由雪隆廣青舞團、手足。舞計劃、平台計劃聯合主辦
Co-organised by : Kwang Tung Dance Company, Dance Body Project, Pentas Project Theatre Production
舞入企途：舞蹈圓桌會議馬拉松2020
Dancing Forward : A Roundtable Marathon for Dance 2020
Co-organised by : Kwang Tung Dance Company, Dance Body Project, Pentas Project Theatre Production
舞入企途：舞蹈圓桌會議馬拉松2020
Dancing Forward : A Roundtable Marathon for Dance 2020
Curator: Loh Kok Man, Amy Len, Hii Ing Fung
策展人：羅國文、凌秀眉、許瑛紛
Host :
Chew Soon Heng 周順興
John Wong 黃永益
June Tan 陳豐愛
Lee Ren Xin 李人欣
Leow Sze Yee 廖世儀
Pexstret Liu 劉勇賢
Tan Bee Hung 陳美向
Tan Eng Heng 陳詠興
Wong Jyh Shyong 黄志雄
Yee Sue Ki 易舒琪
June Tan 陳豐愛
Lee Ren Xin 李人欣
Leow Sze Yee 廖世儀
Pexstret Liu 劉勇賢
Tan Bee Hung 陳美向
Tan Eng Heng 陳詠興
Wong Jyh Shyong 黄志雄
Yee Sue Ki 易舒琪
After a series of stand-alone roundtables held in 2017 and 2018, Dancing Forward is back, revised and ready to dive deep!
What are dancers thinking about, today? Come join us in a two-day marathon covering five forum-topics hosted by an exciting circle of artists and practitioners! Fellow artists, cultural workers, and the public are most welcomed to join in the conversation as we reflect upon the current scene and envision our ecosystem collectively. The ten hosts will be present throughout the entire marathon for continuity and to draw useful connections between subtopics that shape the larger ecosystem.
What are dancers thinking about, today? Come join us in a two-day marathon covering five forum-topics hosted by an exciting circle of artists and practitioners! Fellow artists, cultural workers, and the public are most welcomed to join in the conversation as we reflect upon the current scene and envision our ecosystem collectively. The ten hosts will be present throughout the entire marathon for continuity and to draw useful connections between subtopics that shape the larger ecosystem.
由10位藝術工作者帶領主持的圓桌論壇，針對在地舞蹈表演藝術發展的現況，誠意邀請同行及公眾一同滙集討論，提出分享、反思及展望。通過兩天一共五場的討論平台，從舞蹈藝術的創作、行銷、跨界、社會意識與評論出發，冀望來自不同領域的代表，在包容與開放的基礎下對話，一起學習交流，為舞蹈藝術梳理出具有啟發性與相互支持的共存生態。
Venue : Damansara Performing Arts Centre, Studio
(會議分中文或英文場；同時現場提供中英雙向翻譯。)
(The roundtable sessions are held respectively in Mandarin or English.
Two-way interpretation between Mandarin and English provided on site.)
Free Admission, register now 入場免費，採報名制 👉 📎
Enquiries : 019-6367600 (English), 017-2769363 (中文)
Two-way interpretation between Mandarin and English provided on site.)
Free Admission, register now 入場免費，採報名制 👉 📎
Enquiries : 019-6367600 (English), 017-2769363 (中文)
Co-organised by : 
Strategic Partner: 
supported by: 
supported by: 
Link :
Performing Arts in Locating its Locality
10 October 2020 | Saturday | 1:00pm~3:00pm
Host : Lee Ren Xin, Chew Soon Heng & Leow Sze Yee 李人欣, 周順興 與 廖世儀
除了日常的創作，排練，演出以外，表演藝術工作者要如何走向人群？通過表演藝術與人分享「表演藝術」這件事；當人體驗了肢體開發，律動，聲音，節奏等，對生活或創作是否有更多的選擇？
世儀、順興與人欣將帶領探討進入不同的空間與群體，如：社區，新村，偏鄉等，思考選擇何種形式的分享內容以及日後如何持續走下去。特別是創作的元素無法脫離社區，藝術工作與日常需求、身邊人、鄰居、個人與群體的關係，應用和意義。進而探索藝術的窘境和社會里的隔閡與異化。同時，檢驗外來/後來灌輸的藝術/創作體系，挖掘本土社會政治境況的身體（和舞蹈）需求。
語言：華語
形式：案例分享，主持人相互提問，與會者交流提問
How do performing arts practitioners work toward or from community? How is the artist and their work relevant to the people, to the everyday? Can we locate ways of art-making or practices that stem from the community? Sze Yee, Soon Heng, and Ren Xin will discuss ways they have worked in different spaces and communities beyond the studio and the theatre, while considering form, content, and their onward trajectory. What is the work of a performing artist in relation to the personal needs and collective significance in a community? What work of dance, music, or performance becomes pertinent when considering the bodies that inhabit this social landscape?
Language: Mandarin
Format: Sharing of case studies; conversation between the hosts, and with participants.
The Myths around Performing Arts Marketing
10 October 2020 | Saturday | 3:30pm~5:30pm
Host : Tan Eng Heng & John Wong 陳詠興 與 黃永益
藝術家和藝術行銷者，分別代表創作與市場之間相互拉扯與利益成就的矛盾之中。藝術如何被界定為商品進行有價值的獲利？純粹的藝術創作與市場通俗需求是可否共存？如何在不影響藝術創作的前提下讓作品能夠找到它的觀眾？黃永益與陳詠興試圖從投資者、藝術家、行銷者及消費者（觀眾）角度，解析藝術行銷常見的迷思，探討四者的思維模式與需求關係，並嘗試尋找平衡與共識。
語言：華語
形式：概念整理，確立討論範疇和主題；案例分享；主持人相互提問，與會者交流提問
Artists and marketing managers seem at odds in the negotiation between creation and marketing. How can art be defined as a profitable commodity? Can pure artistic creation and popular market demand coexist? How can a work of art attract its audience without compromising its artistic creation? John Wong and Tan Eng Heng set out to analyze common myths around art marketing, while considering the perspectives and needs of investors, artists, marketing managers, and consumers (audiences), and attempt to find a balance and consensus.
Language: Mandarin
Format: Establish concepts, themes, and scope of discussion; present case studies; Q&A between the hosts, and then with participants.
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舞蹈與影像合併的探究並探討創作者的角色
10 October 2020 | Saturday | 7:00pm~9:00pm
Host : Pexstret Liu & Yee Sue Ki 劉勇賢 與 易舒琪
With growing interest and awareness around dance films, experimentation and collaboration expand across the two disciplines. Film and dance have their own aesthetics and language in expression. How can these elements come together to form something else? How is the dance film scene developing today? And specifically in Malaysia? What are some ways or platforms that we can establish (or that already exist) to cultivate dance film creations? What are the roles in the creation process and how does one negotiate the shift and balance of roles, when working individually or collaboratively?
This is a conversation between two dance artists who are curious as to where merging dance and film can take us.
Language: English
Format: Sharing of case studies, conversation between the hosts, and open exchange with the participants.
隨著大眾對舞蹈影像的認識與好奇，更多具有實驗性質和跨領域合作的作品，紛紛湧現。
舞蹈和電影各有其語滙特色和美學界定，我們要如何把它們結合在一起，創作出新的表演媒介。目前舞蹈影像的發展處在何種階段？大馬在舞蹈影像的發展又是如何？我們有無可行的方式或平台可以持續孕育舞蹈影像的發展？需要有什麼樣的角色來推動，以及如何在個人或團體中，扮演相應的角色作出協調與平衡，以期有更大的發展或突破？劉永賢與易舒琪將與大家一起分享討論。
舞蹈和電影各有其語滙特色和美學界定，我們要如何把它們結合在一起，創作出新的表演媒介。目前舞蹈影像的發展處在何種階段？大馬在舞蹈影像的發展又是如何？我們有無可行的方式或平台可以持續孕育舞蹈影像的發展？需要有什麼樣的角色來推動，以及如何在個人或團體中，扮演相應的角色作出協調與平衡，以期有更大的發展或突破？劉永賢與易舒琪將與大家一起分享討論。
語言：英語
形式：案例分享；主持人相互提問，與會者交流提問
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身體解碼：舞蹈身體的社會功能與價值 Decoding the Social Function and Value of the Dancing Body
11 October 2020 | Sunday | 10:00am~12:00pm
Host : Tan Bee Hung 陳美向
不同的身體帶著不同的社會符號與個別的象徵。舞者的身體也不例外，在舞台上被剖解，或者退下舞台後在社會上可能扮演的角色。現代舞舞者陳美向，與大家一起解碼有關身體符號的關鍵字，再與社會相關的語滙連接，嘗試建構舞者身體在社會中的定位，探討舞蹈身體的社會功能與價值。
語言：華語
形式： 影像播放，主持引導分享，開放現場交流對話。
Different bodies carry different social and individual signifiers. The same goes to dancers’ bodies: their bodies are often scrutinised onstage, and their roles questioned in society. Contemporary dancer Tan Bee Hung attempts to decode the keywords and significance of the body, and connect them to societal lexicons, in an effort to construct the meaning of a dancer's body in relation to its social function and value.
Language: Mandarin
Format: Video presentation and sharing by the host, followed by dialogue exchange with the participants.
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「劣質」舞蹈的病徵是什麼？可以被醫治嗎？
11 October 2020 | Sunday | 1:30pm~3:30pm
Host : Wong Jyh Shyong & June Tan 黄志雄 與 陳豐愛
This is an open conversation between JS Wong (dancer, choreographer and educator) with June Tan (producer) on the idea of ‘bad dance’, and the cultural and community expectations of art and artists. It will start by discussing what affects artistry (choreography), how the education system informs art work, and the influence of marketing as well as the role of the audience. Following this discussion, the audience will formulate a strategy to cure bad dance, by prescribing the right medication.
Language: English
Format: Opening discussion by the hosts, followed by audience group discussion and presentations, and a final wrap-up with further Q&A.
黃志雄從多年的舞者、編舞者和教育工作者的角度出發，與製作人June Tan討論何謂劣質舞蹈作品，從概念到藝術與藝術工作者的人文素養，及社會期待切入，進行開放討論。討論內容涵蓋：什麼因素影響藝術性（舞蹈創作）、教育系統如何造就作品、行銷的功能和觀眾的角色。通過實際的小組交流，與會者將深入參與討論，為劣質舞蹈對症下藥。
語言: 英語
形式: 主持開場討論，受邀嘉賓分組帶領討論，小組整滙分享，總結與提問。
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Lee Ren Xin 李人欣 : 獨立舞蹈工作者。毕业于新加坡南洋艺术学院及美国纽约大学Purchase Dance Conservatory分校。對探索生活和藝術的共存、普通日常與特意精緻之重疊、平凡和刻意的相逢，社交和專業的相互融合。 不管是創作、研究、工作上與人的溝通和體驗，李人欣尋找舞蹈在人群生活的位置和相關性，舞蹈作為一種生活管道、為防守、為解放、為聆聽、為建立等，展現出生、動及量等動力關係。
An interdependent dance artist, I spend time to inhabit a place—to make sense, to sense what next and how next. I am drawn to activations through art, where the mundane and the deliberate interact, where the routine and the spectacle are not so different.
I am working with bodies (people!) and embodiment: what it means to be in this body on this land, how one wants to feel being in one’s body on this land; how can bodies be and be with each other—on this body of land. I feel strongly about bodies being problematized, as an effective system of control.
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Boyz Chew is the founder and artistic director of Orang Orang Drum Theatre. Boyz is a drummer who enjoys experimenting with different types of performing arts including physical theatre, butoh dance, acting, and drumming performance.
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Zyee Leow is the founder and Assistant Artistic Director of Orang Orang Drum Theatre. Zyee has been playing 24 festive drums since 1997. She has also experimented with different types of performing arts including music, dance, and acting, slowly transforming from a ‘drummer’ to a ‘performer’. In April 2013, she formed Orang Orang Drum Theatre with Boyz Chew, in search for a platform of expression through drum theatre.
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主張讓表演藝術走入民間，除了專研燈光設計，也極力推動社區演出。曾榮獲2000年戲炬獎十大劇場幕後精英、金馬倫藝術獎第9、第10、第12及第13屆最佳燈光設計。並於多項大型演出中擔任要職。曾隨多個國內外表演團體到新加坡、菲律賓、澳門、台灣、韓國、北京、廣州、上海、西安、多哈亞運會、澳大利亞、加拿大、印度、南非、秘魯、智利、阿根廷及巴拉圭巡回演出。
In 1998, upon graduation from the drama department of the Malaysian Institute of the Arts, he was awarded top honors and declared valedictorian in his cohort of graduates. Since then, he has worked professionally as a drama lecturer and consultant with MSC International College, SEGI College, New Era College Malaysia and Universiti Pendidikan Sultan Idris. He is also the Theatre Manager for Damansara Perfoming Arts Centre (DPAC).
An avid supporter of community theatre, he has been promoting theatre-making in different communities. In addition to his lighting design profession, he has been developing community-based theatre in different states and towns around Malaysia. He hopes that people in these communities can also enjoy the beauty of performing arts.
He was accorded the most outstanding production professional award in 2000 Ada Awards and winner of Best Lighting Design in the 9th, 10th, 12th and 13th BOH Cameronian Arts Awards. His extensive involvement in theatrical productions brought him to Singapore, Philippines, Macau, Taiwan, Korea, China, India, Qatar (The Doha Games), Australia, Canada, South Africa, Peru, Chile, Argentina, and Paraguay.
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John Wong Weng Yik 黄永益 ： 畢業於台灣高雄樹德科技大學「藝術管理與藝術經紀」藝術學士學位。在學期間，曾到馬來西亞吉隆坡表演藝術中心KLpac及高雄市春天藝術節實習，2015年前往倫敦藝術大學切爾西藝術與設計學院進行國際交流與見習。旅居台灣期間，加入明華園戲劇團（總團）擔任全職劇團行政，主要負責劇團的演出製作與執行。
2017年回國後，加入The Play Haus Theatre擔任全職劇場經理、2017至2019年參與『缺/失的對話』交流與創作計劃、2018年紅姐姐工作室《蝴蝶寶寶的旅程》擔任舞者、遊吟者劇團《開心死了》擔任執行製作。2020年開始轉為自由接案，主要從事劇場演出製作、企劃與行銷工作，服務對象包含馬來西亞巴赫節、紅姐姐工作室兒童劇團、平台計劃劇團及新山暗房劇團等。
2017年回國後，加入The Play Haus Theatre擔任全職劇場經理、2017至2019年參與『缺/失的對話』交流與創作計劃、2018年紅姐姐工作室《蝴蝶寶寶的旅程》擔任舞者、遊吟者劇團《開心死了》擔任執行製作。2020年開始轉為自由接案，主要從事劇場演出製作、企劃與行銷工作，服務對象包含馬來西亞巴赫節、紅姐姐工作室兒童劇團、平台計劃劇團及新山暗房劇團等。
John graduated from Shu-Te University (Taiwan) with a Bachelor of Fine Arts in Art Management and Agent. He interned at KLPAC, Kaohsiung Spring Arts Festival, and a summer exchange program with University of Arts London (Chelsea College of Art and Design). He also worked as an art administrator at Ming Hwa Yuan Arts & Cultural Group in Taiwan.
John has performed in A Dialogue of Lack/Lost Project (2017-2019) upon his return to Malaysia in 2017, and as a dancer in “Journey of A Baby Butterfly” Baby Theatre by Hongjiejie Work Station Company (2018). In 2018, he became the executive producer for “What A Fuxxing Happiest Life” by The Troubadour Theatre Company, and then Theatre Supervisor at The Play Haus Theatre (2018-2019), and in 2020 the marketing manager for Bachfest Malaysia. He currently freelance as theatre project manager and performer.
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Pexstret Liu Yong Sean 劉勇賢：ARTE KOREA和Asian Dance Research Center教練與排練導師，Euphoria Penang 教練 。畢業於Aswara（馬來西亞國家文化藝術大學）舞蹈系。2004年前往韓國的藝術學院進修舞蹈碩士並留韓發展，接受當代芭蕾以及劇場編導培訓。他曾受過傳統舞蹈（印度，馬來，華族舞）和現代舞蹈訓練，並創作出一套獨具馬來西亞風格的舞蹈。曾與來自中國，意大利，比利時，倫敦，美國，印尼，日本，韓國以及馬來西亞的藝術家等合作。與本地劇團 Noise Performance House , 剃刀試驗劇場，造心場，戲園子，Triple I 合作。曾獲得「十分精彩 (Short & Sweet)」 的最佳男舞蹈員及編舞者。個人與製作作品亦獲得不少獎項：2007 Malaysia Traditional Dance Competition 金獎及最佳男舞者獎，2008Asia Arts Award 榮譽獎，2011&2013 首爾國際舞蹈比賽-金獎，2009 國際舞蹈比賽－大獎，2018 比利時年度最佳編舞獎，2018 <末日青春> 舞台劇肢體導演獲戲炬獎年度最佳戲劇，2019 馬來西亞全國華人舞蹈節 - 最高榮譽金像獎。
Graduated from Akademi Seni Budaya and Warisan Kebangsaan (ASWARA), he further-studied at KOREA NATIONAL UNIVERSITY OF ART, and trainedin Ballet and Contemporary Dance. His dance training in the early years included Indian, Malay, Chinese Dance and Contemporary Dance. His work is mostly traditional dance-based and explores new possibilities in the human body. He has worked with various artists from different countries.
He was the winner of Bravo Asia In Korea-Grand Prize; Seoul International Dance Competition 2011, 2013 Grand Prize; 2019 Belgium Best Choreography of the Year (Nativos by Korea National Contemporary Dance Company ), to name a few. He is currently based in Seoul and Penang, collaborating with several different theater and dance groups in Penang.
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Yee Sue Ki was a soloist at ASK Dance Company from 2016-2019, and now works independently as a dancer, choreographer, and instructor. With a background in contemporary dance and ballet, she started learning various traditional folk and classical forms while pursuing her Degree in Dance (Hons) at Aswara (the National Academy of Arts, Culture and Heritage) which she graduated from with First Class Honours in 2017. She is interested in the versatility of dance, with a particular interest in cross-genre or multidisciplinary experimentation, as well as improvisation. Her recent works include her solo “But would you know if a fishbowl is just a fishbowl?” which has been performed at various festivals in KL, Penang, Johor, and Mexico City, as well as exploring the idea of restrictions and limitations in “BIND” (a multidisciplinary collaboration under KongsiKL), and “SPACE” ( in collaboration for SPACE installation art exhibition).
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LLB graduate. Trained mainly in contemporary dance but also includes ballet, yoga, and pilates into her training. Joined Kwang Tung Dance Company since 2005. Active in the local and international dance scenes, having performed locally in Tari, MyDance Festival, Le French Arts Festival, SounDance by RAW Arts Space, as well as internationally in Festival Tokyo 2016 (Japan), Goyang International Dance Festival (Korea), the 5th no ballet International Choreography Competition (Germany), Guangdong Modern Dance Festival (Guangzhou, China), CONTACT: A Week of Dance (Singapore). Was selected to participate in the International Young Choreographer Program in Kaohsiung, Taiwan in 2013. Current practice includes dance, site specific and improvisation performances, also engaging in thoughts regarding dance in relation to the body, expression of identity, community, and politics. A believer that all humans are natural movers and that dance is for everybody.
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Wong Jyh Shyong 黄志雄 ：畢業於台灣國立台北藝術大學舞蹈研究所，主修創作。 2005年香港演藝學院現代舞系以「一級榮譽藝術學士」畢業，後加入台灣雲門舞集一團。2005-2009年期間隨雲門舞集往歐、美、亞等舞蹈表演重鎮地及各大小藝術節巡演。曾兩度獲頒第九屆及第十一屆馬來西亞Boh Cameronian Arts Awards年度舞者獎項。 2013至2016年擔任馬來西亞DPAC表演藝術中心及DPAC舞團藝術總監。個人舞蹈創作亦受邀參演國內MyDance Festival與TARI國際舞蹈節，也曾巡演至澳洲、日本、台灣、香港、新加坡與印度的藝術節/季。現為馬來亞大學舞蹈系講師 ， 積極參與國內外交流演出、教學及展演活動。
Wong Jyh Shyong (JS) received his Master of Fine Arts from Graduate Institute of Choreography, Taipei National University of the Arts in 2013 and Bachelor of Fine Arts from The Hong Kong Academy for Performing Arts with First Class Honours in 2005. He was previously a dancer with Cloud Gate Dance Theatre of Taiwan from 2005 to 2009. In the 9th and 11th BOH Cameronian Arts Awards in Malaysia, he received the Best Featured Performer award in 2011 and 2013. From 2013 to 2016, he was the artistic director of DPAC Dance Company as well as Damansara Performing Arts Centre. Thus far, JS has staged his own choreography and commissioned creations in various festivals and venues in Australia, Taiwan, Japan, Hong Kong, Singapore, India, and Malaysia. He is now a lecturer at the dance department at Cultural Centre, University of Malaya, as well as a dance artist who performs, choreographs, teaches, and shares the art of dancing, locally and internationally.
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June Tan 陳豐愛 ： June Tan is a biologist from Imperial College, London and member of the performing arts collective, Five Arts Centre (Malaysia). Since 1997, June has stage-managed, tour-managed, and produced numerous local and international co-productions. Her producing experience builds from a parallel experience inthe corporate sector (1997-2008). She is interested in understanding systems, and in facilitating space for difference, for discussion, and models for art making. This is seen in her initiation for platforms for emerging practitioners, and her programming for Kotak, an independent arts space in Kuala Lumpur. From 2018-2020 June was TPAM Director for The Performing Arts Meeting (TPAM) in Yokohama, a platform for art projects that reflect contemporary thinking in Asia and the world.
June is also keen to encourage networks between Malaysian and Southeast Asian producers, and is involved in ReformARTsi, a community coalition advocating for policy change in the arts. In addition, June has also written scripts for the stage, TV and feature films.
倫敦帝國學院生物學系畢業，馬來西亞表演藝術團體 Five Arts Centre 的成員之一。1997年至今，June 擔任過舞台監督、演出巡演統籌、也製作過多項本地與國際性的演出。長達十年的豐富製作經驗，對系統、空間、藝術類型、論壇與策展方面有著濃厚的興趣，並在吉隆坡獨立藝文空間Kotak ，為年輕一代策劃一系列的活動平台。連續三年（2018-2020）受邀參與橫濱表演藝術國際會議，一個反思亞洲和世界當代表演藝術的平台。關切並鼓勵馬來西亞和東南亞製作人之間的聯繫，也參與大馬一個名為 ReformARTsi 藝術政策改革的社區聯盟。此外，她也為舞台、電視和電影編寫劇本。
