“If you ask me when I started to learn how to dance,
I think it was when my mom was pregnant with me.
I was born to dance.”
–Gao Yanjinzi
“如果要问我什么时候开始学跳舞的？
我觉得我妈妈在怀我的那一刻，我就开始学跳舞了。
我就是为舞蹈来的！”
——高艳津子
In August this year, world-renowned installation artist Olafur Eliasson held a grand art exhibition titled “The Unspeakable Openness of Things” at Beijing’s Red Brick Art Museum. It wasn’t just an ordinary art exhibition. Instead, the Chinese capital had witnessed something phenomenal.
Eliasson, who is best known for his large-scale installation art employing elemental materials such as light, water, and air, was joined by dancers from the Beijing Modern and Contemporary Dance Company.
The dance show was staged in four of Eliasson’s large installations. The performance was presented in four mesmerizing pieces: “Light”, “Wind”, “Shadow” and “Water”.
The electrifying blend of Eastern and Western cultures thrilled the city of Beijing. The event is widely regarded as one the most successful major art carnivals in China in 2018.
2018年8月，在北京红砖美术馆，世界著名的装置大师奥拉维尔•埃利亚松举办了一场《道隐无名》的大型艺术展。作为特别互动项目，北京现代舞团的舞者们即兴在装置空间中表演了《光》、《风》、《影》、《水》四个作品。这次东西方文化的交融与碰撞惊艳了整个北京城，成为了2018年中国艺术界的大事件。
The four mesmerizing pieces: “Light”, “Wind”, “Shadow” and “Water” from “The Unspeakable Openness of Things”
Gao Yanjinzi, artistic director of Beijing Modern and Contemporary Dance Company, was the force behind this riveting fusion of modern arts.
Born into a family of traditional dancers in southwest China’s Guizhou Province, Gao says dancing has always been an inextricable part of her life. She became a trained dancer much before she turned 17.
“When I was little, I would add dance to almost everything. I would dance while getting a glass of water from the kitchen; I would walk away in a dancing pose.”
Gao graduated from the Contemporary Dance Department of the Beijing Dance Academy in 1995, and joined the Beijing Modern and Contemporary Dance Company at the end of the same year.
Gao acquires her artistic inspiration not only from her profound traditional and modern dance skills but also from her philosophy.
Each performance emits mysterious energies and every rotation breaking the boundaries of “traditions”, “cultures” and “regions”.
Gao’s dance style and choreography have attracted international attention, gaining applauses for “embracing strong Oriental elements,” while stage presentation has always been “beyond imagination.”
四个作品的编舞就是高艳津子——北京现代舞团创作总监，中国现代舞界众所周知的一位重磅级人物。她的艺术灵感不仅来源于她深厚的传统舞蹈和现代舞蹈技巧，还来自她内心独特的东方哲学。她的作品总是从自然界散发出神秘的能量， 每一个惊人的旋转都完全打破了“传统”、“现代”和“东方或西方” 的局限。高艳津子的舞蹈风格和作品引起了国际的关注，被赞誉为“拥有强势的东方元素， 多样的舞台呈现总是超乎想象”。
In 1993, the Beijing Dance Academy introduced the first course on modern dance. At that time, the dance form has already developed in the West for over 100 years.
But for Gao, it was different. During her dance classes, Gao often wondered if she should shy away from 5,000-year-old Chinese culture to imitate a dance style with just century-old history.
1993年，北京舞蹈学院开设了一门崭新的专业——现代舞。中国传统舞出身的17岁土家族姑娘高艳津子正是现代舞专业的大一新生。
上世纪90年代，当现代舞伴随着改革开放的春风走进神州大地之时，它已在西方历经了百年发展，并有了比较成熟的理论框架。在整个中国舞蹈界为这一崭新的舶来品感到好奇和欣喜的同时，许多人也陷入了深深的迷茫之中。这其中也包括年轻的高艳津子。她一直在不停地追问自己：我们是否应该放弃五千年的中华文化积淀，去追求只有区区百年历史的西方现代舞？属于中国自己的现代舞到底是什么样的？中国观众是否会接纳这种舞蹈？它的演出市场又在哪里呢？
As a pioneer in Chinese modern and contemporary dance, Gao has gained immense reputation and respect. She is regularly invited by many important art festivals and institutions in Europe, the US, Canada, and Asia-Pacific to create and perform.
In 1999, Gao won the highest honor at the Belarus International Contest for Modern Dance Creation and Belarus International Contest for Modern Dance Choreography for her performance titled “Boundary”. She also obtained the first prize in choreography for her work titled “Dust” at the sixth Beijing Dance Contest in the same year.
自舞团成立以来，高艳津子屡次受邀赴德国、法国、意大利、韩国、新加坡、日本、英国、加拿大、比利时等国，参与艺术节演出，并取得了举世瞩目的艺术成就。1999年，她的作品《界》荣获白俄罗斯国际现代舞编舞大赛最高大奖；同年，作品《尘》荣获北京第六届舞蹈大赛编舞一等奖。
For Gao, dancing is a way of connecting with the universe, and an outlet for feelings. When this expression meets Oriental culture, it naturally takes on an Oriental flair. An expression perfectly depicted in her performance titled “Blooming of Time.”
The main characters in “Blooming of Time” are flowers. The dancers become the incarnation of the goddess of the flowers, as well as foxes, snakes, and insects. They perform a combination of modern dance, folk dance, and ballet, narrating the story of nature.
The 24 solar terms of the Chinese lunar calendar are a dialogue between humans and nature, which reflects Oriental philosophy and aesthetics, flawlessly portrayed in her dance piece called “The Chinese Zodiac.”
“I subconsciously use many Chinese ways of thinking and feeling,” said Gao.
Gao said that she later realized that modern dance is just like any other modern art form. An idea of art has little to do with its country of origin.
“Modern dance exists because the artists have different ideas about dancing; it doesn’t have a standard concept to confine you. The essence of modern dance lies in the spirit of freedom and not in just one notion of movement or style,” Gao said.
对于高艳津子来说，舞蹈是一种连接世界的方式，也是感情的宣泄。当这个表达与东方文化相遇时，自然就会产生东方的风韵。现代舞虽然产生于西方，但它与其他现代艺术形式一样，与其起源国无关。现代舞的精髓是自由精神，所以中国的现代舞完全可以充分融入中华民族五千年的璀璨文化之中。
让高艳津子欣慰的是，从2016年到2017年短短一年间，单是北京现代舞团的宣传片、小视频的点击率就一下增长了1600多万。通过几十年的不懈努力，中国观众已经完成了接纳现代舞的重要过程。高艳津子认为，现代舞其实并不是最重要的；重要的是当观众没有接纳当代艺术的时候，说明生命没有进入当代美学状态，这是一个国际化视野。她希望中国的观众可以成为国际的观众，她也期待通过中国现代舞，把中国最宝贵的智慧分享给全世界乃至全人类！
Director: Yin Jun
Editor: Yin Jun, He Peiheng, Zhou Yiqiu
Filmed by: James Zhang
Designer: Yu Peng
Writer: Angelina Qu
Copy Editor: Khushboo Razdan
Producer: Wen Yaru
Chief Editors: Chen Ran, Qin Xiaohu
Supervisor: Zhang Shilei
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