GRADUATE STUDENT PROFILES
Joyce Lim, 1997
“My time at Smith in the MFA program was a crucial time of transition — from my previous training as a scientist to a becoming choreographer. The program gave me the time, space, peers, teachers and resources to explore my artistic voice; and challenged how I engaged with the world around me.”
Joyce S. Lim splits her time between Asia and New York City. Over the past 10 years, her work has refocused on contemporary issues and traditional aesthetics of South East and East Asia. In 2002, she completed a nine-month Asian Studies in Asia (ASIA) Fellowship to the Philippines and Indonesia, and in 2004, she was in Japan for a 10-month Asian Public Intellectuals Fellowship. She has been privileged to witness healing performances in remote villages, and study with masters of traditional dance forms. Most recently, she returned to Japan for eight months of intensive study in the dance, music and chants of Noh.
Her choreography and video have been presented internationally at various venues including the Kuala Lumpur Performing Arts Center, the Cultural Center of the Philippines, Gedung Kesenian Jakarta, Teater Utan Kayu, Jakarta Institute for the Arts, Taman Ismail Marzuki, Goethe Haus (Indonesia), Chulalongkorn University of Thailand, Die Pratze (Japan) and venues in New York such as Dance Theater Workshop, Movement Research at the Judson Church, Dixon Place and Danspace Project.
Companies she has taught include Ballet Philippines, Eksotika Karmawibangga Dance Company Indonesia, and in international academies such as Akademi Seni Kebangsaan Malaysia, Universitas Negeri Jakarta, Moga Dance Studio Japan, Ehime University (Japan), and the Graduate Dance Program at Sekolah Tinggi Seni Surakarta, Indonesia. Lim also continues to teach Tai Ji Quan as part of her creative process.
For three years, Lim was the director of artist services at Dance Theater Workshop in New York City. One of the major events of her tenure was the organization of retreats that brought together more than 80 artists, funders, presenters, press, and managers at New York University. During her tenure as a board member of The Field (2002-05), a nonprofit arts service organization, she helped organize the first Artist Congress for performing artists in New York City. She has written for the Movement Research Performance Journal and served on panels for DTW’s Fresh Tracks, Movement Research and the New York Foundation for the Arts.
Her work and research has received support from the Ford Foundation, Nippon Foundation, Japan Foundation, Asian Cultural Council, James R. Robison Foundation, and DTW's Mekong Project with funds from the Rockefeller Foundation, among others.