Her Face, The Hands, Finally Her Hair

In the organizer's words:

Her Face, The Hands, Finally Her Hair is a solo dance performance that explores Chinese women's hair, bodies and gestures as signs of revolution and resistance. The title refers to a poem by Bertolt Brecht about Rosa Luxemburg. Based on interviews with the artist's grandmother, archive material, images of revolutionary model operas and physical research, the work poses central questions: What is revolution and who is the "revolutionary woman"?

The audience experiences a multi-layered structure: first a 15-minute exhibition with texts, videos, images and objects, followed by a 47-minute performance. In this, the audience learns about gestures from the Chinese Xiqu (traditional theater arts) and from the revolutionary model operas and reflects on them together. From the delicate "orchid hand" to the clenched fist, the work traces the radical transformations of female bodies on stage in the past and present.

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Her Face, The Hands, Finally Her Hair is a solo dance performance that explores Chinese women's hair, bodies, and gestures as symbols of revolution and resistance. The title is inspired by Bertolt Brecht's poem on Rosa Luxemburg. Drawing on interviews with the artist's grandmother, archival materials, imagery from revolutionary model operas, and embodied research, the performance asks: What is revolution, and who is the "revolutionary woman"?

Audiences encounter a layered experience: a 15-minute exhibition featuring texts, videos, images, and objects, followed by a 47-minute performance in which they learn gestures from Chinese Xiqu (traditional theater arts) and revolutionary model operas, and reflect collectively. From the delicate "orchid finger" to the clenched fist, the work traces the radical transformation of women's bodies on stage, past and present.