NANAKO NAKAJIMA is a scholar and dance dramaturg, and a Valeska Gert Visiting Professor 2019/20, at Freie Universitaet Berlin. Her dramaturgy work includes Mengfan Wang’s piece with aging dancers (2019) and Dance Archive Box Berlin (2020). Nanako received the 2017 Special Commendation of Elliott Hayes Award for Outstanding Achievement in Dramaturgy from the LMDA.

NESS ROQUE is a theatre and film actor, performance dramaturg and educator. She was a core member of Manila-based contemporary performance company Sipat Lawin Ensemble (2009–2018). She is part of Prodjx Artist Community, an interdisciplinary collective integrating participatory art and research practices, community engagement, and education. Ness is a MEXT scholarship recipient and is currently a graduate student at the Tokyo University of the Arts - Graduate School of Global Arts (Department of Arts Studies and Curatorial Practices). She received an Honorable Mention-Elliott Hayes Award for Outstanding Dramaturgy 2018 from the Literary Managers and Dramaturgs of the Americas (LMDA) for an essay on Sipat Lawin’s Gobyerno.

PETER ECKERSALL teaches at The Graduate Center, CUNY. Publications include Curating Dramaturgies (ed. with Bertie Ferdman, 2021), Machine Made Silence (ed. with Kristof van Baarle, 2020), The Routledge Companion to Theatre and Politics (ed. with Helena Grehan, 2019), New Media Dramaturgy (author with Helena Grehan and Ed Scheer, 2017), and Performativity and Event in 1960s Japan (2013). He was co-founder/dramaturg of Not Yet It’s Difficult. Recent dramaturgy includes Everything Starts from a Dot (Sachiyo Takahashi, LaMama), and Phantom Sun/Northern Drift (Alexis Destoop, Beursschouwburg, Riga Biennial).

CORRIE TAN 陳霖靈 (she/her) is a President’s Graduate Fellow in Theatre Studies on the joint Ph.D. programme between King’s College London and the National University of Singapore. Both a practitioner and researcher, her work knits together care ethics, collaborative performance practices and new articulations of performance criticism in archipelagic Southeast Asia – taking up the commitment of a critic as collaborator, archivist, facilitator and shapeshifter, with an emphasis on care, intimacy and generosity. She is contributing editor and resident critic with the Southeast Asian arts platform ArtsEquator, and has also written regularly about theatre and performance for The Guardian, The Stage, Exeunt Magazine and The Straits Times. Corrie has also cultivated long-term critical writing and dramaturgical relationships with arts practitioners and groups in Singapore and the region.

GEE IMAAN SEMMALAR is an activist, writer, theatre artist and filmmaker. He completed his postgraduate studies in Arts and Aesthetics from Jawaharlal Nehru University, New Delhi. He cofounded Panmai Theatre group along with Living Smile Vidya and Angel Glady in 2014. The debut production of Panmai theatre, Colour of Trans 2.0, which was devised by the founders based on their own lives as trans people, toured many cities of North America and India. Gee directed one of the first films on trans men in South India, Kalvettukal [Sculptures] in 2012. In 2015, he co-directed and acted in a stop motion animation film, Won’t the Real Transformers Please Stand Up?. In 2016, he acted in a road trip experimental film called Naked Wheels which covered the issues of trans people. His most recent performance was a collaborative piece with Raju Rage (London-based artist) and Aryakrishnan R (Kerala based artist) at the Kochi-Muziris Biennale 2018. He uses art as a tool to explore identity, history, citizenship, caste and political action.

JANICE POON is Senior Lecturer (Playwriting and Dramaturgy) and Academic Project officer at the School of Drama, The Hong Kong Academy for Performing Arts. She is also the Artistic Director of Hong Kong Dramatists and a veteran theatre artist and cultural practitioner engaged in play-writing, directing, dramaturgy, curating and theatre-making with specific focus on contemporary dramatic text and dramaturgy in cross-disciplinary and cross-cultural theatre making. Her works have been presented in major cities in the UK, Europe, the US, Canada, China, Taiwan, Singapore and other regions in Asia. And Then, I Float was awarded four major awards, nominated for the best play award at the Hong Hong Theatre Libre (2014), and also invited as part of the cultural exchange project at the Schillertage festival in Mannheim, Germany (2015). Small Waisted (2016) won the Multi-cultural Short Plays Competition organised by the International Theatre Institute of UNESCO. Her curated project Dramaturgy and Beyond - Dance Dramaturgy series was nominated Outstanding Service Award at the Hong Kong Dance Award 2019.

HELLY MINARTI lives in Yogyakarta, independently working as scholar/curator with focus on performance, rethinking radical strategies to connect practice and theory. Her main interest is historiographies of choreography as discursive practice vis-á-vis the eclectic knowledge that infuses the intricate understanding of human body and nature. She has been engaged in various curatorial projects in Indonesia and overseas, the most recent was Jejak-旅 Tabi Exchange: Wandering Asian Contemporary Performance (2018-2021). Helly earned a Ph.D in dance studies from University of Roehampton (UK) and has been invited to guest-lecture in Indonesia and abroad whilst pursuing her own research.

KOK HENG LEUN is a prominent figure in the Singapore arts scene, having built his artistic career as a theatre director, playwright, dramaturg and educator. He is known for engaging the community on various issues through the arts, championing civic discourse across different segments of society.

Having begun his work in the theatre almost 30 years ago, some notable directorial works include Drift , Trick or Threat, Manifesto and Underclass. His explorations with multi-disciplinary engaged arts has produced works like Project Mending Sky (2008, 2009 and 2012), a series on environmental issues, Both Sides, Now (2013, 2014 and 2017-2019), a project that seeks to normalise end-of-life conversations and It Won't Be Too Long, which touched on the dynamics of space in Singapore. His most recent work Tanah•Air 水•土:A Play In Two Parts was about the dispossession of the indigenous Malays and Orang Seletar of Singapore. Heng Leun's contributions to the arts have landed him awards from the Singapore National Arts Council – the Young Artist Award in 2000 and Cultural Fellowship in 2014. He also served as a Nominated Member of Parliament from 2016 to 2018, representing the arts sector.

JANET PILLAI served as an associate professor at the Department of Performing Arts in University Sains Malaysia until 2013 and founded Arts-ED (2007), a non-profit organisation in Penang which provides place-based culture education for young people. Pillai’s interests lie in the field of arts and culture education as well as research and publication. Pillai worked for most of her career as a theatre director with young people before moving into the more focused topic of community-based arts and cultural sustainability.

Pillai is currently an independent researcher and consultant in the area of cultural mapping, community-engagement and arts and culture education. Her work entails research, training and programming with parties (universities, NGO’s, local government agencies, artists and planners) interested in community-engaged projects and place revitalization through the arts.

Pillai has authored 5 books and numerous articles on arts, culture and heritage education and cultural mapping. She also contributes as expert resource person in regional organisations such as UNESCO Bangkok, APCIEU Korea, and GETTY Foundation.

DAVID PLEDGER is an artist, curator, writer, activist, dramaturg and producer, operating at the intersection of performing, visual and media arts, often performing these roles simultaneously and retrospectively in highly collaborative, constructed fields. His dramaturgical practice engages artists, in all art forms, and experts across the social, scientific and academic spectrums, centring artistic practice in ever-increasing circles of cultural and social activity. He creates artworks and public events of scale with multiple intentions including the mobilization of granular, progressive social change.DAVID PLEDGER is an artist, curator, writer, activist, dramaturg and producer, operating at the intersection of performing, visual and media arts, often performing these roles simultaneously and retrospectively in highly collaborative, constructed fields. His dramaturgical practice engages artists, in all art forms, and experts across the social, scientific and academic spectrums, centring artistic practice in ever-increasing circles of cultural and social activity. He creates artworks and public events of scale with multiple intentions including the mobilization of granular, progressive social change.

CHARLENE RAJENDRAN has performed, directed and written for the theatre, as well as facilitated theatre workshops and dialogues. More recently she has been dramaturg in interdisciplinary and collaborative arts projects such as Both Sides, Now ( 2013-2018), In the Silence of Your Heart (2018), Ghost Writer(The Necessary Stage, 2016), The Malay Man and His Chinese Father (2016) and It Won’t Be Too Long: The Cemetery (2015). She also researches contemporary performance, dramaturgy, issues of identity and play-based pedagogies. She is Associate Professor at Nanyang Technological University, Singapore and Co-Director of Asian Dramaturgs' Network.

LIM HOW NGEAN is a performance-maker, dramaturg and dance researcher who has been actively involved in the performing arts for over 20 years. He is also the founding director of the Asian Dramaturgs' Network. Earlier in his career, he performed in productions in Singapore and Malaysia as well as wrote reviews and features on dance and theatre for the Malaysian press. In recent years, he has served as dramaturg for dance performances at the Singapore Arts Festival and Esplanade - Theatres on the Bay. He was conferred his PhD in 2014 from the National University of Singapore for his research on contemporary dance choreography in Southeast Asia.

GUY COOLS is a Belgian dance dramaturge, currently living in Vienna, Austria. He has worked as a dance critic and dance curator. As a production dramaturg, he has worked with Sidi Larbi Cherkaoui and Akram Khan, amongst many others. As a dramaturgical mentor, he has been mentoring the Biennale Dance College in Venice, Italy, and the Atlas program of ImPulsTanz in Vienna. He teaches at different universities and arts colleges in Europe and Canada. His most recent publications include The Ethics of Art (co-edited, 2014); In-between Dance Cultures (2015); Imaginative Bodies (2016); The Choreopolitics of Alain Platel (co-edited, 2019) and Performing Mourning - Laments in Contemporary Art (2021).

Image Credit: Koen Broos Eastman

MAJA HRIESIK was born in ex-Yugoslavia and is based in Slovakia from the late 90s, where she completed MA studies in aesthetics and MA in theatre directing and dramaturgy. She oscillates between dance dramaturgy, installation work and film but also between creation and advocating and nurturing the better conditions for other freelance dance artists. She is a founding member of PlaST – a platform which is running a dance residency space and is advocating for better conditions and visibility of Slovak contemporary dance She has initiated several workshop programmes for emerging performers, worked as editor-in-chief of a Slovak dance magazine Salto (2006-2011), curator and researcher at Slovak Theatre Institute, curator of international theatre festival Divadelna Nitra. Presently she has devoted herself more to production dramaturgy. She is also lecturing at the Academy of Performing Arts and is a member of the curatorial team of a European project Micro and Macro Dramaturgies in Dance. In 2013 she published a book of essays following her PhD research project entitled "On Corporeal Dramaturgies in Contemporary Dance".

Image Credit: Michal Liner

NIA AUGUSTINA (Agustin Pandhuniawati Heryani) is based in Yogyakarta, Indonesia. Since establishing the Paradance Platform in 2014, she has been engaged in nurturing young practitioners in the Indonesian dance field through writing, curating and dramaturgy. Nia co-founded the performance arts and performing arts critique and review website with her husband Ahmad Jalidu in 2017. She was a co-curator of Indonesian Dance Festival (2016-2020). From February to March 2020, she visited Japan through the Asia Center Fellowship Program of the Japan Foundation Asia Center to research a platform for young people in the dance scene. Receiving her Master’s in Mathematics Education in 2015 (Universitas Negeri Yogyakarta, Yogyakarta State University) and working on gender equality and inclusivity discourse through several institutions, has affected her approach on working in the performing arts scene.

SASAPIN ‘PUPE’ SIRIWANIJ began acting in 2005 while studying at Chulalongkorn University, where she received her M.A and B.A in English Literature. A core member of B-Floor Theatre since 2009, she has performed in numerous highly awarded productions with the company. She co-founded For What Theatre, and has produced, directed, and performed with other Thai theatres and international collaborators. In 2017, she was awarded Best Performance by a Female Artist by IATC-Thailand for her work “OH! ODE", which was later invited as part of the 4th Berliner Herbstsalon 2019 by the Maxim Gorki Theater in Berlin. Sasapin’s interest focuses on awareness and empowerment through the body and physical exploration. She was an invited scholar at the Internationales Forum at the Theatertreffen, Berliner Festspiele 2017, and a participant in the Young Curators' Academy by Maxim Gorki Theater in 2019. Sasapin also currently serves as Artistic Director of Bangkok International Performing Arts Meeting (BIPAM) alongside producing independently for international projects.

SARA VANDERIECK obtained her master’s degree in theater directing at RITCS in Brussels. After a short period as an educational assistant at the Royal Flemish Opera, she worked as production and tour manager for TG Stan and les ballets C de la B. In 2009 she became an artistic assistant to Alain Platel for his creations Out of Context – for Pina and C(H)OEURS.

In 2012 she joined the artistic direction of De Grote Post (BE). From then on, she has worked as a dramaturg on various creations by a.o.  Serge Aimé Coulibaly, Bára Sigfúsdóttir, Lisi Estaras, Naïf Production, Lola Bogaert, Kristien De Proost and Louise Vanneste. In 2017 she added yet another layer to her work: she initiated the multidisciplinary in situ project When I look at a a Strawberry, I think of a Tongue. – a collaboration with Lisi Estaras, Mirko Banovic, Kristien De Proost and various guest artists. Since 2018, she has been sharing her dramaturgical practice. She works within the research platform ANKATA in Bobo Dioulasso (BF). She is a member of the dramaturgical platform Cliniques Dramaturgiques (CA). She is associated dramaturge to La Bellone (BE). She coaches within PXL-Music (BE) and is a guest lecturer at the Toneelacademie Maastricht (NL). When evolutions within De Grote Post led to a scrapping of the dramaturgical practice within the institution in 2021, Vanderieck focusses further on her artistic practice as an independent dramaturg.

Image Credit: Kathie Danneels






Born and raised in Taiwan, he began studying dance at the age of twelve and graduated from the Taiwan University of Arts. In 2001, Wu-Kang danced with Ballet Tech and Peridance and became the soloist, he started his long-term collaboration with choreographer Eliot Feld. He was also the guest dancer in Diamond Project of New York City Ballet in 2006. In 2004, he co-founded HORSE Dance Theatre as an artistic director, significant works include Velocity (2007), Bones (2008), 2 Men (2012) which toured in Asia, US and Europe.

He started to collaborate with Artists in different fields in 2011, Exhibition X Performance Successor (2011), and curatorial project of Dance X Sounds seasonal improvisation platform Primal Chaos since 2016. In 2016, He began an intercultural/dance dialogue with Thai choreographer Pichet Klunchun. Behalf premiered in 2018 and toured around Asia and Europe in 2019 while working on the three-year project Rama House. He was the stage direction of The show must go on by Jérôme Bel in Taipei Art Festival in 2019, and co-created as well as performed in Dances for Wu-Kang Chen (2020), recipient of 2021 Taishin Performing Arts Award. Recent online streaming works include Thank You So Much for Your Time (2019), Thank You For Staying Home (2020), 14 (2021 Da:ns Festival, Esplanade, Singapore).

Ruey Horng Sun is a video designer and director creating original works internationally since 2008. He is known for creating large-scale performative multimedia environments which interact with human perception, memories and uncanny experiences in our daily lives. He is the recipient of the 2020 Lucille Lortel awards for his projection design in "the Headlands", produced by Lincoln Center Theater. His design works have been presented by Broadway Theater, EMPAC, Guggenheim Museum, HERE Arts Center, Hong Kong Cultural Centre, La MaMa, LCT3, National Theater Taipei, National Taichung Theater, Wei-Wu-Ying Performing Arts Center among others. Sun was the visiting artist at the Bennington College and on faculty at Taipei National University of the Arts.

Shawn Chua is based in Singapore, where he is engaged with embodied archives, uncanny personhoods, and the participatory frameworks of play. He has presented his research at the Asian Dramaturg's Network, The Substation, and Performance Studies international (PSi), and his works have been presented at the Singapore International Festival of Arts, Singapore Art Week, Esplanade Presents: The Studios, Amorph! Performance Art Festival, and Panoply Performance Laboratory.

Shawn is a recipient of the National Arts Council Scholarship and he holds an MA in Performance Studies from Tisch School of the Arts at New York University. He has served on the Performance Studies international (PSi) Future Advisory Board, and has lectured at Singapore Management University and LASALLE College of the Arts.

Dr Cheng Nien Yuan is a Singaporean performance scholar, educator and dramaturg. Nien completed her PhD in Theatre and Performance Studies at the University of Sydney in 2020. Her work involves the politics and poetics of storytelling in the digital age. Since the pandemic, she has been a dramaturg for several works of digital theatre, including Who’s There? (2020), commissioned by New Ohio Theatre's Ice Factory Festival, and (un)becoming (2021), for T:>Works’ N.O.W Festival. Her research has been published on Critical Stages, Studies in Theatre and Performance, and Performance Paradigm. Nien is currently researching intercultural acting pedagogy at the Intercultural Theatre Institute (Singapore).

Ming Poon works with applied choreography, using it as a tool to interrogate, disrupt and re-organise the social and political relationality of the body in time and space. In particular, he is interested in the potential within the body of the weak/peripheral to resist and disrupt hegemonic structures, using choreographic strategies that involve decolonisation, vulnerability, care, queerness and failure. For him, movement refers to the body’s ability to move, take action, and have agency to create change. He sees his works as choreographic interventions and social experiments, which are interactive and collaborative in design. His practice is inspired by Buddhist concept of interdependence and care, Judith Butler's resistance in vulnerability, Jack Halberstam's queer art of failure, Augusto Boal's theatre of the oppressed and Nicolas Bourriaud's micro-utopias.

He initiated Asian Performing Artists Lab (APAL) in 2020 as a platform for artists with asian background to meet, share and work together and is a founding member of Urgent Bodies, a a newly formed collective whose goal is to bring dance and activism together. He also manages The Farm, an independent space that combines performance-making with activism and co-living. Through these projects, he wants to bring his choreographic practice beyond the question of how we want to make work, and ask how we can create community instead.

Dandan Liu, born in Beijing in 1989, is a theater maker and dramaturge, member of the Berlin Ringtheater collective. She moved to Germany at the age of 23 to study Theatre Studies at the Free University of Berlin. The distinctions between the two societies in cultural and political aspects, which is profound as she experienced, push her to reflect on the interweaving of art and the history of philosophical ideas, as well as the political system. Characterised by her transcultural perspectives and interdisciplinary approaches, her works focus on the areas of participatory theatre, political theatre and dance theatre. Besides collaborating with numerous young artists, as a dramaturge she also works together with established artists including Kadir Amigo Memis, Yui Kawaguchi, Ming Poon and Naoko Tanaka. Her works have been shown on different stages and festivals such as the Berlin Ringtheater, Hebbel am Ufer Berlin, Theaterhaus G7 Mannheim, Tanzhaus NRW Düsseldorf, Esplanade Singapur, the Prague Quadrennial, the Bundesfestivals junger Film, and the cultural channel ARTE.

Fezhah is a creative producer and performance dramaturg based in Singapore. Her creative vision centres on the contemporisation of traditional art forms, development of new artistic languages, and growing of audiences around the artists she works for. Her experience is diverse and international. She has managed and produced shows of varied formats both locally and  internationally, programmed and led cutting edge commissioned works in both art centres and international festivals, and conceptualised and produced platforms for the development of emerging choreographers and directors of minority groups in Singapore. Her networks span across Asia Pacific, Middle East, Europe and the Americas.