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PAMS

  • Dance
Meta-Ballet : Non-Coppélia Manifesto Ttunchatdance
  • 10-18(Sun) 16:00
  • Daloreum Theater (NTOK)
A “ballet for all bodies,” where dancers cast off convention and cross the boundaries of normativity, moving through the singular physicality of each individual body. Introduction to the work

Meta-Ballet: Non-Coppélia Manifesto expands onto the stage the ballet workshop series ‘Ballet for All Bodies’, which was led by choreographer Yoon Sangeun for the past several years. Long regarded as the pinnacle of elite art, ballet has traditionally been regarded as both the norm and the foundation of dance education. Its dazzling technique and fantastical images still captivate audiences, but behind them lie an uncritical veneration of Western culture, harsh training regimes, and the figure of the ballerina objectified into a narrow set of physical standards. With the question, ‘Is that really the only form of beauty there is?’ the work cracks open the seemingly immovable wall of the authority of classical ballet.

On stage, here are people who have broken the standardized mold and have chosen to begin ballet on their own terms. Seven women, brought together through social media in 2023, have layered their own distinct physicalities onto guided movement in place of fixed rules. Precision never mattered to them. As they played with ballet with their whole bodies, laughing and chatting, their bodies were naturally joined into a tight-knit community. For them, ballet is no longer a distant fantasy to be admired from afar; it has become the most useful tool for facing and expressing the realities of their own bodies. The moment we encounter a ‘ballet for all bodies,’ stripping away the fixed image of the doll and moving with their own breath and rhythms, ballet ceases to be a stuffed and mounted classic becomes today's dance, dynamically moving with a life of its own.

The Non-Coppélia Manifesto, Written Together
- I practice ballet ‘to dance,’ not ‘to be watched.’
- I do not dance ballet by sacrificing my body and mental well-being.
- Because I practice ballet without overexertion, my appetite thrives; the more ballet I do, the more weight I gain.
- When I do a ballet turn, I look everywhere—this way, that way, all around—as I spin. Our turns are dizzy.
- I love princes, but I love princesses too.
- I am not a swan but an albatross*.
(*A large seabird found mainly in the North Pacific; of all birds capable of flight, it has the largest wingspan.)
- I am free to think about anything while doing ballet. I think about going to the restaurant I found on Instagram, selling the biotech stocks I bought a while ago, or going to a feminist rally once I finish dancing.
- I do not diminish the present moment for the sake of some future perfection. I feel no shame, no guilt in my trembling legs. I concentrate on this trembling that exists only now.
- I am not a machine designed to repeat the same angle of wingbeat thousands of times over.
- We are the ones who breathe life into the motionless Coppelia dolls.

Ttunchatdance Ttunchatdance

Choreographer Yoon Sang-eun focuses on the fractures and possibilities that emerge both within and beyond the boundaries of dance. In recent years, she has questioned the fixed images and conventions surrounding ballet through works that critically examine the representation of femininity and structures of authority embedded within the form. At the same time, she creates spaces in which diverse bodies, regardless of training or professional background, can encounter and reconfigure the form, continually asking what ballet is—and what it can be—in the contemporary moment.

Yoon Sangeun

Working across the boundary of what counts as ‘dance’ and capturing the intriguing questions that arise both within and outside, Yoon Sangeun is active in many fields, as creator, documentarian, and educator. In recent years, she has devoted herself to reinterpreting and redefining ballet, a discipline she has trained in for much of her life, through a contemporary lens. Starting from the question, ‘What should ballet look like today?’ she seeks to break away from conventional ideals of ballet, which has become idolized as the very image of beauty. To this end, she focuses on the value of ‘ballet for all bodies,’ grounded in a range of ages and in ordinary physical conditions.

Her major works include Meta-Ballet: Improvisation, Crumpled Attitude (2025), A Ballet Somewhere (2025), Ballet for all (2021), and Death Scene (2020). Since 2016, she has written the dance blog ‘Ttungchat’s Modern Dance’.

Here is a table explaining the program details. It consists of choreography/direction, audience age, schedule, performance venue, audience interaction, performance time, premiere, admission fee, and language.
Concept&Choreography Yoon Sangeun Movement Research&Performers Kim Hyein, Nam Sunhee, Park Miyong, Lee Gakyeong, Lim Daun, Ji Hyekyung, Choi Yoonhee
Music Han Jungwon Dramaturgy Shon Yennie
Associate Choreographer Ju Hyeyoung Lighting Designer Sung Mi Lim
Video Operator Im Gitaek Sound Director Kwack Da Won
Stage Manager Kim Dongyoung Audio Description for Dance Hwang In-jeong
Dance Audio Description Consultant Choi Yoorim Special Thanks to Previous Performers Lee Minjin, Shin Min
Website Instagram Instagram
Duration 60min Tickets R 40,000won S 30,000won
Accessibility Audio Description for Dance Age Limit Ages 8 and above
Conversation with Artists 18th Oct(Sun) 16:00
Photo introduction