SuJeong Kim

Born in Seoul, South Korea, SuJeong Kim began dancing at the age of 15. She earned her Master’s degree in Dance from Ewha Womans University in 1996.

She began her professional career with the Korean National Contemporary Dance Company, performing works by internationally renowned choreographers, including Joëlle Bouvier, Uri Ivgi, and Johan Greben.

Recognized as an emerging choreographer by the Cultural Art Foundation and selected through Critics’ Choice, she received the Grand Prix at the Seoul International Choreography Festival in 2009 for her work Happy Tears – Episode #1.

In September 2013, she joined Kibbutz Contemporary Dance Company’s International Dance Journey program in Israel. In September 2014, she joined KCDC’s main company as a dancer, performing internationally and developing her artistic practice within the company.

In 2019, she received the Yair Shapira Award for Excellence in Dance in Israel, becoming the first Korean artist to receive this distinction.

SuJeong is the founder and Artistic Director of Crystal_K Dance Company, established in 2006. Her choreographic work explores the relationship between the body, movement, and space, drawing on contemporary dance, somatic research, and cross-cultural perspectives. Her achievements include the Grand Prize at an international choreography competition in Budapest, Hungary, in 2020, alongside numerous choreography awards in Korea and internationally.

Her work has been presented and developed across Israel, South Korea, Spain, the United States, France, the Czech Republic, Hungary, and Russia.

From September 2025, she served as Director of KCDC’s International Dance Journey (MASA) program, overseeing the professional training and artistic development of international dancers.

Since 2026, she has served as Rehearsal Director of KCDC’s main company, working on repertoire development, rehearsal direction, and performance preparation. She also oversees KCDC’s archival work, contributing to the documentation, organization, and preservation of the company’s artistic materials and historical records.

Her practice brings together performance, choreography, repertoire research, movement education, and the preservation of artistic knowledge.