Post-Orientalist Express Trailer Stillframe

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In &ldquo;Post-Orientalist Express&rdquo;, choreographer Eun-Me Ahn, who is known for her colourful and dynamic works, searches for new, hybrid cultural and choreographic identities beyond external attributions and internalized stereotypes.

Post-Orientalist Express

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<a href="${link:{uuid:{eaa12ea1-6521-4342-bf5e-12cbab3cbd7f},repository:{artists},path:{/bfs-mediathek/A/eun-me-ahn}}}">Eun-Me Ahn</a> – Artistic Direction, Choreography Young-Gyu Jang – Music Jinyoung Jang – Lighting Design Taeseok Lee – Video Direction Eun-Me Ahn – Set and Costume Design Jimyung Kim – Creation Technical Direction Geun-Jun Chungwoo-Michael Lim – Meta-Dramaturg Yunkwan – Costumes Production Dongyoung Kim – Props Production Jean-Marie Chabot (Gadja Productions) – Producer Sungbin Kim – Production Assistant<h4> With</h4>Eun-Me Ahn, Hyekyoung Kim, Yongsik Moon, Uiyoung Jung, Deokyeong Kim, Gaon Han, Juwon Son, Hyeonseo Lee, Seyeon Kim

In “Post-Orientalist Express”, choreographer Eun-Me Ahn, who is known for her colourful and dynamic works, searches for new, hybrid cultural and choreographic identities beyond external attributions and internalized stereotypes.

In her latest work &ldquo;Post-Orientalist Express&rdquo;, the South Korean choreographer Eun-Me Ahn takes an astute and playful look at romanticized Western representation of Asia and explores how such clich&eacute;s can be refracted to present a convincing and realistic rendering of contemporary Asian culture. What is the impact of Orientalism &ndash; a discourse where the &ldquo;enlightened West&rdquo; describes the &ldquo;mysterious Orient&rdquo; &ndash; on the identity of Asian artists? To what extent have they internalized this discourse, what is its significance for their exploration of tradition and contemporary art, for their artistic and choreographic exchange within Asia? And how might the encounter between East and West be redefined?

Together with her ensemble, Eun-Me Ahn searches for new artistic avenues between postcolonial guilt in Western countries and revanchist tendencies on the Asian continent. With her colourful and joyful visual imagery, she juxtaposes romanticizing clich&eacute;s with elements from legends and pop-culture, highlighting their inherent contradictions. Her unique movement vocabulary rediscovers costumes and music from various traditional and neo-traditional cultures and reads them from a contemporary perspective. Outdated distinctions between tradition and modernity are overcome and a dynamic search for a new, hybrid identity begins.

Choreographer Eun-Me Ahn studied traditional Korean Shamanism as well as dance in Seoul and New York and is a long-standing friend of Pina Bausch. In 2018, she was appointed Associate Artist at Th&eacute;&acirc;tre de la Ville in Paris. In Europe, her productions &ldquo;Dancing Grandmothers&rdquo; (2011), where dancers from several generations celebrated the resilience and joie de vivre of South Korean women on stage together, and &ldquo;Dragons&rdquo; (2021) were especially well-received. &ldquo;Post-Orientalist Express&rdquo; was developed in Seoul and celebrated its premiere there in early May 2025.

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Post Orientalist Express

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