\n感謝各方熱烈支持,國際論壇與工作坊報名人數踴躍,為提供更舒適的環境,且讓更多夥伴有機會參與,論壇場地將移至表演廳舉行;並特別邀請國際講師加場「工作坊一」及「工作坊三」,已於第一時間通知候補名單,謝謝大家熱情支持。
\n\n\n\n
\n\n
\n\n
「透過美感教育,我們獲得的體驗,可以成為所有學習的範例。」——節錄自瑪克辛.格林「藍色吉他變奏曲—林肯中心學苑美感教育講座
\n\n\n\n
在臺灣發展現代專業場館以來,以展演及節目策畫製作為發展主軸的場館組織裡,藝術推廣依附在節目行銷之意識型態之下,近十年迎來大劇場時代,藝術學習推廣越顯重要,「演出是當下,推廣是未來」衛武營藝術總監簡文彬表示,節目製作是為了當下的觀眾,學習推廣是為了培育未來的觀眾,如果沒有文化培力,遑論未來觀眾及節目展演製作。
\n\n世界如聯合國的永續發展目標,臺灣如文化部與教育部的「藝術即生活」、「生活即美感」,皆認同美感不僅是創造個人優勢的關鍵,也是產業創新的動能,不論是教育現場,強調「培養學生成為終身學習者」的跨域整合教學思維,或是進入社區,換位思考從社區需求出發,不僅強調多元包容,更強調參與互動,轉化藝術之於社會的意義,透過藝術介入、推廣學習實踐,永續生活,展望未來。
\n\n2024年藝術學習推廣國際論壇暨工作坊,以「改變未來」為題,邀請在社區及學校參與推廣有豐富經驗的美國公眾劇院(The Public Theater)與英國合拍劇團(Complicité)分享它們如何將劇場專業經驗轉化延伸成為具影響力的藝術社會實踐。另邀集國際教學藝術家聯盟(ITAC)、香港西九文化區管理局、臺美兩地教學藝術家,以及國內各領域對藝術教育及社區推廣充滿熱忱的夥伴,聚焦政策計畫、場館、團隊與藝術家四個面向,分享藝術推廣的發展與實踐。
\n\n衛武營在成立5週年之際,成立「學習推廣部」,整合各部門資源,期許以更開放的態度發展文化扎根與培力,倡議藝術學習推廣的重要價值,冀盼以三年為期,打造交流平台,結集國內外專業工作夥伴,讓力量聚流、信念被重視、意念被倡議、經驗在此交流,期待引起多方討論與重視,透過深度之共感對話,匯聚能量,共創友好環境與價值,改變未來。
\n\n\n\n
了解更多:
\n\n►工作坊
\n\n►論壇
\n\n\n\n
\n\n
協力贊助
\n\n\n\t\t |
\n\n
\n',tabs:[{programs:[],seq:3,name:"工作坊",content:'
邀請美國公眾劇院(The Public Theater)、英國合拍劇團(Complicité)的創意製作人(Creative Engagement Producer)、教學藝術家(Teaching Artist)舉辦工作坊,分享入校及社區推廣計畫的設計及實踐(如何理解社區的需求,如何選擇適合的藝術媒介與社區互動、如何吸引社區參與,並引起有機的互動),結合表演藝術體驗的議題教案設計、轉化用於排練場的藝術創作方法,成為激發社區及學校參與的集體即興編創方法。
\n\n\n\t\t |
\n\n\n\n
\n\n
合作住宿
\n\n捷絲旅中正館提供工作坊與論壇參加者優惠,一大床(兩小床)平日1,900;假日2,700元,如需訂房請電07-972-3565分機8301
\n\n\n\n
\n',color:{a:1,r:125,g:179,b:231},type:"content"},{programs:[],seq:4,name:"國際論壇",content:'\n\n\n\n
\n\n
邀請來自美、英、港、新等5位國際講者,以及來自國內部會、場館、表演團隊與個人藝術家共15位講者,我們試圖打造一個對話平台,創造未來多方合作的可能性。
\n\n論壇聚焦四大面向:政策、場館、團隊、藝術家。從政府補助、企業贊助機制、場館定位使命、觀眾開發、行銷策略、藝術扎根、青年藝術家培力等,討論不同國家政策與文化脈絡有哪些因素驅動與支持(或沒有支持)藝術教育推廣計畫,並分享不同層級場館機構、不同規模的公私營表演團隊,其相關計畫、著重面向、面向選擇的決策、涵蓋受眾,並邀請國內外教學藝術家(Teaching Artist)分享如何塑形及培訓。讓多元的聲音被聽見與交流,搭建未來資源架接、多方合作的可能性,一起探討藝術學習推廣的發展與實踐。
\n\n\n\n\n\n
\n\n\n\n
\n\t\t |
\n\t\t |
\n\n\n\n
\n\n
合作住宿
\n\n捷絲旅中正館提供工作坊與論壇參加者優惠,一大床(兩小床)平日1,900;假日2,700元,如需訂房請電07-972-3565分機8301
\n\n\n\n
\n',color:{a:1,r:255,g:158,b:158},type:"content"},{programs:[],seq:5,name:"活動回顧",content:'\n
教學藝術家,看見自己未來職涯的可能性!
\n\n—楊士賢|藝文工作者
\n\n\n\n
聚焦在教育推廣,這是很有意義的企圖心,衛武營也很具體從各方實踐,我能在兩天論壇認識好多人,藝文資料庫補充滿滿,很開心我在高雄!
\n\n—廖蕙蘭|高雄市國教輔導團藝術領域輔導員
\n\n\n\n
一方面,我很高興知道有這麼多優秀的本地藝術家致力於推動臺灣的藝術教育。另一方面,我也很驚訝自己現在才知道。非常開心衛武營提供了這個機會,讓更多人知道有這麼多優秀的藝術家在為臺灣的藝術推廣努力,這也凸顯了這次論壇的重要性。
\n\n—鄭淑芸|紐約偶戲教學藝術家
\n\n\n\n
這次論壇營造了一個非常特別的環境,讓我聽到很多劇場教育和社區參與的不同方式和想法。
\n\n—瑞瑪・陶德|英國合拍劇團製作人
\n\n\n\n
這次論壇的午餐時間特別令我印象深刻,能夠和不同的藝術家直接對話、分享彼此在職涯中的近況。希望能有更多這樣的交流機會!
\n\n—劉勇倫|國際教學藝術家聯盟主席
\n\n\n\n
\n\t\t\t\n\n\t\t\t 當人們對於彼此有連結的時候,就會再回來。 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 不同背景的教學藝術家發現彼此所需要面對的困難既有大環境的共通性,也有區域性等其他細節的差異。 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 編創劇場並不是靠單一的方法進行的。 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 【創造藝術的支持系統】 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 【沒有圍牆的場館】 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 【走下舞台,走入大眾】 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 【教學藝術家—超越創作的未來藝術生態】 \n\n\t\t\t\n\t\t\t | \n\t\t
\n',color:{a:1,r:125,g:179,b:231},type:"content"}],onShelf:!0,onShelfRange:{start:null,end:null},sliders:[{type:"image",key:"bbd3ab8f15fb15592dac891fcf0eb65c",title:"2024藝術學習推廣國際論壇暨工作坊"}],albums:[],albumsColor:{a:.8,r:255,g:255,b:255},albumsSeq:2,writings:[],writingsColor:{a:.8,r:255,g:255,b:255},writingsSeq:1},english:{title:"2024 International Forum and Workshop on Arts Outreach and Engagement",cover:"0002c420c4f01e10961896d0f0435841",menu:{append:!1,appendTo:"program",text:"International Forum and Workshop"},seq:0,description:"Since Taiwan began developing professional, modern performing arts centers over 30 years ago, operations have focused on performances and production, while arts educational and outreach program have usually fallen under the umbrella of program marketing to be used as a tool for boosting ticket sales. But in the last decade, Taiwan has seen the birth of three massive performing arts centers, prompting outreach and engagement to finally be viewed with more of their due value. ",introduction:'
Changing Future
\n\n\n\n
\n\n
\n\n
#Aesthetic Experiences #Outreach and Engagement
\n\n#Local Perspective Global Outlook #Creative Producers #Teaching Artists
\n\n\n\n
\n\n
\n\n
\n\n
Since Taiwan began developing professional, modern performing arts centers, operations have focused on performances and production, while outreach and engagement have usually fallen under the umbrella of program marketing. But in the last decade, Taiwan has seen the birth of three massive performing arts centers, prompting outreach and engagement to finally be viewed with greater importance. Weiwuying artistic director CHIEN Wen-pin has said, "Performances are for the present; outreach and engagement are for the future." That is, the former is directed at existing audiences, while the latter is meant to gradually grow them. The idea is that without fostering culture among the public, there will not even be any audiences or program production to speak of in the future.
\n\nThe UN's sustainability goals and the Taiwanese culture and education ministries' respective missions of spreading the concepts of "Life is art" and "Life is aesthetic" are affirmations of the idea that aesthetic is not only pivotal in cultivating the individual but also a source of momentum in industry innovation. Whether emphasizing interdisciplinary integration to make students into lifelong learners at educational venues, or encouraging people to think about meeting not just their needs but the needs of society, what is stressed are inclusiveness, participation, and interaction, changing the meaning of art in society. Through the inclusion of art, outreach, and engagement, we will be working toward living sustainable lives and for the betterment of the future.
\n\nThe 2024 International Forum and Workshop on Arts Outreach and Engagement has "Changing the Future" as its theme. Members of the The Public Theater in the US and Complicité in the UK, who have immeasurable outreach and engagement experience in communities and schools, will share about how they turn theater experience into social influence. Representatives from The West Kowloon Cultural District and the International Teaching Artist Collaborative, teaching artists from Taiwan and the US, and Taiwanese partners from various sectors who are passionate about art outreach and engagement will be on site to discuss the development and implementation of outreach and engagement in the four aspects of policy planning, performing arts centers, performance groups, and artists.
\n\n
\nAs Weiwuying closed in on its fifth anniversary this year, the Learning and Participation Department was established with the aim of rooting culture into people, nurturing it with a more open attitude, and advocating the value of outreach and engagement to create an exchange platform within three years. It will bring together professionals from Taiwan and abroad to affirm their beliefs, promote their ideas, and allow them to share their experiences to foster multilateral communication and mutual respect. Through in-depth discussion on shared feelings, we will pool our energy to create a friendly environment and enhanced value to change the future.
\n\n
Learn More:
\n\n\n\n\n\n\n\n
Collaborative Sponsorship
\n\n\n\t\t |
\n\n
\n',tabs:[{programs:[],seq:3,name:"Workshop",content:'
Creative engagement producers and teaching artists from the US and the UK will put on workshops for local producers and artists use the design and implementation of outreach and engagement programs at schools and in communities (more specifically, about which strategies and methods to use to gain an understanding of community needs, how to the right kind of media to interact with the community, and what kind of engagement programs attract participation from the community and prompt organic interaction). We will learn from Complicité's artistic creation method (devising) so as to figure out how to arouse enthusiasm in communities and at schools to participate in group improvisation artistic creation and to integrate social issues into performing arts collectiveexperiences with students.
\n\n\n\t\t |
\n\n\n',color:{a:1,r:125,g:179,b:231},type:"content"},{programs:[],seq:4,name:"Forum",content:'\n\n\n\n
\n\n
Five speakers from the US, UK, Hong Kong, Singapore and Fourteen Taiwanese artists/representatives from performing arts centers and performance groups, as well as personnel from the Ministry of Culture and Ministry of Education, will share about cultural experiences and subsidy programs. During this conversation among government agencies, performing arts centers, performance groups, and teaching artists, we look to come up with new possibilities for future collaboration.
\n\nThe forum is divided into four major categories: government policy, performing arts centers, performance groups, and artists. From the angles of government policy, mechanisms for government subsidies and corporate sponsorships, performing arts center direction and mission, audience development, marketing strategy, rooting art into the public mentality, and nurturing young artists, we will discuss what is happening in different nations and which factors drive and support (or fail to support) arts outreach and engagement programs. We will also talk about what is emphasized, decision-making strategies, and target audiences for programs of performing arts centers of all kinds and publicly/privately operated performing arts groups of different sizes. Finally, local and overseas teaching artists will describe their experiences in personal development and training. In this way, we will hear from a variety of voices and be able to establish resource links and collaboration possibilities for the future.
\n\n\n\n\n\n
\n\n\n\n
\n\t\t |
\n\t\t |
\n\n\n\n
\n',color:{a:1,r:255,g:158,b:158},type:"content"},{programs:[],seq:5,name:"Comments",content:"
As a teaching-artist, I see the future possibilities of my career through the forum.
\n\n—YANG Shi-xian|Arts Woker
\n\n\n\n
Focusing on arts outreach, which is a very meaningful intention, Weiwuying is also very specific from all aspects of the practice. I met a lot of people in the two-day forum, and my art database is full. I am very happy that I am in Kaohsiung!
\n\n—LIAO Hui-lan|Member of Kaohsiung Compulsory Education Advisory Group
\n\n\n\n
I was particularly surprised by what the domestic teams shared. On one hand, I was happy to hear that there are so many outstanding local artists engaged in the promotion of high-quality arts education in Taiwan. But on the other hand, I was also surprised that I only knew about it now. I was so thrilled that Weiwuying provided this opportunity which let more people know that so many artists are working hard for arts education in Taiwan, which further highlights the importance of this event.
\n\n— Spica WOBBE|Puppetry Teaching Artist
\n\n\n\n
It was a very special environment and it was truly fascinating to hear about the different approaches and thinking around theatre education and community engagement. I really loved making connections between other people's work and Complicité's, and seeing the through lines among everyone's ambitions.
\n\n— Rima DODD|Project Producer of Complicité
\n\n\n\n
One of the most memorable aspects are the lunches. I am able to talk to different artists and hear where they are at in their career. I wish there was more time for such networking.
\n\n— LIU Yonglun|Chair of International Teaching Artist Collaborative (ITAC)
\n\n\n",color:{a:1,r:125,g:179,b:231},type:"content"}],onShelf:!0,onShelfRange:{start:null,end:null},sliders:[{type:"image",key:"02ce80534975284dd156aae491406893",title:"2024 International Forum and Workshop on Arts Outreach and Engagement"}],albums:[],albumsColor:{a:.8,r:255,g:255,b:255},albumsSeq:2,writings:[],writingsColor:{a:.8,r:255,g:255,b:255},writingsSeq:1},createdAt:1699951699,updatedAt:1711698794,updatedBy:"林蔚行",content:{title:"2024 藝術學習推廣國際論壇暨工作坊",cover:"477987b03170e9a03536e6fa53cb2c94",menu:{append:!1,appendTo:"program",text:"2024 藝術學習推廣國際論壇暨工作坊"},seq:0,description:"在臺灣發展現代專業場館以來,以展演及節目策畫製作為發展主軸的場館組織裡,藝術推廣依附在節目行銷之意識型態之下,近十年臺灣迎來大劇場時代,藝術教育推廣越顯重要,「演出是當下,推廣是未來」衛武營藝術總監簡文彬表示,節目製作是為了當下的觀眾,藝術推廣是為了培育未來的觀眾,如果沒有文化培力,遑論未來觀眾及節目展演製作。",introduction:'
改變未來
\n\n\n\n
\n\n
\n\n
5場工作坊 4主題論壇
\n\n\n\n
20位臺美英港新國際與談人
\n\n\n\n
領你進入「社會參與」的藝術未來
\n\n\n\n
從政策、場館、團隊與藝術家四大面向探究藝術推廣的發展與實踐
\n\n\n\n\n\n
!「論壇場地異動」與「工作坊加場」!
\n感謝各方熱烈支持,國際論壇與工作坊報名人數踴躍,為提供更舒適的環境,且讓更多夥伴有機會參與,論壇場地將移至表演廳舉行;並特別邀請國際講師加場「工作坊一」及「工作坊三」,已於第一時間通知候補名單,謝謝大家熱情支持。
\n\n
\n\n
\n\n
「透過美感教育,我們獲得的體驗,可以成為所有學習的範例。」——節錄自瑪克辛.格林「藍色吉他變奏曲—林肯中心學苑美感教育講座
\n\n\n\n
在臺灣發展現代專業場館以來,以展演及節目策畫製作為發展主軸的場館組織裡,藝術推廣依附在節目行銷之意識型態之下,近十年迎來大劇場時代,藝術學習推廣越顯重要,「演出是當下,推廣是未來」衛武營藝術總監簡文彬表示,節目製作是為了當下的觀眾,學習推廣是為了培育未來的觀眾,如果沒有文化培力,遑論未來觀眾及節目展演製作。
\n\n世界如聯合國的永續發展目標,臺灣如文化部與教育部的「藝術即生活」、「生活即美感」,皆認同美感不僅是創造個人優勢的關鍵,也是產業創新的動能,不論是教育現場,強調「培養學生成為終身學習者」的跨域整合教學思維,或是進入社區,換位思考從社區需求出發,不僅強調多元包容,更強調參與互動,轉化藝術之於社會的意義,透過藝術介入、推廣學習實踐,永續生活,展望未來。
\n\n2024年藝術學習推廣國際論壇暨工作坊,以「改變未來」為題,邀請在社區及學校參與推廣有豐富經驗的美國公眾劇院(The Public Theater)與英國合拍劇團(Complicité)分享它們如何將劇場專業經驗轉化延伸成為具影響力的藝術社會實踐。另邀集國際教學藝術家聯盟(ITAC)、香港西九文化區管理局、臺美兩地教學藝術家,以及國內各領域對藝術教育及社區推廣充滿熱忱的夥伴,聚焦政策計畫、場館、團隊與藝術家四個面向,分享藝術推廣的發展與實踐。
\n\n衛武營在成立5週年之際,成立「學習推廣部」,整合各部門資源,期許以更開放的態度發展文化扎根與培力,倡議藝術學習推廣的重要價值,冀盼以三年為期,打造交流平台,結集國內外專業工作夥伴,讓力量聚流、信念被重視、意念被倡議、經驗在此交流,期待引起多方討論與重視,透過深度之共感對話,匯聚能量,共創友好環境與價值,改變未來。
\n\n\n\n
了解更多:
\n\n►工作坊
\n\n►論壇
\n\n\n\n
\n\n
協力贊助
\n\n\n\t\t |
\n\n
\n',tabs:[{programs:[],seq:3,name:"工作坊",content:'
邀請美國公眾劇院(The Public Theater)、英國合拍劇團(Complicité)的創意製作人(Creative Engagement Producer)、教學藝術家(Teaching Artist)舉辦工作坊,分享入校及社區推廣計畫的設計及實踐(如何理解社區的需求,如何選擇適合的藝術媒介與社區互動、如何吸引社區參與,並引起有機的互動),結合表演藝術體驗的議題教案設計、轉化用於排練場的藝術創作方法,成為激發社區及學校參與的集體即興編創方法。
\n\n\n\t\t |
\n\n\n\n
\n\n
合作住宿
\n\n捷絲旅中正館提供工作坊與論壇參加者優惠,一大床(兩小床)平日1,900;假日2,700元,如需訂房請電07-972-3565分機8301
\n\n\n\n
\n',color:{a:1,r:125,g:179,b:231},type:"content"},{programs:[],seq:4,name:"國際論壇",content:'\n\n\n\n
\n\n
邀請來自美、英、港、新等5位國際講者,以及來自國內部會、場館、表演團隊與個人藝術家共15位講者,我們試圖打造一個對話平台,創造未來多方合作的可能性。
\n\n論壇聚焦四大面向:政策、場館、團隊、藝術家。從政府補助、企業贊助機制、場館定位使命、觀眾開發、行銷策略、藝術扎根、青年藝術家培力等,討論不同國家政策與文化脈絡有哪些因素驅動與支持(或沒有支持)藝術教育推廣計畫,並分享不同層級場館機構、不同規模的公私營表演團隊,其相關計畫、著重面向、面向選擇的決策、涵蓋受眾,並邀請國內外教學藝術家(Teaching Artist)分享如何塑形及培訓。讓多元的聲音被聽見與交流,搭建未來資源架接、多方合作的可能性,一起探討藝術學習推廣的發展與實踐。
\n\n\n\n\n\n
\n\n\n\n
\n\t\t |
\n\t\t |
\n\n\n\n
\n\n
合作住宿
\n\n捷絲旅中正館提供工作坊與論壇參加者優惠,一大床(兩小床)平日1,900;假日2,700元,如需訂房請電07-972-3565分機8301
\n\n\n\n
\n',color:{a:1,r:255,g:158,b:158},type:"content"},{programs:[],seq:5,name:"活動回顧",content:'\n
教學藝術家,看見自己未來職涯的可能性!
\n\n—楊士賢|藝文工作者
\n\n\n\n
聚焦在教育推廣,這是很有意義的企圖心,衛武營也很具體從各方實踐,我能在兩天論壇認識好多人,藝文資料庫補充滿滿,很開心我在高雄!
\n\n—廖蕙蘭|高雄市國教輔導團藝術領域輔導員
\n\n\n\n
一方面,我很高興知道有這麼多優秀的本地藝術家致力於推動臺灣的藝術教育。另一方面,我也很驚訝自己現在才知道。非常開心衛武營提供了這個機會,讓更多人知道有這麼多優秀的藝術家在為臺灣的藝術推廣努力,這也凸顯了這次論壇的重要性。
\n\n—鄭淑芸|紐約偶戲教學藝術家
\n\n\n\n
這次論壇營造了一個非常特別的環境,讓我聽到很多劇場教育和社區參與的不同方式和想法。
\n\n—瑞瑪・陶德|英國合拍劇團製作人
\n\n\n\n
這次論壇的午餐時間特別令我印象深刻,能夠和不同的藝術家直接對話、分享彼此在職涯中的近況。希望能有更多這樣的交流機會!
\n\n—劉勇倫|國際教學藝術家聯盟主席
\n\n\n\n
\n\t\t\t\n\n\t\t\t 當人們對於彼此有連結的時候,就會再回來。 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 不同背景的教學藝術家發現彼此所需要面對的困難既有大環境的共通性,也有區域性等其他細節的差異。 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 編創劇場並不是靠單一的方法進行的。 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 【創造藝術的支持系統】 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 【沒有圍牆的場館】 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 【走下舞台,走入大眾】 \n\n\t\t\t\n\t\t\t | \n\t\t
\n\n
\n\t\t\t\n\n\t\t\t 【教學藝術家—超越創作的未來藝術生態】 \n\n\t\t\t\n\t\t\t | \n\t\t
\n',color:{a:1,r:125,g:179,b:231},type:"content"}],onShelf:!0,onShelfRange:{start:null,end:null},sliders:[{title:"2024藝術學習推廣國際論壇暨工作坊",introduction:"",type:"image",pc:"bbd3ab8f15fb15592dac891fcf0eb65c",mobile:"bbd3ab8f15fb15592dac891fcf0eb65c",film:{key:"bbd3ab8f15fb15592dac891fcf0eb65c",from:"image"},link:""}],albums:[],albumsColor:{a:.8,r:255,g:255,b:255},albumsSeq:2,writings:[],writingsColor:{a:.8,r:255,g:255,b:255},writingsSeq:1,hasIntroduction:!0,hasWritings:!1,hasAlbums:!1}}},fetched:!0},shippingAreas:{rows:[],loaded:!1},userAuth:{logined:!1,status:"NORMAL",inited:!1,data:null,showNsoOverlay:!1},announce:{show:!0},youthOverlay:{show:!1,showed:!1},featureCategories:{rows:[],loaded:!1,loading:!1},features:{rows:[],loaded:!1,loading:!1},newsCatalogs:{rows:[],loaded:!1,loading:!1},chronologies:{rows:[],loaded:!1,loading:!1}},routing:{locationBeforeTransitions:null}}