© NIKLAS HLAWATSCH
Dancer, choreographer Chun Zhang founded the ensemble YIBU DANCE with her partner Kai Strathmann in July 2019. 'Yibu, Yibu' means 'step by step' in Chinese, representing the ethics and aesthetics of the ensemble. They together realize high quality stage productions with fundamental values of movement, sound , light in time. Beside that, they also initiate artistic researches, workshops and dance films.
Chun met Kai in 2015, at the beginning of their study in master of choreography, in the Folkwang University of Arts, Essen, Germany. Since then they established a cooperation in life and in art. In 2019, both of their graduation productions with the Folkwang Dance Studio got nominated by the renowned Kurt Jooss Prize. Chun won the jury prize with her piece 'Being Far Away From' at the end.
Artistic Statement von Chun Zhang
Time begins when attention begins. Time changes when attention changes. Attention unlocks things that cannot be bought or sold. It just enriches life. My works offer a different way of observing time or “movement”. Dancing is a space-time art. It consists of countless fleeting moments. "The Illusory Craft" is fascinating, but it cannot be preserved. This has always been dance's theoretical, dissemination and innovation shortage, although Laban notation and video are trying to salvage the situation. But dance is still present, how it perfectly balances past, present and future is my central thinking. The external over-expression - the horizontal expansion in space (which I often see in modern dance production, not only in the body language, the topic, but also in the stage technology) is not the solution for me, because the time in a dance performance loses even more power like this. To change that, I propose a deep time -- endless exploration in vertical depth.
The most common feedback I hear about my work is: moving visual art. That doesn't mean that I bring visual art elements to the stage. But what inspires me is the quality of a single moment becoming a transition, to a different status, to a different world. I'm looking for a way of composing movement so that looking at movement can have a similar experience to looking at photography and painting.
Working with very basic elements in movement, such as direction, speed, drive and phrasing, and usually very basic movement motifs, I play with the illusion of time to uncover some hidden agenda of expressions, experiences and values, from very simple and reduced materials.
Time is a political medium in my choreographic world. By manipulating the consciousness of time, I set values and experiences other than daily linear timekeeping, where only faster, farther, bigger might be the ultimate goal, big moves and big twists and turns are the main component of value. Instead, change is movement itself, and multiple tempos can coexist in one space. The theater space is my ultimate utopia, that a global now and collective oneness is possible.