衛武營國家藝術文化中心戲劇顧問Dramaturg of the National Kaohsiung Center for the Arts Weiwuying
臺北藝術大學戲劇系兼任助理教授Visiting assistant professor of Theater Arts at Taipei National University of the Arts
策展顧問
Curation Consultant
耿一偉
Yi-Wei Keng
「當代身體的新樣貌」
當代舞蹈的特點，是不再從單純的情感表達出發，試圖尋找脫離常軌的動作組合。這也是為什麼，舞蹈策展最後成為這種超越常軌的終極目標，因為整個慶典的宏大，就代表了一種對日常生活的超越，也就是一種昇華。
艋舺國際舞蹈節一直以地方空間與年輕世代作為策展焦點。這兩個面向的有機組合，往往會產生不可測樣態變化。這正是今年策展以「昇華」作為主題的用意。因為當代舞蹈不再是對傳統的重複，而是呈現當代身體的新樣貌。
“The New Forms of the Contemporary Body”
A defining characteristic of contemporary dance is that it no longer begins from the simple expression of emotions, but instead seeks movement vocabularies that depart from established conventions. For this reason, dance curation has become an ultimate pursuit of transcending norms, because the very scale of a festival embodies a departure from everyday life, a process of sublimation.
The Want to Dance Festival has consistently centered its curatorial vision on local spaces and younger generations. The organic interplay between these two elements often gives rise to unpredictable and evolving forms. This is precisely the intention behind adopting “Sublimation” as this year’s curatorial theme. Contemporary dance is no longer a repetition of tradition, but a presentation of new forms of the contemporary body.
攝影/林政億
曉劇場藝術總監
萬座曉 劇場藝術總監
Artistic Director of Shinehouse Theatre and Wan Theater
策展人
Curator
鍾伯淵
Chung Po-Yuan
艋舺國際舞蹈節邁入第八年，從初始僅有Open Call項目，邀集藝術家在萬華各地起舞，為回應藝術家的熱烈響應，舞蹈節逐步發展為涵蓋多元創作面向的展演平台。以八年作為節點，從一時興起到恪敬運營，我們開始自問「舞蹈節究竟是短暫的展演機制，還是一種能持續影響創作生態的長期介入？」作為主辦單位也持續與藝術家對話，關切在艋舺之後藝術家的發展進程，今年更以「昇華」為主題，探看舞蹈創作的新發與永續，希望能持續呼應春天乘艋舺探尋藝術萌發。
The Want to Dance Festival (WTDF) enters its eighth year. What began as an Open Call initiative—inviting artists to perform across various sites in Wanhua—has, in response to the enthusiastic participation of artists, gradually evolved into a platform encompassing diverse modes of artistic creation and presentation.
Marking its eighth year as a pivotal moment, and moving from an initial impulse toward a more sustained and dedicated mode of operation, we begin to ask: Is a dance festival merely a temporary presentation mechanism, or can it become a long-term intervention that continues to shape the creative ecosystem?
As organizers, we remain in ongoing dialogue with artists, paying close attention to how their practices develop beyond Monga. This year, under the theme “Sublimation,” WTDF seeks to explore new articulations and sustainable trajectories in dance-making, while continuing to resonate with the vitality of spring—riding Monga (a small boat) in search of the emergence of artistic practices.