Artistic Statement
I firmly believe that the life of art and the art of life are one. Artistic practice and research are inseparable, as both are driven by inquiries into humanity and probing how we, interconnected with everyone and everything, shape the world with its gifts and traumas from history.
Educational Background
PhD Candidate, University of Melbourne
MFA (Dance), Tisch School of the Arts, New York University
MA (Dance Education), Steinhardt, New York University
BFA (Dance), Victorian College of the Arts
BA (Philosophy), Fudan University
Practitioner Qualifications
Certified Movement
Analyst(CMA)
Registered Somatic Movement Educator(RSME/T)
GYROTONIC®️ & GYROKINESIS®️ Pre-trainer
Franklin Method Educator
RYT-500 (Yoga Alliance)
Email
weichencui19@gmail.com
Instagram
weichen_cui
RedNote
金刚未尘WeichenIn That Situation
Choreography and Dance by:
Weichen Cui 崔未尘
Music by:
Adrienne Shoenfeld
December 8, 2021
Marlene Meyerson JCC Manhattan, The Lambert Center for Arts + Ideas, New York.I first met Adrienne during a series of Choreography and Composition workshops. After a series of small collaborative experiments with various groupings, the workshop facilitator paired us together to create a final piece.
I often think of my body as a double bass—resonant and grounded when in harmony with others, yet unconventional and unpredictable when brought to the forefront. In this work, Adrienne explored a variety of extended double bass techniques, such as one note, tremolo, pizzicato, double stop, percussive effects, and bow pressure variations, among others. Meanwhile, I interpreted these sounds through movement, translating the textures, contours, and even colors they evoked into embodied expression.
What emerged was a back-and-forth dialogue between sound and body—not always harmonious, but raw, dynamic, and alive.
我与Adrienne相识于一个Choreography and Composition的系列workshop，在经过一轮排列组合的小型合作实验过后，我们被workshop的带领者“搭配”在了一起进行最终作品的创作。我时常觉得自己的身体就像低音大提琴，在和奏中可以宽厚饱满，踏实优雅，而单拎出来，却也许是个不走寻常路的存在。于是，在这个作品中，Adrienne用到了诸如one note, tremolo, pizzicato, double stop, percussive techniques, bow pressure variation等一系列低音大提琴的拓展技法，而我用身体去诠释不同声音带给我的线条感甚至色彩。一来一回，是一场进行中的，不那么美妙却真实生动的，声音与身体的对话。