During her career, choreographer Eun-Me Ahn (1963, Korea) developed an extraordinary combination of tradition and modernity. She was influenced by shamanistic tradition, the many years spent in New York and a profound friendship with choreographer Pina Bausch, who invited her in Wuppertal many times. Eun-Me Ahn was educated in keeping with strict Korean discipline, but she is also a daredevil performer, ready for all kinds of antics. She has jumped from the top of a crane to attack a piano with axe and scissors, tore off her fairy dress to distribute the pieces to the audience while performing a teddy bear dance, had herself locked behind bars in a duet with a chicken and dressed up as a mushroom. All this is not necessarily intended to provoke, but rather results from a curiosity and freedom that push the work and style to their limits.2001 3 solo’s in de serie Tomb (na verschillende bezoeken aan het Pina Bausch Festival in Wuppertal)

2001-2004 The Little Match Girl en Skypepper (als artistiek directeur van Daegu Metropolitan City Dance Company)

Major work

2001 3 solos from the Tomb series (After several visits to the Pina Bausch Festival à Wuppertal)

2001-2004 The Little Match Girl and Skypepper (as Artistic Director of the Daegu Metropolitan City Dance Company)

2007 Symphoca Princess Bari, a choreographic adaptation of a Korean legend

2011 Dancing Grandmothers, a work inspired by the gestures of Korean old ladies and first part of a trilogy about generations

2016 Ahnsim Dance, with visually impaired, first part of a new trilogy dealing with handicap and difference

Awards

1999-2000 Manhattan Foundation for the Arts award and New York Foundation for the Arts award