高艳津子：她的身体是一条流动的河 | Dancing Free

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“我的声音就是音乐，

我的哭泣就是旋律，

我的心跳就是节奏。

我可以赤脚跳遍天涯海角，

我可以跳到80岁。

当我选择现代舞时，

就注定了它不是我一个阶段的工作，

而是我一生钟爱的事业。”

In recent years, Chinese modern dance has witnessed some astonishing performances.

近年，中国的现代舞舞台迎来了一些特别的作品。

The main characters in "Blooming of Time" are flowers. The dancers become the incarnation of the goddess of the flowers, as well as foxes, snakes and insects. They perform a combination of modern dance, folk dance and ballet, telling the story of nature. 

《二十四节气•花间十二声》以花为主角。舞者化身花神、狐狸、蛇、虫子、人，糅合现代舞、民族舞、芭蕾舞等多种形式，将大自然中的生命故事娓娓道来。

In "The Chinese Zodiac," dancers use their bodies to portray the 12 animals. Instead of mere imitation, they bring out new characteristics of the animals from Chinese folk legends.

《十二生肖》中，舞者们用身体塑造十二生肖中的动物。他们并不是单纯地模仿，而是结合各种民间传说，给予动物颠覆性的塑造。

These shows have graced domestic and foreign stages, exposing Western audiences to the oriental philosophies of music and dance.

这些剧目不仅在中国上演，还走向国际舞台。宛如一出出秘境，它们将西方观众一把拽入舞蹈和音乐营造的东方哲学气氛中。

Gao Yanjinzi, artistic director of the Beijing Modern and Contemporary Dance Company, is the chief director of these performances. 

这些作品的总导演，是高艳津子，北京现代舞团创作总监。

"Dancing is always part of my life," said Gao, who was born into a family of traditional dancers and trained as one before the age of 17. "When I was little, I would dance to bring people water, or dance away, wiping the sweat."  45 33138 45 14939 0 0 1022 0 0:00:32 0:00:14 0:00:18 2992

高艳津子出身舞蹈世家，父母都是传统舞舞者。“舞蹈对于我好像就是自然而然的一个事情。小的时候给别人端杯水，会跳着舞过去，然后我擦汗也会跳着舞离开。”她说。十七岁以前，她接受的都是传统舞训练。

In 1993, the Beijing Dance Academy set up the first modern dance course. By that time, modern dance had developed for more than 100 years in the Western world and had a relatively mature theoretical framework. China was, on the contrary, getting its first taste of modern dance and had to learn everything from the West. In the class, Gao felt that she was restricted. "Should we give up our culture of 5,000 years to pursue the 100-year-old modern dance?"

1993年，北京舞蹈学院开设首届现代舞班。那时候，现代舞在西方已经发展了一百多年，拥有较为成熟的理论体系，而国内的现代舞才刚刚起步，一切都是从西方引进的。进了现代舞班的高艳津子觉得自己又进入了一个有限的格局。“难道我们要放下五千多年的文化，去选择一百多年历史的现代舞吗？” 

She was in doubt. "After I graduated, I couldn’t dance for two months. Actually, I couldn't raise my arms. I didn't understand why I'd do that. Where do the movements come from?"

这让她陷入困惑。“学校出来以后我有两个多月不能跳舞。我就是无法举起手来。我不知道为什么做那么多动作，这些动作的根基来自于哪儿？”

Later, she found out that modern dance is, like other modern art forms, an art of concept. It has little to do with its country of origin. She once said in an interview: "Modern dance exists because the artists have different ideas about dancing ... it doesn't have a standard concept to confine you." "The essence of modern dance is the freedom of spirit, not a certain kind of movement or style."

后来，她发现，现代舞与现代其他文艺形式一样，是一种观念的艺术，和它起源于那个国家关系不大。在媒体采访中，她曾说：“现代舞是因为艺术家们拥有不同的舞蹈观而存在的一种舞蹈……它没有一个绝对标准的观念的限制。” “现代舞追求的是舞蹈的精神自由和解放，而不是特定的动作和风格。”

So Gao looks for inspiration in traditional Chinese culture and dances. "I integrate it with 5,000-year-old Chinese elements, like Tai Chi, traditional opera, calligraphy and literature, etc. I'd grow on this nutritious soil, creating and expressing."

所以，高艳津子从中华传统文化和传统舞中汲取灵感。“我就会把中国五千年的文化，比如太极、戏曲、书法、文学，全部结合起来，我会在这个营养土上，开始新的创作和表达。” 

For Gao, dancing is a way of connecting with the world, and an outlet for feelings. When it comes out of the soil of the Chinese culture, naturally it takes on an oriental flair. It is perfectly shown in "Blooming of Time." The 24 solar terms of the Chinese lunar calendar are a dialogue between humans and nature. It reflects the oriental philosophy and aesthetics. It is the same in "The Chinese Zodiac.”

"I subconsciously used many Chinese ways of thinking and feeling," said Gao.

对高艳津子而言，舞蹈是与世间所有东西发生联系的媒介，是一种自然的情感表达。当这种表达遇上东方文化的营养土，就自然而然地沾染了东方气质。《二十四节气•花间十二声》就是一例。二十四节气是中国人特有的计算时间的方法，是天地对话的发现，也是东方哲学和美学的体现。

在创作《十二生肖》的时候也是如此：“我潜移默化地融入了很多中国的思考和情感。” 

Gao has gone through all the doubts and matured. She now dances around the world without pursuing the source of the art. "Modern dance is supposed to support and appreciate the differences. We're looking for a local dancing language of our own," she said. "China has her own modern dance. It's the confidence about our culture, and the confidence about our lives."

经历了学生时代的困惑和成熟之后的坚定娴熟，带着自己的舞蹈走遍世界的高艳津子早已没有对艺术源头的焦虑。 “现代舞它支持不同，欣赏不同。我们在寻找自己本土的舞蹈语言。”高艳津子肯定地说，“中国有自己的现代舞。这就是我们的文化自信，也是生命自信。”

注：文中部分图片来源互联网

Cameraman: Kang Songwei

Film editor:  Qi Mantong, Chang Weicheng

Story written by: Zhu Siqi

English editor: Matthew Arrington Watson

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