Reconstructing the Body and Space: A Comparative Study of Biped and Xihe Jianqi in Digital Interactive Dance
Hanyang University
Abstract
This study explores how digital technology reshapes the aesthetics of dance performance by analyzing two representative works: Biped (1999) by Merce Cunningham and Xihe Jianqi (2020) produced by the China Dancers Association. Through a comparative framework, the research investigates the interaction between body, technology, space, narrative, and audience experience within digital interactive dance. While Biped utilizes motion capture and computer graphics to abstract and depersonalize the body in a non-narrative structure, Xihe Jianqi integrates LiDAR and depth-sensing technologies to create a poetic fusion of traditional Chinese sword dance and digital responsiveness. The study reveals that digital dance is not a singular aesthetic trend but manifests diverse cultural and philosophical approaches. Key findings highlight the dual role of technology as both an abstracting tool and an emotional medium, the reconfiguration of the stage as a responsive ecosystem, and the transformation of the audience from passive spectators to interactive participants. This research contributes to the discourse on digital performance by proposing a refined analytical model that integrates body, technology, and space, and offers a culturally grounded perspective on the evolution of digital dance aesthetics.
Keywords:
digital dance, interactive performance, choreography and technology, Chinese aesthetics, audience experienceCopyright Notice & License:
All articles published in Global Review of Humanities, Arts, and Society (GRHAS) are licensed under the Creative Commons Attribution 4.0 International License (CC BY 4.0).
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