About us

Ganesh comes from a small village in Rajasthan, India, where he grew up surrounded by a landscape rich with natural life. His early years were shaped by a close relationship with nature—wild yet profoundly calm. Playfulness has always been a living element in his life: playing sports and traditional games, dancing at weddings and festivals, swimming, and running freely across the village lands.

Through this upbringing, Ganesh developed an embodied sensitivity to movement as a fundamental force of life. More recently, he has deeply felt and recognized movement as the first language of all creation—present in both the visible and the invisible. We exist because of movement; we are a living movement, continuously evolving.

In 2016, Ganesh began formal and rigorous training in dance, starting with Bollywood and gradually expanding into street forms such as locking, popping, krump, and hip-hop. Alongside structured training, he was drawn toward a more intuitive relationship with the body—moving without the need to memorize steps or fixed forms. His early encounter with improvisation, guided by his first contemporary dance teacher, Rahul Goswami, introduced him to ways of improvising with the body—working with elements that allow exploration of physical and energetic realms.

Today, he recognizes these elements as alive in everyday life and as universal movement principles. Rising and falling, shaking, pausing, continuing, and developing are not only movement qualities, but essential processes through which all life grows and transforms.

Over the past decade, Ganesh has been training, practicing, teaching, and performing across India and internationally.

Improvisation is deeply alive at the core of his work, whether dancing solo or within shifting constellations of bodies. It breathes through all of his creative processes and is a central element in his body–mind and life practice.

More recently, Ganesh has developed a deep interest in Contact Improvisation as an evolutionary and continuously growing force of movement—questioning and redefining how bodies relate to one another, to gravity, to the earth, and to the universal life force.

Since mid-2025, Ganesh has been co-curating, organizing, and facilitating Contact Improvisation and improvisation-based projects and performance art events—including residencies and workshops—in South Korea, together with his partner, Kim Giyoung, and other collaborators.

At the age of eight, I fell in love at first sight with a woman playing the janggu, her hair tightly tied back, at a wedding I attended holding my grandmother’s hand. Soon after, I begged my mother to let me learn to play the janggu. At the time, I thought it was the janggu itself that had captivated me, but looking back, I feel it was the state of being completely immersed in something that truly drew me in. The instrument I began by striking gradually led me into dance, song, and eventually into the field of Yeonhee.

In Yeonhee, dance, singing, and instrumental playing are not separated but occur simultaneously within a single body. Through learning and enjoying Korean traditional Yeonhee from a young age, I came to embody a natural sense of how sound and movement connect as one within the body and space. 

After completing my university studies in traditional Yeonhee, I founded Yeonhee Collective Gaeng, continuing to create work across diverse forms grounded in questions about how traditional arts are practiced within Korean society, as well as in an inquiry into the intrinsic power of sound and movement.

Meanwhile, my interest and curiosity toward sound and movement led me beyond the framework of traditional Yeonhee into non-formal modes of practice, where in 2018 I began practicing in earnest in Contact Improvisation. What began as this embodied learning gradually expanded into somatic and improvisation — an ongoing process of noticing what already exists within and around us, and allowing it to pass through the body.

Recently, I have felt my life being carried by a larger current beyond my personal desires and plans. Through pregnancy and childbirth, I encountered life with both gentleness and strength, deeply experiencing the power of trusting the body and actively waiting. This felt like a gift my improvising body offered to life, while at the same time a lived confirmation of the essence of improvisation itself.

As my body and energy naturally change and prepare through each phase, I sense myself becoming a space — an environment capable of holding another being. Through giving birth and caring for my child, the practice of listening to another presence with an empty body continues to unfold in my daily life.

Kim Youngsoo is a father of four and the devoted steward of a neighborhood book-store. He practices listening as a quiet offering, with presence and care. 

A lifelong lover of children’s literature, he has been leading ChaekgwaAideul(“Book and Kids”) with deep dedication alongside his late wife, Kang Jeong-a, who was also the bookstore’s co-director. 

He has cultivated a reading environment over the past 27 years and 6 months through his work at the bookstore, creating a book garden and cultural spaces—including a community library, a venue for book concerts and lectures, spaces for reading circles, and a gallery. He has also developed reading and cultural education programs tailored to different age groups and themes—from children to seniors—and helped disseminate them across libraries, schools, local communities, and nationwide. Through these efforts, he has contributed greatly to the promotion of lifelong reading culture both in the Busan region and throughout South Korea. 

In recognition of his contributions, he received a Presidential Commendation in 2017 and a Busan Mayor’s Commendation in 2021. He is also a contributing author of the book “The Most Beautiful Place in the World: Independent Bookstores” (Sakyejul Publishing).

I find it hard to know where to start writing about myself. I think what makes it hard is not knowing what to grasp as the truth, or at least close to the truth—that is, not knowing what is important. I simply hope that by writing, I might gradually come closer to it.

Every morning I wake up and face a state of not knowing. That is the main practice I am engaged in. At times, this state can feel confusing. I am interested in how, as a human, I can generate a certain degree of autonomous response and action, and at the same time wisely navigate the ability to step back to the state of listening. I try, if possible, to write something about this every day. It helps a great deal.

There must be countless ways to look at life. Within those, I will feel differently, sense differently, and assign different weights of meaning. Whether I see myself as the subject of this world, as just a part of it, or as no-self; whether I become a nihilist or a celebrant of life; whether my language takes the form of poetry or science—I end up asking whether I can meet life itself transparently through all of this. And I wonder if such a “meeting” is not about making something that was not there appear, but rather about recognizing that it is always already happening, and so, paradoxically, whether I can more humbly notice that perhaps it cannot even be called a meeting at all.

I want to share something I wrote a few days ago. It feels closest to who I am today:

“I will follow love. I will listen to my heart. Through the face, life will sing of blessing. I will feel that blessing with my whole body and sing it. That blessing will come with the face of joy, sometimes with the face of sorrow, and in countless other forms. What matters is to feel it all. I must know that feeling does not arise as something separate. It is, simply, nature.”