English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

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.

Inter-Asian dance as method, artistic research as method: Nam Hwayeon’s work on Choi Seung-hee