水堤
曾德源
新加坡、印尼、德國 Singapore, Indonesia, Germany|2025|實驗 Exp|彩色+黑白 Color, B&W|30 min|英語、印尼語、爪哇語、荷蘭語發音 English, Indonesian, Javanese, Dutch
✧臺灣首映 Taiwan Premiere
✧2025 跳格 – 香港國際舞蹈影像節
✧2026 釜山城際電影節
✧2026 新加坡短片展
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透過編創身體語彙與口述回憶的交織,在荷蘭殖民計畫橫跨馬來群島(Nusantara)的歷史暗流中,個人私密的故事幽微舒展。在印尼語境中,bendungan(水堤)可指水壩、河岸或海堤。影片沿着梭羅河蜿蜒而行,漂流過 Maluku 群島,最終匯入荷蘭的北海。《水堤》跟隨三位分別居住在印尼與荷蘭水域附近的人物,從他們暗中相繫的痕跡中,揭露一種水底的痕跡。
Through choreographed gestures and oral recollections, personal, intimate stories unravel against the historical backdrop of the Dutch colonial project throughout the Nusantara (Malay World). In the Indonesian language, bendungan can refer to a dam, river bank or sea bank. The film meanders along the Solo river, drifts through the Maluku archipelago and floods into the North Sea of the Netherlands. bendungan follows three people who live close to water bodies in Indonesia and the Netherlands, revealing among them uncanny affinities.
Director
曾德源
現以新加坡與柏林兩地為據點,曾德源(代名詞不拘)是一位活躍於舞蹈與擴展編舞領域的獨立藝術家。畢業於蘇格蘭皇家音樂學院,主修當代表演實踐(榮譽學士),並曾獲獎學金於柏林藝術大學跨校舞蹈中心進修。曾氏創作關注位移身體(displaced body)的潛能,實踐交揉混雜與融合的特質,探討口述歷史、祖裔知識體系,以及(自)傳記的再現,尤其聚焦於東南亞島嶼地區的脈絡。曾氏為倫敦 Sadler’s Wells Rose Choreographic School 首屆藝術學員,其跨領域作品曾於柏林 Sophiensaele 劇院、倫敦當代藝術學院、萊比錫紀錄片與動畫影展(DOK Leipzig)、紐約 e-flux 放映室、LE FIFA 蒙特婁國際藝術電影節以及新加坡美術館等地展出。
jee chan (all pronouns) is an independent artist working in the fields of dance and expanded choreography. They hold a BA (Hons) Contemporary Performance Practice from the Royal Conservatoire of Scotland, with further studies at the Inter-University Centre for Dance (University of the Arts Berlin) on scholarship. Their work is concerned with the potentials of the displaced body. Characterized by hybridity and syncretism, their practice engages with oral histories, ancestral epistemologies and the representation of (auto)biographies, particularly among the contexts of island Southeast Asia. A member of the inaugural artistic cohort at the Rose Choreographic School (Sadler’s Wells, London) their transdisciplinary work has been presented at Sophiensaele (Berlin), Institute of Contemporary Arts (London), DOK Leipzig, the e-flux Screening Room (New York), the International Festival of Films on Art (Montreal), and the Singapore Art Museum. They live between Singapore and Berlin.
單場購票連結
在印尼語境中,bendungan(水堤)可以指涉各種能夠容納、阻擋或攔截水流的構造物——例如水壩、堤防,或是河流與海洋沿岸的護岸工程。《水堤》是一部關於各種形態幽靈的影像創作。個人私密的故事,在殖民與征服的歷史敘事背景下幽微舒展,揭露荷蘭殖民統治的傷痕,如何潛移默化地深深銘刻在東南亞地區的集體記憶之中。我創作實踐中至關重要的一環,提出:當今世界種種全球性危機,實為殖民思想與擴張直接造成的後果。《水堤》呈現三層彼此迴響、交織的敘事,並不試圖明確地「書寫歷史」。過去是一種生物,總習慣一次又一次地回來,纏繞、戲弄着我們所有人。
In the Indonesian language, bendungan can refer to various structures that can contain, hold back, or block water, a dam for example, an embankment or shoreline stabilisations on rivers and oceans. bendungan is a film about ghosts in various forms. Personal, intimate stories unravel against the backdrop of historical narratives of colonialism and conquest, making visible how deeply the wound of Dutch colonization is engraved in the collective memory of the Southeast Asian region. A crucial aspect of my work has been to propose that the manifold global crises of today are direct consequences of colonialist thought and expansion. bendungan portrays three layers of narrative which echo across one another, without seeking explicitly to “write history”. The past is a creature that has a habit of returning to haunt and play tricks on all of us, time and time again.
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