2021 Asia Dance Community Choreo-Lab Showcase

2021 Asia Dance Community Choreo-Lab Showcase

Deadline: November 27, 2021

2021 Asia Dance Community Choreo-Lab Showcase (credit: acc.go.kr)

Launched in 2019, the Asia Dance Community Choreographer LAB is an ambitious initiative to support experimental projects and help choreographers unleash their creativity. This year, five choreographers were selected as participants through an international call. A two-month residency that followed included research, mentorship, and collaborations, and their creative outputs are presented in this showcase.

Date: 2021.11.27 (Sat)

Time: 15:00

Place: Theater 2

Age Limit: For ages 8 and old

Person: 255

Price: Free

Ticket: ACC Website/ Call Center/ Ticket Booth

Contact: +82-1899-5566

About

Launched in 2019, the Asia Dance Community Choreographer LAB is an ambitious initiative to support experimental projects and help choreographers unleash their creativity. This year, five choreographers were selected as participants through an international call. A two-month residency that followed included research, mentorship, and collaborations, and their creative outputs are presented in this showcase.

Schedule

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

Program

Match

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?

Choreography/Director: Park Yura

Dramaturg: Kim Eunhan

Producer: Yang Jiwool

Advisor: Bae Jinho

WANT

“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 to 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.

Choreography: Lee Seiseung

Music: Kim Yeji

Video: Yun Daewon

Costume: Noh Hwayeon

Performers: Lee Seiseung, Kim Yeji

Unleash mind and movement

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 thought and freedom movement of Korean folk culture. So I used these raw materials to create in my performance.

Choreography/performance: Padung Jumpan

Video: Padung Jumpan

Janggu: Lee Sun-mi

Pungmul group: Gul-lim, Ul-lim

Research on the Dramaturgy of Skin and Space-Scene 1

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.

Choreography/Performance: Hur Yunkyung

Music: Kim Hyunsoo

Lighting Design: Seo Gayeong

Ballet for all

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.

Choreography: Yoon Sangeun

Performers: Yoo Soonduk, Yoo Jimin, Yoon Sangeun

Co-researcher: Shon Yewoon

Operator: Park Taein

Music: Kim Eun Soo’s Music for Ballet Class vol.13 “Soiree”

Cast: Kang Minhyeong

Interviewee: Noh Yoonjeong, Park Seungah, Yang Huiji, Yoon Danoo, and Hong Jooyeon

Choreographer

Park Yura

Born in Pyeongtaek, Gyeonggi-do, she moved to Seoul during middle school to study traditional dance.

After graduating, she worked as a dancer and performer, meeting great seniors and colleagues, and expanded her perspective to performing arts. She continues to study the body and exploration of performance and expects that the intersection of the two will realize her choreography.

Lee Seiseung

Lee Seiseung is currently working as an independent choreographer, performance director, and dance educator. He majored in choreography at the Korea National University of Arts and continues to study the theory. He started the organization “SangBang,” a group that shares contact improvisation with many people, with his colleagues in 2012. His choreography is mainly based on research that goes between small dance history and big History. In addition, he strives for horizontal collaboration when working with others. His major work includes “Han(2020),” an unraveling of the delicate movements of Korean dance, “Fire Study(2019),” a response to the group dancing format in historical modern dance, and “Three Drums Dance(2019),” a performance on dance copyright issues.

Padung Jumpan

Padung Jumpan has been working with Pichet Klunchun Dance Company as full-time dancer since 2010. He is one of the main dancers of the company’s group performances: “Chui Chai”, “Nijinsky Siam”, “Black and White”, “Tam Kai”, “Nay Nai”, “Dancing with Death” and “Bird”. He has been touring with the company in Europe, America, and Asia until now. In 2018, he received a scholarship from Asian Cultural Council to attend the 6-week dance camp, “American Dance Festival” at Duke University, North Carolina, USA. Recently in 2019, he presented his first solo dance piece called “The boy next door” at Chang Theatre as an individual artist. In 2021 he received a scholarship from Asia Culture Center to attend the 2-month “Asia Dance Community Choreographer LAB”.

Hur Yunkyung

She has been steadily working as a choreographer, dancer, and performer for various works. Her works include “Theater of Miniature Spaces(2018-2020),” “Implicitly Anywhere(2017-2019),” “Daily-life Translator(2018-2019),” and ”Space-ship(2016-2017).” Her work is based on the belief about the possibility of body-to-body sympathy, and she aims to discover diversity in stage language. She has experience working as a choreographer and performer for various works in theater, art, interdisciplinary art, and she is interested in accumulating a cycle of the multifaceted and multi-layered approach of the body based on her experience. Currently, her focus is on the body that exists as a perspective in multiple contexts and as an integrated basic medium that can transform freely.

Yoon Sangeun

Choreographer Yoon Sangeun graduated with a Ballet degree from the Ewha Woman's University and the School of Dance at Korea National University of Arts. What interests her is finding the points that occur inside and outside the boundaries of “dance“ as she works as a creator, recorder, and educator. While contemplating the attitude that people view things that are still, abandoned, and dead, she has been recently collecting images of women as a specimen to restart her activities. Her major choreographic works include “Divertissement for the Dead Object (2015)”, ”Stretched Love (2018)”, and ”Death Scene (2020).” She is also working closely as a dancer with various choreographers inside the country presenting new perspectives such as Noh Kyeongae, Choi Eunjin, and Seo Yeongran.

0 comments:

Post a Comment

Next PostNewer Post Previous PostOlder Post Home