刘琦 Liu Qi-《临池舞墨》Beyond Calligraphy


Choreography: Liu Qi
Music: Li Chin Sung
Luminal Art Designers:Leo Cheung, Roy Szeto Billy Tang
Costume Designer: Wu Bing

performed by Guangdong Modern Dance Company
produced by Guangdong Xinghai Performing Arts Group

Guangzhou

Time: 2011.3.6 (Sun) 8:00pm

Venue: Friendship Threatre

Add: No. 696, Renmin Bei Lu, Guangzhou

Tickets: ¥280(VIP), ¥180, ¥100

(20% off for members, 50% off for students and seniors)

Beijing

Time: 2011.3.13-14 (Mon-Tue) 7:30pm

Venue: Haidian Threatre

Add: No.28, Zhong Guan Cun Da Jie, Haidian District

Tickets:¥120

(Free seating, Member 20% off, Students 50%)

Program Enquiries & Group Booking Hotlines:

020-87049512 (Guangdong Modern Dance Company)

010-64054842 Ext. 8005 (BeijingDance/LDTX)

Upon Calligraphy by Liu Qi has been one of Guangdong Modern Dance Company’s most successful productions. It is a poem of movements developed from the stylistic essence of different Chinese scripts. It comprises five dances named after the five different script styles in the history of calligraphy, namely the bone script, the seal script, the official script, the regular script, and the cursive script. The Washington Post describes it as “full of meditative grace, sharp, cut-crystal physicality and languid dignity.”

In spring 2011, the program is invited to show in Beijing after being selected Work of Excellence – Theatre Arts, Guangdong. In the meantime, Liu Qi has further developed the work from a 43 minutes work to a full evening program of approximately 70 minutes in length. The new production, collaborating with composer Li Chin Sung and luminal art designers Leo Cheung, Roy Szeto and Billy Tang, is named Beyond Calligraphy. The first part of the piece retains the dance structure of the Calligraphy representations while a new epilogue is added, which pays homage to the spiritual essence of ink wash painting. The linear logic of development in the original work, which comments on the cold, emotionless mode of communication in the digital era, is resolved in the balance and harmony between the water and ink.

Huun Huur Tu+Dickson Dee in Shenzhen Fringe Festival opening


《电子X呼麦 跨界音乐会》

天籁之声与靡靡电音的完美擦撞, 产生不思议奇妙化学反应。
类型:音乐
活动日期:2010.12.4
活动时间:19:30-21:00
活动地点:海德广场

本演出免费,如想观看,请编辑短信”姓名 +F01″ 至 15814473804 预定门票

表演团体:Huun-Huur-Tu+李劲松(dickson dee)
艺术团介绍:
李劲松:香港实验乐手,演出策划人,唱片公司主持。推动中国新音乐超过十年。其作品曾获国内音乐大奖,并多次参与国外音乐项目和展览。

Huun-Huur-Tu 是最为世界所知的图瓦乐队。从一条喉管,同时伸出两三条声线,不同的音高与音色,一条和着另一条,赤裸裸的自然之声揪人心肺 …… 这被称为”喉音演唱”(throat-singing, overtone-singing) 就是常说的呼麦,来自一个蒙古与西伯利亚接壤的小国家图瓦。它在瞬间成了世界音乐图景中最神秘的金字塔。

节目介绍:
来自图瓦共和国的呼麦宗师 Huun-Huur-Tu 与香港实验电子音乐大师李劲松的电子爵士乐,二者跨界的合作,开启深圳湾艺穗节多元艺术演出的巨幕。
Huun-Huur-Tu与李劲松强强联手将在艺穗节的舞台上为大家奉献一场听觉盛宴。 Huun-Huur-Tu一直乐于尝试跟多种音乐的合作,这一次天籁之声与靡靡电音将碰撞出怎样的化学反应,让我们拭目以待。
无论你是追随神秘的原始音乐,还是热爱变幻莫测的电子乐,这场免费的实验性合作演出,都是一场难得的体验,也是为艺穗节拉开序幕的重头戏。

http://www.szfringe.org/
http://huunhuurtu.com/

Xihu Music Festival 2010


2010西湖音乐节(秋)

新锐、艺术、美好

门票:预售 套票 160元/两日
预售 单日 100元/日
现场 单日 120元/日

阵容&顺序:

23日

风车主舞台
15:00-16:00 虾米弹唱会(虾米弹唱区)
16:00-16:45 李志
17:15-18:00 甜蜜的孩子
18:30-19:15 曹方
19:45-20:30 4LYN(德国)
21:00-21:45 蔡健雅(新加坡)
22:15-23:00 二手玫瑰

花朵电子舞台
15:00-16:00 钟茌
16:30-17:30 U180
18:00-19:00 Sainkho Namtchylak & Dickson Dee
19:30-20:30 宠物同谋
20:30-21:30 LIMAN
21:30-22:30 pop levi (英国)
22:30-23:30 mijk van dijk(德国)

24日

风车主舞台
15:00-16:00 虾米弹唱会(虾米弹唱区)
16:00-16:45 树
17:15-18:00 Honig(德国)
18:30-19:15 果味VC
19:45-20:30 李健
21:00-21:30 pop levi & bunny holidays (英国、美国)
22:00-22:45 陈绮贞(中国台湾)

花朵电子舞台

15:00-16:00 Karnatriix(印度)
16:30-17:15 超级市场
17:45-18:30 go chic(中国台湾)
19:00-20:00 倪兵
20:00-21:00 llnd(法国)
21:00-22:00 R3(澳大利亚)
22:00-23:00 Dj wordy

虾米专题页面:
http://www.xiami.com/event/xihu2010

钱江在线专题页面:
http://ent.zjol.com.cn/05ent/system/2010/09/27/016962921.shtml

一听音乐网:
http://minisite.1ting.com/WestLake/

街旁网活动:
http://we.jiepang.com/events/2010-oct-xihu-musi-fesl/

Unmeasured Music HK


Type: Music/Arts – Listening Party
Date: Wednesday, March 31, 2010
Time: 7:30am – 9:30am
Location: Input/Output

Background

Unmeasured Music began in July 2007, in the bar at the contemporary arts venue, Spike Island (Bristol, UK). A monthly night devised by Rachel Connelly, where artists, musicians and ideas joined together to create sublime performances and more unsettling moments. It is a club, a social event, a place where sound and music events are un-tempered. Risk is intrinsic. Dedicated to the promotion of sound related events and the art of listening, it aims to provide a place where projects can happen, people can meet and your ears can be challenged.
http://www.myspace.com/unmeasuredmusic

Unmeasured Music HK 2
A Return to Vinyl, and other strange sounds
I/O (Input/ Output)
Wednesday 31st March, 7.30pm

featuring
Dickson Dee
[ch`os]
NERVE
William Lane (NME)

I/O is pleased to present the 2nd event for Unmeasured Music HK
4 performers play amongst the backdrop of Paiva’s installation, Experiments on the Notation of Shapes. Turntables are back, but not in a way you expected. [ch`os] and Dee, usually more known for their digital compositions, take on an ‘old media’. Using turntables in unique ways, each performer creates a sometimes surreal but captivating soundtrack. NERVE provides sublime and edgy improvisations from his recent compositions, while William Lane takes Paiva’s installation as inspiration and uses the street outside I/O for his improvisation.

Artist Biogs:

Dickson Dee
Dickson Dee (Li Chin Sung) has been engaged in the music industry for more than 20 years and has assumed different persona’s for various incarnations which include; DJ Dee -electronic experimental music, Li Chin Sung -music concrete and avant-garde, PNF -industrial noise, Khoomi Sound Machine -electronic world jazz, and Dickson Dee – electronic acoustic, sampling cut ‘n’ paste and turntable-ist works. He has collaborated and performed with many artists such as Zbigniew Karkowski, Otomo Yoshihide, Sainkho Namtchylak, Maja Ratkje and at venues worldwide which include: Taipei underground music festival; Musik Triennial, Köln; International Triennial of Contemporary Art, Yokohama; Korea Gumi Culture Festival and Avant-Garde Festival, Beijing. He has also established the music label Noise Asia, followed by Dicksonia Audio, a label for the release and publishing of his own works.
http://www.myspace.com/dicksondee

[ch`os]
[ch’os] (Joao Vasco Paiva) is an audio visual related project based on deconstructive sound treatment and generative compositions. His work has been shown in festivals worldwide such as ‘FILE Hypersonica International Festival of Electronic Language’, ‘London Exploratory Music Festival’, ‘Athens Video Art Festival’, ‘CityTransit’, ‘2pi Festival’, ‘Hong Kong and Shenzhen Architecture and Urbanism Biennial’, and Microwave International New Media Arts Festival.
http://www.myspace.com/8chos

NERVE
Nerve (Steve Hui) is a member of experimental electronic music group VSOP, DJ of the club night HEADROOM, aswell as a regular collaborator of the theatre group Zuni Icosahedron. Hui’s creative work has been presented at various festivals including: Hong Kong Arts Festival, Microwave International Media Art Festival, Shenzhen & Hong Kong Bi-city Biennale of Urbanism/Architecture, Fringe Shanghai and Creative Cities (Hong Kong in London). His first orchestral work Re-Autumn was commissioned by the Hong Kong Sinfonietta. In 2006, Hui was invited by the Asia-Europe Foundation for “Hearing Helsinki” project in Finland.
www.myspace.com/Lo4nerve

William Lane
Australian violist William Lane is Artistic Director of the Hong Kong New Music Ensemble. Recipient of a number of large scholarships and prize-winner at various international competitions, he has performed as a soloist and chamber musician all over Australasia, Asia, Europe and North America. Lane has been Principal Viola of the string orchestra Resonanz Chamber Orchestra (Hamburg, Germany), as well as working on a freelance basis with Ensemble Modern (Frankfurt), the SMASH Ensemble (Salamanca, Spain). He currently plays with the Hong Kong Philharmonic Orchestra.
http://www.hknme.org/hongkongartsblog/

This event is sponsored by White Noise Records.
White Noise Records
4, Canal Road East, Causeway Bay.HK
http://www.whitenoiserecords.org/

一个时代从它的鲜花凋零开始

screen-capture-1
文/孙孟晋

不夸张地说,伍德士托克是被几个热血青年制造出来的,当然,有近50万人支持了他们。如果说李安是纪念性地把镜头对准了那个时代的后院,一个贡献农场的家庭及周边的人群,那么,我更愿意相信:当伍德士托克精神被反复念叨了四十年,那种奔放的激情、那种一切以偶发事件为准的时代一去不复返了。

十多年前,我看完这场完全自发的青年文化运动的盛会与祭奠,只有向往和羡慕。而今天,无论是那个时代的音乐,还是所有那个时代年轻人的托起白云的梦想,都成了一部难以缅怀的历史。

有时候,缅怀就是遗忘,甚至是背叛。

说实话,1969年8月的某三天的那次音乐与青年文化的聚会,来得太突然。但历史往往就是在未及准备完备的情况下朝前走了一大步,伍德士托克不小心地成了人类的记忆,而后人总是朝相反方向而去,关于历史的记取,就是这样一场前院失火、后院享乐的闹剧。

我个人是反对过分夸大与渲染奇迹背后的动因的,所以,我会特别珍惜《伍德士托克口述史》和《制造伍德士托克》这样的当事人留下的文字。也许,再过一个月全球又会出现“书比电影精彩”的争论,但对于宁愿放弃空洞,而更热衷于细节的人来说,即使这些回忆里面还是有不少掩饰与放大,也比在车轮的轰鸣中依托着不切实际的梦呓,来得更真实一些。如同我从简尼斯·乔普林在伍德士托克音乐节上那张绝对有细部的脸,读到了她人生的失败,而不是成功。她面对50万人难以自控,她之前说她不适合在超过5万人的场地里表演,令她大发光彩的蒙特里音乐节正好是5万人。几年后,乔普林用27岁的生命告别了上个世纪六十年代,也告别了伍德士托克那三天在大雨中的洗礼、挣扎和重生。

回顾盛大的生命碰撞,或者集体性的理想的燃烧,是极其残酷的。这就好比成人世界里的童话故事,被精致地存放在小盒子里,然后被遗弃在某个角落。在讲究生存哲学的时代,李安式的回顾只是将一场终究要抹灭更多想象的文化运动当作了背景。这是这个时代的温暖小调,当伊甸园或者乌托邦级别的神话不可复制时,我们不得不感叹这也是一种智慧,尽管这种智慧和伍德士托克那样的讴歌与沉沦相比,是完全无法抗衡的。

回顾,总是由某几个侧面组成的,尤其以曾经不可一世的摇滚或者民谣为背景音乐。在今天看来,只要不是虚妄的复述,依然能呈现泥土的芳香,以及躺在大地之中的身躯的动人。

通过某些当事人的诚实的回顾,我们注意到了当年主办方的混乱与措手不及,没有任何人想到会有50万人从四面八方赶来,长约一英里的边界顿时形同虚设,主办者被迫宣布——音乐节免费。诸如约女友或朋友在大门口碰头而造成错失的,比比皆是。但他们却和素昧平生的人一起共享了伟大的奇迹。

卡罗斯·桑塔纳是因为和“感恩而死”同属一个经纪人而被搭卖给主办方的,但没想到这个当年的无名小辈一炮走红;JohnSebastian 因为在舞台前溜达而被主办方临时充数拉上了舞台,并罗嗦地讲了40分钟无关的话,但有约在先的“铁蝴蝶”因为滞留在机场而错过了音乐节;“大门乐队”只是害怕有人要刺杀主唱莫里森而拒绝出席,鲍勃·迪伦是在不远的新家痛苦地接待着一批又一批赶去音乐节而中途停留的没礼貌的乐迷,而关于他要表演的假新闻在现场传了整整两天;当“谁人”开始表演时,有人为了报告最新发生的状况而冒失地上台抓起了麦克风,愤怒的吉他手彼德·汤谢德狠狠地把吉他砸向他的后脑……这一切看似玩笑的细节都成了伍德士托克字典里的正解。

有趣的事情远远不止这些,音乐节第二天,人们必须睡在泥泞之中,但他们宛如躺在鲜花丛中一般地享受着短暂而高潮不断的生命。演出间隙,寻人启示的广播不断出现,其中包括“米克·贾格尔请注意,约翰·列侬在找你”,很像我们这个时代的“贾君鹏,你妈妈喊你回家吃饭”的信息。

可以这样做出推算,假如1969 年抗议越战的情绪不是那样高涨,假如嬉皮士没有预感到“爱与和平”的身体力行的梦想面临破灭,假如六十年代情结在年份上不是走到了末尾,假如摇滚乐不是诞生了十多年而开始寻求自我毁灭的宿命式的冲动,一切狂欢的理由都不会过于充分,一场二十世纪没有第二场的音乐盛会就不会如此精彩。

伍德士托克音乐节最后上场的是吉他之神吉米·亨德里克斯,他在凌晨四点半弹起了美国国歌,底下很安静,也很绝望。这几乎是最悲壮的落幕。

在一个时代划出休止符之后,任何回顾即使是善意的,也会带有太多的幻想。人类,就是这样不断地克服着自己的缺陷。

但是,伍德士托克长眠的时候,应该是有回声的。
http://blog.sina.com.cn/s/blog_48374be40100emq1.html