Girl in red background12/11/2023 ![]() Her work began to tour widely in Asia as well as in Europe, through invitations from the Pina Bausch Foundation in Wuppertal, Gemany, and an association with Théâtre de la Ville in Paris. ![]() She choreographed small and offbeat: a behind-bars duet for herself and a live chicken. She choreographed big and commercial: the opening ceremony of the Fifa World Cup in 2002. Having graduated in contemporary dance in Seoul and founded her own dance company in 1988, she went to New York’s Tisch School of the Arts in 1991, returning to Korea in 2001 to take up the directorship of Daegu City Dance Company for three and a half years. So who was she, and what did she want? In a sense, she has been answering those questions ever since. Amid such conflicting demands and drives, she decided she had to find herself, and do what she wanted. Meanwhile, she had already begun inventing her own dances, “without any system, and without many boundaries”. She liked contemporary dance more because “you can run fast”. Traditional dance was “not exciting enough”. I went over and asked them: what is this? And they said: dance.” “Usually in our society we wear black, grey, dark …” – she elongates the words into yawns of tedium – “but one day on the street I saw a group moving together wearing red. It was colour, in fact, that first brought Ahn to dance, at the age of five. The woman before me may be 60 years old but I can readily see her as the endlessly energetic little girl who, she tells me, never stopped, never slept, and would make up little dance dramas every day. It is just past breakfast time at a modern hotel in Amsterdam, where her company is performing, and she easily outshines our tasteful decor as she gives me a twirl to show off today’s outfit: white dress printed with giant daisies, fluorescent lime net skirt, scarlet trousers, pink flip-flops – and a smile that beams like the sun. ![]() Ochre wall, plum table, turquoise vase, a spray of pink, red and white flowers – all of it fades into the background in the presence of Korean choreographer Eun-Me Ahn.
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