For choreographer and artistic director Kim Sungyong, movement is more than art – it is an act of truth-telling. Guided by the belief that “dance is a language that cannot be described in words,” Kim has spent his career using dance to communicate the invisible and emotional dimensions of human life. His signature choreographic approach, rooted in a movement research project called Process Init, focuses on “sense and reaction” to derive raw, instinctual movement from each dancer. These gestures, often compared to brushstrokes on a canvas, form the basis of performances that are both structurally rich and emotionally profound. Having choreographed more than 150 works, Kim has become one of South Korea’s most influential figures in contemporary dance, both as a creator and as the visionary leader of Daegu Contemporary Dance Company.

Kim’s latest work, Jungle, will make its highly anticipated UK premiere this May at The Place, as part of the Festival of Korean Dance, which runs throughout the month. Performed by the Korea National Contemporary Dance Company, Jungle is a visceral exploration of survival and instinct, brought to life by a seventeen-strong ensemble who channel elements of the natural world, animals, winds, plants, light, and humans. Rather than illustrating a literal jungle, the work presents a psychological terrain where each dancer confronts their own inner wilderness. Through this European tour, Kim hopes to not only introduce audiences to Korea’s contemporary dance scene but also to foster greater recognition for Korean pure arts on the global stage.

In an exclusive interview with View of the Arts, Kim reflected on his journey as a dancer, choreographer, and leader. He shared insights into how empathy drives his creative process, how Process Init enables dancers to discover their own unique movement language, and how choreographic honesty can transcend the limitations of verbal expression. His ability to connect intuition with structure, and personal experience with universal emotion, shows a new wave of Korean contemporary dance poised for international acclaim.

View of the Arts: You have mentioned that “Dance is a language that cannot be described in words.” Can you elaborate on how dance communicates something beyond the capabilities of verbal expression?

Kim Sungyong: When explaining or conveying something, language must be used very precisely to communicate the details clearly. However, I believe there are limits to what can be conveyed through words alone. I came to realise that dance enables us to express the delicate and subtle aspects of life that lie beyond the reach of language. Although ‘dance language’ is difficult to recognise in the way we perceive verbal language, I believe it is the most honest means of expressing what cannot be put into words.

VOA: How does your philosophy of using dance as the “most truthful means of expression” influence your choreography? Can you give us an example of a moment where words could not capture what dance was able to convey?

KS: It is not easy to deceive with the body. Through physical communication, we can sense people’s tendencies and subtle signs more intuitively. I make a conscious effort to reflect this in my work, which is why I observe people and their movements closely in everyday life. If we approach a show solely through language or what is immediately visible, we risk overlooking so much of what lies beneath.

When I experienced Pina Bausch’s Café Müller, I couldn’t fully grasp the narrative, but the mise-en-scène and the imagery struck me as so beautiful and profoundly sorrowful that I was moved to tears. The sense of beauty awakened a longing for purity, while the sadness resonated deeply within me. I believe that dance holds the power to awaken and stir the unseen, deeply embedded senses within us.

When such fleeting moments encounter parts of life, they can spark new reflections and inspiration. After a performance, the lingering sensations from the stage often stay within me, merging with other experiences and sometimes unfolding into new layers of understanding.

VOA: Can you explain how your movement research project “Process Init” influences your choreography? How does focusing on “sense and reaction” help in creating new, unconventional movements?

KS: I believe that each person’s body carries a distinct history, shaped by the culture and environment they have lived through. When we listen to what our body is telling us and respond with honesty, we begin to see the points that set us apart from others — and, at the same time, discover ourselves anew. ‘Process Init’ serves to shape and guide this process, ensuring that it remains coherent and focused. It acts as a framework that grounds the work and prevents it from drifting during the creative process.

VOA: How do you translate the atypical movements derived from “Process Init” into something that audiences can visually experience on stage? What role does intuition play in this process?

KS: The process of creating unconventional movement begins by allowing the body itself to become a source of inspiration. To do so, the process begins by shutting out external stimuli and attuning to the body’s inner voice. The resulting 30-second sequence is referred to as a ‘cell movement’, representing a distinctive, gene-like pattern unique to each dancer.

Although they begin as small sequences, they continuously evolve and expand over time. This evolution can be conveyed to the audience, much like the process of cellular division and mutation. Each dancer moves while maintaining their own texture, but when they come together, their movements begin to influence and reshape one another. As a result, although the movements differ, they do not appear fragmented but instead merge organically into a cohesive whole.

This is reminiscent of a painting where overlapping brushstrokes come together on a canvas. In fact, art curators who have seen my work have often remarked that its texture reminds them of painting or installation art. Ultimately, the work reveals itself in different ways depending on how it is perceived. At this point, intuition becomes essential. Rather than analysing the logic behind each movement, audiences are encouraged to receive and interpret the flow through their own sensory responses.

As they watch the work, questions such as “How is this possible?” or “Why would they do this?” arise, fostering a desire to understand the principles underlying Process Init. Through this process, audiences begin to perceive not only what is visually apparent but also the invisible layers embedded within the work.

VOA: You began dancing at the age of 15 and gained early recognition in the dance world. Looking back, what were some key moments that shaped you into the artist you are today?

KS: I began dancing at the suggestion of my middle school teacher. Looking back, I realise that I have never once regretted that choice or wished to give it up. I believe it is because I was naturally attuned to dance. Creating over 150 works to date has been driven by my enduring curiosity and passion.

A decisive turning point came when I fully embraced my identity as a choreographer. During a period when I was questioning whether I could truly call myself a choreographer, I received an award [Winner of the Grand Prize for Choreography and four additional awards at the 34th Seoul Dance Festival for Nietzsche’s Speech in 2013] at the Seoul Dance Festival. During the award interview, all the paths I had taken and the doubts I had wrestled with seemed to come together. I remember standing there and declaring, “I will trust in this life as a choreographer and live it fully.” It was more than just an award; it was a moment of self-acceptance and commitment as an artist.

VOA: As a young leader and director of the Daegu Contemporary Dance Company, you brought fresh ideas and improved the dancers’ capabilities. What leadership philosophies or practices have you adopted in guiding and inspiring the next generation of dancers?

KS: Becoming an Artistic Director at a young age had long been a dream of mine. I remember jotting down decades ago my goal of becoming a choreographer for the Daegu City Dance Company (DCDC). Holding onto that dream became the driving force that has carried me to where I am today.

I place the highest value on communication. I believe that dancers, staff, and artistic directors are equally important. Just as dancers choose to work with me, I also choose to work with them. Therefore, I strive to move forward together through persuasion and mutual understanding. When faced with challenges, I seek ways to grow together rather than giving up. As these experiences accumulate, they build trust, and that trust ultimately becomes the driving force behind leading major projects.

VOA: In your view, what is the role of empathy in dance, and how do you bring that empathy into your choreography and communication with dancers?

KS: Empathy is a vital element in choreography. The diverse perspectives of the dancers form the foundation of my creative process, and without empathy, it would be difficult to move forward. Each dancer’s emotions and thoughts play a significant role in shaping the scenes, and I consider how best to bring their contributions to life. 

I see each dancer as a tree. I believe each one grows at their own pace and in their own way. Supporting their healthy growth and protecting their individuality ultimately allows them to come together as one mountain, a single, unified work.

I believe that respecting each other’s rhythms and perspectives, and moving forward together through empathy, is what truly completes a work.

VOA: With your vast experience and leadership, how do you envision the future of Korean contemporary dance on the global stage? What steps do you think need to be taken to bring Korean contemporary dance to an international level?

KS: South Korea has a well-established cultural infrastructure, and many talented young dancers are emerging with the support of institutions such as the Korea National Contemporary Dance Company. 

However, while opportunities to showcase contemporary dance have increased, I feel there is a growing need for deeper artistic research and reflection. It is important not to stop at generating ideas, but to reflect on their origins and consider how they should be conveyed, investing time and effort into that process.

Fortunately, more dancers today are embracing this direction. Therefore, I believe Korean contemporary dance holds strong potential for global recognition. Notably, the thriving independent companies led by choreographers in their 30s and 40s represent a phenomenon that is rare even within Asia. This momentum is laying the groundwork for the emergence of more experimental and innovative works. I hope that in ten years, Korea will have firmly established itself as a major force in contemporary dance.

VOA: Jungle is an exploration of survival and instinct, incorporating raw, elemental movements. How do you believe the “Process Init” movement research method influences the dancers’ ability to connect with these primal themes onstage?

KS: Jungle was not created based on a literal image of a jungle, but rather envisioned as a space where each dancer could define their own “jungle” and draw inspiration and sensation from within. The Process Init enabled the dancers to tap into their primal instincts and express their own distinctive, instinctive movements. The scenes born from this process gradually came together to form the overall landscape of the jungle.

Observing the relationships between the dancers on stage evokes reflections on our struggles for survival in everyday life. I believe this became a point of resonance that connected audiences to the work.

VOA: Your work has already been met with enthusiastic audiences in France, Italy, Austria, Kazakhstan, and the UAE. What elements of Jungle do you think resonate most strongly with diverse audiences across different cultures?

KS: I believe Jungle resonated with many because everyone carries a “jungle” within themselves. The repeated cycles of tension and release over the course of an hour vividly revealed the complexity of life and the instinct for survival, drawing audiences deeply into the work. The fact that each audience connected their own life experiences to the scenes on stage also contributed to the strong reception. There was also considerable interest in the Process Init methodology itself. Many commented on how the individuality, texture, and emotional resonance of each dancer were vividly brought to life. I believe these elements further strengthened the originality of the work.

VOA: With a seventeen-strong company of dancers embodying the various elements of the jungle – animals, plants, winds, lights, and humans – what was your approach to ensuring each dancer could fully inhabit these contrasting elements while maintaining a cohesive, unified performance?

KS: Each dancer was encouraged to discover the instinct that resonated most deeply within them. Some chose animals, others chose plants, while some were drawn to elements like light or wind. Since Jungle was envisioned as a space where diverse events intertwine and unfold, I guided the dancers to entangle and respond to one another naturally, despite their differing attributes and energies. This interaction gave rise to an organically flowing movement.

VOA: Having seen Jungle impact audiences worldwide, what do you hope the UK premiere at The Place will bring to the piece, and how do you see the piece evolving through its European tour?

KS: I believe that a work is like a living organism. Jungle has continued to evolve alongside the Korea National Contemporary Dance Company. Although much has changed since the early days when dancers were selected through auditions, this evolution was only possible because of the solid foundation laid at the outset. In contemporary dance, environments that foster continuous evolution are rare. Jungle is growing within such a rare and special environment. Through this international tour, I hope not only to introduce the name of the Korea National Contemporary Dance Company, but also to create an opportunity for Korean pure arts to gain recognition beyond popular culture. I hope that Jungle will serve as a starting point for introducing the sensibility and aesthetics of Korea to the world stage.

Written and interviewed by Maggie Gogler

Featured image courtesy of Arabesque Vietnam

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