WEEKLY

A DEEPER LOOK INTO HALLYU PART. 1/2
尋找韓流的故事(上)

一股韓流,令南韓短短二十年內升格為讓世界數以千萬人趨之若鶩的國家。韓國政府欲藉軟實力提升國家形象,投放大量資源在演藝文化發展。相比之下,澳門的娛樂圈仍處於胚胎階段,親身到訪當地,向今天最頂盛的韓娛業取經,乃是進步的上策。藝人歐陽日華(Kane)早前到首爾接受為期兩個月的密集式訓練,肩負韓澳交流的沉甸甸使命出發,加上首次隻身出國,這兩個月所付出的,可不是說句「金山哈蜜瓜」就能完成的門面功夫。

「自我管理,一個從沒接觸過的概念」
兩個月期間,逢星期一至五每天上跳舞課,逢星期一、三、五則學習唱歌。對於缺乏穩紮舞蹈底子的歐陽日華而言,跳舞固然是個大考驗,而「自我管理」則是他認為最難、卻有最大得益的一個課題。正式指導的舞蹈課每節只有兩小時,但老師亦要求日華每天自行額外練習。「我希望老師在上課時感受到我的努力,只要他的一句小小讚賞我都會很滿足,而且更有信心突破下一關,這亦是一份自我督促。」回澳之後,公司將為日華安排舞蹈課,他自己每星期亦會抽三至四小時練習。「作為澳門首個到韓國受訓的藝人,我要將韓國的藝人培訓系統帶回澳門,另一方面又要讓韓國認識澳門藝人和音樂的可能性,這項使命我時刻都必須銘記。」

「兩地歌手的起步點本來就不同」
這裡的「起步點」並不是指天賦,而是時間。現時在韓國要投身歌手行業不外乎兩種方法:大多從13歲前被娛樂公司物色並加以訓練,務求令其歌、舞、外語皆精通;亦有少數後期參加選秀或歌唱比賽,憑自行練就的實力突圍而出,再進行密集式培訓。澳門歌手的入行途徑則多為後者,現時可能忽略後期的培訓階段。「我在澳門入行兩年左右,在韓國渡過兩個月,已得悉自己其實很不足。韓國一天訓練起碼八至十小時,而澳門藝人在出道前通常以兼職形式受訓,身兼其他工作,很難長時間處於訓練狀態,有可能會導致表現較不穩定。」

「澳門也可發展出自己的一套」
「這次去完韓國,我身邊很多其他藝人或有意入行的朋友都受到啟發,覺得自己應要加緊持續訓練,甚至有從事演藝教育的朋友考慮開設課程,為推動澳門演藝事業做更多貢獻。我不敢妄言要多長的時間才能成功,但總會有機會達成。」韓國練習生從兒時開始受訓,出道機率卻沒有百分百保證。把韓國的高強度訓練模式套用於澳門,未必是個好選擇。「澳門是個很寫意的城市,節奏相對較慢,年青人沒太大學業或社會壓力。相信要待澳門的演藝業發展至一定成熟程度,大家才能適應韓國的一套。」澳門政府近年正積極推動本土文化創意,現階段演藝圈應該尚未出現飽和問題,而歐陽日華最希望的當然是多國發展,令全世界人看見澳門人的演藝才華。

(下期續)

撰文:陳一格
攝影:李介琳(部份照片由歐陽日華提供)
美術:李介琳

Hallyu, the Korean Wave, turned South Korea into a country that millions of people all around the world are crazy about – just in 20 years. The South Korean government has been implementing national branding by enhancing its soft power by providing support to the entertainment and cultural industries. On the contrary, the entertainment industry in Macau is still in its embryonic stage, so visiting South Korea and learn from the prosperous and developed K-pop stardom would be the most effective way to improve. Kane Ao Ieong went on a 2-month intensive training program in Seoul earlier. The 2 months were nothing easy – his mission of bridging the pop culture between South Korea and Macau is of special importance during the training, not to mention that it was Kane’s first time to spend such a long time overseas alone. That was actually so much more than just learning to say ’kam-sa-ham-ni-da’.

“‘Self-management’, a term that he has never heard of”
During the 2 months, daily dance training sessions were scheduled from Monday through Friday while vocal lessons were scheduled on every Monday, Wednesday and Friday. Kane was an inexperienced dancer so dancing was absolutely a challenge for him. Apart from that, ‘self-management’ is a task that he found the most difficult yet the most beneficial. Every coached dancing lessons lasted for 2 hours but the coaches required extra practice every day as ‘homework’. ‘I hope that my teachers could see my effort and a simple compliment would make my day. It makes me even more confident to face the next mission and it is an encouragement that pushes me forward.’ Coming back to Macau, the company will soon arrange dance trainings for Kane and he is now practicing 3 or 4 hours a week on himself. ‘As the first-ever Macau artist to go on a trainee program in Korea, I must bring the extracts of the K-pop trainee system back and show Korean people the potential of Macau artists and music. It is a mission that I must bear in mind every second in Korea.

‘The singers of the two places have different starting points’
The ‘starting point’ here does not imply talents but time. Currently there are mainly two ways to become a K-pop star: being casted into South Korea’s star factories and undergo training in singing, dancing and language before the age of 13, or impress others in umpteenth auditions or singing competition programs after self-practice – what comes next is the start of the intensive training. In Macau, most become singers by taking parts in competitions and they debut despite lack of adequate training. ‘I’ve debuted for 2 years in Macau. Spending 2 months in Korea allowed me to know how insufficient I am. Korean trainees train for at least 8 to 10 hours a day but Macau artist merely undergo part-time training sessions before official debut. Wearing more than one hat, it is hard for them to train day and night and it might lead to unstable performance later.’

‘We can develop our own system in Macau’
‘After the trip, many singers and singer-hopeful are inspired that they should practice harder. Some friends working in the art education field are even considering opening courses in order to contribute to the entertainment field. I can’t really tell how long it would take for Macau entertainment industry to reach its mature stage but I know the day would certainly come.’ Korean trainees start training since young but success is by no means guaranteed. Moreover, it might not be a good choice to apply the exact rigorous training system on Macau. ‘Macau is a rather comfortable city with a slow rhythm of life and young people do not have much academic and social stress to cope with. I believe that we have to wait for the entertainment business here to develop until we can adapt to the Korean system,’ said Kane. The Macau government is supporting its local creative industries so the entertainment field is far from saturation at the moment. Of course, Kane’s ultimate goal is to become globally famous so that the world can see the talents of Macau people.

(To be continued)

Written by Phoebe Chan
Photography by Carol Lee (Photos partly provided by Kane Ao Ieong)
Art by Carol Lee

ISSUE #0127

A DEEPER LOOK INTO HALLYU PART. 1/2

 

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