万隆时代的中国舞蹈艺术——以非洲舞表演为中心

Chinese Dance in the Bandung Era:A Case Study of the Performance of African Dance

1955年的万隆会议是中华人民共和国外交史上浓墨重彩的一页。万隆会议不仅标志着中国与亚非国家政治经济层面的合作与交往,同时促进了亚非之间的文化交流。以平等、尊重的万隆精神为核心,丰富多彩的亚非艺术在这一时期进入中国。文章聚焦于20世纪60年代中国舞台上有关非洲及非裔题材的舞剧,追溯中国艺术家对于非洲及非裔离散舞蹈的学习、训练和表演。这一源起于万隆精神的表演实践,不仅将多元的异国语汇引入中国的舞蹈剧目,同时还激励着中国舞蹈艺术家将平等、尊重、包容的理想具身化。在这一过程中,中国表演艺术家勤学苦练、挥洒汗水,力求向中国观众展现出“真实”的非洲舞蹈。

The 1955 Bandung Conference marks a critical moment in the diplomatic history of the People’s Republic of China.It not only instantiated the cooperation and exchanges between China and Asian and African countries at the political and economic levels,but in the realm of culture,introduced diverse national traditions of Asia and Africa to Chinese audiences with equality and mutual respect at its core commitment.This paper focuses on the Chinese performance of African and African diaspora dance in the 1960s,tracing how Chinese artists studied,mediated,and performed foreign dance styles.This intercultural practice of performance,deeply rooted in the spirit of Bandung,brought a rich array of foreign choreographic styles into Chinese dance repertoire,and it further inspired Chinese dance artists to embody ideals of equality,respect,and understanding that were at the heart of the Bandung spirit.In this process,Chinese artists strive to embody and enact the“authentic”dance of Black people to Chinese audiences.