Abstract
ABSTRACT This paper discusses Korean artist Nam Hwayeon’s corpus of works based on her artistic research into Choi Seung-hee’s choreography since 2012, focusing on her four-channel video installation Dancer from the Peninsula (2019) and a collection of archival, essayistic, and documentation videos included in her solo exhibition Mind Stream (2020). In so doing, it argues that Nam’s approach to Choi’s idea and practice of choreography since her return in 1941 after performances in Europe and North America labels them as “inter-Asian Dance,” an unfinished project aimed to reinvent East Asian dance through the multilayered negotiation and amalgamation of its different regional (Chinese, Japanese, and Korean) traditions. Nam’s intermedial exploration into the heterogeneous body of Choi’s writings, dance films, and documentation photos, then, is her method of revealing and reactivating the geopolitical and epistemological, and aesthetic contradictions of Choi’s method.
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