Modern Korean cities and vast farmlands are what brought Eun-Me Ahn here together with several dancers and cameras. They documented, found tremendous inspiration and energy, and decided to go for it together; to forget time, age, and their strict upbringing. Not to become bound, but on the contrary, to find freedom to express themselves, not to be afraid of colours, flowers, and even kitsch. It doesn't matter if you are 6, 60 or 90 – play your favourite music and start dancing! Body language is more than words; it is your entire history, experience, tradition and presence. You cannot resist the invitation to dance with Korean grandmothers and artists – it is ecstasy!
Eun-Me Ahn received a traditional Korean upbringing. But in addition to shamanic traditions, she soon discovered the world of Isadora Duncan and Western dance. She resumed her studies in New York, where she stayed for several years. She was very close to Pina Bausch, who from the early 2000s often invited her to Wuppertal. In Korea she headed the Daegu ensemble, where she also created the opening ceremony for the FIFA World Cup (2002). Five years later, she began to travel the world with her work Princess Bari, gaining renown in 2011 with the most famous part of the trilogy Dancing Grandmothers, in which she also focused on teenagers and mature men in contemporary South Korea.