Parallel Cross asks questions about the worlds that unfold in our body and perception. It’s an experiment of ‘memory’, related to what has already happened, ‘imagination’, related to what has not happened yet, and ‘the present’, what is happening right here and now.

Parallel Cross begins with the premise that there is a concept in the abstract. When we see the dance, the movement and body are easily perceived as abstract. However, even where the body does not do anything, it already contains a concept. In Parallel Cross, we firstly create a unit area of dancing called ‘prototype’ from everyday movements and experiment how it varies according to the context/world by different bodies. Now, memories and imaginations flowing in and out of the experimenting/interpreting body are tangibly here in front of your very eyes.

Movement disappears as soon as it occurs. Experimenting with such movements in various contexts, Parallel Cross also explores the embodiment. The body you’re watching is simultaneously telling us about past, present, and the future/virtual reality. Those questions continue to come up along the process about where the body comes from, what the body could be, and what the body bequeaths.

The way in which the Parallel Cross questions and experiments about body and movement moves in and out of formulating, enumerating, variation forming, and editing. It is as if the three dimensional model is lifted up and down, and sometimes even unfolded to reveal itself. In this process, audiences have both ways of reading as options, which is either analytic or immersive reading. When you feel the body/movements are somewhat different, yes, they are then different from the former one. When you feel they are the same, yes, they are then the same as before. Either way, it’s all what happens in your perception.