Choreography Society began with sharing questions about movement and society with a number of participating artists. New projects and pre-existing ones with similar focus were put together to form this five-piece performance project. The project can be seen as a specific example of what kind of movements are made within the performer by what we see, the tools we handle, and the relationship with the people we meet, or as a musing on whether a common movement using the hands and feet is possible at the moment we want to speak out something together. It was at the Gwanghwamun Square in the winter of 2013 that I thought of the topic of social choreography. In the massive protest, conscripted policemen not only blocked access to the square but were changing their formation in perfect order to scatter the protesters. In that moment, I wondered about what kind of training they received, what kind of intention was behind their movement, and who “choreographed” them. I came to learn that there were studies on a variety of choreographic factors that control or determine individuals’ movement in society, and to think about it in connection with choreography creation in art. Choreography Society is also a question about whether pleasure and liveliness can emerge at the moment when politics is ignited, as indicated in the saying “If I can’t dance, I don’t want to be part in your revolution.”

Choreography Society is basically a question of whether we can move together and a wish for joint movement. As mentioned in the lecture of Professor Seo, “the body of a community” has ambivalence. The body of a community formed by society, authority, institution, and regulation is connected to totalitarianism. However, individuals need to build a temporary, transient solidarity to speak out. What if there is a common movement that does not ensnare each other but can be performed together? Choreography Society starts with the question of how individuals move in chaos, in which they can neither exist as a perfectly isolated individual nor build solidarity when they want to. The project was an attempt to imagine the recovery of community in a society fragmented into individuals, and the use of dance as a medium for social change.

• Greetings
  Suh Jin-suk
• Ideas about the Body of Community and its Realization
  – Kim Hae-ju
• An Act of Denying Regulations at a Place Where Acts of Denying Regulations Are Defined
  – Lee Soo-yeon
• The Film Player
  – Lee Hangjun, Yoo Un-Seong
• The 42m2 Club March Dance
  – Part-time Suite
• Tape Measure – / Station
  – Ro kyung-ae
• Practice 01 – Lung and Repetition
  – Okin Collective
• No Pain, No Gain
  – Kim Myung-shin, Chang Hyun-joon and Choi Seung-yoon
• Economy of Choreography
  – Seo Dong-jin