Let Us Dance: Art Paris 2016, Grand Palais, Paris, 31st March, 1st & 2nd April 2016.
This collection includes a collaborative flash mob performance, Let Us Dance, and a large scale embroidery work, Burning Love inspired by the landmark 2008 candlelit demonstrations in Seoul involving the mass participation of teenage girls. Commissioned for the PLATEAU Museum, Seoul in 2014, Let Us Dance explores the potential of unregulated collective engagement and history as an ongoing act of participation and socio political and cultural challenge in the present.
This item contains a press release, an open call leaflet, a performance soundtrack, 4 rehearsal videos, 14 performance images and a performance programme
This item documents Let Us Dance at Art Paris in 2016, where it formed part of Rituals, a performance programme specifically put together to explore the relationship between artistic practice and ritual in Korea. Collaborating with young female street dancers recruited by open call from Le Cent Quatre, Paris, Hong encouraged the dancers to interpret and respond in their own way to the landmark anti Korean government protests against US beef imports, organised by teenage girls in 2008. The flash mob performance by the girls at the Paris Art Fair, became an expression of defiance against recent terrorist attacks in France, frustration at the lack of opportunity and agency at the same time as a dynamic assertion of identity.
Curator: Sang-A Chun
Co-ordinators: Ines Hwahaeng Lee, Yeny Moon and Margaria Aguilar.
Let Us Dance was first introduced in PLATEAU, Seoul in 2014, and is revived by a different group of participants for each of the 3 performances in Paris.
Created In collaboration with Charlie Boogie, Janice Bieleu, Kenza Amara, Scarnik & Sarahi Guaman.
Let Us Dance was kindly supported by NAVER.
Photography by Suhwan Park.
Photographs used with permission.
The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.
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NAVER
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