{"id":2435,"date":"2025-10-10T06:46:21","date_gmt":"2025-10-10T06:46:21","guid":{"rendered":"https:\/\/jumpingframes.com\/?post_type=mec-events&p=3622"},"modified":"2025-10-16T16:17:13","modified_gmt":"2025-10-16T16:17:13","slug":"perhaps-i-can-see-the-past","status":"publish","type":"mec-events","link":"https:\/\/jumpingframes.com\/en\/film\/perhaps-i-can-see-the-past\/","title":{"rendered":"Body Archive I: Perhaps, I Can See The Past"},"content":{"rendered":"\n

Curated by Elysa WENDI<\/strong><\/em><\/p>\n\n\n\n

In an age where digital technologies reshape how we access, preserve, and reimagine cultural memory, this collection examines the intersection between contemporary media and archival traces of embodied practices. “Perhaps, I Can See The Past” investigates how current technological tools function as time machines for recovering, reinterpreting, and revitalising ancient dance and ritual forms.<\/p>\n\n\n\n

The selected works demonstrate diverse approaches to this technological archaeology of the body. Shon Kim’s Bookanima: Dance<\/em> employs chronophotography to resurrect movement across cultural boundaries, while Daniel Belton’s PEPE (Moth Dances)<\/em> merges traditional M\u0101ori taonga p\u016boro with digital art, creating pathways between ancestral memory and contemporary expression. Choy Kar Fai’s Unbearable Darkness<\/em> pushes further into speculative territory, using gaming technology to explore the afterlives of Butoh through virtual embodiment.<\/p>\n\n\n\n

These technological interventions actively reconstruct, reimagine, and sometimes fabricate new relationships with cultural practices that might otherwise remain inaccessible. From Onyeka Igwe’s contemporary dancers reimagining Nigerian protest rituals, to Caroline Garcia’s Imperial Reminiscence<\/em> inserting herself into Hollywood dance sequences to expose hidden histories of cultural appropriation, to Markku Lehmuskallio’s documentation of Viennese-Karelian wedding dances, each work reveals how the machine’s gaze can both preserve and transform our understanding of embodied heritage.<\/p>\n\n\n\n

Beyond concerns of historical  and technological accuracy, these works perhaps reveal how contemporary machines enable us to see\u2014and move through\u2014the past never fully visible before.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n

The Dance of Life<\/em><\/h2>\n\n\n\n

Spring
Nature wakes up
Birds dancing
After the wedding dances follow autumn
Humans are lost, locked for
That kind is The Dance of Life<\/p>\n\n\n\n

The film documented the dancers of the Helsinki Youth Society performing the old Viennese-Karelian wedding dance; while these images are juxtaposed to the dance of birds, composing the symphony of nature.  It also reflected the director\u2019s connection to humanity in the state of his mind in 1975\u2019s Finland. <\/p>\n\n\n\n

\n

Director \/ Markku LEHMUSKALLIO
Finland<\/strong> \/ 1975 \/ 14\u201830<\/strong><\/p>\n<\/blockquote>\n\n\n\n

–<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

PEPE (Moth Dances)<\/em><\/h2>\n\n\n\n

PEPE (Moth Dances) is a short film fusing taonga p\u016boro, contemporary dance, and digital art. Featuring Nancy Wijohn as a solo traveller embodying Hineraukatauri, the work draws on the cocoon-like form of the p\u016bt\u014drino and the case moth as metaphors for transformation. Silk, breath, and mycelial webs shape a sensory journey through ancestral memory and future vision. The project is a ritual of sound, motion, and spirit, rooted in Te Ao M\u0101ori and resonating across time.<\/p>\n\n\n\n

\n

Director \/ Daniel BELTON<\/strong>
New Zealand \/ 2024 \/<\/strong> 10\u201810<\/strong><\/p>\n<\/blockquote>\n\n\n\n

–<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Sitting On A Man<\/em><\/h2>\n\n\n\n

Traditionally, women in Igbo speaking parts of Nigeria, came together to protest the behaviour of men by sitting on or making war on them by adorning themselves with palm fronds, dancing and singing protest songs outside the man in question’s home . This practice became infamous due its prominence as a tactic in the Aba Women\u2019s War, the 1929 all woman protest against colonial rule. Two contemporary dancers reimagine the practice, drawing on both archival research and their own experiences. <\/p>\n\n\n\n

\n

Director \/<\/strong><\/strong> Onyeka IGWE<\/strong>
United Kingdom \/ 2018 \/ 6\u201856<\/strong> \/ English<\/strong><\/p>\n<\/blockquote>\n\n\n\n

–<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Bookanima: Dance<\/em><\/h2>\n\n\n\n

BOOKANIMA, a compound word of \u2018Book\u2019 and \u2018Anima\u2019, is Experimental Animation to give new cinematic life to books. It aims to create \u2018Book Cinema\u2019 in the third scope between Book and Cinema by Chronophotography Animation, paying homage to Edward Muybridge and Entienne-Jules Marey.  BOOKANIMA experiments Chronophotography Animation about Dance along with dance flow: Ballet-Korean Dance-Modern Dance-Jazz Dance-Aerial Silk-Tap dance-Aerobic-Disco-Break Dance-Hip Hop-Social Dance. <\/p>\n\n\n\n

\n

Director \/ Shon KIM<\/strong><\/strong>
Korea \/ 2018 \/<\/strong> 7\u201830<\/strong><\/p>\n<\/blockquote>\n\n\n\n

–<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Imperial Reminiscence<\/em><\/h2>\n\n\n\n

Imperial Reminiscence<\/em> is a cinematic voyage of misguided desire (illegitimate and guilt-free) that traverses fantasies of cultural otherness. It reviews the historical and ongoing Western narrative of whitewashing in Hollywood films and brings attention to these racial transgressions that continue to oppress non-hegemonic bodies through her acts of mimesis and green-screening, to sample popular culture and colonial imagery in playful and humorous ways.<\/p>\n\n\n\n

\n

Directoe \/ Caroline GARCIA<\/strong><\/strong><\/strong>
Australia \/ 2018 \/ 10’16<\/strong><\/p>\n<\/blockquote>\n\n\n\n

–<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Unbearable Darkness Game Demo<\/em><\/h2>\n\n\n\n

Unbearable Darkness Game Demo<\/em> is an experimental third-person, non-action, docu-adventure game inspired by the afterlives of Butoh dance master Tatsumi Hijikata. It is a recollection of thoughts, movements and expeditions into the world of Butoh. How does the digital, the virtual, the immaterial or non-human expressions collapse and expand the notion of wandering. Unbearable Darkness Game Demo <\/em>wanders into a capsule of paranormal dance experience, of speculative documentary and rendered dreams.<\/p>\n\n\n\n

\n

Director \/<\/strong> CHOY Kar Fai
Germany, Japan \/ 2021 \/ 12\u201837 \/ Japanese, English<\/strong><\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Curated by Elysa WENDI In an age where digital technologies […]<\/p>\n","protected":false},"author":2,"featured_media":2641,"comment_status":"closed","ping_status":"closed","template":"","tags":[],"mec_category":[11],"yoast_head":"\nBody Archive I: Perhaps, I Can See The Past - Jumping Frames - Hong Kong International Movement-image Festival<\/title>\n<meta name=\"description\" content=\"Body Archive I: Perhaps, I Can See The Past\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jumpingframes.com\/en\/film\/perhaps-i-can-see-the-past\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Body Archive I: Perhaps, I Can See The Past - Jumping Frames - Hong Kong International Movement-image Festival\" \/>\n<meta property=\"og:description\" content=\"Body Archive I: Perhaps, I Can See The Past\" \/>\n<meta property=\"og:url\" content=\"https:\/\/jumpingframes.com\/en\/film\/perhaps-i-can-see-the-past\/\" \/>\n<meta property=\"og:site_name\" content=\"Jumping Frames - 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