里昂舞蹈雙年展的展演文化政治:以第十九屆2020非洲主题及傑曼·阿科妮舞作為例

Abstract

本研究的主題是里昂舞蹈雙年展的展演文化政治，旨在探討里昂舞蹈雙年展的歷史建構與非洲主題，尋找法國舞蹈節的文化展演策略與展演非洲主題背後的文化政治議題。研究中借用法國社會學家布爾迪厄(Bourdieu)的品味分類理論和傅柯(Foucault)的異質空間理論進行探討。歷史建構從文化治理到文化民主化的角度切入，分析法國文化政策中的舞蹈項目，包含推廣、教育和保存三個層面，為將來里昂舞蹈雙年展的設立打下基礎。舞蹈節成立之後，陸續經過三個品味分界時期，分別是回顧時期、多元文化時期，以及跨界/越界時期，融入更混種、跨界與實驗的舞蹈為主，並逐漸邁向以當代舞蹈為首的舞蹈節。除了保有舞蹈展演和舞蹈大遊行的節慶傳統之外，在2021年也新設置法格實驗計畫，目的是要了解當代年輕世代的議題，此計畫讓法格工廠慢慢轉型為都市再生下的異質展演空間，開拓舞蹈節的新可能性。非洲主題則是探討有「非洲當代舞蹈之母」之稱的傑曼·阿科妮(Germaine Acogny)和《初始之地》舞作，並進行舞蹈分析。該劇的意義在於轉譯西方基督宗教文明的文化殖民和去殖民化過程，從身分認同的政治中找尋和解。也因為該舞作的成功，可以觀察到非洲當代舞蹈美學在西方舞蹈市場上的另類性。

The theme of this research is the cultural politics of the performance of the Lyon Dance Biennale, which aims to explore the historical construction and African theme of the Lyon Dance Biennale, to find the cultural performance strategy of the French Dance Festival and the cultural and political issues behind the African theme. The study borrows French sociologist Bourdieu's taste classification theory and Foucault's heterogeneous space theory for discussion. From the perspective of cultural governance to cultural democracy, the historical construction analyzes the dance projects in French cultural policy, including promotion, education, and preservation, and lays the foundation for the establishment of the Lyon Dance Biennale. Since the establishment of the Dance Festival, it has passed through three periods of dance taste boundary, namely the retrospective period, the versatile period, and the transgressive period, incorporating more hybrid, cross-bordering, and experimental dances, and gradually moving towards a contemporary dance festival. In addition to maintaining the festival tradition of dance performances and dance parades, a new Fagor Experimental Project will be set up in 2021. The purpose is to understand the issues of the contemporary young generation. This project will gradually transform the Fagor factory into an urban regeneration project. The heterogeneous performing space opens up new possibilities for the dance festival. The African theme is to explore and analyze the choreography of Germaine Acogny, known as the"Mother of African Contemporary Dance", and "Somewhere at the Beginnings". The significance of the dance work lies in translating the process of cultural colonization and decolonization of Western Christian civilization values and seeking reconciliation from the politics of identity. Also because of this dance, we can observe the alternative taste of African contemporary dance aesthetics in the Western dance market.