如果大海有記憶，她會記得什麼？
If we look into the ocean's memory, what are the stories?
《島嶼恍惚》是壞鞋子舞蹈劇場近年往返印尼爪哇島之後田野後的全新舞作。從亞洲的南海、爪哇海、台灣海峽進行故事的採集和詮釋，表演者化身為海島歷史中受傷的靈魂，在無垠的海面和島嶼的邊境之間，深入被遺忘的記憶與神話，傾訴遷徙與漂泊的心聲。
Based on choreographer LIN I-Chin’s field work extending from Taiwan motherland to Indonesia, Lingering unravels the history, memory, and myths of the ocean, giving care to the unheard stories of lingering minds and ghosts sunk in its depths.
2025
NTCH
Taiwan Week
2024
NTCH Artquake
2024
TPAM
Showcase
來自土地：受印尼爪哇島與
台灣本島的田野採集啟發
From the land: The work is inspired by the fieldwork from Java Indonesia and Taiwan.
《島嶼恍惚》啟發自台灣南方小琉球的傳統「迎王」祭典，「迎王」採三年一祭，壞鞋子分別在2021年與2024年深入田野採集，祭典期間，民眾會透過「打造王船」，並在海邊舉行祭儀，迎接王爺登島；王爺在為期一周的祭典期間在島遶境祈福，撫慰沒有被聽見的靈魂之音；眾人隨著王爺的指引，在祭典的最後火化王船，象徵昇華苦痛，療癒眾生。
同時，《島嶼恍惚》隨著壞鞋子的身體一起旅行。我們在2023-2024年往返日惹國際藝術村駐村，進到印尼爪哇宮廷舞及民間入神舞蹈儀式的現場，主要在日惹（Jogja）跟瑪琅（Malang）兩個城市活動，向多位導師學習。學習內容含Srimpi Ludira Madu, Bedhaya Pangkur, 和Bambang - Cakil, Solo/Jogja Gamelan,Pangkur,REMO , Grebeg Sabrang,Kuda Rumping等。壞鞋子透過持續性的田野採集串聯作品的思考和質地，進而發展成《島嶼恍惚》。
Lingering is inspired by the traditional festival of Lambai Island, a small island off southern Taiwan. The company conducted in-depth fieldwork in 2021 and 2024 to explore this ritual, which is held every three years. During the festival, the community constructs a ceremonial king's boat and performs rituals by the sea to welcome the deities onto the island, offering blessings and soothing unheard spiritual voices. Guided by the deities, the ritual concludes with the burning of the king's boat, symbolizing the transcendence of suffering and the healing of all beings.
In addition to the fieldwork in Taiwan, the company engaged in an artist residency in Yogyakarta Indonesia in 2023 and 2024, delving into the court dance, ritual dance, Gamelan, as well as Javanese philosophy Kejawen taught by Tejo Bagus Sunaryo. We practised Gamelan, learnt court dances Srimpi Ludira Madu, Bedhaya Pangkur, Bambang-Cakil, and ritual dance Kuda Lumping in Jogja and REMO and Grebeg Sabrang in Malang.
展現海與島的地景想像：
以樂器與布料呈現虛實景觀
Representing the landscape of the sea and islands; depicting the sceneries through instruments and fabrics.
《島嶼恍惚》由3位舞者與2位擊樂手共同演出，舞者時而化為靈魂的精神體，時而作為靈魂的引路人；樂手在場上以現場打擊樂引領台上的靈魂和場下的觀眾，透過樂音開啟島嶼和海洋的想像，創造萬生萬物的聲音。
本作品的樂手分別來自傳統北管樂與西洋世界音樂背景，使用的樂器包含北管的鼓鑼鈸鈔，與東南亞多種形態的樂器，樂器除了演奏的功能，更是歷史背景和視覺意象的象徵。
《島嶼恍惚》樂器做為場上的核心意象，同時透過巨大的透明布創造變幻無窮的動態地景，舞者在塑膠布和樂器之間穿梭互動，使物件化成了河流、海面、山徑與時空。
With three dancers and two percussionists, the dancers sometimes embody spiritual entities of the soul and at other times act as guides. The percussionists, with their live performance, use music to spark the imagination of islands and oceans, creating the sounds of all living beings. The instruments used in this piece include Beiguan instruments, as well as a variety of Southeast Asian instruments. Beyond their role in performance, these instruments also serve as symbols of historical context and visual imagery.
To place instruments at the heart of its visual symbolism, while a massive translucent fabric is used to craft ever-changing dynamic landscapes. The dancers weave between the plastic fabric and the instruments, transforming these elements into rivers, oceans, paths, and the essence of time and space.
《島嶼恍惚》就像去一個離城市很遠的地方，進行一次質量很高的冥想，人體只是萬物移牽中的一小絲靈動，意識走過日月星雲，穿過山和海的縫隙，無誤地穿越去推動一小粒沙。
── 編舞家 周寬柔 (2024)
遷徙/混種/
東南亞身體
北管/甘美朗/
世界音樂
特殊材質地景
PRODUCTION TEAM
｜首演製作團隊｜
編舞家│林宜瑾
創作顧問│周伶芝
舞者│劉俊德、劉昀、游育歆
現場樂手│鍾繼儀、張幼欣
燈光暨空間設計│曾睿琁
服裝設計│蔡浩天
舞台監督│鄧湘庭
製作人│鄭伊婷（Ella）、林志洋
執行製作│葉湘亞
團務經理│張晴雅
田野陪伴｜Sanggar Sekar Jati - Polowijen.R.A.Tejo Bagus Sunaryo
Choreographer | LIN I-Chin
Dramaturge | CHOW Ling-Chih
Dancer | LIU Chun-Te, LIU Yun, YU Yu-Hsin
Musician | CHUNG Chi-Yi, Sayun Chang
Lighting Design and Technical Director | Ray Tseng
Costume Design | Eric Tsai
Stage Manager | TENG Hsiang-Ting
Producer | Ella Jheng, LIN Chia-Yang
Production Coordinator｜Hsiang Yeh
Administrative Manager | Gina Chang
Field Research Consultant | Sanggar Sekar Jati - Polowijen.R.A.Tejo Bagus Sunaryo
