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2009년부터 현재까지 작업과정 속의 생각, 경험, 이론 등을 작품활동의 중요 키워드(언어, 몸, 시각, 관객, 공간)로 나누어 정리해 나가는 글 모음들 입니다.
내용에 관한 의견 등 함께 나누고 싶으신 부분이 있으시다면 moomplayofficial@gmail.com으로 연락 주셔도 좋습니다.
Divided by the 5 keywords (Language, Body, Sight, Audience, Space) of Moomplay, these are archived pages for rumination of ideas, theories and processes undertaken through various projects since 2009. Please feel free to reach out to us at moomplayofficial@gmail.com to discuss. Opinions, commentary and feedback are always welcomed and appreciated.

글쓴이. 김이슬
Writer. Director of Moomplay, Esl Kim
THIS IS 2021- Virtual Residency




컨셉/ 안무/ 편집. 김이슬 (뭄플레이)

리서치 참여/ 움직임. Gabrielle Rousseau, Jeanne Theroux-Laplante, Laurianne Forget, Shania Leblanc

주최 뭄플레이, 오타와 댄스 디렉티브 

후원 한국문화예술위원회 (국제교류사업)


Concepts/ Choreography/Editing. Esl Kim

Research/ Dance. Gabrielle Rousseau, Jeanne Theroux-Laplante, Laurianne Forget, Shania Leblanc

Production. Moomplay, Ottawa Dance Directive

Supported by Korean Arts Council 


-About this project-


<THIS IS 2021> is an online research project. It is one in a series of research works from Moomplay related to the larger ongoing theme, ‘Selective Perception (Sight is a Decision)', which has spanned the last 11 years. Over a span of 5 weeks (Jan-Feb 2021), 4 dancers, once a week per dancer, collaborated and researched with choreographer Esl Kim aspects of perception. Utilizing the frames and borders created while interacting via cellphones, laptops, etc., what is in or out frame was an integral aspect for research; to answer the primary question of, “How can we show what we don’t want to be seen?” Researching, experimenting and seeking to find a way, “to show what we don’t want to show” via movement, the questions of, “What we choose to show/ not show? What we choose to see/ not see?”, had to be answered. The aspects of self-introduction (showing or not showing) of one’s self via movement as well as written and oral means, juxtaposed against each other has been key aspect of this project. Working individually and independently, each dancer was exposed to an identical format and directive. This process yielded unique and specific choices and outcomes for each dancer. This video presented here are clips of this dancer’s outcomes of the research done.


2021년 1월-2월 총 5주에 걸쳐 진행된 캐나다 오타와 댄스 디렉티브 × 뭄플레이 의 온라인 레지던시 작업 영상입니다. '선택적 인지'를 큰 주제로, 각자 개개인의 선택들을 탐구하고자 같은 스코어를 가지고 총 4명의 무용수와 4개의 영상을 제작 하였습니다. '보이고 싶지 않은 것을 움직임으로 보여줄 수 있는 가? ' 를 모티브로 움직임 리서치를 진행하고 스크린/프레임 속에서 드러나는 것들, 감춰지는 것들에 대해 고민해보는 시간이었습니다.


- 보여주고/보여주지 않는 당신의 선택

- 보고/보지 않는 당신의 선택






' I don't like to show my technical weaknesses. Weakness also translates to vulnerable which in some cases I don't mind showing, but when it comes to technical weakness it makes me feel frustrated and incompetent. I don't like up close shots. I am confident as a whole but when I am up close I see all my little imperfections which tend to make me more insecure. I don't like to show insecurity. I like to be confident and own whatever I am doing, whether that be within or out of my comfort zone. If I am insecure about it, I don't think it would be as interesting to watch and may be borderline awkward.' -Gabrielle


'Well, I think as a dancer and as a human, I always work toward being the best version of myself possible on that day. I like to stay humble about what I don't know and to not speak too loud when I'm ignorant about something. I don't want to show vulnerability to everybody; I choose when, how and to whom I show it. I question myself; about the effects that will be generated because of my confidence between myself and others.


I was born with some of the things I don't want to show, like the shape of my feet and my dry skin. When it comes to dance, I don't want to show some ideas because I'm insecure about the pertinence of them. I know that some of them are just bad and wouldn’t help anyone if I shared. Technically, I work every day on many of my flaws. I keep thinking about how to hide or change them. I don’t want to show: My cross eye when I’m not focused, the stiffness of my arms, my sickly foot, the misplacement of my shoulders, the misplacement of my hips and the misplacement of everything else.' - Jeanne


'I'm a private person. I don't usually talk much about myself. When I introduce myself, I will only say my full name. I don't want to show who I am. I want people to learn about me part by part. It's a way for me to personally protect myself and to hide my weakness; my sensitive part. I want people to see me in a certain way. If I show what I don't want to show, I'm scared that people will see me differently; change their perspective... ' - Laurianne



'Something or someone is looking at me. I see it and it makes me uncomfortable to know that I’m being observed. Even though I’m trying to cover myself or get away, there’s no escape, I’m stuck here. Over time I forget that I’m being watched, just like an animal at the zoo that gets used to being the show in its daily life to the visitors. Sometimes, I just want to hide so I can have some privacy. -Shania



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뭄플레이MOOMPLAY는 공연예술가 김이슬이 다년간의 창작 작업 이 후 정립된 그녀의 공연예술 철학을 여러 분야의 예술가들 및 대중과 함께 더 심도있는 실험, 실천, 실연 하기 위하여 2019년 창단한 공연예술단체이다. MOOMPLAY의 MOOM은 그녀의 리서치의 중심에 있는 몸MOM 과 눈NOON을 소리나는 데로 알파벳으로 표기하고 결합한 형태로, PLAY는 놀이를 뜻하며, 놀이를 통한 실험과 창작을 가장 큰 지향점으로 두는 그녀의 철학을 담았다. 뭄플레이MOOMPLAY는 여러 공간 속에서 다양한 형태로 존재하는 몸과 눈에 대한 연구를 통해 시감각적인 융합공연을 지향하며, 장르 및 대상의 경계를 확장시키는 워크샵 및 연구활동을 기획하고자 한다.

MOOMPLAY is an experimental performance group founded by Esl Kim in2019. The moniker, MOOMPLAY was derived from the Korean word 몸mom; meaning body and 눈noon meaning eye(sight). Through observation, investigation, experimentation and exploration, MOOMPLAY seeks to playfully and inquisitively utilize body, sight, mind and consciousness for the purpose expanding perspectives.


김이슬은 움직이는 공연예술가로서, 공간, 관계, 언어 그리고 몸을 대상으로 리서치를 한다. 크게는, 보이거나 보이지 않는 것들에 대해 탐구하며 매 작품 이에 관한 소주제를 다루어 다각도로 풀어나가고자 한다. 경험을 통한 연구를 추구하여 이를 위해 다양한 공간, 도시 등을 돌며 활동하고 있다. 국립 아시아문화전당 안무가랩, 서울문화재단 창작활동지원, 한국예술창작아카데미 차세대열전, 영국 더플레이스 Touchwood, 국립현대무용단 안무랩, 생생페스티벌, PADAF 페스티벌, 안산국제거리극축제, 신인데뷔전 등에서 안무작을 발표한 바 있으며, 거리나 갤러리 같은 공공간에서의 작업과 다른 단체 · 아티스트와의 협업도 활발하게 하고 있다. 국내 여러 안무가들의 작품 뿐 아니라 미국, 캐나다, 오스트리아, 브라질, 프랑스, 독일, 멕시코 등에서도 무용수로 공연해 왔다.

Choreographer, Artistic Director and founder of the creative group MOOMPLAY, Esl Kim has a diverse performance and dance background; ranging from street to modern. Over the past 13 years she has worked with numerous local and international choreographers with many differing body movement methodologies; Marcos Morau(Spain), Ben J. Riepe(Germany), Ismael Ivo(Brazil), Hiroaki Umeda(Japan), Rosie Herrera(United States), Sarah Doucet(Canada), Jinyeob Cha(Korea), to name a few. Living and traveling in several foreign countries with various cultures has allowed her develop her abilities while expanding her artistic perspectives. The primary theme of her work over the last 8 years has been focused on perception; particularly the limits of sight and understanding through the relationship of words and movements as well as the blurring of space and boundaries between spectator and performer. Works based on this theme have been presented since 2014; at the Korea National Contemporary Dance Company's 'CHOREO LAB', Asia Culture Center' 'Choreographer's LAB, PADAF, Ansan International Street Arts Festival and numerous projects and residencies; Ottawa Dance Directive- Ottawa (2021), Choreodrome-London(2018),K3-Hamburg(2017).