文:潘少輝 《慾‧望‧西‧九‧》概念及藝術顧問
西九本就是很草根的兩個字。
從南昌街取道大埔道南走,直插砵蘭街,經亞皆老街、窩打老道,然後一路向西,便是舊油麻地戲院,再往南走,便是廟街。未填海前,斜陽夕照,南來的勞苦大眾,望著茫茫大海,感懷身世,便一頭栽入九西的聲色犬馬,在風月影話、賭場、肉場,尋找那片刻的溫存慰藉。
五十年來填海又填海,九西的慾望卻要飛上枝頭,化成貴氣的鳳凰,成就西九高檔文化藝術區。周邊的歌場,骨場,小劇場,眼巴巴只有看的份兒,與昔日望著的汪洋大海並無分別。還是安然回歸草根,在地上玩些鋼管,操操舊調新詞,更切入身份。
監製 Raymond年前邀約我組織環境舞劇的演出,我想「九西西九」可能是個不折不扣的慾望標題——大人所欲為藝術,小人所欲只是「九」對住「西」,相互有呼應。白先勇、胡菊人說紅樓夢中寶玉黛玉皆為欲。黛玉傷花悲月、是藝術、是禮教敗壞超昇;寶玉見到寶釵豐腴臂膊,切實的慾念油然而生。高鶚寫寶玉做了和尚,我倒覺得他去學學街舞,為理想,為愛情去到盡,像阿城說世俗人間,有元氣,實在,那不是更體現到慾望的昇華?
春江,異人也,九西的喧鬧世俗,不用等到藝術區的落成。在他手上,已變成鳳凰,自由飛翔。
Notes from Conceiver/ Artistic Consultant, Pun Siu-fai
Raymond the producer planned to include an environmental dance project in his 2013 plan and asked for my participation. I have good experience in environmental dance projects and had elaborated those into podium events and site-specific performances in 90's and over the turn of the century. But my approach was unique, and still is, that I put the focus on establishing different levels of dialogue with, or at confronting the taken-for-granted perceptions of the site we choose to conduct the projects.
I saw the need to go beyond the physical setting, to get into the history, the identity or the projections associated with that specific site. Therefore my suggestion to Raymond was using the notion of Western Kowloon Cultural District as a totem, as an aspiration for which the good and the rich wish for upgrading themselves through arts. Then we go way back to the days to find out what West Kowloon stood for in the past. Temple Street, Portland Street, Yau Ma Tei Cinema, have all been the symbols of desire for the poor and the new immigrants. Arts for them are barely the comforts and gratifications that the old songs, porn films, gambling parlors and brothels could fetch.
The contrast to what is now expected of West Kowloon is huge but the pursuit of desire is essentially the same. Daniel the director now brought in circus, street dance, pole dance and ushered them into a journey to an imaginative future, creating dialogues and confronting wishful thoughts. He successfully engages the people of Hong Kong, into a transformation of thoughts about “West Kowloon”.
Bravo for Daniel, Raymond, and all those who are participating in the project.
西九本就是很草根的兩個字。
從南昌街取道大埔道南走,直插砵蘭街,經亞皆老街、窩打老道,然後一路向西,便是舊油麻地戲院,再往南走,便是廟街。未填海前,斜陽夕照,南來的勞苦大眾,望著茫茫大海,感懷身世,便一頭栽入九西的聲色犬馬,在風月影話、賭場、肉場,尋找那片刻的溫存慰藉。
五十年來填海又填海,九西的慾望卻要飛上枝頭,化成貴氣的鳳凰,成就西九高檔文化藝術區。周邊的歌場,骨場,小劇場,眼巴巴只有看的份兒,與昔日望著的汪洋大海並無分別。還是安然回歸草根,在地上玩些鋼管,操操舊調新詞,更切入身份。
監製 Raymond年前邀約我組織環境舞劇的演出,我想「九西西九」可能是個不折不扣的慾望標題——大人所欲為藝術,小人所欲只是「九」對住「西」,相互有呼應。白先勇、胡菊人說紅樓夢中寶玉黛玉皆為欲。黛玉傷花悲月、是藝術、是禮教敗壞超昇;寶玉見到寶釵豐腴臂膊,切實的慾念油然而生。高鶚寫寶玉做了和尚,我倒覺得他去學學街舞,為理想,為愛情去到盡,像阿城說世俗人間,有元氣,實在,那不是更體現到慾望的昇華?
春江,異人也,九西的喧鬧世俗,不用等到藝術區的落成。在他手上,已變成鳳凰,自由飛翔。
Notes from Conceiver/ Artistic Consultant, Pun Siu-fai
Raymond the producer planned to include an environmental dance project in his 2013 plan and asked for my participation. I have good experience in environmental dance projects and had elaborated those into podium events and site-specific performances in 90's and over the turn of the century. But my approach was unique, and still is, that I put the focus on establishing different levels of dialogue with, or at confronting the taken-for-granted perceptions of the site we choose to conduct the projects.
I saw the need to go beyond the physical setting, to get into the history, the identity or the projections associated with that specific site. Therefore my suggestion to Raymond was using the notion of Western Kowloon Cultural District as a totem, as an aspiration for which the good and the rich wish for upgrading themselves through arts. Then we go way back to the days to find out what West Kowloon stood for in the past. Temple Street, Portland Street, Yau Ma Tei Cinema, have all been the symbols of desire for the poor and the new immigrants. Arts for them are barely the comforts and gratifications that the old songs, porn films, gambling parlors and brothels could fetch.
The contrast to what is now expected of West Kowloon is huge but the pursuit of desire is essentially the same. Daniel the director now brought in circus, street dance, pole dance and ushered them into a journey to an imaginative future, creating dialogues and confronting wishful thoughts. He successfully engages the people of Hong Kong, into a transformation of thoughts about “West Kowloon”.
Bravo for Daniel, Raymond, and all those who are participating in the project.
潘少輝簡介
潘少輝為城市當代舞蹈團舞蹈中心及中國舞蹈發展計劃前總監,致力拓展舞蹈教育及環境舞蹈。九十年代開創「潘少輝環境舞蹈系列」,打造新的劇場空間,先後排演了《忘情列車八十年》、《祖宗眼下的花花世界》與《忘情列車》。2000 年,潘氏應邀為香港文化博物館開幕排演《後獅子山下的遊園荊夢》,及後於多個屋邨商場編排《美麗傳說》及《雲想衣裳》。2002 年為「新視野藝術節」排演《米、辣、禪、色》;2003 年編創《戲夢人生》及澳洲柏斯AWESOME 藝術節開幕演出《希望》。潘氏於2007至2012 年出任廣東現代舞團藝術總監,為舞團創作多個優秀作品如《旋轉木馬》、《千面格林》、《杜象.易象》、《月亮光光》,與廣州交響樂團合作的《早上的太陽》、環境舞蹈《藍色畢加索》、粵港澳三地聯合創作的舞蹈劇場《情書》等。
潘少輝為城市當代舞蹈團舞蹈中心及中國舞蹈發展計劃前總監,致力拓展舞蹈教育及環境舞蹈。九十年代開創「潘少輝環境舞蹈系列」,打造新的劇場空間,先後排演了《忘情列車八十年》、《祖宗眼下的花花世界》與《忘情列車》。2000 年,潘氏應邀為香港文化博物館開幕排演《後獅子山下的遊園荊夢》,及後於多個屋邨商場編排《美麗傳說》及《雲想衣裳》。2002 年為「新視野藝術節」排演《米、辣、禪、色》;2003 年編創《戲夢人生》及澳洲柏斯AWESOME 藝術節開幕演出《希望》。潘氏於2007至2012 年出任廣東現代舞團藝術總監,為舞團創作多個優秀作品如《旋轉木馬》、《千面格林》、《杜象.易象》、《月亮光光》,與廣州交響樂團合作的《早上的太陽》、環境舞蹈《藍色畢加索》、粵港澳三地聯合創作的舞蹈劇場《情書》等。