hawa (愛朝向我們走來)

這支悠揚的名曲出自於1969年的賣座電影Abi Fog al-Shagara (吾父如樹),這也是一代歌王的銀幕告別作。電影劇情描述一名天性善良正直的青年(當然由歌王來飾演囉!)因為愛上一名在夜店表演的舞者,而陷入吃喝嫖賭,紙醉金迷的黑暗世界,他的朋友看不下去他這樣向下沈淪,跑去找他理論,好青年於是向友人坦承已愛上舞者不可自拔電影中安排了男主角隨即與女主角去貝魯特旅遊,踏青拍照,還上演了一段衣著精美的德布卡舞蹈表演(別人跳的),男主角就在這風景怡人,佳人相伴的場合下唱了這首歌曲。


電影片段
Abdel Halim Hafez - Gana El Hawa
http://www.youtube.com/watch?v=T2xOoDYWkkc

عبد الحليم حافظ - جانا الهوا - أغنية رائعة كاملة Abdel Halim-Gana El Hawa-Full
http://www.youtube.com/watch?v=XPD41ZvzGlo

知名歌手George Wassouf翻唱歌曲附送肚皮舞表演
George Wassouf - Gan Al Hawa (old arabic song)....
http://www.youtube.com/watch?v=-z1-cApz6LE

Gana Al Hawa - Belly Dance
http://www.youtube.com/watch?v=Pc29vJRHBv8

混音版
Abdel Halim Remix"Gana El Hawa"
http://www.youtube.com/watch?v=rdeUIdlZ2eI

Gana El Hawa-Baligh Hamdi-Remix-Said Mrad-Arabic Music
http://www.youtube.com/watch?v=u8lGeG0WitM

肚皮舞表演
On Fire! Aziza: Gana al Hawa
http://www.youtube.com/watch?v=Gx5bPe_q1IM

 
愛朝向我們走來

愛朝向我們走來
我們早已受到它的阻擋
你漂亮的眼睫毛已經將我引誘進愛情的陷井裡

我們為愛情所阻擋,掉入愛情陷井裡沈昏入睡
也只有那誘惑我們的事物能釋放我們於自由之身
我親愛的你在我心裡
老天爺你在我心裡

你眼中的神奇魔法成功地阻撓了我
別告訴我你會帶我去哪裡或者我們要往何方去
是要再添個傷口徒增一聲不開心的嘆息
或者我們是朝向喜悅前行
為什麼我要問為什麼我會如此困惑迷惘
有朝一日時光會向我揭露這一切
且讓我們就這麼走下去吧

請協助我經歷過這一切慾望啊
讓我安全抵達情海彼岸
我的一條命是你的我的愛也是你的

微風啊且讓我們步履輕快
星辰啊請擁抱我們帶我們去到無人之處
愛情啊請放逐我們遠遠地,放逐我們遠遠地

請承諾不會傷害我們愛情
讓我倆更為親近別讓我們推開彼此
且讓我們與所愛快樂相伴
在慾望擄獲我們時讓我們平靜下來
且讓我們就這麼走下去吧!

我們為愛情所阻擋,掉入愛情陷井裡沈昏入睡
也只有那誘惑我們的事物能釋放我們於自由之身
我親愛的,你在我心裡
噢!老天爺,你在我心裡

2011年6月8日 星期三

再探格瓦濟舞者的神祕傳奇 3-3

獲Carolena Nericcio同意譯自The Mystery of the Ghawazee Lives On! by Nadia Khastagir, May 1998, Tribal Talk



塞入一捲Abu Kherage的錄音帶,我們開始上課:她向我們示範了註冊商標的格瓦濟shimmy-這是一種重心很低的臀部搖擺,腳則踏在重拍上,臀部shimmy將重心換到跺地的重心腳上,雙手外伸,以非常放鬆的姿態位於身體兩側,或者腕關節相互交靠,放在身體前方。典型的上埃及音樂的樂句轉換往往是由一手置於臀部,作出一個緩慢的臀部轉圈換腳的動作,形成一個很細緻而紮實的大圓圈,或者一手置於臀部,另一手臀上抬朝前,做出俏皮的頸部左右平移。然後樂句重拍再度開始,跺腳與shimmy的動作於是再度開始。

顯而易見地,上課中沒有太多口語指導,僅僅只有kwayis!(很好)。一天一小時,重覆著同樣的上課方式,然後Khairiyya Mazin會換下服飾,卸下粧扮,回復原來上課前的面貌再回家。

上課最後一天,她邀請我們在下課後去她公寓吃午餐。我們覺得好興奮,好光榮!我們走過陸克索街頭,時間到時Khairiyya Mazin開始進行每日五次的喚拜禱告,她幫我們找了由馬匹拖行的馬車-這通常是給觀光客搭的交通工具,帶我們去她家。當我們抵達她家時,很明顯的,她單身居住於此,完全看不到有所謂的其他男人的踪跡!那是一個小而整潔的公寓,還有一張舖上玫瑰圖案的小沙發,她為我們擺上桌子,還有滿桌子超過我們兩個人能吃的豐盛食物,她做了燉菜和烤雞,米飯以及更多的菜餚。因為在齋戒月裡,所以Khairiyya Mazin不能與我們一起吃飯,穆斯林只能在日落至日出之間才能進食。所以對我們來說這有點古怪,只有我們自己吃,卻要她來收拾善後。我主動提出幫她洗碗的要求,她只是笑著拒絕,輕聲說了謝謝。午餐過後,她拿出一大疊照片,向我們展示她的父親,著名的Youssef Mazin與姐姐們,以及過去以來向她學習的其他西方女性,我們試圖記下她所說的關於她的家族歷史,以及這些她過去以來的學生,幸運的是我們能拿出自己的照片送給她,還給了她一份有Carolena在上面的簡介,她說她聽說過Carolena與FCBD!

那天我們離開她的公寓時,我們覺得很感慨,因為我們親身接觸了歷史的一部份,而這歷史極有可能即將失傳。那時(1995年)已經沒有人來傳承格瓦濟的舞蹈以及著名的Benat Mazin家族。像是Edwina Nearing、Morocco與Aisha Ali這樣的研究者幫助保存了這種舞蹈,並且將它們傳到了西方世界去。我誠心希望所有熱愛肚皮舞的人都能來與Khairiyya Mazin上課,將這些基本的舞蹈根源帶回去到一個讓這舞蹈能開枝散葉,受人賞識的地方去。