탈 trilogy: {1} 탈-dissociation, {2} imiji パフューム 메이킹 (v.1.0), {3} ~TBD~, 2026
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performance {1} / collaboration {2,3} Yooha Cheon
performance {3} Jozef Jie Sheng Chua & Léa Valéry
composition {2,3} Doukus
vocal tech {3} Lengleng
music {3} Dong Zhou
various decoupled shoes, latex dress shirt, blue-indigo light, business cosplay, Vocaloid wigs, artificial snow, cursed school-chair
{1} “De-dissociation” (탈-dissociation) traces the psychic and sensorimotor textures of a body performed by and developed in collaboration with Yooha Cheon’s (전유하) spiritual/psychic relations to birthplace (서울/Seoul). Questioned are postcolonial and post-DMZ (Korean Demilitarized Zone) cultural phenomena which complicate notions of origin and psychological categorization/diagnosis in globalized techno-culture amidst rippling wakes of empire (Japanese, United States). A series of solo dance scenes responds by negotiating an “East-West dichotomy” with cyborgic and spiritual overlay, unfolding a choreography of corporeality and its possessions vs. decompositions. The performance researches dissociation not as psychiatric DSM (Diagnostic and Statistical Manual of Mental Disorders) pathology/retreat but as a site of wonky attunement amidst aesthetic contours and atmospheres of “Gen Z” joy or horror.
{2} Version 1.0 of "image-perfume-making" is an intergenerational render of and by Yooha Cheon and Zander Porter, exploring cross²-cosplay unbecoming and study of hyperpop-pioneering sounds by 中田ヤスタカ (Yasutaka Nakata) and their place in time (~2006, Facebook) before technological domination by, e.g., businessmen of Silicon Valley. A shared (operating) system is performed and destabilized through both fusion and fission of Yooha and Zander’s bodies-as-holograms. Through protocolized gesture, the performance sources vulnerabilities from intersecting and ethnoculturally compromised schemes: particularly a historically loaded U.S.–Japan–Korea loop and its implications for late-exorbitant consumer capitalism. Depression/引きこもり (hikikomori) capitalism is expressed via somber techno-aesthetics, including (AI) software predecessors like Vocaloid. imiji パフューム 메이킹 examines some languages of this psycho-cultural loop with disidentificatory potential, replete with worlds of direct impact and lightness.
{3} ~TBD~ will premiere in June 2026.
The trilogy of performances emerged after three years of personal advising/mentorship of 유하 during each semester of study and coursework at School for New Dance Development. The first performance’s initiation and rehearsal in 2025 were supported in Berlin by Erasmus+, Academy of Theatre and Dance, & Theaterhaus Berlin and a residency/showing occurred at DANSEatelier with additional support from Dansehallerne (Copenhagen). The second and third works are supported within the frame of School for New Dance Development graduation festivals, co-produced by Frascati (documentation images © Gergely László Ofner) and Flemish Cultural Center de Brakke Grond, respectively. imiji パフューム 메이킹 is shown a second time within this academic frame at Uferstudios / HZT (Berlin University of the Arts) in July 2026.
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