Minimum Movement Catalog is a multidisciplinary project that consists of a digital movement catalog, the ’Choreographic Tool,' and the actual live dance performance of the choreography, Minimum Movement Dialogue, generated by the tool.
All three materials: the movement catalog, the tool, and the live performance, stand alone as an independent art product, as well as a united art work influenced by each other. The movement catalog, Minimum Movement Catalog, which consists of 58 movement video clips in eight categories, was created by myself with the assistance of the Computer Science Department in Brooklyn College from September 2020 to May 2021.
I made the tool, ’Choreographic Tool’ using the Max/MSP program, the computer software that generates numbers to decide movement, order, composition, and speed for the choreography. I have made twelve choreographic tools up until May 2021, and five were used in the process of the Minimum Movement Dialogue performance.
The most recent performance Minimum Movement Dialogue, is a multidisciplinary 60 minute online performance, consisting of two scenes, 23 minutes solo and 35 minutes group work with four dancers in black costumes. It was created during the worldwide Covid-19 pandemic, and performed on May 8th, 2021, over Zoom format, broadcasted from the UMWELT gallery and four various locations in NY.
The performance was composed of live movement, text (written, live spoken, recorded spoken), recorded sound, manipulated videos, and interactive Zoom applications. The catalog and the live performance exhibited the simple application of growing complex relationships in live performance and the audience over Zoom format.
The Minimum Movement Catalog project arose from a question about the role of 'subjectivity,' and the desire to discover the relationships between 'subjectivity' and 'creativity.'
How does 'subjectivity' affect the creative process?
How do we use our 'subjectivity' when working with others in a collaboration?
These questions came from my experience of facing the different values in subjectivity in two countries, the U.S. and Japan. I see people in Japan value social 'forms' and 'formality' larger than their subjectivities. In the U.S., it reverses, if I simplify what my experience has been living in two countries.
Paulo Freire (1921-1997), a Brazilian educator and philosopher who was a leading advocate of critical pedagogy, discussed the relationship of co-subjective and co-objective in his book. His ‘The “Banking” Concept of Education’ reminded me of the traditional way of choreographing in which a choreographer has the only subjective personality, and the dancer plays mainly as an objectified body to realize the idea choreographer offers.
I am seeking the method of displaying 'subjectivity' not beyond or under, but co-existing with the 'forms,' and renewing the act of choreographing with the question of what 'co-subjective and co-objective' relationships would be.
To take a closer look at the relationships between ‘subjectivity’ and ‘creativity,’ I use 'tools' in the art-making process.