MAGAZINERADIOSHOP
LOG INSUBSCRIBE
2025-09-05
Written by Lila Patel
Under the bright lights of Los Angeles’ historic Wilshire Ebell Theatre, audiences recently witnessed a landmark performance commemorating the 80th anniversary of Korea’s liberation from Japanese colonial rule. On stage, traditional Korean movement intertwined seamlessly with contemporary choreography in Yeji Moon’s striking interpretation of the March 1st Movement—one of the most emotionally charged moments of the evening.
The large-scale production brought together more than 60 performers, but it was Yeji Moon’s dual role as choreographer and performer that anchored the work with rare precision, artistic vision, and scholarly depth.
For Moon, the March 1st Movement carries profound symbolic weight. In the current landscape of Korean choreography, many artists lean heavily toward either strictly traditional forms or European-influenced contemporary styles. Moon charts a different course.
Drawing on her lifelong immersion in diverse dance genres, she developed Han Scenographic Flow—a movement language that fuses the deep breathing (danjeon), grounded dynamics, and flowing curves of Korean traditional dance with the spatial precision and dramatic architecture of contemporary performance.
Her approach consciously rejects the decorative, context-free use of traditional gestures—a tendency she sees in some dance works.
“Many pieces treat certain gestures as ornamental tokens of tradition,” Moon explains. “But movement without intention risks becoming an empty spectacle.”
Instead, she distills the essential breath, curves, and dynamics of traditional Korean dance, embedding each gesture within a deliberate dramatic and visual framework. In Han Scenographic Flow, every movement is in service to the emotional arc, spatial design, and scenographic balance of the work.
Moon also integrates elements drawn from her research into K-pop’s global performance culture—particularly its “point choreography” and meticulous staging—to ensure that every frame is planned and visually cohesive.
“In Han Scenographic Flow, nothing is accidental,” she says. “Every gesture, angle, and rhythm is designed to make the audience feel both the history and the artistry.”
In rehearsals for the anniversary performance, Moon worked closely with dancers to balance historical authenticity with heightened visual intensity. The result was a scene that conveyed both the defiance of protest and the unity of shared cultural identity.
Educated in both Korea and the United States, Moon holds degrees in dance from Dongduk Women’s University and New York University, and is completing her Ph.D. at the University of California, Riverside. This transnational academic journey has been central to her ability to bridge Korean heritage with global performance practices.
Her years in New York were formative, marked by performances in numerous productions and exposure to a wide range of movement vocabularies. These experiences refined her distinctive style—a synthesis of traditional Korean technique with the expansive aesthetics of modern and contemporary dance.
Today, she continues to merge practice and research, exploring how embodied memory and performance aesthetics intersect across cultural contexts.
The term “Han” carries dual meaning: referencing both Han-guk (Korea) and the layered emotional resonance of han in Korean culture. “Scenographic Flow” reflects Moon’s meticulous attention to the composition of space, light, and body, as well as the seamless transitions between movement phrases.
Technically, Han Scenographic Flow incorporates danjeon breathing for grounded power, a modernized gulsin (bending and straightening of the knees) for dynamic rhythm, and controlled arm curves for fluidity without excess ornamentation. Every artistic choice—whether in movement, staging, or timing—adheres to her principle that form and content must serve each other.
“Han Scenographic Flow allows me to speak to audiences who may not know Korean dance traditions but can still feel their weight and beauty,” Moon says. “It’s a language that transcends borders while staying true to its roots.”
Beyond her choreographic achievements, Moon curated and participated in the photographic exhibition Becoming the Other, Becoming Myself: K-pop Cover Dance as Diasporic Archive. This project examined identity, transformation, and cultural authorship through the lens of K-pop cover dance—reframing it as both a performance practice and a form of cultural archiving. The exhibition was praised for its innovation, scholarly grounding, and visual impact.
Moon also teaches at the university level and works with community organizations, extending her influence beyond the stage. Her teaching mirrors her choreographic philosophy—bridging tradition and innovation while encouraging students to see dance as a living, evolving form of cultural expression.
At the heart of Moon’s work is a belief in connection: linking past and present, Korea and the world, traditional aesthetics and contemporary performance. Her choreography often becomes a site of dialogue, inviting audiences to experience history as a living, breathing memory.
Looking ahead, she plans to expand the reach of Han Scenographic Flow through new performances, interdisciplinary collaborations, and cross-cultural exchange projects. She envisions works that bring together musicians, visual artists, and dancers from diverse backgrounds to explore how movement can create shared narratives.
“I want to create spaces where young people can see their heritage reflected in new and empowering ways,” she says. “At the same time, I want global audiences to feel that Korean dance is theirs to experience and connect with.”
“Dance is not only a form of art but also a cultural bridge,” Moon reflects. Her upcoming projects will continue to develop Han Scenographic Flow—integrating grounded Korean roots with bold scenographic experimentation.
By blending cultures, disciplines, and aesthetics, Yeji Moon is expanding the possibilities of dance—ensuring her work remains as resonant for future audiences as it is deeply anchored in the past.