在革命浪潮中盛開(kāi)的茉莉花當(dāng)代舞—突尼斯當(dāng)代舞蹈的勃興

王紅川

突尼斯是地中海南岸非洲大陸最北端一個(gè)美麗的阿拉伯小國(guó)。它在非洲素有“和平綠洲”的美譽(yù)。然而，2010年由一名商販自焚事件引爆的民眾對(duì)一系列社會(huì)問(wèn)題的不滿(mǎn)，導(dǎo)致民眾紛紛走上街頭，以“民主”“民生”為口號(hào)，爆發(fā)了一場(chǎng)以國(guó)花為名的“茉莉花革命”。聲勢(shì)浩大的“革命”浪潮來(lái)勢(shì)兇猛，一個(gè)月之內(nèi)執(zhí)政長(zhǎng)達(dá)23年的總統(tǒng)被迫逃亡、政權(quán)被推翻，國(guó)家發(fā)生巨變。事件迅速波及西亞北非各國(guó)，隨后引起中東社會(huì)發(fā)生劇烈動(dòng)蕩，由此演變?yōu)檗Z動(dòng)一時(shí)的“阿拉伯之春”革命浪潮。

時(shí)隔8年之后，世界局勢(shì)風(fēng)云變幻。人們對(duì)這場(chǎng)“革命”的性質(zhì)、背景和后果有了比較清醒的認(rèn)識(shí)。突尼斯緣何發(fā)生如此大規(guī)模的社會(huì)動(dòng)蕩？為什么它在阿拉伯世界引起如此大的反響？本文的主旨并非對(duì)這些復(fù)雜的政治和社會(huì)問(wèn)題加以分析和評(píng)判，而是注意到一個(gè)明顯現(xiàn)象：即無(wú)論突尼斯社會(huì)對(duì)“革命”的評(píng)論如何眾說(shuō)紛紜，文化藝術(shù)界人士眾口一詞始終對(duì)其持肯定態(tài)度。他們認(rèn)為，“革命”促進(jìn)了思想的解放，使藝術(shù)家獲得了表達(dá)的自由，促進(jìn)了藝術(shù)的繁榮。甚至有人認(rèn)為這是“革命”的最大成果。而在所有藝術(shù)領(lǐng)域之中，突尼斯當(dāng)代舞蹈異軍突起，以蓬勃之勢(shì)從社會(huì)的邊緣走上社會(huì)的前沿。它猶如“革命”浪潮中噴涌而出的浪花，呈現(xiàn)出前所未有的繁榮景象。

從世界范圍內(nèi)來(lái)說(shuō)，當(dāng)代舞產(chǎn)生于20世紀(jì)七八十年代的歐美，如今已經(jīng)遍地開(kāi)花，成為舞蹈藝術(shù)的主流。但對(duì)于舞蹈一直處于被漠視，甚至被鄙視地位的阿拉伯國(guó)家來(lái)說(shuō)，突尼斯當(dāng)代舞蹈在21世紀(jì)初這場(chǎng)巨大的社會(huì)浪潮中蓬勃興起的現(xiàn)象，引人注目，發(fā)人深省。若要了解它在“革命”進(jìn)程中的表現(xiàn)，以及它與“革命”之間的內(nèi)在聯(lián)系，就要從突尼斯的歷史文化特性說(shuō)起。

一、文化的多元、開(kāi)放性和世俗化是突尼斯當(dāng)代舞發(fā)展的土壤

突尼斯雖然是一個(gè)信奉伊斯蘭教的國(guó)家，但是，由于它歷史悠久及得天獨(dú)厚的地緣因素，其文化呈現(xiàn)出開(kāi)放性特征。

1.多元文化的歷史形成

突尼斯被認(rèn)為是悠久文明和多元文化的融和之地。由于它位于非洲大陸最北端，北部和東部面臨地中海，比鄰歐洲，地理位置十分重要，歷來(lái)是兵家必爭(zhēng)之地。公元前9世紀(jì)初，腓尼基人在今突尼斯灣沿岸地區(qū)建立迦太基城，后發(fā)展為奴隸制強(qiáng)國(guó)。公元前146年成為羅馬帝國(guó)阿非利加省的一部分。公元5—6世紀(jì)先后被汪達(dá)爾人和拜占庭人占領(lǐng)。703年，被來(lái)自阿拉伯半島的穆斯林征服。13世紀(jì)，哈夫斯王朝建立了強(qiáng)大的突尼斯國(guó)家。1574年淪為土耳其奧斯曼帝國(guó)的一個(gè)省。1881年成為法國(guó)保護(hù)領(lǐng)地，1956年獲得獨(dú)立。

由此可見(jiàn)，在長(zhǎng)達(dá)三千多年的歷史中，突尼斯先后遭羅馬、土耳其、阿拉伯、西班牙、意大利和法國(guó)等多國(guó)入侵，使突尼斯從歷史上就形成了多元文化相互融合、兼收并蓄的特點(diǎn)。

2.文化的世俗化傾向

703年突尼斯被穆斯林征服后，遂開(kāi)始阿拉伯化。所謂阿拉伯文化的核心就是伊斯蘭教精神。伊斯蘭宗教是阿拉伯文化的靈魂。阿拉伯—伊斯蘭文化在上古時(shí)代（8—12世紀(jì)）形成了燦爛的文明，為人類(lèi)文明的延續(xù)和交流做出了很大貢獻(xiàn)。它擅長(zhǎng)的領(lǐng)域是數(shù)學(xué)、哲學(xué)、書(shū)法和建筑等，但以身體表現(xiàn)情感的舞蹈形式在浩瀚的古籍中沒(méi)有任何文字記載。女性以及舞蹈在阿拉伯世界中諱莫如深，處于社會(huì)的邊緣。

1956年3月20日，突尼斯獲得獨(dú)立。開(kāi)國(guó)總統(tǒng)哈比卜·布爾吉巴奉行文化開(kāi)放政策，對(duì)于宗教勢(shì)力參與政治活動(dòng)采取了一定的壓制措施，從而使突尼斯文化的世俗化程度在阿拉伯國(guó)家中相對(duì)較高。尤其在文化和教育領(lǐng)域的改革可圈可點(diǎn)：

一是為了擺脫國(guó)民落后愚昧的狀況，國(guó)民受教育程度得到提高。他在任期間，將40%的國(guó)民生產(chǎn)總值用于教育，培養(yǎng)出了一代高素質(zhì)的國(guó)民；二是設(shè)立憲法使突尼斯女性于20世紀(jì)60年代就享有選舉權(quán)。這是阿拉伯世界，乃至在非洲都絕無(wú)僅有的先例。直至今日，突尼斯婦女享有相當(dāng)高的社會(huì)地位，婦女運(yùn)動(dòng)在突尼斯是有歷史傳統(tǒng)的。由此可見(jiàn)突尼斯社會(huì)歷史上曾經(jīng)有過(guò)的開(kāi)放進(jìn)步的程度。

正因?yàn)橥荒崴褂袣v史悠久、文化多元、社會(huì)世俗化、文明和開(kāi)放程度高的特點(diǎn)，其文化藝術(shù)呈現(xiàn)出多彩多姿的面貌，這一切為突尼斯舞蹈發(fā)展奠定了基礎(chǔ)。

二、“茉莉花革命”前后當(dāng)代舞狀況

1.“茉莉花革命”前突尼斯當(dāng)代舞的雛形

由于上述原因，突尼斯的總體文化環(huán)境相對(duì)于其他阿拉伯國(guó)家來(lái)說(shuō)比較開(kāi)放和寬松。因此，早在20世紀(jì)80年代初，政府就有扶持當(dāng)代舞蹈創(chuàng)作的意識(shí)。1982年，國(guó)際戲劇協(xié)會(huì)舞蹈委員會(huì)創(chuàng)建了“國(guó)際舞蹈日”活動(dòng)。首次活動(dòng)主題是紀(jì)念17世紀(jì)法國(guó)舞蹈之父喬治·諾維爾。此后，每次活動(dòng)都由一位舞蹈家以自己的方式講述舞蹈。2013年，組委會(huì)邀請(qǐng)了中國(guó)臺(tái)灣地區(qū)舞蹈劇場(chǎng)藝術(shù)總監(jiān)林懷民擔(dān)任主講嘉賓，其主講題目為“舞蹈是一種強(qiáng)烈的表達(dá)方式”。

1980年，突尼斯文化部委任從瑞士學(xué)成回國(guó)的娜瓦爾·斯崗塔尼女士組建了一個(gè)擁有11名成員的當(dāng)代舞團(tuán)。這在突尼斯已經(jīng)是國(guó)際規(guī)模的舞蹈團(tuán)了，其余舞團(tuán)大部分不過(guò)是4—5人的民間組合，其中只有個(gè)別享有政府資助。娜瓦爾·斯崗塔尼女士創(chuàng)作的作品曾受邀參加突尼斯最大的迦太基國(guó)際藝術(shù)節(jié)，這可以說(shuō)是突尼斯當(dāng)代舞的最高成就。該團(tuán)后來(lái)因資金問(wèn)題難以為繼，項(xiàng)目擱淺。

“茉莉花革命”前的舊制度下，政府對(duì)文藝界施行嚴(yán)格的監(jiān)管制度。來(lái)自宗教極端勢(shì)力的政治壓力，使藝術(shù)家沒(méi)有創(chuàng)作的自由，仿佛生活在“白色恐怖”之中。一位舞蹈編導(dǎo)說(shuō)，由于他創(chuàng)作的舞蹈劇情需要在舞臺(tái)中間放置一個(gè)十字架，而當(dāng)他把十字架豎在舞臺(tái)的時(shí)候，在場(chǎng)的人全都大驚失色。因?yàn)槿绻蛔诮虡O端分子看到，演出肯定兇多吉少。另有報(bào)紙記載，幾個(gè)中學(xué)生僅僅因?yàn)樵谛@中跳了一會(huì)兒霹靂舞，就被告發(fā)到文化部，最終遭到校方開(kāi)除處分。由此可見(jiàn)當(dāng)時(shí)突尼斯藝術(shù)家創(chuàng)作和生存狀況的嚴(yán)峻。

總之，突尼斯當(dāng)代舞蹈的藝術(shù)創(chuàng)作，在革命之前僅僅是雛形，是被社會(huì)邊緣化的小眾藝術(shù)。宗教極端分子的干擾、社會(huì)的不認(rèn)同、資金的匱乏、場(chǎng)地的欠缺等一系列問(wèn)題，使當(dāng)代舞蹈在突尼斯的發(fā)展步履維艱。

2.“茉莉花革命”后精神的解放與當(dāng)代舞的勃興

然而2010年的“茉莉花革命”改變了這一切。藝術(shù)家獲得了思想解放和精神自由，打破了藝術(shù)家對(duì)威權(quán)統(tǒng)治的恐懼，激發(fā)了他們的創(chuàng)作靈感。盡管“茉莉花革命”爆發(fā)后，臨時(shí)政府缺乏經(jīng)驗(yàn)，各種矛盾依然沒(méi)有得到解決，國(guó)家經(jīng)歷了曲折而艱難的過(guò)渡期，但人們?nèi)匀粚?duì)“革命”的積極意義報(bào)以肯定的態(tài)度。

舞蹈領(lǐng)域更是出現(xiàn)了前所未有的蓬勃局面。人的身心是一致的，作為以身體為創(chuàng)作工具的舞者來(lái)說(shuō)，思想和精神的自由對(duì)人體的表現(xiàn)至關(guān)重要。人們看到，一個(gè)年輕的舞蹈群體已經(jīng)形成。他們懷著責(zé)任感和使命感深入社會(huì)的各個(gè)層面，把舞蹈作為工具，勇敢地以藝術(shù)作品表達(dá)自己對(duì)社會(huì)的觀點(diǎn)和感受，向社會(huì)展現(xiàn)自己的存在和價(jià)值。各種舞蹈創(chuàng)作、交流、宣傳活動(dòng)異常活躍，當(dāng)代舞從未如此吸引社會(huì)的眼球。在2013年著名的哈馬麥特國(guó)際藝術(shù)節(jié)上，開(kāi)場(chǎng)演出破天荒上演了一臺(tái)當(dāng)代舞蹈專(zhuān)場(chǎng)。人們開(kāi)始對(duì)舞蹈刮目相看！

在這關(guān)乎國(guó)家前途命運(yùn)的政治風(fēng)云中，原本處于邊緣狀態(tài)的舞蹈突然走入公眾的視野，一群年輕的當(dāng)代舞者，沒(méi)有蜷縮在自己的象牙塔里自我欣賞，而是以戰(zhàn)斗的姿態(tài)成為時(shí)代浪潮中最有活力的一支力量。

三、茉莉花當(dāng)代舞的弄潮兒及其作品特點(diǎn)

1.誰(shuí)是茉莉花當(dāng)代舞的弄潮兒

雖然突尼斯歷史悠久，但是在它的浩繁的歷史古籍中有關(guān)舞蹈的記載卻語(yǔ)焉不詳。國(guó)人所知的阿拉伯肚皮舞一般局限于旅游行業(yè)范圍內(nèi)，不是傳統(tǒng)意義上的舞臺(tái)藝術(shù)形式。舞蹈在突尼斯本土僅靠口頭代代相傳，根本沒(méi)有建立系統(tǒng)的教育知識(shí)體系。

鑒于一百多年法國(guó)殖民地的歷史，時(shí)至今日，突尼斯與法國(guó)仍然具有千絲萬(wàn)縷的聯(lián)系。在舞蹈方面，作為曾經(jīng)的宗主國(guó)，法國(guó)無(wú)論在人力、物力和財(cái)力等方面都給予了突尼斯大力支持與幫助。所以，熱愛(ài)舞蹈的年輕人大多都要跨越地中海去法國(guó)或其他歐洲國(guó)家接受系統(tǒng)的舞蹈教育和訓(xùn)練。他們?cè)跉W洲學(xué)到的不僅是現(xiàn)代舞技術(shù)和風(fēng)格，同時(shí)還有現(xiàn)代的思想觀念?？梢哉f(shuō)這些年輕的舞者從內(nèi)到外全方位地接受了西方當(dāng)代舞教育。若干年后當(dāng)他們學(xué)成回國(guó)的時(shí)候，無(wú)論是舞蹈的技術(shù)技巧還是現(xiàn)代意識(shí)和思維方式，都打上了歐洲當(dāng)代舞的烙印。

實(shí)際上，突尼斯當(dāng)代舞之所以在“茉莉花革命”中應(yīng)運(yùn)而生，可以說(shuō)在相當(dāng)程度上是因?yàn)閾碛羞@批留歐的青年舞者。他們尋求自由、具有社會(huì)民主意識(shí)，這一切都與突尼斯社會(huì)的政治訴求和民生訴求相契合。因此，當(dāng)“茉莉花革命”來(lái)臨之際，他們奮不顧身融入其中，為“革命”推波助瀾，充當(dāng)“茉莉花革命”的弄潮兒。他們以舞蹈作為行動(dòng)的工具，使當(dāng)代舞蹈染上了“茉莉花革命”的花香，從而使“茉莉花革命”時(shí)期的當(dāng)代舞蹈從內(nèi)容到形式都形成了“革命”時(shí)期（“后革命”時(shí)期）獨(dú)特的風(fēng)格。

2.茉莉花當(dāng)代舞的特點(diǎn)—形式的歐化與內(nèi)容的本土化

從國(guó)際角度來(lái)講，現(xiàn)代舞一般指以瑪莎·格萊姆為代表的20世紀(jì)50年代之前的美國(guó)現(xiàn)代舞。它以反抗僵化的歐洲古典芭蕾為起點(diǎn)，具有鮮明的個(gè)性化特征和技術(shù)方式。當(dāng)代舞則是對(duì)歐洲現(xiàn)代舞的稱(chēng)謂，其特點(diǎn)與主流大眾更為接近，體現(xiàn)出前衛(wèi)、主流的特質(zhì)。

本文所說(shuō)的突尼斯茉莉花當(dāng)代舞，是指2010年革命浪潮以來(lái)帶有鮮明時(shí)代色彩的舞蹈。它們形式多樣，風(fēng)格各異。但其總體特征，在于創(chuàng)作者把自己視為社會(huì)的公民，將自己融于社會(huì)變革的大風(fēng)大浪之中，用作品與“革命”的動(dòng)蕩時(shí)代和大眾發(fā)生直接的對(duì)話(huà)，發(fā)揮舞蹈的社會(huì)功能。

突尼斯年輕的舞者們接受了西方當(dāng)代舞的技術(shù)技法和思想觀念，但他們作品的內(nèi)容卻是來(lái)自本土的現(xiàn)實(shí)生活和社會(huì)現(xiàn)實(shí)。

（1）以現(xiàn)實(shí)革命為主題?！案锩奔ぐl(fā)了年輕的舞者強(qiáng)烈的創(chuàng)作欲望，以“革命”為主題的作品很多，它們反映創(chuàng)作者對(duì)“革命”的激情和憂(yōu)國(guó)憂(yōu)民的情懷。比如，一個(gè)名叫“雪山的倒塌”的舞蹈作品，編導(dǎo)用雪山隱喻突尼斯的悠久歷史。而雪山的崩塌寓意突尼斯民族特性被抹殺的狀態(tài)，反映了“革命”后突尼斯民眾在災(zāi)害面前無(wú)可奈何的心態(tài)。

（2）公民藝術(shù)家—他們有話(huà)要說(shuō)。突尼斯雖然是一個(gè)人口不足千萬(wàn)的小國(guó)，但其國(guó)民素質(zhì)較高，現(xiàn)代民主意識(shí)和公民意識(shí)較強(qiáng)。如前所述，由于歷史和地理原因，突尼斯開(kāi)放程度較高，尤其當(dāng)代舞是一個(gè)國(guó)際化的平臺(tái)，舞蹈編導(dǎo)國(guó)際游歷廣泛交往眾多，文化素質(zhì)高，他們往往把自己的理想、觀念都融在自己的作品里。比如，有舞者用作品表現(xiàn)自己對(duì)物質(zhì)消費(fèi)與精神需求的關(guān)系問(wèn)題的思考，有的則用作品表明“國(guó)家興亡，匹夫有責(zé)”的社會(huì)責(zé)任感等。原突尼斯當(dāng)代舞團(tuán)團(tuán)長(zhǎng)、從瑞士學(xué)成回國(guó)的娜維爾·斯坎杰妮女士對(duì)水環(huán)境的重要性有深刻的認(rèn)識(shí)。2015年她編排的一臺(tái)舞劇叫做“救命水”。她說(shuō)，作為公民藝術(shù)家，她想用自己的作品喚醒人們對(duì)我們生存其中的地球的保護(hù)意識(shí)。另外一位名叫薩伊達(dá)的女導(dǎo)演組織舉辦了一場(chǎng)舞蹈論壇，主題為“思想的解放與身體的解放”，深入探討思想與舞蹈之間的關(guān)系。

總之，茉莉花當(dāng)代舞編導(dǎo)以作品為工具，傳達(dá)自己的思考和思想。正如法國(guó)當(dāng)代舞大師莫里斯·貝雅所說(shuō)：舞蹈已經(jīng)不再講故事了，而是要說(shuō)話(huà)！

四、做舞蹈的啟蒙者

盡管“茉莉花革命”后寬松的文化環(huán)境極大地激發(fā)了當(dāng)代舞蹈編導(dǎo)的創(chuàng)作激情，但突尼斯畢竟是宗教氛圍濃厚的國(guó)家，社會(huì)對(duì)舞蹈的偏見(jiàn)根深蒂固。舞蹈在這個(gè)社會(huì)中代表的是前衛(wèi)、西化和現(xiàn)代化，這種情況不可能一下子被改變。因此，在舞蹈創(chuàng)作中往往舞者人數(shù)太少，滿(mǎn)足不了編導(dǎo)的需求，常常發(fā)生舞蹈編導(dǎo)創(chuàng)作了作品卻找不到演員來(lái)表演的現(xiàn)象。

年輕的舞者們?yōu)榱讼鐣?huì)上對(duì)舞蹈的偏見(jiàn)，爭(zhēng)取社會(huì)的承認(rèn)和提升認(rèn)知度，使舞蹈發(fā)揮更大的社會(huì)功能和作用，做出了很大努力。在“后革命”的幾年中，當(dāng)代舞者們組織了大量舞蹈研討會(huì)，各種表演、社會(huì)動(dòng)員等活動(dòng)此起彼伏。比如2013年，突尼斯文化部藝術(shù)委員會(huì)成立了“舞蹈思考藝術(shù)方案”協(xié)會(huì)。顧名思義，該協(xié)會(huì)致力于規(guī)劃和思考突尼斯舞蹈的發(fā)展，尋求解決舞蹈發(fā)展與社會(huì)的關(guān)系等問(wèn)題。

在這些年輕人中間，令人印象最深的是一個(gè)名叫愛(ài)爾威·豪潑的年輕的舞蹈女編導(dǎo)。她一頭齊耳短發(fā)，身著白襯衫，系領(lǐng)帶，干練而瀟灑，一派西方新女性的形象，成為“茉莉花舞蹈”形象的代言。她活躍于學(xué)校、劇場(chǎng)、鬧市等各個(gè)公共場(chǎng)所，熱心于向民眾推廣舞蹈。2012年，突尼斯國(guó)際舞蹈節(jié)期間，舞蹈協(xié)會(huì)組織了城市交通路口“紅燈行動(dòng)”，即在特定的時(shí)間讓城市的多個(gè)交通十字路口亮紅燈。舞蹈演員們有的在紅燈的間歇打開(kāi)停下來(lái)的小汽車(chē)的車(chē)門(mén)，邀請(qǐng)司機(jī)跳舞，有的則在人行道上邀請(qǐng)路人跳舞。為了減少小民眾對(duì)舞蹈的偏見(jiàn)，喚醒民眾的舞蹈意識(shí)，愛(ài)爾威·豪潑發(fā)明了很多膾炙人口又朗朗上口具有煽動(dòng)性的口號(hào)。比如：“只需要抬抬腳！”“只需要抬腳的工夫！”而最振聾發(fā)聵的口號(hào)是：“我舞，故我在！”

好一個(gè)響亮的宣言！這如同“革命”浪濤中噴涌而出的舞者的吶喊！它無(wú)疑針對(duì)的是西方哲學(xué)史上一個(gè)回蕩了幾個(gè)世紀(jì)的哲學(xué)命題，即“我思，故我在”。其通俗的含義可以譯為“我存在，因?yàn)槲視?huì)思考”。不論它的對(duì)與錯(cuò)，這是法國(guó)哲學(xué)家笛卡兒深深影響了幾代歐洲人的哲學(xué)思想。他否定人的感性經(jīng)驗(yàn)，認(rèn)為人只有理性思考才能獲得存在的意義。而今， 這批年輕的舞者傳出了一句與之截然相悖的自我認(rèn)知方法：我舞，故我在！其叛逆、自我、果敢、生猛可見(jiàn)一斑！實(shí)際上，他們就是想以異乎尋常、振聾發(fā)聵的方式警醒民眾：要行動(dòng)起來(lái)，相互交流，解放身體，健康地、感知豐富地生活，以此來(lái)實(shí)現(xiàn)舞蹈啟蒙，爭(zhēng)取社會(huì)的支持。

由此可見(jiàn)，突尼斯的當(dāng)代舞者懷著一種社會(huì)使命感和民主的舞蹈意識(shí)，將視角面向大眾和社會(huì)，以舞蹈表現(xiàn)社會(huì)的現(xiàn)實(shí)生活和生存環(huán)境。他們思考最多的問(wèn)題是：舞蹈的社會(huì)意義何在？他們認(rèn)為：舞蹈是每位民眾有權(quán)享有的文化權(quán)利，舞者有責(zé)任和義務(wù)與大眾分享這種權(quán)利。他們以自己的實(shí)際行動(dòng)表現(xiàn)出與這個(gè)動(dòng)蕩的時(shí)代形成一種對(duì)話(huà)的強(qiáng)烈渴望。

此時(shí)，這些年輕的當(dāng)代舞者不把自己視為舞臺(tái)上的藝術(shù)精英，而變成了傳播舞蹈的社會(huì)工作者。2013年，他們的努力終于得到了官方的支持：突尼斯文化部首次給10部舞蹈作品投資。盡管這筆投資費(fèi)用遠(yuǎn)遠(yuǎn)不能滿(mǎn)足實(shí)際需要，但它預(yù)示著舞蹈從此在各種藝術(shù)門(mén)類(lèi)中占有一席之地，躋身演出市場(chǎng)。被邊緣化了如此之久的舞蹈藝術(shù)，畢竟向前邁出了一大步。

結(jié) 語(yǔ)

突尼斯當(dāng)代舞蹈，伴隨著一場(chǎng)風(fēng)起云涌的“革命”浪潮勃然興起，對(duì)于一個(gè)舞蹈藝術(shù)基礎(chǔ)相對(duì)薄弱、身體文化諱莫如深的阿拉伯國(guó)家來(lái)說(shuō)，具有特殊意義。它不僅給舞蹈帶來(lái)了前所未有的生機(jī)和轉(zhuǎn)變，更重要的是推動(dòng)了社會(huì)的進(jìn)步、民主和活力開(kāi)放。我們從突尼斯當(dāng)代舞的勃興中看到，社會(huì)為海，舞蹈為舟，只有改變社會(huì)，舞蹈才能暢游于中。

Jasmine of Contemporary Dance Growing after the Fire of Revolution The Rise of Tunisian Contemporary Dance

Wang Hongchuan

[Abstract]

Tunisia is a small Arab country in northern Africa on the southern coast of the Mediterranean Sea, known as the “Peace Oasis” of Africa.However, in the late 2010, a populist movement triggered by an unemployed college student, a street vendor, who protested illegitimate enforcement attracted the attention of the entire world.The death of the vendor ignited people’s discontent with a series of social problems such as government corruption, the widening gap between the rich and the poor, and the high unemployment rate.As the resentment boiled, people went to the streets in anger, and a largescale protest broke out.About a month later, President Ben Ali, who had ruled the country for 23 years, was forced to flee to Saudi Arabia.The regime collapsed, and the country has undergone tremendous changes since then.This is the so-called “Jasmine (Tunisian National Flower) Revolution.”

As the revolution went on, dance that had been marginalized in the society appeared frequently in newspaper headlines and became a public topic: a group of young contemporary dancers used dance as a tool to assert their existence and value to the world.They performed in theaters, bravely expressing their views and feelings about the society through dance; or performed on streets to popularize the art of dance.While the destiny of the country was under test, dance played its part rather than hiding in the corner.Instead of mere selfappreciation or complaint, dance delivered the positive message to the society: “I dance, therefore I am”.

In a country where the art of dance is relatively weak, and the human body is a taboo, the sudden rise of contemporary dance has a special significance in the national revolution.

l.Characteristics of the secular culture and preliminary growth of contemporary dance

1.Secularization of Tunisian culture

In the 9th century BC, the Phoenicians established the Carthage Empire, a historically famous slavery state.Due to its geographical importance, in its history of about 3 000 years, Tunisia was successively invaded by Rome, Turkey, Arabia, Spain, Italy and France.In 703 AD, it was conquered by the Moss from the Arabian Peninsula and gradually became an Arab state for which Islam is the soul of culture.Its history as a French colony from 1881 to 1956 fostered the inclusiveness of the Tunisian culture.After independence, the founding President Habib Bourguiba implemented the policy of cultural liberalization and repressed Islamist forces in political activities.Thus, the Tunisian culture was gradually secularized.Reforms in culture and education are particularly remarkable: First, during his office, the President invested 40% of the GDP in education, thereby cultivating a generation of high-quality nationals; and second, the Constitution gave women in Tunisia the right to vote in the 1960s.This is unique in the Arab world and Africa.At present, Tunisian women enjoy a high social status.It is precisely because Tunisia has pursued the liberalization policy since its independence.Its secularization is very high in the Islamic world.The concept of a modern country is deep in the minds of the people, so the Tunisian culture and art are open, secular and diversified.

2.Weak foundation for contemporary dance before the revolution

The Arab-Islamic culture excels in mathematics,philosophy, calligraphy and architecture, but it has no written history of dance that expresses emotions through the body.Dance was a taboo in the Arab world, to some extent.In a relatively open cultural context, in the early 1980s, the government began to support contemporary dance.In 1980, the Ministry of Culture appointed Ms.Nawel Skandrani, who had completed her studies in Switzerland, to form a contemporary dance company consisting of 11 members.The company was later invited to participate in the Carthage International Art Festival in Tunisia, which marked a breakthrough for contemporary dance in Tunisia.Later, due to financial shortage, the company disbanded.The creation of contemporary dance in Tunisia was only preliminary before the revolution;it was not even creation in the real sense.It was a marginal niche art.Its progress was deterred by many issues, including the lack of social recognition, financial resources and venue.In fact, Tunisia’s contemporary dance took off after the “Jasmine Revolution.”

ll.The rise of contemporary dance after the “Jasmine Revolution”

After the outbreak of the “Jasmine Revolution” in 2010, Tunisia experienced a difficult transition lasting several years, the “post-revolution” period.During this period, as the Interim Government lacked experience in country administration, insecurity, political crisis and economic downturn hit the country and the people, so the promises of the revolution were unfulfilled.However,the people kept a positive attitude towards the revolution.The cultural and art communities, for example, believed that the revolution has liberalized artists.Days are gone when political and religious white horror prevailed, and artists lived in fear.They were monitored and could be blacklisted any time facing the risk of being persecuted.The revolution broke the spell of the authoritarian rule,which has stimulated the artists’ creative power.Young dancers gradually became active, more and more often engaged in dance parties, promotional and exchange activities.Dance has never been so visible in the country.At the Hammamet International Arts Festival in 2013, the opening performance highlighted contemporary dance,which was unprecedented and amazing to the audience.

lll.Characteristics of Tunisian contemporary dance

1.Europeanization of technique and concept

Although Tunisia has a long history, it has no traditional dance.In fact, there is no written record of dance in the Islamic culture.Arabic belly dance is a tourist entertainment; it is not an art at all.Therefore,many dance fans travel to Europe where they can receive systematic and advanced dance education and training.A few years later, they would become Europeanized dancers and choreographers, as they’ve learned the European way of dance both in terms of technique and concept.As Tunisia was once a French colony, France has a close relationship with Tunisia and has given a great support for the growth of contemporary dance in Tunisia.Therefore,from the concept of dance to style or technique, Tunisia’s contemporary dance has taken very much from Europe,so it is a branch of European contemporary dance.As a result, contemporary dance represents modernity in Tunisia, an Arab country.Although the scale of contemporary dance in Tunisia is very small, with merely dozens of members, it has extensive connections with Europe and the rest of Africa, as part of Tunisia’s inclusive and open culture.This open, avant-garde,inspired and ambitious young community emerged soon after the Jamine Revolution that overthrew the autocratic rule, with a close connection with the ideological and cultural trends of the society in which they live.

2.Localization of ideology and close connection with society

While Tunisia’s young dancers embrace the techniques and concepts of Western contemporary dance, they are 100% native in ideology.In the post-revolutionary period,the native ideology is reflected in the following aspects:

(1) The revolution as a recurrent motif.This historic political revolution has fueled the creative urge.The revolution has become the motif of many works,which reflects the influence of the revolution and the artists’ concern with the fate of the country and the people.For example, in a dance entitled “Collapse of the Snow Mountain”, the snow mountain is the metaphor of the long history of Tunisia, and the collapse of the snow mountain symbolizes the fall of Tunisia’s national identity, reflecting the helplessness of the Tunisian people in the wake of the revolution.

(2) Citizen artists.An obvious feature of Tunisia’s contemporary dance is that the artists see themselves as citizens and engage in direct dialogues with the community during the turbulent period through their works.Morris Beja once said, “Dance is no longer telling stories: it speaks！” Tunisia’s choreographers often embed their personal ideas and aspirations into their works.For example, some examine the relationships between material and spiritual needs, and some argue that ordinary citizens should assume their social responsibility.Ms.Nawel Skandrani draws attention to the importance of water and the environment in her ballet “Water for Life.” Choreographer Saida once organized a dance seminar entitled “Emancipation of Mind and Emancipation of the Body” to explore the relationships between ideology and dance.

(3) Social enlightenment and communication.Although the Jasmine Revolution inspired contemporary dance in Tunisia, contemporary dance is far from being accepted by the traditional Islamic society where prejudice against dance is deeply rooted.Very often,choreographers have created good works but cannot find actors.To remove the social prejudices against dance, young dancers have worked hard to improve social recognition and understanding, trying to make dance play a bigger social role.For example, in 2013, the Dance Thinking & Art Program Association was established.In another example, during the Tunisian International Dance Festival 2012, the National Dance Association launched the “Red Light Action” to raise the awareness of traffic safety.They have the red light on at multiple traffic intersections at the same time, and then dancers would open the door of cars stopped by the red light and invite the drivers to dance at the interval of the red light, and some would also invite passers-by to dance on the sidewalk.Their slogan is: Just stand up！ In this way,enlightenment is done through dance, and dance may in turn win community support.In short, contemporary dancers in Tunisia are concerned with the community and public wellbeing.They have a strong sense of social mission.They may ask from time to time: What is the social significance of dance? They believe that dance is a cultural right of the public.Dancers have the obligation to share this right with the public.In this sense, young contemporary dancers do not regard themselves as artistic elites on the stage but play the role of social workers and dance promoters.Their efforts finally earned the official support: in 2013 the Tunisian Ministry of Culture granted fiscal support for 10 dance projects, which was the first governmental investment in dance.It indicates that dance has earned a position along with various other art categories in Tunisia.

Conclusion

Humans in different regions of the world are at different levels or stages of development.While the artists of some developed and advanced countries enjoy art for art’s sake, contemporary dance in the Arab world, like the people there, is fighting for survival.Contemporary dance has a long way to go in this country.But the strong resilience of contemporary dance in Tunisia that rose after the revolution will eventually break down religious restrictions and cultural barriers, and therefore overcome funding shortage.

[Keywords]

Tunisia, Jasmine Revolution, contemporary dance