1
1 The costume by Erika Turunen hides a microphone in its folds to amplify the sound of the wind caused by the dancer’s movements, which blended well with the music. 2 The stage set by Mikki Kunttu emphasizes the contrast of the yellow floor and the simple black background.
56 KOREANA Summer 2017
The experiment unfolded in two directions. The first was collaboration with a choreographer working in contemporary dance, which resulted in “Altar,” choreographed by Ahn Sung-soo. The second was the first-ever collaboration with a foreign choreographer in the company’s 55-year history, and Tero Saarinen was declared its initial choice. Curiosity over his appointment was further augmented when it became known that world-renowned contemporary dancer and choreographer Carolyn Carlson had announced that Saarinen would reinterpret her legendary solo piece “Blue Lady.” What would a choreographer with an unrivaled reputation in Europe present to Korean audiences? The dance community awaited the outcome of this unprecedented endeavor with a mixture of anticipation and apprehension. The premiere of “Vortex” was a success. Many talked about its exquisite stage art in which the disparate and unfamiliar intersected amid the mélange and clash of tradition and modernity, and East and West. Compared to the premiere, this year’s performance displayed a higher level of artistry. To begin with, the dancers’ movements were far more refined. Transcending genres, they achieved an intimacy stemming from the internalization of movements. Lead dancer Kim Mi-ae stood out, showing her ability to deftly render all types of movements, ranging from traditional Korean dance to modern dance. The artistry and spirit of Song Ji-yeong, Hwang Yo-cheon, and Lee Seok-jun left a deep impression on the audience; they are clearly on the road to becoming the main faces of the troupe. The collaboration among artists beyond national boundaries in music, lighting, and costume heightened the aesthetic value of the piece, resulting in its maturing artistry.