Taking Care of Motherhood
I would do anything for love. The mother is considered the epitome of the care worker and is, at the same time, a figure forced to constantly fail: whatever she does – it is simply never enough! The choreographer and performer Olivia Hyunsin Kim has, nevertheless, chosen motherhood and in Like Daughter, Like Mother confronts the question of how she can still remain an artist. Because, as the recent pandemic with home office and homeschooling has shown us again, the path to reconciling family and career is still a long one.
In this performance, Olivia Hyunsin Kim creates images of motherhood that oscillate between guilt, sacrifice, and unworthy parenthood. Based on her relationship with her own mother on the one hand and with her newly born daughter on the other, Olivia Hyunsin Kim takes a close look at the social expectations placed on her and, at the same time, humorously takes aim at them, for: I would do anything for love, but I won’t do that.
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◎ Place & Date:
▶ Worldpremiere, Coming of Age Festival, Sophiensæle Berlin, 2nd of October 2021 at 19:00
▶ Further Shows Berlin, Sophiensæle Berlin, 3rd till 4th of October 2021 at 19:00
▶ Premiere Mannheim, Wunder der Prärie Festival, zeitraumexit e.V. Mannheim, 6th of October 2021 20:00
▶ Further Shows Mannheim, zeitraumexit e.V. Mannheim, 7th of October 2021 at 21:30
▶ CONCEPT: Olivia Hyunsin Kim
▶ BY AND WITH: Wicki Bernhardt, Yeonsook Jeong, Olivia Hyunsin Kim, Jones Seitz
▶ Song “Wie war es in Deutschland” from the piece “Miss Yellow and Me – I wanna be a musical” Music by Elischa Kaminer with Yeonsook Jeong
▶ THANKS TO: Yasmin Alt, Christian Cattelan, Nalu Cattelan Kim, Moo Sang Kim, Jinyoung Shin, Antonia Tretter
▶ A production by Olivia Hyunsin Kim/ddanddarakim in co-production with SOPHIENSÆLE Berlin and zeitraumexit Mannheim as part of the Wunder der Prärie festival. Funded by the Capital Cultural Fund.
▶ Newspaper Mannheimer Morgen, “Olivia Hyunsin Kim shows performance about motherhood” by Martin Vögele (excerpt translated in English)
Until then the piece seems light and humorous, but then suddenly it gets into depth when Kim starts to tell us the story of her own Korean family while depicting it. The story is embedded in the cruel experiences of the sufferring of a nation, colonized in 1910 by the Japanese, experiencing the Korean War after the Second World War and ruled by military dictators till the end of the 80s. We get to know how Kim’s mother, Yeonsook Jeong (becoming an important figure through the audio- and videomaterial being played), left Korea und came to Siegen with her husband in 1984, how she raised a child in a foreign country without any support. And we realize clearly how insecurity, uncertainty and doubts can still give rise to (creative) power.