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。”

出生於台灣，後歸化為美國公民，是一位專注於舞蹈與夢境概念創作的藝術家、策展人、表演者與傾聽者。她的創作經常聚焦在邊緣與被壓迫群體的聲音，並多在主流之外發聲。她擁有猶他大學的藝術創作碩士學位（MFA），同時也是拉邦／巴特尼夫動作分析（Laban/Bartenieff Movement Analysis, L/BMA）認證分析師與瑜珈及瑜珈睡眠指導師。

她的跨領域作品曾於餘德耀美術館、皇后美術館、紐約華人博物館、弗吉尼亞聯邦大學當代藝術館（ICA at VCU）、Harlem Stage、Danspace的DraftWork計畫及Judson Church的Movement Research等地展出。她曾參與Susan Marshall, Gesel Mason, Punchdrunk沉浸式劇場《Sleep No More》（紐約首演原班演員；上海場擔任表演者與排練指導），並隨ANIKAYA前往巴勒斯坦、印度及非洲多國巡演。

她的合作橫跨舞蹈、沉浸式劇場、視覺藝術、偶戲與電影，並曾任教於弗吉尼亞聯邦大學與加州大學聖地牙哥分校。她與夥伴共同策劃「Inter-grant Festival」，為移民藝術家打造表演與交流平台。她是2025年美國紐澤西州藝術委員會「個人藝術家獎」決選人，以及Laundromat Project的「創變者獎助計畫」（Create Change Fellowship）獲選人，同時也是TOPAZ ARTS 2024-25年度亞裔駐村藝術家。

靜宜也熱愛香蕉。

Ching-I Chang 

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

Ching-I Chang (she/her) is a Taiwan-born, U.S.-naturalized dance/dream conceptual maker, curator, performer, and listener. Her work explores the voices of the peripheral and subaltern, often outside the mainstream. She holds an MFA from the University of Utah and is a Certified Laban/Bartenieff Movement Analyst, Yoga & Yoga Nidra facilitator.

Her interdisciplinary work has been presented at Yuz Museum, Queens Museum, MOCA, ICA at VCU, Harlem Stage, DraftWork at Danspace and Movement Research at Judson Church. She has performed in Susan Marshall, Gesel Mason, Punchdrunk’s Sleep No More (NYC original cast; Shanghai performer & rehearsal director), and toured with ANIKAYA to Palestine, India and African countries.

Ching-I has collaborated across dance, immersive theater, visual arts, puppetry, and film, and has taught at Virginia Commonwealth University and UC San Diego. She co-directs the Inter-grant Festival, a platform for immigrant artists, and is a 2025 Individual Artist Finalist (NJ State Council on the Arts) and Create Change Fellow (The Laundromat Project). She is also TOPAZ ARTS 2024-25 AAPI Artist in Residency.

Ching-I loves bananas.

CV履歷

Interview

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。