The Movement-Image is an exhibition and performance series curated by Lecturer in Visual Arts Colleen Asper. It unspools the motion picture to situate performance in a continuum with film.

Two dancers in black face a white wall and hold their body in certain still positions.

Maho Ogawa, Choreographic Score Mural Demo. Photo by Alyssa Soethout

Two dancers, Annie Wang and jay beardsley, join Maho Ogawa to activate her Choreographic Score Mural, an abstract map of human bodies. Each line in the mural expresses a visual movement score from the Minimum Movement Catalog. By chance, dancers will select and enact one or two bending movements from the Choreographic Score Mural. The spontaneous combinations of abstract lines created by the dancers will occur only once following the philosophy of Ichigo-Ichie in Japanese culture: right now, this moment is once in a lifetime. This multipurpose installation exists as a public mural, sharing movement scores with viewers, and a performance that creates communication methods to bridge movement and visual language, acts to appreciate and challenge recording and ephemerality, and re-evaluates the subjectivity of movement language.

The Movement-Image is supported through the John Sacret Young ’69 Lecture Series fund.

About Maho Ogawa

Maho Ogawa looks down and smiles, wearing a black and white striped long sleeve shirt.

Maho Ogawa. Photo by Ron Nicolaysen

Maho Ogawa is a Japanese born multidisciplinary movement artist working in NYC since 2011. Her work has delved into building a choreographic language based on nuances and isolated movements of the body that she has built into a database Minimum Movement Catalog. She uses body, video, text, computer programming, and audience-participatory methods to discover how relationships and the environment affect individual bodies consciously and subconsciously.

Ogawa’s works have been presented in New York at Domestic Performance Agency, Invisible Dog Art Center, Abrons Art Center, Movement Research at the Judson Memorial Church and Snug Harbor Cultural Center, among others. In Korea and Japan she has shown work at Za Koenji, Tokyo Culture Creation Project, Akiyoshidai International Art Village, and Whenever Wherever Festival.

Ogawa’s recent works are in part decontextualizing and researching minimum movement found in Japanese tea ceremony rituals, as well as cinema. She is currently working on public events inspired by Japanese tea rituals to build new methods of thinking about “silence,” providing a quiet but active mindset to heal and unite the community. The aim is to empower erased cultures by dismantling oppressed body gestures and their context as an archive and audience-participating event, fighting for cultural equality in nonviolent ways.

She is a 2023 Associated Artist at the Culture Push.

Tickets & Details

The performance is free and open to the public; no tickets required.


Get directions to the Hagan Gallery, located on the first floor at 185 Nassau St. on the Princeton University campus.


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Presented By

  • Program in Visual Arts