2013跨艺·舞动舞界（Seminar1）
8月1日的分组讨论到今天上午的主题研讨会讨论，让我感受到，关于跨艺或者是跨学科的学术研究，是一个对现实中（实践中）的舞蹈创作中的多元文化元素进行解构式的分析与思考。
1、问题的出现
哲学中认为事物之间总是有联系的。文化本身就是一个复杂的系统，而艺术在其中自然是有着自律与他律的双重性。艺术的自律让艺术创作寻求“独立”的身份，而他律则使得艺术创作现象难以“一言以蔽之”——舞蹈在诞生之初就与宗教密不可分。虽然现代性的分化让艺术自立——如美学的产生，但是后现代的“反分化”——“艺术无边界”，体现了当下对于艺术与生活关系的重新界定，日常生活审美化、审美的日常生活化的出现，打破了艺术与生活的边界，从而也打破了艺术的边界。
在单一的文化系统中尚且如此，在全球化、国际化交织的跨文化系统中，跨艺、跨学科必然成为一种更加复杂的现实和必然。文化语境的历史差异性、地域差异性，是当代舞蹈创作的多样性、多义性、多元化的根源所在。跨艺项目的实验性之一，就是人为设定了一个高度浓缩的跨文化创作语境——东西方之间；北京、台北、伦敦不同城市之间；编导、舞者、学者的不同文化背景等等，——这也是我们观察的重点：在这里“差异性”被强化了舞蹈创作、表演乃至教育等观念的不同；“交融性”被加速了——口头语言、身体语言的经由翻译、舞者、编导、学者的自我调适和相互适应，彼此的陌生感在创作和讨论中被快速消减。
2、问题的分析与解决
艺术创作的复杂性导致其现象或问题无法用艺术自身的学说或理论来全面地予以解释与阐释。因而，跨学科更多地是对方法论的选取与运用，从他视角或外视角去看待舞蹈艺术的创作、审美及其社会功用，如舞蹈的产生与发展，离不开社会经济、政治、文化的影响，如现代主义之于现代舞的出现；舞蹈剧场(DANCE THEATERE)的出现是对舞蹈表达之传统方式的突破；舞蹈的身心合一性，使得心理学、教育学等与人相关的学科给予了舞蹈全面进行自我定位的视角。因此，跨艺的存在、跨学科的研究既是舞蹈艺术实践与理论发展的现象，也是舞蹈艺术获得更多社会关注与评价的途径。
Translation…
Thoughts on ArtsCross (1)
2013 ArtsCross — Danscross Seminar 1
Starting with the group discussions which took place on 1 August and up until this morning’s thematic seminar, I developed the sense that academic research which spans across different art forms and disciplines can constitute a structural analysis and consideration of the diverse cultural elements to be found within reality.
1. The emergence of questions
Philosophy tells us that things are always interconnected. Culture itself is a complex system, and within culture, art naturally possesses a duality of disciplines, discipline imposed from within and discipline imposed from without. The internal self-discipline of art causes artistic creation to strive for an “independent” identity. Externally imposed discipline, on the other hand, makes the phenomenon of artistic creation difficult to summarise “in a nutshell”. At the point of creation, dance is indistinguishable from religion. Although the breaking apart of modernism has forced the arts to stand up for themselves — the birth of aesthetics for example — post modernist “dedifferentiation” — “Art Without Borders” — have constituted a contemporary redefinition of the relationship between art and life. The aestheticisation of everyday life and the normalization of aesthetics have broken down the borders between art and life, thereby also breaking down the divisions between art forms.
In homogeneous cultural systems, things remain unchanged. But within globalised, internationalised cross-cultural systems, crossovers between art forms and disciplines must inevitably create a more complex reality. Historical differences between languages and regions constitute the basis for the variety, ambiguity and diversity of contemporary dance creation. One of the experimental aspects of the ArtsCross project is that it creates a highly concentrated cross-cultural creative space — between East and West; between different cities: Beijing, Taipei, London…; between the different cultural backgrounds of choreographers, dancers and academics… this also constituted a focus for our observations. In this context, “difference” emphasised the diverse ways of understanding dance creation, performance and even education. “Fusion” was accelerated — as a result of the adaptations and compensations made by the interpreters, dancers, choreographers and academics, the barriers between spoken and body languages were quickly swept away during the process of creation and discussion.
2. Analysing and answering questions
The complexity of artistic creation means that it is not possible to use theoretical frameworks or ideas belonging to that art form to fully explain and interpret the phenomena and questions it produces. Thus, cross-disciplinary approaches constitute a choice and application of methodology, an observation of the creation and development of dance, its aesthetics and its social function, from a third party, or external perspective. The creation and development of dance, for example, is inseparable from the influence of socio-economic, political and cultural factors — the influence of modernism on the emergence of modern dance, for example. The emergence of Dance Theatre represented a breakthrough for the traditional methods of dance expression. As a result of the fact that dance combines elements of body and mind, disciplines which deal with people such as psychology and educational studies have given dance the tools to create a comprehensive understanding of itself. Therefore, the existence of ArtsCross and cross-disciplinary research constitute progress in the theory and practice of dance as an art form, while also being a way of attracting greater attention and appraisal for dance from society.
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