[Kim Daesik · Kim Hyeyeon's AHA] Art Begins with Accidental Discoveries and Experiences

(19) Choreographer Geum Baeseop
Art Begins with Human Experience and Accidental Discovery
The Sensation of the Body?Irreplaceable by AI?Is Central to Dance
Everyday Objects Transformed into New Meanings on Stage
New Work "Leakage" Expl

Editor's NoteAsia Economy is exploring how the rapidly evolving field of generative artificial intelligence (AI) is transforming the world of artistic creation, and what issues 'humans' should contemplate, from the perspectives of both engineers and artists. To this end, we have launched a monthly series in which Professor Kim Daesik of the Department of Electrical and Electronic Engineering at KAIST and choreographer Kim Hyeyeon (CEO of Yeonist) engage in conversations or discussions about works with fellow artists. The segment title, 'AHA', stands for 'AI, Human & Art.' We hope that, through Professor Kim Daesik-who is passionately exploring the future of generative AI-and choreographer Kim Hyeyeon-who is boldly integrating generative AI with dance-you will be able to take a step closer to the profound questions of AI, humanity, and art.

Choreographer Geum Baeseop founded the contemporary dance group Chumpan Yamu in 2009 and has been active ever since. After studying theater and traditional arts, he transitioned to dance, where he excels at constructing a sensory stage language through relationships between people and everyday objects. In particular, his solo series such as <Crazy Man Neolttwigi> (2014), <Island> (2017), <Are You Even Human?> (2017), and <Embrace> (2018) explore the theme of 'people enduring alone and disappearing,' delving into individual existence and the social other. In his solo exhibition series <O>, these five works were performed together, and his pieces <Between> and the newly premiered <Leakage (2025)> have also concluded their runs to positive reception, allowing him to take a break. As a choreographer and artistic director, Geum Baeseop has established a unique presence through his distinctive choreographic method.

Choreographer Bae-Seop Geum is having an interview at Cafe Comma in Yeouido, Seoul, with Professor Daesik Kim from KAIST and choreographer Hyeyeon Kim. 2025.9.16 Photo by Hyunmin Kim

Q. First, could you introduce yourself to our readers and tell us about your group, Chumpan Yamu?

A.My name is Geum Baeseop, and I am a choreographer working in contemporary dance. In 2009, I founded the group 'Chumpan Yamu' and began my activities. In the early days, my work was centered around experiences I gained from learning traditional arts such as Madangnori, Talchum, and Pansori. At that time, I was constantly considering how to reimagine tradition in new ways and how to reinterpret it in the language of the present. However, over time, my interests shifted. Rather than simply using tradition as a subject, I began to focus on "something that does not occur unless people meet, but inevitably arises when they do." The tension and energy that emerge in those moments of contact and relationship have always been important themes for me. Now, I want to create works where the audience is not simply 'watching' the stage, but where their own senses are awakened and they encounter something new in the space between. That is the direction in which I am continuing my work.

Q. We heard that you originally studied theater. What led you to transition to dance?

A.That is correct. At first, I wanted to pursue theater. I learned acting and performed on stage. However, in theater, language and narrative are still central. Then, one day, I saw a dance performance and was struck by the realization that "the body alone can explain the world," and "such a thing exists." The experience of the body itself becoming the language of the moment, without the need for words or narrative, was incredibly powerful for me.

So I prepared again for entrance exams to a dance program, and eventually chose that path. Even now, people often say that my work retains theatrical elements or a 'ritualistic' atmosphere. Although I do not approach my work as if it were a 'ritual,' in some pieces I incorporate such ceremonies, and in other cases, I explore themes like 'shamanic cleansing' that contain such rituals. I think I have tried to connect the human and the divine, the visible and the invisible worlds. For me, dance is not just about movements or steps, but is like a bridge that connects worlds-such as the world, relationships, and distances. I find enjoyment in the things that exist in those in-between spaces.

Choreographer Geum Baeseop is having an interview with Professor Kim Daesik from KAIST and choreographer Kim Hyeyeon at Cafe Comma in Yeouido, Seoul. 2025.9.16 Photo by Kim Hyunmin

Q. Where do you usually get your ideas for works? We are curious about the process behind your latest piece, <Leakage>.

A. I ask myself what to talk about and how to approach it, and then memories and experiences I have seen and felt gradually come to mind. Sometimes inspiration comes from conversations with people, walking down the street, or viewing other works of art. In this way, a rough draft forms first, and within that, the framework of the piece is gradually constructed.

In the case of <Leakage>, the title was not decided from the beginning. I originally had a completely different title in mind, but the dramaturg suggested the word "leakage." As I thought about it, I found it intriguing. The question began with "What is leakage? What is it that seeps out?" and from there, concepts such as 'evolution, degeneration, and loss' came into play. Ultimately, it became a work that explores the process of something seeping in and flowing out, and the events that arise in empty spaces.

Often, I only realize the true meaning of a work after it is finished and some time has passed. This was also the case with <Embrace>. Although it originated from the Sewol ferry disaster and the death of a diver, these issues were not directly revealed in the piece; instead, they remained within me and emerged on stage in a different way. <Leakage> likewise began with a single word and is now generating questions on multiple levels, but I believe that, with time, it will be interpreted in new ways. In the end, my work always seems to start from 'emptiness.' What happens in spaces where things come and go, never staying still but flowing through? That could be a gap, or it could be an in-between. The word <Leakage> served as an effective device to express the essence of this process. Showing, on stage, something that flows out while something remains-the contradiction of that situation-was the central question of this piece.

Choreographer Baesub Geum is having an interview with Professor Daesik Kim from KAIST and choreographer Hyeyeon Kim at Cafe Comma in Yeouido, Seoul. 2025.9.16 Photo by Hyunmin Kim

Q. You often feature everyday objects such as plastic bags, dress shirts, and glass tape on stage. What is your reason for choosing these items?

A.I am not interested in or do not want stage sets that are specially made for a particular purpose. Those are created for a predetermined function, so they do not provoke new imagination or stimulate different senses. On the other hand, everyday objects like plastic bags, dress shirts, chopsticks, and paper feel a bit different. We use them all the time, but when they are placed on stage, they create entirely new meanings and sensations.

For example, if you blow a plastic bag with a fan, it is just a simple effect, but if a person struggles to create wind with a fan, it produces accidental and imperfect movements. That uncertainty is what brings tension to the stage. Through such objects, I want the audience to experience sensations that are both familiar and unfamiliar. The moment we see something that already exists in a new way, we begin to see the world we live in differently as well.

Q. It seems that you sometimes 'invent' new meanings by deconstructing the original purpose of objects, and at other times you 'discover' meanings latent within them. Which approach do you feel is closer to your own?

A.In fact, both are true. I am always 'digging' on stage. I fiddle with various objects, exploring what properties they have. Then, at some unexpected moment, when something shines in an unforeseen way, I seize it and think, "Ah, this is it." That is closer to 'discovery.' At the same time, connecting it to the structure of the work or choreography and conveying new meaning to the audience is also an act of 'invention.'

For example, imagine two people holding a very large, long sheet of paper taut from both ends. If you drop a bead of water along a line in the middle, the water seeps into the paper and, combined with the tension, eventually causes the paper to tear. Picture that moment. It is not something I forced; it is the property of the paper revealing itself. Glass tape, for instance, is usually used to stick things together, but even a single strip of tape has various uses and qualities: its stickiness, the way it sparkles as light passes through, its ability to close or hold the movement of an object, and more. When these are placed on stage within relationships and context, they become language in my work. I enjoy the movement, sensation, and imagination that unfold at the intersection of discovery and invention, and I try to incorporate them into my pieces. Sometimes interesting things are discovered, but many are discarded. Despite that, I continue my work by researching and reflecting with dancers in the studio, always searching for these elements.

Choreographer Baesup Geum is having an interview with Professor Daesik Kim from KAIST and choreographer Hyeyeon Kim at Cafe Comma in Yeouido, Seoul. 2025.9.16 Photo by Hyunmin Kim

Q. Where does the motivation to continue making such discoveries come from?

A.Simply put, it is enjoyment. There is a great sense of satisfaction when, after days of trying in the studio without success, something suddenly works. In those moments, my mind and body light up together, and I cannot help but continue this work. I often organize my thoughts by running or walking on mountain trails or around my neighborhood. Sometimes, as I run, a new idea will pop into my head and my pace quickens; when I am deep in thought, I slow down. Movement opens my mind, and thoughts, in turn, move my body. That rhythm is what keeps me connected to my work. In fact, much of my inspiration comes from walking. Rather than any special trigger or reason, it is the enjoyment of encountering sensations and ideas that emerge after long periods of walking and reflection-that is the driving force that keeps me going.

Q. These days, there is much discussion about whether AI can replace art. How do you view the relationship between AI and art?

A.I have never been deeply immersed in AI, but I am curious about it. I have tried using ChatGPT, and when I hear news about robots, I imagine what the future might look like. The experience of having a conversation that continues like a human was quite fascinating. I first used a trial version, and when the free service ended, I found myself saying goodbye as if parting from a person. I even felt grateful. However, throughout that experience, I realized that what matters most in art is 'inspiration.' Art ultimately begins with personal experience and accidental discovery, and current AI cannot have those experiences directly. Objects can inspire us, but they cannot inspire themselves. Someday, AI may be able to create, but art is not just about the end result-it is also about the attitude toward sensation and discovery during the process. At least for now, I believe only humans can turn accidental discoveries into inventions. That is why I believe the human body and human experience must remain at the center of art.

Q. In your future work, is there a possibility that robots or AI could appear as dancers?

A.I have not imagined it concretely yet. I have sometimes wondered, if I met a robot and a human at a crosswalk, whose side would I take? I have had such everyday thoughts, but the idea of putting a robot on stage still feels unfamiliar. However, art has always opened up new possibilities through encounters with 'beings never seen before.' If the opportunity arises, I might try creating a scene where a robot is not just an object, but forms a relationship with a dancer.

What matters most to me is always the 'in-between.' The tension and gap that arise between people and objects, bodies and spaces, humans and machines. Discovering that and sharing it with the audience is the core of my work. Even in this rapidly changing era of AI, this attitude will not change. Ultimately, what matters is "what can only occur when people meet." That is the essence I want to hold onto through dance, and it will remain the question I continue to ask.

Choreographer Bae Seop Geum is having an interview at Cafe Comma in Yeouido, Seoul, with Professor Daesik Kim from KAIST and choreographer Hyeyeon Kim. 2025.9.16 Photo by Hyunmin Kim

Q. Having created for so long, what 'qualities for the future' would you most like to share with younger dancers or emerging artists?

A.These days, everyone is busy and lives under pressure to produce results quickly. However, dance is not a field where rushing brings good outcomes. Rather than hurrying or trying to do too much at once, I believe it is more important to take each step slowly and deliberately. That is how you can delve deeply into your own work and continue dancing for a long time.

When you are young and full of energy, you may try to push through recklessly. But I have seen many friends burn out and leave the stage suddenly. By the time you reach my age, unfortunately, far more people have stopped than have continued. I have seen many talented artists disappear without a trace, exhausted and spent. I hope that, at least for the next generation, they can walk a 'path that does not evaporate.' The life of an artist is long, and you need the stamina to endure. I want to dance for my entire life. If I can still visit the studio as I grow older, that alone would be a great happiness. The moments of creating something with colleagues, both choreographing and performing, are always precious to me. Whenever I make a new work, I want to keep asking myself, "Is this a good piece? What more should I consider for my experience and maturity to shine?" and never stop questioning.

Kim Daesik, Professor of Electrical and Electronic Engineering at KAIST · Kim Hyeyeon, Choreographer and CEO of Yeonist

This content was produced with the assistance of AI translation services.