About the Works This is Not a Game A struggle for survival in an uncertain future. Are you really enjoying the game that is your life? No one knows what will happen every day. But people try to open their eyes with an expectation of an uncertain tomorrow. Whereas to survive is to continue an endless fight, others are pushed down and disappear from the memories of our own survival, resurfacing at times. How frustrating must it be to achieve the goal of survival, throwing oneself into the battlefield in order to avoid the fall and disappearance? The blazing and glowing ring of survivors becomes another utopia for those who are out of the competition. In this irony, choreographer Nam Jeongho once again examines the true value of a game. What begins as scenes of a play between dancers in this narrative work evolves into the survival and elimination of the main characters. Nam Jeongho's intricate choreography, which weaves together mundane, playful, and forceful movements, elevates the performance into a self-reflective work of art. An original work described as a dance version of the hit Netflix drama Squid Game, This is Not a Game offers an unflinching take on toxic competition in modern society and the universal struggle to survive an uncertain future. home-coming In the face of loss and dislocation, our reality has become elusive. In the prologue, we see a woman, distraught. Her memory of him is convoluted and distant. Only in her sleep does she begin to sense him. In her dreams, a chorus of selves, representing different parts of her, struggle to connect with memories of him. Her chorus summons his ghost. They almost reconnect, and she wakes unsettled. Returning to sleep, her chorus mourns the loss of him. Through suffering, there is a release—a flood of memory: his ghosts come back to her. The woman wakes, remembering; she has found what she had lost. From the choreographer: “This narrative is inspired by my Granny, who has turned 100, and the stories she recounted to me after the loss of her husband, my grandfather, after 60 years together. They had met during WWII in Utah as a result of Executive Order 9066 which relocated Japanese American citizens away from California, alienating them from their homes and country. Finding each other in that time and place gave them courage and hope. In her loss upon his death, her memories became elusive, and she had never felt so defeated. Then one day, she told me that he had come back to her—and his presence left an imprint after so many years, bringing her closure and peace.” About the Short Films Total runtime including both films is approximately 1 hour. Pallae: Womanhood Story Director: Park Sohyun Choreography: Nam Jeongho Have you ever…waited for someone? Pallae: Womanhood Story is a 2021 dance short film production choreographed by Nam Jeongho that first premiered on stage in 1993. A team of five dancers, including one who participated in the original stage production, spend a night doing their laundry and bathing together, a common tradition. Their humble washhouse gradually becomes a performance stage. Structure: Making Bolero Directors: Kim Seoljin, Iwa Music: LIVETOTHE, Jung Jong-im, Choi Hyewon Cast: Kim Kisoo, Kim Bongsu, Kim Seoljin, Seo Ilyoung, Shin Sangmi, Lee Jungmin, Jung Juryeong, Jung Jong-im, and Choi Hyewon The KNCDC attempted a bold deconstruction of Ravel’s beloved classical music piece Bolero in 2017 and 2018 with the premiere of their dance Three Bolero. It has since become part of the company’s signature repertoire, representing both the popularity and the artistry of contemporary dance. It features choreography based on the structure of Bolero, using sound from of everyday life to recreate the musical piece’s iconic rhythms. This dance film presents a new adaptation of the stage work, visually combining various elements into a unique atmosphere and metaphorical office mise-en-scène. About the Choreographers Nam Jeongho is KNCDC Artistic Director & Choreographer. She was a member of the esteemed French dance company Cie Jean-Gaudin in 1980 before returning to Korea where she played an important role in the development of the country’s dance scene and its independent identity. As a professor of the dance department at Kyungsung University in Busan, she founded the dance company Zoom with which she actively pursued her creative endeavors. Nam’s style of dance, which stood out from the norm during an era in which much of contemporary dance in Korea was centered around American styles, is recognized to have opened up a new path forward in Korean contemporary dance. After the establishment of the School of Dance at the Korea National University of Arts in 1996, she was invited to join as a professor and has contributed to training and developing talent in Korean contemporary dance until 2018. She was appointed as KNCDC Artistic Director in 2020 and has defined her term with a strong interest in improvisation and her perennial artistic question, “Why not?” Brett Ishida is the Artistic Director of ISHIDA based in Austin and Houston, Texas. While she grew up on a citrus farm in California’s Central Valley as a Japanese American, Ishida’s love for dance inspired her to move away from home at age 15 when she received a full scholarship to the Kirov Academy and later the School of American Ballet. She danced with Boston Ballet, Oregon Ballet Theatre, and Les Grands Ballets Canadiens in Montréal. She later graduated from UCLA, earning a BA in Literature with an emphasis in Creative Writing (Poetry) and an MA in Montessori Education. She started ISHIDA in 2019 with a vision of combining those two worlds from her past. Her work intertwines reflections on timeless themes from Greek philosophy and poetry with the idea of subconscious memories that shape us, presenting characters that build relationships and become familiar as they question the enigma of life. About the Companies The Korea National Contemporary Dance Company, established in 2010, is Korea's only nationally-funded contemporary dance company, currently led by Artistic Director Nam Jeongho. In collaboration with leading Korean and international artists, KNCDC aspires to produce and present works that reach audiences of all generations and sectors of society with a variety of themes that touch on history, society, and daily life in today's complicated world. KNCDC strives to make contemporary dance fun rather than abstruse, with performances that audiences can intuitively understand, sympathize with, and enjoy. By protecting the rights of artists, KNCDC also enables creators and performers to freely express their individuality within a healthy ecosystem of diverse values that serves both audiences and performers. The company hopes to reach a broader audience through universally appealing performances that expand the contemporary dance community. For more, visit the KNCDC website. The Washington Ballet, celebrating its 75th year as an organization, grew out of the success of The Washington School of Ballet, founded and directed for years by legendary dance pioneer Mary Day. The School opened in 1944 and the Company was established in 1976 with Ms. Day’s singular vision clearly illuminated: to create a stellar institution of teaching, creating, and enlightenment through dance. Artistic Director Julie Kent’s long-term vision is to elevate the prominence of the company as a world-class ballet company in the nation’s capital by concurrently expanding the size of the company while broadening its repertoire. Her commitment to the development of both the dancer and the art form is fulfilled through presentation of beloved classic 19th-century ballets and landmark 20th-century works while reaffirming a commitment to commissioned works that will contribute to the evolution of ballet and its relevance in our times. TWB’s three-part mission is to ensure excellence in its professional performance company, to grow the next generation of dancers through its school, professional training division, and Studio Company, and to serve the community in which it resides through community engagement programs. About the Event and Organizers This event, a partnership between KNCDC and TWB, is co-hosted by Korea’s Ministry of Culture, Sports and Tourism (MCST), the Korean Culture and Information Service (KOCIS), and the Korean Cultural Center Washington, D.C. (KCCDC) with support from the Korea Foundation for International Culture Exchange (KOFICE). Celebrating 140 Years of Korea-US Ties In 1882, Korea’s historical Joseon Dynasty and the United States first established diplomatic relations with a Treaty of Peace, Amity, Commerce, and Navigation. Korea-US relations have greatly evolved since those early days, giving rise to the Korea-US Alliance we know today, yet this origin still retains special significance. The two countries exchanged diplomatic personnel following the treaty and established the Korean Legation, which is now restored and open to visitors in Washington, D.C.’s Logan Circle neighborhood. It represents both Korea’s struggle for independence in the early 20th century and a cradle of Korea-US friendship. The Ministry of Culture, Sports and Tourism (MCST) develops and implements a wide range of policies to promote culture, arts, sports, tourism and religion so as to provide cultural opportunities to the public. The Korean Culture and Information Service (KOCIS) is a subsidiary of the MCST. The Korean Foundation for International Cultural Exchange (KOFICE) is tasked by Korea’s Ministry of Culture, Sports and Tourism with invigorating cultural exchange that transcends national boundaries. KOFICE works towards the following activities: bilateral cultural exchange events, global networking, research, and professional training programs for experts in related fields. More information is at eng.kofice.or.kr. |
