Where the thing is... 

[Page 1 ] Transmission is explained in a normal dictionary as “the act or the process by which something is spread or passed from one person or thing to another.” If we see transmission of dance as an experiential passing on of knowledge of a specific kind, embodied and embedded in a culture, our work as researchers will bring into consideration questions about perceiving this process, analyzing it and writing about it. 

If dance is something transmitted, where is it, the thing? Taking the analytic propositions of Laban, we can recognize in dance elements such as shape, effort flow, and the prerequisite of body. Do we have a body? Are we in a body? For Marcel Mauss (in 1935), the man´s body is his most natural technical object, and at the same time a man is his body. An object between objects.


[Page 3] And I say: Body is not an object. We are a body. We are somebody. Then other questions arise: If I am a body, am I also a mind in a body? Am I a soul with voice in a hardware called my body? Is my body mine? Using these questions as a tool, I wrote the following paragraphs:

1. I fill in my lungs with air, and while I breath out I flex my knee joints, I look at the space rotating my neck until I see my parallel feet. My back, is in consequence curved. My head is heavy, and my hair is light. Slowly I flex more my knees permitting my hips to go lower, I touch the floor, caressing it with my 10 fingers, I rotate my wrists flexing also my elbows sending my weight forward on my forearms while my knees slide on the ground. Slowly my whole body arrives into a crouching position on the floor. All this in 5 seconds.


Warrior Body/Open Heart is a dance piece co-created through Participatory Action Research in Cheongsong, a rural town in southeast South Korea. This research was done through the framework of a program held by state multicultural centers where immigrant women from different countries, married to Korean farmers, go through a progression of enculturation, transculturation and multiculturalism. The present research analyses the multiple processes experienced by the community of participants during the creation and performance of the dance. The acronym WBOH refers to the dance, the practice of it, or to the group of participants when dancing or practicing.

KEY WORDS: * Dance creation  * Multiculturalism  * Immigrant wives  * PAR * Community 


[PAG 5, from the Ch1) A researcher´s time is traditionally taken up by hours upon hours inside a room, concerned with searching out the most minute details of their subject matter, such as uncovering ‘the exact step’, ‘that gesture’, discovering variations, asking unusual questions like “how do you feel when you do this movement? Where does your imagination take you when you hold your hand like this?” and so on. While this is not so different from an artist’s creative process, which itself is nothing less than pure investigation based on trial, failure and repetition; the research here is an hybrid combination of both. The dance WBOH and the lives of the participants (including myself) were constitutive parts of this field.

Clic HERE to read fragments of "Warrior Body/Open Heart,  a dance by Cheongsong's wives" published in the Magazine "CONTACT QUARTERLY" Vol. 43 no. 2 Summer/Fall 2018