Folded Paper Dance and Theatre

Article One: An Overview of the Sounding Bodies Intermedia in Hong Kong Project

文章一：回顧《聲軀(二)：香港跨媒體》

Article Two: Sounding Bodies Intermedia in Hong Kong: Intermedia Dance and Disability Aesthetics (link)

文章二：《聲軀(二)：香港跨媒體》：跨媒體舞蹈及跨能力美學

Article Three: Sounding Bodies Intermedia in Hong Kong: Engaging Diverse Audiences (link)

文章三：《聲軀(二)：香港跨媒體》：鼓勵多元觀眾參與 

Other Articles: See the review on Sounding Bodies: Light, Image, and Empty Spaces in dance journal/hk.

Please click here.

An Overview of the Sounding Bodies Intermedia in Hong Kong Project

回顧《聲軀(二)：香港跨媒體》

A Folded Paper Dance and Theatre Limited Production

由Folded Paper Dance and Theatre Limited 製作

Sounding Bodies: Intermedia in Hong Kong

《聲軀(二)：香港跨媒體》

Research and Development Series: November 2020-January 2021

Innovation Workshops: March-July 2021

Talks and Mini-Exhibits: February-April 2021

研究及發展項目(二零二零年十一月至二零二一年一月)

創意工作坊：二零二一年三月至七月

講座及迷你展覽：二零二一年二月至四月

Sounding Bodies: Light, Image, and Empty Spaces 

Interactive Sessions with Video Documentaries 

Sounding Bodies Dance Performances

聲軀(二)：光、圖像和「空」間  

互動藝術裝置環節及視訊影像 

聲軀(二)舞蹈表演  

May 7-9, 2021, Jao Tsung-I Academy, Kowloon, Hong Kong

2021年5月7日至5月9日；香港九龍饒宗頤文化館

Kanta Kochhar-Lindgren, Ph.D.

Executive Producer and Artistic Director for Sounding Bodies

Kanta Kochhar-Lindgren博士

聲軀(二)執行監製及藝術總監

Founding Director, Folded Paper Dance and Theatre Limited

With the Sounding Bodies Collective

Folded Paper Dance and Theatre Limited創始人

《聲軀》協作

Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, or one’s own thoughts as well as musical sounds. Deep listening represents a heightened state of awareness and connects to all that there is.

--Pauline Oliveros

無論何時何地，深度聆聽是以各種方式聆聽一切可能聽到的聲音。我們聆聽到的聲音來自四方八面，它們可以來自日常生活、大自然、自身思想，以至音樂本身。深度聆聽代表了處於更高的覺知境界，並與萬事萬物緊密扣連。

─美國作曲家Pauline Oliveros

Overview

簡介

Sounding Bodies:  Intermedia in Hong Kong, a collaborative dance and intermedia project, supported by the Hong Kong Arts Development Council, examines everyday life in urban and natural sites across Hong Kong through workshops, sculptural installations, and interactive performance events. The project has been spearheaded by choreographer, director, curator, and scholar Kanta Kochhar-Lindgren, Ph.D., the Founding Director, Folded Paper Dance and Theatre Limited. As a hard-of-hearing, Indian-American choreographer and researcher— who works in Hong Kong and India—her current arts cycle focuses on the devising of a methodology for and practice of “sounding bodies,” or artistic combinations that cuts across arts, abilities, and cultures,in ways that can awaken multi-sensory listening practices and lead to stories for the future through blended forms of dance-sound-sculpture-film. Sounding Bodies has emerged through an artistic research process that explores sound sculptures, multi-sensory objects, portable architectures, and methods for dance-music jamming in ways that honour the cultural and ecological diversity of Hong Kong. 

 《聲軀(二)：香港跨媒體》是一個由香港藝術發展局贊助的舞蹈和跨媒介協作項目。通過舉行工作坊、雕塑藝術裝置製作和互動表演環節，共同探索香港的日常都市和自然環境。項目由Folded Paper Dance and Theatre Limited藝術總監、編舞家、策展人兼學者Kanta Kochhar-Lindgren博士統籌。作為一名印裔美籍弱聽編舞家和研究人員，她往來香港和印度工作，而目前的藝術工作專注於「聲軀」的研究方法及實踐。她計劃通過混合跨藝術、能力及文化的多種形式，喚起人們多感官聆聽體驗，並引進未來透過舞蹈、聲音、雕塑及視訊影像交融的故事。聲軀(二)通過一個藝術研究過程，探索聲音雕塑、多感官體驗及可移動建築，以及以揉合舞蹈及音樂的方法，宣揚香港文化和生態多樣性的方式。

Sounding Bodies featured dancers Pak- Hong Lau, Christine He, Soraya Chau, Ophey Sankofa Chan, Rhyn Cheung, Florence Woo, and Chun To Yeung; musicians Jeremy Leung; Peter Wong, and Fode Alex Cheung; designer Tiffany Yu, Yu Wing Yan, LAI Tze Yu, To Wun, and Jasper Dowding.

 聲軀(二)誠邀舞者劉柏康先生、Christine He、之華小姐、陳子筠小姐、張煒彥先生、吳盈慧小姐及楊竣淘先生；音樂人Jeremy Leung、王梓健先生及張鋭燊先生，以及設計師余智敏小姐、余穎欣小姐、黎子瑜小姐、杜煥先生、 Jasper Dowding攜手合作。

 Sounding Bodies is supported by the Hong Kong Arts Development Council. Cooperating organizations include HKU’s Common Core+; JTIA (with Venue Support); SLCO-CR; Accessibility Partner: Arts with the Disabled Association Hong Kong; HKSKH Lady MacLehose Centre Services for Ethnic Minorities; Yarnda; Buddhist Fat Ho Memorial College; MakerBay; Sense 99; and Panlab as well as generous friends of Folded Paper.

 聲軀(二)由香港藝術發展局贊助。項目是由一眾合作機構及支持Folded Paper的共襄盛舉。合作機構包括香港大學Common Core +、饒宗頤文化館(提供場地支援)、語橋社資、香港聖公會麥理浩夫人中心(少數族裔服務部)、揚達、佛教筏可紀念中學、MakerBay、Sense 99及Panlab迴匠手碟，以及通達伙伴香港展能藝術會，特此鳴謝。

Section One

第一部分

Sounding Bodies, an artistic collaborative experiment, investigates edges, materials, and empty spaces that can generate new ways to listen to each other and to the earth.

聲軀(二)是一個協作藝術實驗，研究邊緣、材料和「空」間，併發嶄新方式傾聽彼此和地球自身。

Accessible sound sculptures

(無障礙)聲音雕塑

Sound Sculptures (influenced by the work of the Baschet brothers and others) are cross-artistic creations made from a variety of materials that provide the context for merging of the aural and the visual into sight-sound-touch experiences. These varied experiences of sounds, movements, images, materials, and architectures can foster the re-enchantment of our sense-bodies as we tune in and hear differently. (For more on the Baschet Brothers, please click here. (http://baschet.org/site/.))

 聲音雕塑概念源於巴榭兄弟(Baschet Brother)及其他林林總總，意指以多種物料製成的跨藝術創作，融合聽覺和視覺，所構成的「視聽觸」體驗。這些不同的聲音、動作、圖像、物料和建築體驗，有助誘發我們體驗「感覺與身體」的魅力，調節自身，實現另一種聆聽。(如欲了解更多，可造訪. (http://baschet.org/site/)

Sounding Bodies

聲軀(二)

 Sounding Bodies enacts the movements of our sense-bodies. Sense-bodies manifest through the rise and fall of breathing; sound, silence, music, and song; the intonations of spoken language; the moving body that carves rhythm into the space; and the felt senses of the spoken language as it sounds while our eyes trail over captions on the screen far upstage left. These myriad worlds of sense-bodies touch us just as we touch them, appearing under the sky of the theatre, suggesting what we might become. 

 聲軀(二)再現「感覺與身體」所牽動的每一個動作，在我們的一呼一吸，配合聲音、寂靜、音樂、語調的抑揚頓挫，也能一一體現。舞者身影搖曳，以肢體線條將旋律繪成空間。伴隨觀眾目光所及之處，投射在劇場左側屏幕上的影像，所觸發的口語感知也一一展現開來。這些萬千由 「感覺與身體」組成的領域源源不絕地觸動著我們，就像我們觸發它們一樣。在劇場空間內湧現，幻化成我們將要成為的一切。  

The Empty Spaces of Sound/Sight: How Space Speaks

聲目．空：「空」間是怎樣說話的？

Section Two

Choreographer’s Background

第二部分

關於編舞家

As an Indian-American hard-of-hearing woman who currently resides in Hong Kong, Dr. Kochhar inhabits and crosses many spaces of diversity, including ethnicity, disability/deaf, gender, linguistic, expat, and—with increasing urgency—the ecological. As someone who is both at home, and not at home in Hong Kong, orienting herself on an everyday level, as an artist, and as a scholar requires emerging processes of navigating along the edges, through materials, and in and across empty spaces.

 Kochhar博士現居於香港，是一位印裔美籍弱聽人士。她在眾多多元空間穿梭，包括族裔、傷健/失聰、性別、語言、移居海外者，以及日益嚴峻的生態問題。雖然暫居於香港，在日常生活層面，她擁有藝術家及學者的多重身分，過程需要沿著邊緣，通過材料，在「空」間中延伸穿梭。

This lived experience informs her trajectories in Folded Paper toward cross-arts, cross-abilities, cross-cultural research and arts production that brings together professional arts as well as diverse community participants and audiences.

 以上種種經歷使她在Folded Paper中的軌跡朝著涵蓋跨藝術、跨能力、跨文化的研究和藝術創作進發，結合專業藝術、來自社群的參與者及觀眾。

 One part of encountering “events” rather than “representation” is to engage forms of hearing differently. Hearing differently—as a form of cross-arts and cross-abilities listening that involves our whole bodies—enables us to tune more deeply into the world in dynamic ways. We stitch together what we hear-see-touch across sound, silence, and that in-between space within and across live and virtual cultural and natural landscapes. Activating these myriad multi-sensory spaces can also lead to the activation of sensitivity to the other than human.

 嘗試以不同的方式細心傾聽，方能遇見「另一番景象」，而非被「定型概念」束縛著。作為一種跨藝術和跨能力的聆聽方式，「另一種聆聽」牽動整個身體，使我們能夠以動態的方式調節自身，更深入了解身處的世界。我們通過結合聽覺、視覺及觸覺，跨越聲音及寂靜，探索共同存在於文化和自然景觀的虛實空間。激活這些林林總總的多感官空間，引導了我們留意更多身邊的一事一物。

Artistic Research and Development

Sounding Bodies draws from Buddhist influences on classical and contemporary dance in Hong Kong and India; postmodern dance and music; the history and practices of intermedia arts; and disability aesthetics. During the Research and Development period, the team investigated the theories, practices, and applications of their findings. Educational research has confirmed what we already know from our experience, that deep innovation comes when the working team is quite diverse. As a result, Dr. Kochhar-Lindgren has brought together a collaborative team of researchers, teaching artists, arts-performers, musicians, and designers. The RSVP cycles—an iterative process developed by Lawrence and Anna Halprin designed to work in transdisciplinary contexts with all types of communities/participants—acted as a guiding technique to help us dive in. (For more on the RSVP Cycles, please click here: https://www.youtube.com/watch?v=QbIi966lOLs)

 聲軀(二)靈感來自佛教如何影響香港及印度古典表演及其後現代舞蹈、音樂和跨媒體發展；以及有關跨媒體藝術及跨能力美學的歷史來源與實踐。在項目研究發展期間，我們團隊探討了調查成果的理論、實踐和應用。該教育研究是我們過往資歷的證明，團隊成員背景多元，激發了許多深度創新。Kochhar-Lindgren博士匯聚各方研究人員、藝術教育家、藝術表演者、音樂人和設計師，組成一支協作團隊。RSVP環是由勞倫斯．哈爾普林(Lawrence Halprin)與妻子安娜(Anna Halprin)所發展出來的一套創作循環程序。該技巧可應用於所有組織中，以及任何人士身上，皆能用作引領人們深入了解研究。(如欲了解更多有關資料，請按這裡)  插入超連結: https://www.youtube.com/watch?v=QbIi966lOLs)

The guiding questions were: How do these three research areas act as types of mobile threads that can help us prepare, reorient, and then create new sensory compositions that can lead to expanded action in the world? 

 引導問題：該三個研究領域如何持續引領我們準備、調整方向，然後創造新的感官體驗，從而在世界裏影響更多？

 These philosophies, arts practices, and sensorial-perceptual corporealities act as “forms of being in the world” as various materialities and sites of experiences.

 這些哲學、藝術實踐和有關感知的體認作為 「存在於世界的形式」，以及囊括各種物質和經驗的場所。

Buddhist Influences

Buddhist influences on contemporary dance revolve around the notion of emptiness: “Form is emptiness; emptiness is form,” as the Heart Sutra has it (Hyperlink: https://webspace.ship.edu/cgboer/heartsutra.html). This notion of emptiness acknowledges that the only reality is constant motion, that everything is in flux. [in part, but that’s another conversation. Motion is emptiness, too] This approach intensifies the experience of the body in the moment, generates a greater presence and awareness of oneself and others. As a result, transformation occurs through the changes of consciousness that come about from “waking up” and “tuning into nature.” These altered spaces generate openings for new ways of sensing, of hearing differently, through the multi-sensory flux of daily and artistic experiences.

 佛教對於現代舞蹈的影響環繞「空間」概念本身，摘自般若波羅蜜多心經：色即是空。空即是色。(超連結： https://webspace.ship.edu/cgboer/heartsutra.html)這種「空」的概念，在於無固定不變之自性。 [實有自性，容後再談變動也是空性。] 這種概念加強了身體在當下的感覺，對自我和他人的存在及意識也得以增長。透過覺知將自身調整到「覺悟」及「最貼近自然的狀態」的境界，當中的改變是可見的。這些被改變的空間產生了嶄新的感受，通過日常和藝術經驗的流動多感官經驗，衍生了另一種聆聽方式。

Intermedia

The research on Intermedia acknowledges that there is a history to innovation in bringing art forms together to create something new, and it gestures toward many of the “in-between” spaces of art forms. Sounding Bodies moves between dance and architecture; between sound instruments and sculptures; between the moving images of the dancers, the projections, and the set pieces. Aiming to be accessible through cross-sensory compositions as touch-sight-sound experiences, the event itself draws the performers and audience alike into the present as each new sense experience meets the next one. “Intermedia works cross the boundaries of recognized media, often fusing the boundaries of art with media that have not previously been considered art forms.” 

 在研究跨媒體領域期間，在將藝術媒介結合起來創造新物件，藉此向許多藝術形式的共同空間致意。聲軀(二)在舞蹈、建築、聲音、樂器、雕塑、舞者晃動的影子、投影及舞台佈置之間穿梭。項目旨在通過跨感官組成的「視-聽-觸」體驗，將表演者和觀眾都吸引到當前空間，皆因每一種新的感官體驗，都會與下一種體驗相遇銜接。「跨媒體創作跨越了大眾公認的媒體界限，經常將藝術的界限與以前所謂非正式藝術形式的媒體融合在一起。」

 Lily Diaz and Ken Friedman. (2018). “Intermedia, Multimedia, and Media” in Adaptation and Convergence of Media. Aalto: Aalto University Press. (Link: https://monoskop.org/images/6/66/Friedman_Ken_Diaz_Lily_2018_Intermedia_Multimedia_and_Media.pdf)

 莉莉．迪亞茲(Lily Diaz)及肯．弗里德曼(Ken Friedman) (2018)摘自《跨媒體、多媒體及媒體》(“Intermedia, Multimedia, and Media” )中「媒介應用及融合」一章阿爾託大學出版社(Aalto: Aalto University Press)。(關連網址： https://monoskop.org/images/6/66/Friedman_Ken_Diaz_Lily_2018_Intermedia_Multimedia_and_Media.pdf)

Disability Aesthetics

Disability Aesthetics asks how might we collectively create an approach to arts-making that incorporates multi-sensory design and arts experiences that accounts for sensory variegation from the beginning of the process. In “What Can a Body Do?: How We Meet the Built World,” Sara Hendren notes:  “In a social model [of disability], the interaction between the conditions of the body and the shapes of the world that makes disability into a lived experience, and therefore a matter not only for individuals but also for societies.” This understanding has vast implications for generating new approaches to arts-making.

 在跨能力美學下，我們反思如何共同創造一種藝術創作的方法，將多感官設計和藝術創作形式結合起來，一切源於感官體驗的多樣性。在《一具身軀能做什麼？我們如何滿足世界常態》(“What Can a Body Do?: How We Meet the Built World)一書中，薩拉．亨德倫(Sara Hendren)指出：「在所謂的社會模式中，身體的先天條件和世界常態互動，使傷健成為一種活生生的體驗。總而言之，這不僅是個人的問題，也是社會自身的問題。」這種理解對產生嶄新藝術創作意義可謂舉足輕重。

As part of that investigative process, we drew on histories of these particular foci, bringing the historical into the present and making new work together.

作為該調查過程的一部分，我們借鑑了這些焦點的歷史，回顧過去，展望未來，共同創作新作品。

 This convergence does not yet exist until we begin to stitch it into place. We need to undertake research in order to identify the seams between the different domains, work with their respective materialities, and see what happens when we encounter them in the “empty spaces” to be made manifest through creative processes.

 在我們開始媒介融合之前，這種概念並不存在。我們需要進行研究，以確定不同領域之間的接縫，與它們各自的本質相互包容。而且當我們在「縫隙」之間遇到它們時，會發生什麼，以創意過程作另一種表現。

 We generated our respective and collective assemblages of findings and let them fire off of each other as we wake up together as an activated “collective” nervous system.

 在研究當中，成員個人和集體皆收穫了成果。我們任由它們相互碰撞，然後一同以個體的身分，作為一個被激活的「集體 」神經系統甦醒過來。

 The artistic research process has led to the development of a Sounding Bodies methodology for participatory workshops and for an interactive installation and performance series. 

 上述的藝術研究過程引伸到聲軀(二)以一連串參與工作坊、互動藝術裝置及舞蹈表演的方法表現出來。

 This approach generates pioneering work on virtual-live (accessible) sound sculptures; the use of (assistive) audio and visual technologies inside of the installation and performance for all audience participants; and performance techniques that, in part, draw, on Buddhist practices of attention to sound, silence, and nature. These digital experiences are particularly important in the time of COVID as the performing arts search for innovations in virtual-live performance methods.

該方式發展出虛擬現場(無障礙)聲音雕塑的先鋒創作；在裝置和表演中加入(輔助)音頻和視像，讓任何觀眾都能無障礙參與；表演的技法參考佛教中對聲、靜和自然的關注。在疫情時代，演藝界都正在尋求虛擬現場表演方法的創新，這些數位化的體驗尤為重要。

A Sounding Bodies Convergence

聲軀(二)的融合媒介

Over the course of the dance performance, the complexities of the relationship between ordinary living and earth living are investigated, encountered, and slowly transformed. In an early section of the dance, after Soraya slowly rolls the lighting trolley around the performance space. The simple pillar of light in the darkness sharpens our focus, as Christine enters upstage left, and tracks her way across the various bamboo and paper sculptures that are lined up there under the partial lights. Upstage right, an architectural costume, with a bodice made of bamboo and paper, and a voluminous skirt made from layers of washi paper, hangs. As Christine nears, the costume lowers; she slides into it; and she transforms into an earth figure, listening to the now doubling space, layering space of the ordinary and the earth. We learn where she is and what she has become through the use of a double projection: we see Christine become the earth figure and she finds herself through the projection of herself through the IPhone camera onto the screen center stage. The doubling casts the materiality further far and it also expands the spatial realm between the live and the digital. It seems we need both in order to understand where we are going. As the Earth Figure travels from upstage right to downstage right, what has been faraway moves closer. The emerging presence of a different figure begins to loom before us. The Earth Figure leans to her far left, temporarily suspended, before she falls stretched out long, above the floor, hovering and intensely attentively listening.

 舞蹈表演當中探討了人類和地球之間的複雜關係，我們遇見，並慢慢轉變了對方及自身。在舞蹈表演開端，舞者之華慢慢推著燈光小車在舞台上前行。黑暗之中，帶著幽幽的燈柱卻使我們的注意力變得更加集中。與此同時，Christine從上舞台左區步入，在局部燈光下，她在沿著各種竹子和紙質雕塑上排列的方式尋找著什麼。上舞台右區，懸掛著一套立體剪裁服裝，連衣裙上半身由竹子和紙製成，裙擺則由多層和紙製成。當Christine走近時，立體剪裁服裝便緩緩降落在她跟前；她滑進了服裝內，變成了一個大地的形象，聆聽著現在多重交疊的空間──人類和大地的分層。我們以雙重投影來了解她到了哪裡，以及她變成了什麼。我們看到Christine變成了地球本身，她通過iPhone相機將自己投影到舞台中央的屏幕上，也因而找到了「自己」。雙重的身分投射客觀感覺，同時擴大了現場和數碼之間的空間領域

 ，想要明白我們正在處於什麼景況，看起來這兩者是不可或缺的。當「地球」從上舞台右區走到下舞台右區時，一直離我們很遙遠的東西變得很近。一個截然不同的人物開始在我們面前出現晃動。「它」靠在她的最左邊，暫時懸空，然後匆匆落下，在地上盤旋，聚精會神地聆聽。

Ordinary Living-Earth Living

人類與地球

 [Image Descriptions: A. Christine is next to the architectural costume. Two of bamboo and paper sculptures are lit. B. Christine is wearing the architectural costume, and she is using an IPhone to capture the live feed as she finds herself through the double action of recording and projecting. There is a projection of an image of her face on the screen upstage center.]

圖像描述：圖一. Christine站在立體剪裁服裝旁邊；旁邊的竹子及紙張雕塑被點燃圖二. Christine正在穿上立體剪裁服裝，然後她正在以iPhone拍攝網路直播，發現自己在錄影，同時影像也出現在投影之下；她的臉孔出現在舞台中心的圖像投影]

Conclusion

總結

Sounding Bodies: Intermedia in Hong Kong seeks to generate a dance poetics. Such a poetics appears under the sky, breathes stillness into what has been and what we will become. Under this sky, we will lean into the spaces where we live, dream, and touch everything, even as the wind thrashes the mountain, the sea, the city streets.

聲軀(二)嘗試以舞蹈詩詞展現。在青空下，如詩一般，在呼吸之間，靜止的聲軀幻化成我們的曾經， 以及我們將要成為一切的種種姿態。在天空見證之下，我們將會在這片天空下，靠在我們生活、夢想和觸摸著一切的空間裡，甚至在風吹動山、海、城市大街小巷的時候也同樣。

 An orange streak of light in this late afternoon might take us back to ourselves, to the distant call of those ancestral feet that sound out history, mete out all the ways that we can find ourselves. 

在這個傍晚，一道橙色的光線可能引領著我們，回到自己身邊，隨著祖先步伐，回到那些傳出遙遠呼喚的地方，以所有方式尋回自身。

Mete, Measure, Cut. Metre, rhythm. As Sounding Bodies unfolds, the multiple investigations show us how light, image, and empty spaces weave together.

發放，量度，裁剪。節拍，節奏。隨著聲軀(二)一步步向我們展開，一連串的探討研究告訴我們光、圖像和「空」間 如何能夠互相交織。

“To pierce a mustard seed and let seven oceans in…”

--Ambai

「刺破一芥子，放進七大洋」

—Ambai