Artists
Photo Credit: NIU Chun-Chiang
Yu-hsien Wu
Yu-hsien Wu
| Location | USA / Durham |
|---|---|
| Residency | American Dance Festival |
| Year of the Grant | 2020 |
| Work | Footprints |
| Personal Website | Yu-hsien Wu's Personal Website |
The artist sees the making of art as an active practice to disrupt systems, norms, and fixed structures. She is currently engaged in a dual exploration path of academic research and artistic practice, which serve as dialectic reference for one another. While actively responding to the development of street dance in an inter-Asian social context and proposing the possible integration of dance and theater, through creative practice, the artist aims at to challenging the entrenched gender frameworks in the ecosystem of street dance from women’s perspectives and experiences. Eventually, she aspires to introduce a more diverse representation to street dance, setting it free from male dominance and masculinity.
Wu’s works have been presented at platforms such as the Ladies of Hip Hop International Festival in New York, Dance Massive in Melbourne, Taipei Arts Festival, We Island Dance Festival, and Chiayi New Style Choreography.
Artist Statement:
In celebration of the 50th birthday of hip hop culture, ADF also marks its 90th year. For the first time, ADF invited non-academically trained street dancer Tatiana Desardouin to choreograph the annual “Footprints” event. Therefore, before heading to ADF, I already had a clear idea about what to expect and seek from the ICR residency. Specifically, my aim was to work with Tatiana through this program and approach my resident days differently. I wanted to focus on the exchange and connection with people through dance, rather than pressuring myself to produce work in a new environment within a limited timeframe. The rehearsals and final performance at Footprints became the focal point of my residency experience at ICR.
Most of my fellow artists present their works through ICR Showcase, a non-formal platform with minimal technical support, designed as a transitional kind of presentation. In contrast, Footprints which I took part in was a two-day ticketed performance that requires the choreographer to deliver a thorough piece of dance in the shortest time. The performing team may request assistance from lighting designers, costume designers, stage managers, and technical professionals.
Of the 12 dancers working with Tatiana, I am the only one from Asia. Tatiana arranged a solo dance for me in her piece. Through this exchange, I believed that my sheer existence and performance has led Tatiana and my fellow American dancers to discover certain aspects of street dance that are different from theirs in Asian people, as well as experiences and contexts unique from those of the United States and Europe. The meaning of exchange lies in respect for and embrace of differences. I think we had all tried to celebrate one another’s differences during this short encounter. I also firmly believe that this awareness will imprint itself upon us in an imperceptible manner, igniting at crucial moments.
As an Asian street dancer, through my interactions with Tatiana, I try to identify and understand how race, social contexts, and upbringing lead to varied interpretations of street dance. These differences are manifested in our bodies and creative expressions, in ways we are not even aware of. How to find spaces for dialogue, inspiration, and mutual understanding within these differences is a topic that continues to intrigue and challenge me even after the residency.
[Performance Photo Information]
Title: Footprints
Photography: Lauriane Ogay
Author: Yu-hsien Wu
Edited: Brix