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The motivation for choreographing dance movements

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The motivation for choreographing dance movements

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Photos taken during the rehearsal process

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In this dance short film, my strongest feeling was that I did not want to turn “pain” into a kind of aestheticized image.
During rehearsals and filming, my body often fell into pauses, tremors, and small instabilities. In the past, I might have considered these as “not good enough,” but this time I chose to keep them. These imperfections are not flaws—they are traces of my struggle and resistance. They are not mistakes, but truths.

The experience of costume and lighting also left me conflicted. The veil, the qipao, the golden light—all of these elements appear beautiful, yet I am fully aware that behind them lies a continuously consumed image of the “Oriental woman.” I did not want to fall back into that trap of symbolization. Instead, I reminded myself that these symbols should be presented as “questions,” not as “answers” to please the audience. The fabric, the lighting, and the body in front of the camera were not there to beautify, but to expose.

At the end of the work, I did not give a neat solution, nor did I stage a so-called declaration of “awakening.” The ending remains in a state of ambiguity: neither completely freed, nor entirely silenced. For me, this open ending feels truer, because both the condition of women and my own bodily experience can never be fully summarized by a single statement or gesture.

So my feeling is this: the work functions more as a “continuing question” than as a finished answer.