攝影師：C. Rausch／N. Jirasatit
France| KHAM
法國 | 康巴
NEGOTIATION
協商
簡介
傳統是什麼？
傳統必然是古老的常規實踐嗎？抑或是任何常規實踐，或許年輕，卻可以滋養文化、創造文化，然後成了這個文化的一部份？傳統必然是一種社會關注，因此一定要有集體性嗎？可不可能是屬於個人的？可不可能屬於每一個體的歷史，卻同時也屬於集體的歷史？正如箜劇之於皮歇‧克朗淳，來自都會文化的嘻哈藝術也成就了歐里‧坎臣拉的傳統，因為二者都在傳統與現代之間搭起了溝通協商的橋樑。
在循環創作中彼此交會，就像是協商，有時無法妥協，有時需要一點創意：傳統、現代、創新，一天一個，輪流交替，最後才滙聚成為傳統。今天的傳統藝術形式，在成為傳統藝術之前，在歷史上某個時間點，也都是當時的當代藝術。
我們無法跟傳統根源完全脫節，創造出全新的舞蹈，那麼要如何跟自己的傳統溝通協商呢？這個協商過程又如何讓舞者在個人追求與傳統根源之間達成妥協，並且將二者融為一體呢？從傳統到現代，什麼樣的肉體存在可以改變傳統？什麼樣融合的動作符碼、什麼樣的文本可以闡述新的故事？
皮歇‧克朗淳Pichet Klunchun和歐里‧坎臣拉 Olé Khamchanla，兩個世界、兩種傳統，以及對於亞洲舞蹈和現代性的共同經驗。透過探索、協商和質疑各自的起源，他們再次省視動作語彙、反複性、轉化、再詮釋及傳統性等各項元素，進而獨自、成雙、相對而又齊奏地跳舞。
Information
What makes tradition ? A necessarily ancestral practise or just any practice, maybe younger, but which irrigates a culture, builts it and constitutes it ? Is the tradition necessarily a society concern, thus collective, or could it be individual ? Can it belong to the history of each, as well to the History ? Is the same way as Khon makes tradition for Pichet Klunchun, hip hop from urban cultures, makes tradition for Olé Khamchanla, both negotiating with tradition and contemporanity.
A meeting as a cycle created together, like a negotiation, intransigent and innovative : tradition, modernization, innovation, one day in turn, will become tradition. Every traditional art form that is passed today was, prior to exist, contemporary at a time in history.
How negotiate with our origins and tradition with which we cannot divorce for create a new dance ? How the negotiation animate this dancers in a personnal research of a compromise and succeed to bring them together ? From traditional to contemporary, what corporeality transforms the original, what hybrid movement codes, what writing tells a new story?
Pichet Klunchun and Olé Khamchanla, two worlds, two traditions, a common experience of Asia, its dances and modernization. They explore, negotiate and question their origins, which today makes them dance alone, in pairs, in contrast, and in unison. Raw material, moving matter, repeated, transformed, reinterpreted, traditionality will only revisited.
About KHAM
Originally from Laos, Olé Khamchanla discovers hip-hop dance in 1990, then forms different dances (contemporary, capoeira ...). Little by little, he finds his style, a way of dancing that is his own and that allows him to assert himself on the dance scene.
In the company A'CORPS (1997-2011), he co-signs several shows that pose his creative brand and the singularity of his dance.
In 2006 he went to Laos and Thailand to learn traditional dances and create his first solo Kham .... A return to the sources by which he enriches and refines his choreographic language. Raw materials and a rich vocabulary at once specific but universal, which allow him to question the human being, its origins, its inspirations, its course, its interactions with the other.
In 2011, he created his own company, KHAM, and in parallel with international cooperation projects between Asia and Europe that continue to fuel his research.
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