An Afakasi In K-Pop : A choreographic exploration of K-pop as an Afakasi

Abstract

This research aims to explore the experiences of being an Afakasi within K-pop, specifically through a choreographic practice. The related performance titled Front Door, Back Door is a physical expression of some of the reflections from this research, as well as prompting provocations from the performance itself. Existing as two main films and an interactive installation, the performance intends to explore what it means to engage with a culture while being of another, fuelled by my own personal engagement with the Korean culture as someone with Samoan Heritage. Some of the concepts that this research engages with are that of culture, belonging, hybridity, identity and the Afakasi experience, as well as being influenced by a variety of artists, choreographers and academics. This research is conducted through the String and Shell methodology. A method that has been coined personally, it utilises stage named ‘play’, ‘revise’, ‘reimagine’ and ‘settle’. These steps are defined and explored, and how these stages differ depending on whether working with choreography, production/post production or installation. The relation to other existing ideas such as authentic movement and gamification is also established and explored. Many artists from multiple disciplines have served as points of reference that my work and research is in conversation with. Neil Ieremia, Lemi Ponifasio, Charles Koroneho and Sori Na have shaped some of the choreographic decisions made within the work. Production and Post Production influences can be seen from artists Phillip Deouflé, Bill Viola, and a collaboration between creatives Bailey Sok and Sean Lew. Artists that were involved in the creation of the Korean installation Mangrove Knock Knock (2020), Layover (2019) and the general design concept of maximalism are also influences on the installation presented. Front Door, Back Door utilised elements such as spoken word and poetics to express the reflections of my research, and the specific choices and hidden elements (established as easter eggs) are also defined in this thesis. This encouraged further reflections on the overall notion of being an Afakasi in K-pop, and how my indigenous identity might be shaped, altered or shifted by my engagement with another.