2025 Camping Asia：《機神祭》

機械神秘主義與數位後工業時代的不滅靈性

解放身體無限張力，直赴激昂重生

「在塊動舞團極端科幻的未來裡，技術異教敲響了機器人的心。」——美國舞蹈專業刊物 《Dance Magazine》

《機神祭》是一場邊界模糊的當代舞蹈表演，挑戰觀眾對人類與機械關係的認知。在霓虹燈下，舞者們組成的『龍』形態令人印象深刻，展現了超越生物極限的雄心壯志——《Beat Magazine》

當靈性與科技交會成奇觀，賁張血液流淌、歡呼神經鼓譟，崇拜和出神是允許的，走向我們要的那種未來……。來自澳洲墨爾本，以打破類型邊界著稱的當代舞團 Chunky Move，攜手爪哇實驗音樂團體Gabber Modus Operandi、峇里島時尚品牌 Future Laundry 及全球頂尖動畫機械設計先鋒 Creature Technology Co.，打造出跨文化、跨領域的創作鉅作《U>N>I>T>E>D》。這場首演於澳洲墨爾本 Asia TOPA 藝術節，現將前進臺北表演藝術中心藍盒子，帶領觀眾進入一場極富儀式感與未來感的沉浸式體驗之中。

《U>N>I>T>E>D》融合舞蹈、科技、裝置、聲響與時尚，六位頂尖舞者身穿回收材質打造的機械裝置服飾，在迷幻電音與霓虹燈下，展現人類、機械與靈性之間的深層對話。《U>N>I>T>E>D》挑戰我們對未來的理解，並以強烈感官語彙，提出對人性與集體連結的深刻質問。

創作源起｜科技叢林的靈性共振

《U>N>I>T>E>D》的誕生，始於 Chunky Move 與 Gabber Modus Operandi 之間長達三年的對話與共創。兩組創作者透過社群媒體相識，談論話題觸及人們如何在後現代都市中，被技術與資訊轟炸之下，仍然「需要儀式」與「重返某種失落的集體感與神聖感」的憧憬渴望，產生共鳴。2020 年雙方首次在峇里島會面，展開一系列創作討論與服裝試作；2023 年更進一步深化合作，成形為本作的創作母體。

藝術總監安東尼．漢密爾頓（Antony Hamilton）表示：「即使身處於後工業化與都市化的環境中，人類與神秘、靈性之間的連結依然存在，只是往往被忽略。」將這樣的關注轉化為作品核心精神，也形塑出作品兼具神話性與未來主義的舞台語彙——一場在數位混音與機械脊骨中甦醒的靈性召喚。

內容與形式｜穿梭節奏與金屬，化身為龍

全場約60分鐘的演出中，六位舞者身穿靈感來自越野機車的機械裝置服裝，輪流化身為半人半獸的「後人類神話生物」，在舞台上進行變形、延展與組合。在燈光閃爍與霧氣瀰漫之間，他們組構出如「龍舞」般的集體身體，象徵超越個體界限的共感與意志。

演出以威脅感開場，逐步發展為拒絕、解放，最終通往重生。Gabber Modus Operandi 的電子聲響深受印尼甘美朗音樂影響，結合 techno、嘶吼與節奏錯落的重拍，為演出注入強烈的音場張力。而 Creature Technology 所設計的裝置服，則賦予舞者一種看似受限卻更具爆發力的「延伸肢體」，形成一種雕塑性十足的肢體風格。

《U>N>I>T>E>D》視覺設計深受1980-90年代科幻電影、神話符號與峇里島儀式文化影響，如祭祀式場景、象徵性肢體編排與香氣介入。觀眾並非旁觀者，更像參與者，在類似夜店、儀式與音樂會交織的現場中，獻出自己神魂與心智。

跨域手法｜科技融靈性，聲光即意識

《U>N>I>T>E>D》不僅是一場舞蹈演出，更是一次跨領域美學實驗：

音樂設計：Gabber Modus Operandi 將甘美朗音樂與電子音場融合，製造出儀式性極強的聲響結構。

服裝設計：Future Loundry 設計的機械裝備以廢棄回收素材再造，呈現出既野性又未來的科技末世感。

機械裝置：由 Creature Technology Co. 製作的電子外骨骼與舞者身體緊密結合，創造出異形般的新身體。

舞蹈語彙：融合 Krump、Hiphop、街舞與現代舞等身體語言，並以非舞蹈思維進行空間與集體意識的編排。

藝術總監安東尼．漢密爾頓（Antony Hamilton）說明，他的創作靈感常來自於空間與文化觀察，而非舞蹈自身。因此舞者的運動方式即是一種關於技術、時間與身體如何感知世界的探索，而這種「雕塑性舞蹈」成為 Chunky Move 的重要標誌。

演出團隊

藝術指導與編舞：安東尼・漢密爾頓（Antony Hamilton）
音效設計與作曲：Gabber Modus Operandi
服裝設計：Future Loundry
外骨骼設計與製作：Creature Technology Co.
燈光設計：班傑明・希斯特恩（Benjamin Cisterne）
演出與編舞：Ashley McLellan、Melissa Pham、David Prakash、Samakshi Sidhu、Robert Alejandro Tinning、Jayden Wall
排練指導：Rachel Coulson
舞台／佈景設計與製作、藝術修飾：Ashley Buchanan 與 Antony Hamilton
舞台與服裝LED製作：Shiv Geaney
外部創作顧問（Outside Eye）：Melanie Lane
製作經理：Ashley Buchanan
製作統籌：Benjamin Beare
系統工程師暨首席電工：Shiv Geaney
燈光編程與巡演燈光技術：Nicholas Moloney
音效工程暨技術統籌：Ethan Hunter
舞台監督：Zsuzsa Gaynor Mihaly
執行總監／共同執行長：Kristy Ayre
資深製作人：Kristina Arnott  

北藝中心場館全新功能！不知如何選位嗎？請來點它：劇院視線模擬

Cybernetic Mysticism and the Enduring Spirit in the Post-Digital Body

Forfeiting the Flesh Toward Collective Spiritual Rebirth

“Techno-paganism seems to beat at the cyborg heart of Chunky Move’s maximalist sci-fi vision of a mechanically augmented future.” — Dance Magazine

“Under neon lights, the dragon-like form of the dancers blurs all boundaries, expressing an ambition that stretches beyond the biological.” — Beat Magazine

Blurring the lines between machine and myth, U>N>I>T>E>D is a genre-defying work of contemporary dance that challenges audiences to rethink the relationship between humans and machines. Produced by Melbourne-based Chunky Move, a dance company renowned for collapsing artistic boundaries, this cross-cultural and cross-disciplinary performance brings together Indonesian experimental music duo Gabber Modus Operandi, Bali fashion label Future Loundry, and the globally renowned animatronic pioneers Creature Technology Co. The work debuted at Asia TOPA in Melbourne, and now arrives at Taipei Performing Arts Center’s Blue Box to call audiences into a ritualistic, near-futurist spectacle.

Combining choreography, installation, electronic music, fashion, and robotics, six performers don mechanical costumes made from recycled materials, enacting a visceral dialogue between technology, spirit, and the human body. Under pulsating neon and industrial soundscapes, U>N>I>T>E>D confronts our expectations of the future, posing urgent questions about embodiment, collectivity, and transcendence.

Genesis｜Spiritual Resonance in a Technological Jungle

U>N>I>T>E>D was born out of a three-year creative dialogue between Chunky Move and Gabber Modus Operandi, two artistic forces connected by a shared fascination with the persistence of spirituality in an increasingly technological world. The collaboration began with a virtual encounter on social media, which led to a series of creative sessions and costume prototyping in Bali in 2020. By 2023, the relationship had matured into the full-fledged collaborative force behind this work.

As Artistic Director Antony Hamilton notes, “Even in post-industrial, hyper-urban contexts, our connection to the spiritual and the unknown remains deeply embedded—though often overlooked.” It is this undercurrent that powers U>N>I>T>E>D, a work that fuses mythology and futurism into a vocabulary of choreography, sound, and machine.

What to Expect | Mutating into Dragons Through Rhythm and Steel

Across 60 minutes, six performers transform into post-human, mythic hybrids—part machine, part beast—through a series of sculptural, modular costumes inspired by off-road motorbikes. Their bodies morph, extend, and converge, forming a collective “dragon” that pulses with shared intention. The piece opens in menace, progresses through resistance and release, and ends in ecstatic rebirth.

As for sound design, Gabber Modus Operandi merges gamelan influences with techno, growls, and syncopated heavy beats, creating a sonic atmosphere thick with tension. For the shell, costumes developed by Creature Technology Co. offer dancers a paradoxical freedom through restriction: their movements become extended, stylized, and sculptural, transforming constraint into kinetic power.

Visually, the work draws on late-20th-century sci-fi cinema, animist symbolism, and Balinese ritual aesthetics—offering smoky ceremonial landscapes and choreographic motifs arranged like rites of passage. Here, the audience is not merely watching; they are participants in a hybrid space that merges nightclub, ritual, and live concert into a multisensory communion.

Interdisciplinary Alchemy｜Sound and Light as Consciousness

Beyond its choreographic core, U>N>I>T>E>D functions as a living experiment in hybrid aesthetics, where music, costume, robotics, and movement converge to create a singular immersive language. Gabber Modus Operandi crafts a ritualistic, high-intensity soundscape that fuses traditional Indonesian sonorities with abrasive digital textures, while Future Loundry outfits the performers in wearable machines made from reclaimed materials—blending techno-primitivism with post-apocalyptic glamour. Creature Technology Co.’s exoskeletal prosthetics merge seamlessly with the dancers’ bodies, extending their range of motion and transforming them into sculptural, cyborg-like figures. The choreography itself weaves together elements of krump, hip-hop, street, and contemporary dance, reimagined through the lens of spatial ritual and collective embodiment.

Hamilton’s choreography is deeply informed by observation—of space, bodies, and culture. As revealed in a recent Broadsheet interview, his inspirations often emerge not from traditional dance but from daily life in Melbourne: creekside runs, vinyl hunts, and spontaneous encounters in the city’s layered urban fabric. These personal rituals echo in U>N>I>T>E>D’s structural rhythms and ceremonial aura, turning everyday awareness into mythic architecture built upon the waves of the Western Pacific.

Chunky Move

Chunky Move creates bold, genre-defying contemporary dance. Internationally renowned for ambitious and highly original work, the award-winning company maintains a reputation for being at the forefront of contemporary dance globally. Under the leadership of co-CEOs Antony Hamilton and Kristy Ayre, Chunky Move play a crucial role in driving dance forward in Australia and beyond. Artists and audiences are at the heart of the company, expressed in a dense program of major works, commissions, residencies and education offerings. Over the last 30 years, Chunky Move has performed in 130 cities in 150 festivals throughout the world, captivating over 610K audiences.

Creative & Production Team

Artistic Direction & Choreography: Antony Hamilton
Sound Design & Composition: Gabber Modus Operandi
Costume Design: Future Loundry
Exoskeleton Design & Fabrication: Creature Technology Co.
Lighting Design: Benjamin Cisterne
Performers & Choreography: Ashley McLellan, Melissa Pham, David Prakash, Samakshi Sidhu, Robert Alejandro Tinning, Jayden Wall
Rehearsal Director: Rachel Coulson
Stage/Set Design/Fabrication and Art Finishing: Ashley Buchanan and Antony Hamilton
Set and Costume LED Fabrication: Shiv Geaney 
Outside Eye: Melanie Lane
Production Manager: Ashley Buchanan
Production Coordinator: Benjamin Beare
System Engineer and Head Electrician: Shiv Geaney
Lighting Programmer and Re-lighter: Nicholas Moloney
Sound Engineer and Technical Coordinator: Ethan Hunter
Stage Manager: Zsuzsa Gaynor Mihaly
Executive Director/co-CEO: Kristy Ayre
Senior Producer: Kristina Arnott

◎ 節目全長約55分鐘，無中場休息。

◎ 建議6歲以上觀眾欣賞。

◎ 遲到及中途離席的觀眾，須依工作人員引導等候入場。本場演出最後遲進點後即無再入場機會，無法因此退換票，請您特別留意。 

◎ 演出部分含閃爍燈光、動態燈效、響亮音樂、煙霧效果，以及部分裸露。

◎ 演前導聆：11/20(THU.)&11/21(FRI.) 演出前40分鐘於 臺北表演藝術中心太陽廳2F東南角 舉行。

◎ 演後座談：11/20(THU.) 演後於 藍盒子 觀眾席舉行。

【Important Information】
◎ 55mins, no intermission.

◎ Suggested Age 6+ years old.

◎ Latecomers will be admitted at a suitable moment in the performance.

◎ Strobe effects, dynamic lighting, loud music, smoke effects and partial nudity.

◎ Pre-show talk: 40 minutes before the performance on November 20& November 21 at the TPAC 2F Sun Hall.

◎ Post-show talk: After the performance on November 20 in the Blue Box auditorium.