OVERSEAS

Norikoshi-Takao “Dance Critic”(Japan) / Dec 2016

The members are only males and it has techniques and speed too. The performance is in speed and the detailed nuances from hands and necks tied together. It was powerful and full of attractive at the same time and the attraction is like running on a sheet of ice. A vocal came up and started to sing ‘Poom-ba’ with his very deep and rough voice from the stands. Then Jae-duk also sang and leaded the whole audience to a middle of excitement.

The last part was even better. The metal chopsticks were put on the stage in the same space between. The dancers kneeled down in line and danced like chopsticks to chop at the ground that also brought images from Tap dancing. The traditional spirit ‘Han’ included motions singing from the harsh reality and illogicality that doesn’t have an exit.

The movement from Jae-duk was very stylish and modern but it transmitted that ‘Han’ was swirling inside.

After the performance, the audience gave a standing applause. Yamakawa-Santa also said “I’ve never seen in Akita”. It was a spiritual night over the time and space.

 

Daisuke Muto, “FU PLUS”(Japan)

Among all the contemporary dance projects happening around the world these days, Kim Jae-duk’s work grabs my attention the most…his innovative approaches, like reinterpreting Pan-sori as a kind of blues or establishing the company’s identity as Korean troubadour , are refreshing. Kim Jae-duk does not just apply the form of traditional culture to his performance but rather grasps the essence of Korean tradition that is grounded in popular mentality of common people, which can be easily understood by contemporary audience as well…He obviously differentiates himself from others; the coexistence of pop culture with “unpopular” contemporary dance is refreshing and at the same time, he does not fail to include his unique interpretation of Korea’s culture and history…he takes profound Korean tradition as his object of artistic expression while he tries to form a unique style of choreography. This is what makes him different; unlike the precedents in dance history in which choreographers intentionally tied to “wear” traditional cultural identity in terms of maintaining their nationalist pride, Kim Jae-duk’s endeavor is far from this pressure. To him, a set of cultural heritage, Korean history and of inspiration or an archive which provides him with wide array of ideas that he freely chooses, interprets and expresses.

 

Thomas Michael Voss / London Box Office.co.uk / Oct.31th 2016

Taking traditional Korean folk song, Poomba, and gradually layering it with modern bass, drums and guitar creates irresistible waves of rhythm; it sometimes even resembled Bjork’s music. Modern Table understood only too well how to guide the audience in and out of the familiar without ever breaking the flow of the entire journey.

For the artists of Modern Table life is all about rhythm; pulsing, beating, flowing, expanding and contracting and this was well reflected in the movement and the music throughout. The dance piece all started with a simple line: seven dancers all in black shirts and suits on a black stage and only made visible by the most economic golden glow of light (by Kim Jae-Duk) giving warmth and humanity to the otherwise bleak bodies. The simplicity and internal focus of the dancers was mesmerising.

With drone-like sounds and prayer-like chanting the audience were transported into another more meditative world but one which built to a series of explosive, free electric movements, before dispersing and resolving into stillness again, only to repeat the cycle. There was a fantastic section of dancing with metal chopsticks, celebrating meals as a time for focus, calm and contemplation. One of the biggest climaxes was a sound cloud of rock music infectiously played by the three piece band with a vocal.

The choreography was exquisite – innovative, varied and peppered with a blend of traditional Korean dance, martial arts and contemporary dance at its best. The fluidity was rich with rhythm changes without any fear of stillness to express sincerity.

 

DOMESTIC

KIM Min-kwan, “ARTS IN” / Jun 2009
Kim Jae-duk’s work is spectacular. I couldn’t help but to react violently, in a good way, to what I was seeing during the performance.

 

KIM Ye-rim, “Dance and People” / Jul 2009
His sense of music stands out among many talented aspects of his work, which is inspired by Korean rhythm. Remarkable energy and audacity that he exudes are worthy of notice.

 

KIM Seung-hyun, “Choom” / Jul 2009
The Pan-sori stage set in the middle of the aisle created distinctively descriptive beauty, which was connected to fast paced performance.

 

SONG Jun-ho, “Weekly Hankuk Magazine” / Aug 2009
It seems that Kim Jae-duk desires to polish his emotion and share those with his audience. He enjoys his performance with his audience and at the same time tries to build solid artistic universe of his own.

 

KO Seok-lim, “Dance and People” / Sep 2009
He is a choreographer with exploding musical talent. That a young man like him is out there actively creating his work is an invaluable contribution to the field of Korean dance…his work is full of wit and enthusiasm.

 

SIM Jung-min, “Choom” / May 2010
Kim Jae-duk made contemporary re-composition of folksy traditional Korean dance. Added to intense turn, reeling and fastening of Korean dance gestures is refined and urban sense of contemporary dance. His versatile talents that both reach dance and music are evident in this work.

 

Jung Hyun Kim, Independent Dance Webzine “indie-n-bob” / Jun 2010 / Darkness Poomba
It seems that the piece was choreographed to the limit of speed and dynamics. As modern and fast movements on stage match the beat to the poomba music, those moments of awkwardness and exquisiteness knocked my knees together. (……) Whenever and wherever the importance is not ‘what’ but ‘how.’ <Darkness Poomba> is not circumlocution but straight forward. (……) With a talented choreographer’s gust of playfulness and frigidly choreographed work on stage, an artificial world exists and even comforts the audience. Ironically, the audience gets a taste of freedom accepting dance and movement with excitement.

 

Park Seong Hye, Dance Magazine “MOMM” / Feb 2011 / Darkness Poomba
With the mixture of live music and performance type, the young stage exposed realism and dynamics which could only be seen on site.

 

Moon Ae Ryeog, Monthly Music Performing Arts Magazine “Auditorium” / Feb 2011
“Outstanding in the field of dance and music ‘special child’ Jaeduk Kim himself is a unique genre of art.”

 

Kim Min Kwan, Art News Channel “Art Scene” / 24th Feb 2012 / Symposium
Jaeduk Kim’s talent is by fact, a secondary derived phrase from LDP(Laboratory Dance Project). This performance however, temporarily adding luminosity, rambling virtue and composure brought out the results.
I have watched LDP’s performance <No Comment> twice, a very practical performance which allowed audience to intrude which was very surprising. This as well built quantitatively a foundation  ‘stack/diffuse of aesthetics’ from one view. With addition of music and imposure of narration could say Jaeduk Kim’s patent attribute in result.

 

Kang Il-Joong, “Yeonhap News” / 3rd Jun 2013 / Choice
This important point in this piece is “Aniri” and for Hyelim Kim to dance according to the meaning. “Aniri” is a pansori form, discluding tune while singing like storytelling. Singer Seok Gi Yoon recites the content with wit and bewilderness. (……) The impression of the whole repertory is ‘balance in imbalance.’ The minimal concert music with the Korean traditional percussion and string music in the latter half of the performance was alike to the legendary English rock group Led Zeppelin music which was appealing.

Kim Se Woon, Newspaper “Voice of People” / 8th Jul 2014 / Smile
Smiling but not, fast but not so, slow but not slow, larcenous but not, frowning but not. A mysterious result of capturing double-sides of smile. A young promising choreographer Jae-duk Kim seizes two sides of smile through his new work ‘Smile.’ (……) Inside the human brain ‘Smile’ is connected to positive emotions such as happiness and more. However, when Jae-duk’s choreography and reason combine, the results are different. The new perspectives through his work ‘Smile’ is unexpected and surprisingly sensational. It might not even be unexpected but familiar. (……) Such true and false, concreteness and metaphors in his body language enables absorbance overtime. His remarkable energy and brilliance in his dancing draws an exquisite appearance.”

 

Kim Chae Hyun, Monthly Dance Magazine (vol. 71) / Aug 2015 / Sok-do
<Sok-do> background music played by Young-gil Kim the ajeng expert’s solo music added another tendency on the list for Modern Table. (…) this performance portrays how music and dance is the stems focusing on universal factors. <Sok-do> allows predictions that there will be a certain change for Modern Table’s venture. (……) In the piece <Sok-do>, the point was on velocity itself, without a plot, restructuring velocity through movement. The movement including elements of korean traditional dance adds a dynamic feature in sync with the ‘ajeng’ instrument. Dismantling korean traditional dance and restructuring the piece with contemporary dance makes <Sok-do> remarkable. (……) Jae-duk Kim seems to have dance as his DNA, enabling the audience to be exhilarated along with him. In <Sok-do> the emotions were restraint as the ajeng expert Young-gil Kim made the firm emotion in harmony. With the body and sound, the seven men in white korean traditional upper garments performed a refined performance.

 

Lee Ji Hyun, Monthly Music Performing Arts Magazine “Auditorium” (vol. 376) / Aug 2015 / Sinawi Sanjo
Jaeduk Kim may be the only dancer who can sing at the same time. He enters the stage slowly, facing backwards against the audience, carrying it out languages from all over the world. (…) gibberish leads to a melody, adding dance as well. As every breath is delivered through the microphone each instrument assist the dancers in the performance. Jaeduk Kim condenses and uses ‘gulsin’ repeatedly, a technique eloquated from Korean traditional dance ‘becoming sinawi.’ (……) Especially through ‘Sinawi Sanjo’ the elements he put on stage – the band music, singing and dance being the peak of the performance- showed his daring will enclosing the sinawi format. The sinawi, only an old shaman and musician being able to show and reflect the completeness of the act on stage, was done successfully by a young choreographer. (……) Using the ability and talents of music, Jaeduk Kim is a noteworthy artist in Asia unraveling the doubts in cultural identity. Applying dance and music together onto stage in modernity, he showed that these two can be done by himself, and this advantage acquires his Korean identity as a forte.

 

Lee Hyun Hwa, Monthly Magazine “Theatre and I” (vol. 67) / Aug 2015 / Interview about Darkness Poomba
Universality is somewhat an innate talent. It is quite different from popularity isn’t it? There have been compliments on how dance became more popular, but I don’t see what meaning that has. What we really have to do is ‘how fine arts is an art close to universality’ and investigate. In order to do so, I have been trying to find it through pathos and instincts immensely. (……) Dance itself is difficult. It is not shown through verbally but through the body. The way to communicate through our bodies, should be ‘learnt’ but it seems we have not learned yet. I don’t think that dance is art speaking with our bodies. It’s art done with our bodies. After all, we don’t understand the message the body tries to deliver, so its easy to rather body to body than speak with our bodies. (……) Popularization of dance? The way of how popularization is currently being done is not right. Clearly, dance is universal. It shows congenitalness already. It would be nice for descriptors to ‘match’ less with self-esteem. Even if the interpreting was different than the actual intention, that would be even better so. (……) The performance being spectacular is what matters. The ‘beauty’ that comes toward us seems like an amusing question. It’s what attracts us. (……) While preparing for the performance this time I noticed absence. Filling the dancers from their lack backstage, and the mental state of the process. ‘Inner Attitude’ of endlessly singing and dancing, repeating this process. The radiation that cannot be filled after sweating so much through the performance. That is the beauty of <Darkness Poomba.>

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