* Each choreographer’s showcase runs around 20 minutes. The order of the showcases is subject to change.

A fight is a word representing a situation, and a scene is a word representing a play. Right now, I am thinking of the similarities and differences between a situation and a play. I feel that a situation has a more dramatic element and that situations exist within a play. To make the image more accurate, let’s take a performer somewhere. Anywhere is fine. And then, take out your phone. Now, let’s take a video of the situation. How about we capture the play next?

“WANT” focuses on the physical manifestation of emotions and the indexical that the body holds. An index is one of the three semiotic types: a symbol, icon, or index. They are comparable with a “trace,” and the work approaches dance and movement as an index or trace of emotions. Objects of materialized sentiments such as calligraphy and talismans have been researched and applied to the choreographic process.
In Korean art, the Korean “Han” is always mentioned. “Han” is often argued to be restrained yet sublime, contributing to the unique Korean beauty. The choreographer questions if this aesthetic has become a mechanism that forces perseverance in our bodies. Furthermore, the artist “wants” the ability to release personal pain instead of enduring and the sympathy to deal with such a case to be transmitted from body to body.

Finding the independence of the body, Unleash your mind and movements. Koreans are individual and Gwangju is a city of high democracy. I am interested in the freedom of movement to look for my individuality. Pungmul performance reflects the though and freedom movement of Korean folk culture. So I used these raw materials to create in my performance.

The “Dramaturgy of Skin and Space-Scene” is one hypothesis to finding a choreographic method that will continue from now on. Based on a reawakened awareness of the body and space, the relation between all “bodies” in a theater is looked at organically. Based on the workflow attempting to create a time where the movements of different scales coexist inside and outside of the body and space, the work focuses on the body that wishes to meet the world by passing through all sorts of senses, signs, states, and roles, while also focusing on the dynamic of the sense itself. Composed as the first step of this process through the residency, this scene assumes a fictional theatrical space that could exist somewhere, sometime. Where is this theater constructed from? Can the movements inside and outside the skin and in small and large bodies resonate or describe each other? That is to dream about.

Recently, the Korean ballerina Park Sae-eun has garnered considerable attention as she became the etoile (star) of the Paris Opera Ballet. Korean media praised the ballerina for spreading Korea’s potential and called it a “case similar to Kim Yuna dominating the ice skating world.“ Ballet has become a major art genre in Korea, and K-ballet is being exported overseas. So how did ballet, a traditional European dance, become such a prominent field in Korea? This probably goes back to the national investment trying to catch up with advanced Western culture during the modernization era after the Korean War, which also led to the public romanticizing Western behavior and attitude, believing and praising ballet to be the representation of “beauty.” This project is a proposal that traces the rapid development of Korean ballet and the aesthetics it leads while questioning how the ballet industry has steadily established itself as an elitist art field. It is also a process that looks for the vibration of the aesthetics of ballet that has congealed in an attempt to find the “ballet for all” in various ages and bodies of people in their 70s, 30s, and teens.