自我介紹 Dance Artist

張靜宜 

“我們作為外圍/底層者經常在主流之外創作。”

台灣製造，活躍在美國和安靜的地方。她是概念性的創作者與夢想家、策展人、表演家、聆聽者。猶他大學藝術碩士學位。她熱愛藝術並致力於培養和諧。她的作品曾在餘德耀美術館、皇后博物館、美國華人博物館、維吉尼亞聯邦大學當代藝術館、紐約否畫廊,Harlem Stage: E-Moves, Movement Research @Judson Church, Dancespace Project: DraftWork等舞台展出。她與不同類型藝術合作例如：舞蹈：Gesel Mason、Susan Marshall、Maurice Fraga、張慧望、Michel Kouakou、Marie Lloyd Paspe、Annie Wang、Tiffany Mills、Kyle Abraham 等；沉浸式劇場：Punchdrunk 和 Pig Iron；視覺藝術：Kiori Kawai、泰國藝術家聯盟、Amy Khoshbin；中國舞：H.T. Chen；木偶戲： Phantom Limbs、Loco 7；  舞踏：Ximena Garnica；時尚：Bad Bitch Tong Tong+Stefanie Nelson Dancegroup；舞蹈電影：Marta Renzi、Olab。她擔任上海《不眠之夜》排練總監兼表演,也是紐約《不眠之夜》原班表演者。她曾隨 ANIKAYA 前往巴勒斯坦和非洲國家巡迴演出。她是維吉尼亞聯邦大學的客座教授，也是加州大學聖地牙哥分校的兼任教授。她是認證的 Laban/Bartenieff 動作分析師 (L/BMA)、瑜伽和瑜伽 Nidra 認證教師。自 2005 年以來，她一直沉浸在接觸式即興創作中，偶爾也進行教學。閒暇時，她練習書法、演奏聲音、創作拙劣的藝術。最近，靜宜 和 Penelope 發起了 Inter-grant Festival：Arts On Site 的年度平台，旨在慶祝成功通過美國移民流程的國際藝術家的聲音。她喜歡香蕉。

Ching-I Chang 

“We as peripherals/subalterns often create works outside of the mainstream.”

made in Taiwan, active in America and quiet places, a dance/dream conceptual maker, curator, performer and listener. MFA from University of Utah. She has  a deep love for arts and nurturing harmony. Her work has been shown in Yuz Museum, Queens Museum, Museum of Chinese in America, Institute for Contemporary Art at Virginia Commonwealth University, Fou Gallery, Harlem Stage: E-Moves, Movement Research @Judson Church, Dancespace Project: DraftWork, and among others. She has worked with Dance: Gesel Mason, Susan Marshall, Maurice Fraga, Huiwang Zhang, Michel Kouakou, Marie Lloyd Paspe, Annie Wang, Tiffany Mills, Kyle Abraham; Immersive Theater: Punchdrunk and Pig Iron; Visual Arts: Kiori Kawai, Thai Artist Alliance, Amy Khoshbin; Chinese Dance: HT Chen; Puppetry: Phantom Limbs and Loco 7;  Butoh: Ximena Garnica; Fashion: Bad Bintch Tong Tong+Stefanie Nelson Dancegroup; Film: Marta Renzi and Olab. She performed at Sleep No More NYC (original cast); and SNM Shanghai (performer & rehearsal director). She has toured with ANIKAYA to Palestine and African countries. She was a visiting professor at Virginia Commonwealth University and an adjunct at U of California San Diego. She is a Certified Laban/Bartenieff Movement Analyst (L/BMA), Yoga & Yoga Nidra Facilitator. She has bathed in contact improvisation since 2005 with occasional teaching. In her free time, she practices calligraphy, plays with voices, and makes bad arts. Recently, Ching-I & Penelope started the Inter-grant Festival: an annual platform at Arts On Site celebrating the voices of international artists who have successfully navigated the US immigration process. And she loves bananas. 

CV履歷

TEACHING PHILOSOPHY

教書的想法

I, me, we artists often struggle to secure and validate a place in academia and education, a place and space where we belong and where we are the recognized progenitors and creative scholars.  As such, our bodies – as the primary instrument and holder of the artistic knowledge, have power to influence, shape and change one’s reality and experiential knowing. I am passionate about using a practice of embodiment as a way to engage and inspire people who are often minoritized and marginalized. I believe in teaching dance as composing topography for healing the physical and ancestral traumas – the repetition of sweat, blood, feces, and urine are all included in the lived experience of the embodied practice of movement, and that is part of the process of decomposing landscapes of translation and transmutation. Through the practice of repetition, endurance, intensification and exhaustion are parts of the necessary aftermath. The process represents how time can be used through dance to experience the now and shift into altered realms of being – from the physical to the ethereal realms of time (i.e., the past, present, future, and the alternate fantasy).  

In addition, I often use the practice of cultural sharing in my teaching because it cultivates in students the use of imagination and story-telling.  Here, the students are asked to suspend their disbelief and begin to take agency of their own practices, values and cultural experiences. Ultimately, my hope is to allow space in the learning process to give the students permission to  take risks, make mistakes and even fail at times, in order to grow because education through mutual sharing and transformation is a time honored process.

Overall, my lived experiences inform my teaching processes.  Most significant to my work are the five elements of Chinese Philosophy and life force – gold or metal, wood, water, fire, earth or soil.  These five elements are constantly in dialogue to negotiate the dynamic balance of the life forces in my teaching processes, creative work, rapport with students and personal responsibility.  As such, in my teaching philosophy, I seek to deepen the students’ sense of responsibility for the environment and the physical presence that embraces all bodies and spirits – the life harmony.

Edited by Dr. Elgie G. Sherrod

我，我，我們藝術家常常努力在學術界和教育界爭取和驗證自己的一席之地，一個我們所屬的地方和空間，一個我們被公認的祖先和創造性學者的地方和空間。  因此，我們的身體作為藝術知識的主要工具和持有者，有能力影響、塑造和改變一個人的現實和經驗認知。我熱衷於使用體現實踐作為一種方式來吸引和激勵那些經常被少數和邊緣化的人。我相信舞蹈教學是為了治癒身體和祖先的創傷而建構地形——汗水、血液、糞便和尿液的重複都包含在具體運動實踐的生活經驗中，這是分解過程的一部分翻譯和嬗變的景觀。透過重複練習，耐力、強化和疲憊是必要的後果的一部分。這個過程代表瞭如何透過舞蹈來利用時間 體驗現在並轉變為改變的存在領域－從實體時間領域到空靈時間領域（即過去、現在、未來和替代幻想）。  

此外，我在教學中經常採用文化分享的做法，因為它可以培養學生想像和說故事的能力。  在這裡，學生被要求停止懷疑，開始運用自己的實踐、價值觀和文化經驗。最終，我的希望是在學習過程中留出空間，讓學生冒險、犯錯，甚至有時失敗，以便成長，因為透過相互分享和轉化的教育是一個歷史悠久的過程。

總的來說，我的生活經驗影響了我的教學過程。  對我的作品來說最重要的是中國哲學和生命力的五種元素──金、木、水、火、土。  這五個要素不斷地對話，以在我的教學過程、創意工作、與學生的融洽關係和個人責任中協商生命力量的動態平衡。  因此，在我的教學理念中，我力求加深學生對環境的責任感，以及擁抱所有身體和精神的物質存在的責任感——生命的和諧。

編輯者 埃爾吉·謝羅德博士

MFA Thesis 碩士學位論文

I seek to facilitate the process of listening through the sense of responsibility for the environment and the physical presence that embraces all bodies and spirits - the life harmony. My medium is through creating and sharing stories of conceptual landscapes and dances to extend invitation to all people. 

我尋求透過對環境的責任感以及擁抱所有身體和精神的身體存在（生命和諧）來促進聆聽的過程。我的媒介是透過創造和分享概念景觀和舞蹈的故事來向所有人發出邀請。