In April 2015 we began developing a time series of improvised sound and motion sets with Jean Lee and guest musician Grahame Painting.
The first part of the performance that took place at i'klectik Art Lab on 17th of April - K M A T - hybrid - built up on the scaffolding of a time series. We played five sets each one of them lasting 3' - 4' - 30'' - 7' - 13', respectively. The short moments of break between the sets defined a pseudo-echo of the 'event' that has just happened. Each event had its echo, its trace.
Playing a series of sets initially limited by a personal time zone imposing on the other introduces a dichotomy formed by what defines the individual and communal, owned and shared, autonomous and controlled.
The first part of the performance that took place at i'klectik Art Lab on 17th of April - K M A T - hybrid - built up on the scaffolding of a time series. We played five sets each one of them lasting 3' - 4' - 30'' - 7' - 13', respectively. The short moments of break between the sets defined a pseudo-echo of the 'event' that has just happened. Each event had its echo, its trace.
Playing a series of sets initially limited by a personal time zone imposing on the other introduces a dichotomy formed by what defines the individual and communal, owned and shared, autonomous and controlled.
Jean Lee, a choreographer, performance and dance researcher, dance dramaturge and dance writer, was born and grew up in Seoul, Korea, where traditional communalism supports contemporary social systems.
She was a lecturer at the Korea National University of Arts from 2004 to 2008. Since 2004 she has worked with choreographers such as KIM SamJin and NAM Jeongho as a dance dramaturge. Inspired by dancers and choreographers whom she had met, she began to write on culture and dance for a progressive daily newspaper, The HanKyoReh, the oldest monthly dance journal Choom, National Theatre, and other monthly journals as a culture columnist and dance writer. With the encouragement of some of the theatre directors she worked with and dance masters she had Jean began to research and create performance and dance of her own. Her main interest in movement research is the ‘foreign (uncanny)’ experience for both performers and spectators. She also expands the idea of theatre performance studies from theatrical level to social (everyday life) level reflecting her philosophical concept of ‘interbeing’.
She was awarded Korea National University of Arts Scholarship (2000-2002), Japan Foundation Fellowship (2001), Arts Council Korea Grants (2005, 2006, 2007), Roehampton University Scholarship (2009‒2010) and Bauhaus Kolleg Stipendium (2011-2012). Her academic papers and artistic works have been presented in international dance conferences (Roehampton Conference 2010, SDHS: Society of Dance History Scholars 2011 & CORD: The Congress on Research in Dance 2011, The Prague Quadrennial Symposium 2012, EAM: Third Biannual conference of the European Network for Avant-Garde and Modernism Studies 2012: FIRT-IFTR 2013, and World Dance Alliance 2014).
In parallel, she keeps dancing on various stages, with a diverse range of collaborators as an improviser, choreographer and Bauhaus Dancer. She performed at HKW Haus der Kulturen der Welt for The Anthropocene Project festival opening ceremony in 2013 and at Chemnitz International Design Museum for the International Marianne Brandt Prize ceremony in 2014, as a Bauhaus Dancer with Torsten Blumen.
She was a lecturer at the Korea National University of Arts from 2004 to 2008. Since 2004 she has worked with choreographers such as KIM SamJin and NAM Jeongho as a dance dramaturge. Inspired by dancers and choreographers whom she had met, she began to write on culture and dance for a progressive daily newspaper, The HanKyoReh, the oldest monthly dance journal Choom, National Theatre, and other monthly journals as a culture columnist and dance writer. With the encouragement of some of the theatre directors she worked with and dance masters she had Jean began to research and create performance and dance of her own. Her main interest in movement research is the ‘foreign (uncanny)’ experience for both performers and spectators. She also expands the idea of theatre performance studies from theatrical level to social (everyday life) level reflecting her philosophical concept of ‘interbeing’.
She was awarded Korea National University of Arts Scholarship (2000-2002), Japan Foundation Fellowship (2001), Arts Council Korea Grants (2005, 2006, 2007), Roehampton University Scholarship (2009‒2010) and Bauhaus Kolleg Stipendium (2011-2012). Her academic papers and artistic works have been presented in international dance conferences (Roehampton Conference 2010, SDHS: Society of Dance History Scholars 2011 & CORD: The Congress on Research in Dance 2011, The Prague Quadrennial Symposium 2012, EAM: Third Biannual conference of the European Network for Avant-Garde and Modernism Studies 2012: FIRT-IFTR 2013, and World Dance Alliance 2014).
In parallel, she keeps dancing on various stages, with a diverse range of collaborators as an improviser, choreographer and Bauhaus Dancer. She performed at HKW Haus der Kulturen der Welt for The Anthropocene Project festival opening ceremony in 2013 and at Chemnitz International Design Museum for the International Marianne Brandt Prize ceremony in 2014, as a Bauhaus Dancer with Torsten Blumen.