Participants




Agung is a member of the KURR CLUB Artist Collective, which focuses on making visual art and performance art. He has previously attended a performance workshops with Melati Suryodarmo, (Jakarta Biennale), Seiji Shimoda (Asbestos Art Space), and W Christiawan (Asbestos Art Space). His exhibited works include Pie Kabare Wiji (2014); Jakarta's Rupa Room (2015); Remblong at Taman Budaya Bandung (2016); and Planar in Omni space Bandung (2017). He has participated in the following artist residencies at Micro Galleries Jakarta in 2017, and social ecological design at Tanya's Police Station in 2018. His performance art work include Annual Jeprut Bandung with Rahmat Jabaril in Bandung (2017); KURR CLUB's Sedimentum; Viva La Kebon Orang in the REC performance series; and Looking For Me Behind A Shadow in the Gallery Popo Iskandar (2018).

ROLE:
ARTIST for LAB 1









Akanksha Raja is an arts writer from Singapore with a background in arts and cultural management. She grew up in Singapore and graduated from LASALLE College of the Arts in 2014, where she wrote a dissertation exploring the practice of forum theatre in Singapore. She has been writing reviews on theatre (and occasionally visual art) as part of the editorial team at ArtsEquator since its launch in 2016, and is an alumni of the Points of View Performance Writing workshop organised by the Asian Dramaturgs' Network in 2018. 

Akanksha writes about art primarily because she loves stories that just can’t be told any other way; she believes in its potential to connect, provoke and transform. She’s interested in exploring the affinities and tensions between art and art reviewing; a fluid and fun practice of critical writing that offers the possibility of creative and imaginative interplays with art; Criticism as an intelligent practice of open-mindedness, curiosity, love and understanding.

ROLE:
RAPPORTEUR for LAB 1









Akbar Yumni studied at STF Driyarkara (Driyarkara School of Philosophy). He founded and writes for www.jurnalfootage.net. He is a member of Forum Lenteng, where he works as the selector and curator for Arkipel (Jakarta International Experimental and Documentary Film Festival). His recent activity includes working on performance projects that is related to the corpus of missing film archives.

ROLE:
SPEAKER FOR LECTURE: DRAMATURGY AND ASSEMBLY









Alia Swastika has worked as Program Director for Ark Galerie, Yogyakarta since 2008 and is actively involved as a curator, project manager and writer in a number of international exhibitions. With Suman Gopinath, she was the co-curator of the Jogja Biennale XI, Shadow Lines: Indonesia Meets India (2011), and become one of the co-artistic directors for the Gwangju Biennale IX (2012). Furthermore, she participated as the curator of a special exhibition of Indonesian artists in the 2012 edition of Art Dubai. 

Through her career Alia has worked with many significant Indonesian artists including Eko Nugroho, Tintin Wulia, Wimo Ambala Bayang, and Jompet Kuswidananto, among others. She is a research fellow at the National Art Gallery, Singapore funded by Singapore International Foundation (2009). She has participated in a curatorial residency in BizArt, Shanghai, (2008), and in 2006 she participated in a Kelola Foundation fellowship programme funded by Asian Cultural Council. In 2005 she was also awarded a grant from Asia Europe Foundation. As the director of Jogja Biennale 2015, she is a member of the International Biennale Association Board, and recently she founded ‘Study on Art Practices’, a platform for research on Indonesian contemporary art.

ROLE:
CRITICAL RESPONDENT for LAB 1
MODERATOR FOR PANEL #3: DRAMATURGIES OF GENDER PERFORMANCE









Anis is a choreographer and dancer. Engaged in BPAF performance projects since 2016 in projects Di Luar Dari Yang Di Luar. Elected and attended a series of dance workshops such as: Body Movement Workshop with Panama Picture, Erasmuss Huiss; Indonesian Dance Festival 2016 Dance / Choreography Workshop with Su Wen Chi (Taiwan), Suprapto Suryodarmo (Solo), Ramli Ibrahim (Malasyia) and Benny Krisnawardy (Jakarta); Bandung Dance Collective Workshops 2018, Street Contemporary by Sharoon Bittner (Singapore) and Floor Work by Eyi Lesar (Jakarta); Inspyro Moves Workshops 2018, Body Injection by Hari Ghulur (Surabaya) and Body Dynamic by Shereden Newman (Australia).

ROLE:
ARTIST for LAB 1









Arham Rahman is an Indonesian curator and visual art researcher who lives and works in Yogyakarta, Indonesia. He graduated from Magister Program of Religious and Cultural Studies, Sanata Dharma University, Yogyakarta. At Sanata Dharma University, he worked with several art and cultural communities, such as Erupsi (Academia of Psychoanalysis, Art, and Politic), Colliq Pujie Art Movement, Study on Art Practices (SOAP), and SPASI, a curatorial studies and art criticism group. Besides doing research on art and cultural issues, he writes and curates exhibitions in Yogyakarta. 

From 2014 to 2016, he worked as Managing Editor of The Equator, Yogyakarta Biennale Foundation’s Newsletter, and in 2015 worked as Makassar Biennale Director. Now, he is the Curator of the Lorong Gallery in Yogyakarta, an art space which makes craft discourse as a platform. 

He is interested in Lacanian psychoanalysis discourse, post-colonial criticism, and other approaches to cultural studies. In art studies, he is interested in discourse about Indonesian art history, the political economy of art, digital art, and contemporary craft.

ROLE:
RESEARCHER-PROVOCATEUR for LAB 2









Charlene Rajendran is a theatre educator, dramaturg and writer, whose involvement in experimental performance began when she was a teenager, working with pioneering Malaysian children’s theatre director, Janet Pillai. She 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 (Drama Box and ArtsWok, 2013-2018), Ghost Writer (The Necessary Stage, 2016), The Malay Man and His Chinese Father (Akulah Bimbo Sakti, 2016) and It Won’t Be Too Long: The Cemetery (Drama Box, Singapore International Festival of Arts 2015). In 2017 she planned and facilitated Seminar in Singapore, produced by Pro Helvetia and Singapore International Festival of Arts, in which twelve international artists participated in a week-long dialogue and exploration of performance and culture. 

 Charlene also researches contemporary performance, issues of identity and play-based pedagogies, with a view to expanding contextually-based discourses on performance-making and arts education. Most recently she co-edited Excavations, Interrogations, Krishen Jit and Contemporary Malaysian Theatre (Five Arts Centre, 2018), and has published in varied academic and creative platforms. She is currently a member of the Internal Advisory Committee for UNESCO-NIE Centre for Arts Research in Education (CARE) and the Co-Director of Asian Dramaturgs’ Network.

ROLE:
LAB MODERATOR
SPEAKER FOR PANEL #1: THE ROLE OF THE DRAMATURG IN PERFORMANCE-MAKING
MODERATOR FOR PANEL #2: THE DRAMATURG IN PROGRAMMING, CURATING AND RESEARCH









Corrie Tan is contributing editor and resident critic with the arts media company ArtsEquator. A writer, editor and researcher, she was previously arts correspondent and theatre reviewer at The Straits Times, Singapore's national broadsheet, where she also co-organised and adjudicated the annual Life Theatre Awards honouring excellence in Singaporean theatre. She has written about theatre and performance for The Guardian, The Stage, Exeunt and BiblioAsia, and has taught workshops, given lectures and moderated panels on the arts, writing and criticism at the National University of Singapore, the Singapore International Festival of Arts, the Singapore Writers Festival, the Intercultural Theatre Institute, Esplanade – Theatres on the Bay and Centre 42, among others. Corrie graduated from Brown University with a B.A. (Hons) in Literary Arts and holds an M.A. (Dist) in Performance & Culture from Goldsmiths, University of London as a recipient of the NAC Arts Scholarship and the Goldsmiths International Scholarship. She is currently a PhD student in Theatre Studies on the joint degree programme between the National University of Singapore and King's College London. Her research interests include new modes of theatre criticism, audiences and spectatorship, performance in public spaces and site-specific performance, and participatory performance.

ROLE:
RESEARCHER-PROVOCATEUR for LAB 2
MODERATOR FOR LAB SHOWCASE Q&A









David Pledger is a contemporary artist and curator working within and between the performing, visual and media arts in Australia, Asia and Europe. His live performances, installations, interactive artworks, documentaries, digital art and discursive events have been presented in various locations including theatres, galleries, museums, a car-park, a stables, a cattleyard, a suburban house, a film studio and the Australian Institute of Sport. His work is notable for engaging publics in productive and provocative ways. From his initial practice, live performance, he has developed a cross-disciplinary dramaturgy in which a central platform is engaging with artists across artforms and experts from social, scientific and academic fields. 

Recently cited as ‘one of Australia’s true creative originals’ in a national survey of the performing arts, David is the recipient of numerous project and career awards, grants and commissions for his work as a director, designer, writer and actor in live performance and new media. Distinguished by collaborations with media arts pioneer Jeffrey Shaw, visual artists William Kelly and Callum Morton, choreographer Shimizu Shinjin and theatre director, Kim Kwang Lim, his practice interests include the body, the digital realm and public space. In 1995, he co-founded not yet it’s difficult (NYID), one of Australia’s leading interdisciplinary arts companies.

In 2016, he launched a serial performance work David Pledger Is Running For Office in Canberra ten days ahead of the July Federal Election and was elected Federal Minister for Empathy. He also created Hotelling, a new 24-hour-plus ‘happening’ embedded in the iconic QT Hotel at Surfers’ Paradise. David’s curatorial practice focuses on developing the optimal conditions for artistic production in which exhibition and programming ambitions can be realised. He is currently engaged in various artistic adventures with social change agency, Igniting Change, the City of Gold Coast around his future-focussed art-thinktank 2970° and the Spatial Information Architecture Lab (SIAL) at the School of Architecture and Design, RMIT University, where he is on a research scholarship investigating the effect of ‘noise’ on our social, cultural and political systems.

He is regularly published in online and print journals including The Conversation, Arts Hub, Artlink, Art Wires, Dancehouse Diary and Platform Papers on artistic practice, cultural policy, arts activism and international cultures.

ROLE:
META-ANALYSIS COMMENTATOR for LAB 2









Dominic is an educator, b-boy and writer. He studied literature to teach literature but is still wondering exactly how and why people should care about literature. Presently, he is the Dramaturg for The Second Breakfast Company’s restaging of Goh Poh Seng’s The Moon Is Less Bright, as well as Editor-in-Chief of Unseen the Magazine, an online literary magazine. He is currently working on a solo performance integrating monologue theatre and breakdancing titled dead was the body till i taught it how to move, produced by Bhumi Collective and to be performed in July 2018.

ROLE:
RAPPORTEUR for LAB 2









Fasyali Fadzly is an educator, director, playwright and writer. After dropping out from his computer science course, he chose theatre and pursued his dream to commit and develop Malaysian theatre from the ground-up. An MFA graduate from the University of Calgary, Canada, he often tackles his work in a satirical manner. He believes comedy allows for both convention and innovation, not just in playwriting but also in finding new forms. He wrote and directed his own play Teater Juta-Juta [Theatre of Millions] which won Best Director, Best Original Script and Best Ensemble Performance in the Boh Cameronian Arts Award 2014; Berani Mati [Suicide Game]; Kotak Hitam [Idiot Box]; Kawan-kawan Yang Kita Suka [Friends that We Love]; and directed several plays from other playwrights such as Oedipus, ‘Art’ and Jebat. In 2017, he was invited to involve in the One Table Two Chairs Meeting in Tokyo and staged a 20-minute show titled Ingatan at Za-Koenji Public Theatre, Tokyo. He also writes theatre-related articles and reviews and was published in local and international web portal. He occasionally acts for feature films, short films, commercial and TV programmes. One of his short films that he wrote and acted in, Skodeng: Kebenaran Yang Nakal, won Best Film, Best Script and Best Director for the KL 48 Hours Film Project and represented Malaysia for the International 48 hours Film Project in Miami in 2010. A recipient of The National of Arts, Culture and Heritage of Malaysia (ASWARA) Academic Scholarship Award, he is now a lecturer at  ASWARA.

ROLE:
RESEARCHER-PROVOCATEUR for LAB 1









Ficky Trisanjaya is a performing art artists and writer who lives and works in Yogyakarta. He worked in Sanggar Anak Wayang (NGO for underprivileged children's education in Yogyakarta) from 2008 till 2017. He was selected as a representative artist from Indonesia to participate in the International Mundial Festival in Netherlands (2002) and Gangneung International Folklore Festival in South Korea (2004). 

Since 2004, he has pursued his passion for performing arts, especially theatre-making and playwriting, whilst continuing his research and art-critique writing. Ficky has created theatre productions with Tema Theatre (Taman Madya High School, Taman Siswa). In 2014, he joined BMT (Bengkel Mime Theatre) and has since been actively involved in all BMT mime theatre productions and educational programmes. Together with his wife Aik Vela Pratisca, who is also a theatre director, they founded Kelompok Hidup, a mime theatre collective, in 2015.

ROLE:
RESEARCHER-PROVOCATEUR for LAB 1









Fiky Daulay (born in 1988) is a writer and researcher. His main interest on research are closely related to documentary/cinema works and the concept of documentary (archive) in broader sense. Besides working as a research assistant at KUNCI Cultural Studies since 2016, he also has involved in several collaborative projects with some art collectives. Such as “Mingapa Bigini Mingapa Bigitu”, a series of interdisciplinary collaboration activities between communities and between individuals as an exploration of the definition of utopia in a collaborative framework, which initiated under Arts Collaboratory Minga Utopia project in 2015; and "100% Yogyakarta", a joint cooperation between Rimini Protokoll with Teater Garasi and 100 citizens of Yogyakarta in 2015, where he conducted a research as part of the theatre production.

ROLE:
- INTERPRETER for LAB 1









Actor and Performance, born in the city of Medan, Indonesia. Co-founder Bandung Performing Art Forum in 2016 until now and worked on several performance projects together as actors including Cut Off and DiLuar Dari Yang Di Luar 2016, collaborators on Malam Minggu Metal and actors in Membeli Ingatan 2017. As writer of The FTJ (Jakarta Theatre Festival) Newspaper (2015). Involved the Body Movement workshop with Panama Picture from the Netherlands (2016). Invited and involved on The Directing Workshop “Body and Word” by Toshiki Okada (Japan), Art Summit Indonesia (2017). Involved in The Collective Creations Workshop by Teater Garasi, Jakarta (2018).

ROLE:
ARTIST for LAB 1









Gee Imaan Semmalar is a trans activist, writer, theatre artist and filmmaker. He completed his postgraduate studies in Arts and Aesthetics from Jawaharlal Nehru University, New Delhi. He co-founded Panmai Theatre group along with Living Smile Vidya and Angel Glady in 2014. He is interested in using theatre of the oppressed to bring social change around various issues.

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 Philadelphia, New York, Boston, Chennai, Bangalore, Kerala and Karnataka in 2015. 

 Gee directed one of the first films on trans men in South India, Kalvettukal [Sculptures] in 2012. He has also recently co-directed and acted in a stop motion animation film, Won't the Real Transformers Please Stand Up?. He continues to do performative interventions in social movements and public spaces and believes in the power of art as a political tool.

ROLE:
CRITICAL RESPONDENT for LAB 1
SPEAKER FOR PANEL #3: DRAMATURGIES OF GENDER PERFORMANCE





Gusbang (b. 1993) is a choreographer from Bali who graduated from Indonesia's Arts Institute (ISI), Yogyakarta, with BA and MA degrees in dance. Through artistic work, he investigates the Balinese tradition in relation to his identity as an individual who was born and bred in Balinese religious - and yet cosmopolitan - society. He also observes there are various new interpretations and negotiations of the Balinese society applying to their traditional practices within the dynamic context of modernity. Gusbang has performed in various festivals, among them Rota Do Oriente Lisbon, Portugal (2013), World Dance Day Solo (2014), Solo International Performing Arts (2014), Asia Tri Japan (2015), Turkish Folk Dance Festival (2015), World Culture Forum (2016), International Art Festival (2016), Indonesian Cultural Festival in Taiwan (2016) and Art Jog 10 (2017). Last year, Gusbang participated in a residency programme Monsoon Platform, part of Europalia Indonesia in Leuven, Belgium.

ROLE:
ARTIST for LAB 2










Irfanuddien Ghozali is a stage actor and director born and raised in Yogyakarta. During his career, he had been creatively involved in various art productions as well as engaging with many art foundations such as Teater Garasi, Teater Gardanalla, FAY, IDRF, IVAA, and PSBK. He is currently focusing on the production of a play based on history archive of a specific environment.

ROLE:
OBSERVER for LAB 1









Janice Poon is a Hong Kong-based theatre artist and cultural practitioner, and Lecturer (playwriting) and Academic Project Coordinator at the School of Drama, Hong Kong Academy of Performing Arts. She is also the Artistic Director of theatre collective Hong Kong Dramatists. She engages in cross-disciplinary and cross-cultural creative work through playwriting, directing, dramaturgy and curating. Her works have been presented in major cities in Europe, the US, China and other Asian cities. And Then, I Float was awarded four major awards and nominated best play at the Hong Hong Theatre Libre, and invited as part of a cultural exchange project at the SCHILLERTAGE festival of National Theatre Mannheim; and Small Waisted won the Multi-cultural Short Plays Competition organised by International Theatre Institute/UNESCO.

ROLE:
CRITICAL RESPONDENT for LAB 1





John Heryanto is a performer and co-founder of the Bandung Performing Arts Forum (BPAF). He has been involved in several performances of Teater Payung Hitam, Laskar Panggung and Teater Piktorial. Collaborate with Lary Red (Francisco), Interdisciplinary residences and collaborations at Metro Art Brisbane and the Contemporary Art Center of Crain in Australia. Following BrisAsia Festival (2017). Involved on Directing Workshop: Body and Word, Toshiki Okada, Art Summit Indonesia IV (2013). International Mask and Puppet Festival (2012 & 2014).

ROLE:
ARTIST for LAB 1









Kako Kishimoto is the artistic director of BUoY Arts Center Tokyo, which is founded in 2017: former bowling alley and public bath, renovated by young artists into theatre, gallery and cafe. She has been the director of Tokyo-based multilingual performance company 空(utsubo), which she founded in 2009. She has worked as a translator and dramaturge at Festival/Tokyo 2008-2010 and the World Theatre Festival under Mt. Fuji 2012, which was held at the Shizuoka Performing Arts Center. She holds a B.A. from Waseda University with a major in anthropology. She also holds a M.A. from the University of Tokyo with a major in cultural studies, and a MFA from Columbia University with a concentration in dramaturgy. She is now a Ph.D. candidate at the University of Tokyo. She received the first prize at Geisou Connect Vol.7, the highly acclaimed young directors festival in Osaka. She has taught as an adjunct lecturer at the University of Tokyo, Tokyo Women’s Christian University, Senshu Univerisity and Musashi University.

ROLE:
CRITICAL RESPONDENT for LAB 2









Kei Saito is a performing arts administrator and producer currently based in Chizu Town, Tottori Prefecture. Born in Tokyo in 1974, he moved to Tottori in 2006 and helped set up BIRD Theatre Company and BIRD Theatre, where he managed the venue, performances, festivals and international projects. He left the company in 2016. He is also a board member of the Open Network for Performing Arts Management (ON-PAM).

ROLE:
CRITICAL RESPONDENT for LAB 1
SPEAKER FOR PANEL #1: THE ROLE OF THE DRAMATURG IN PERFORMANCE-MAKING









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, which held its inaugural symposium in Singapore in April 2016. 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, How Ngean has served as dramaturg for dance performances at the Singapore Arts Festival and Esplanade - Theatres on the Bay. He has dramaturged for critically-acclaimed choreographers and dance groups, such as the Amrita Performing Arts Group (Cambodia), Daniel Kok (Singapore), Kuik Swee Boon (Singapore), Ming Poon (Singapore), and Pichet Klunchen (Thailand). His latest work was What Price Your Dance?, a collaboration with Dance Box Kobe, performed in February 2016 in Kobe, Japan.

In 2006, How Ngean was awarded a visiting fellowship under the Asian Public Intellectual programme of the Nippon Foundation, during which he researched contemporary dance in Tokyo for eight months. He was awarded the British Council Chevening Scholarship in 2007 to study his MA in Royal Holloway London. He was conferred his PhD in 2014 from the National University of Singapore for his research on contemporary dance choreography in Southeast Asia.

ROLE:
LAB MODERATOR
CHAIR FOR KEYNOTE LECTURE
SPEAKER FOR PANEL #1: THE ROLE OF THE DRAMATURG IN PERFORMANCE-MAKING
CRITICAL RESPONDENT FOR LECTURE: DRAMATURGY AND ASSEMBLY









Linda Mayasari is Director at Cemeti - Institute for Art and Society, where she has worked since 2010, as well as a member of the associate curatorial assistant for the Indonesia Dance Festival. She is currently completing a Masters programme in Religious & Cultural Studies at Sanata Dharma University, whilst pursuing personal research and writing exploring the intersections of art, politics and post colonialism within the cultural and historical context of Indonesia. Occasionally she works collaboratively with artists from various fields (particularly dance and visual art) to produce independent research based projects. Previously, Linda worked as a program manager at Bagong Kussudiardja Foundation (2008 - 2010), a performing art space in Yogyakarta, and was a member of Gandrik Theatre (2009 - 2015). She has attended numerous international forums on the visual and performing arts including Asia Arts Space Network, Korea in 2015, Setouchi Asian Forum, Japan in 2016, Monsoon Platform, Belgium in 2017.

ROLE:
MODERATOR FOR LECTURE: DRAMATURGY AND ASSEMBLY
- MODERATOR FOR LAB SHOWCASE Q&A









Lisistrata Lusandiana is a researcher who was born and lives in Yogyakarta. In 2014 she graduated from Sanata Dharma University, Cultural Studies Program with a research on the identity politics of backpacker. Since then she focuses on the issue of mobility and power. Since 2016 she has joined IVAA (Indonesian Visual Art Archive) working team to initiate and organize public programs and research.

ROLE:
RESEARCHER-PROVOCATEUR for LAB 1









Mandeep Raikhy is a dance practitioner with a particular interest in exploring the intersections between dance creation, performance, research and pedagogy. He began studying jazz at age 19 at the Danceworx, New Delhi, and his subsequent interest in contemporary dance took him to London where he completed a BA (Hons) in Dance Theatre at Laban. He undertook his first tour with Shobana Jeyasingh Dance Company, London and has toured with their annual productions between 2005-09. He was also part of the company’s education team and has extensive teaching experience. Since 2010, Mandeep has created several dance works, notably Inhabited Geometry (2010), a male ant has straight antennae (2013) and Queen-size (2016). These works have travelled across the country and internationally over the years including Kampnagel, South Bank Centre and Singapore International Arts Festival. Since 2009, Mandeep is Managing Director at Gati Dance Forum, where he has worked to develop a supportive environment for contemporary dance in the country through projects as diverse as residencies, festivals, publications and advocacy initiatives. He is currently teaching as an assistant professor at the MA Performance Practice (Dance) at Ambedkar University Delhi. This practice-based masters programme in dance is the first of its kind in South Asia.

ROLE:
CRITICAL RESPONDENT for LAB 2
SPEAKER FOR PANEL #2: THE DRAMATURG IN PROGRAMMING, CURATING AND RESEARCH









Marion D'Cruz, a founding member of Five Arts Centre (est. 1984), began dancing at the age of 6 and started making dance at the age of 16. She graduated with a BA in Performing Arts and an MA in Dance from University Science Malaysia and has studied classical, modern and contemporary dance in Malaysia, Indonesia, London and New York. In 1983, she formed a company, 'Marion D'Cruz and Dancers', who have performed extensively both locally and internationally.

One of the pioneers of contemporary dance in Malaysia, her work has gone through many phases – the search for a Malaysian identity in contemporary dance, the socio-political commentary, working with ‘non-performers’, the democratisation of the artistic space. She has broken many rules, and continues to do so, in search of interesting projects that empower performers and audiences alike.

Marion was manager of Arts Network Asia from 2004-2006. At the 2006 Boh Cameronian Arts Awards, Marion was awarded the Cross-Cultural Champion of the Arts Award and at the 2015 Boh Cameronian Arts Awards, Marion was honoured as an Arts Legend.

ROLE:
META-ANALYSIS COMMENTATOR for LAB 2
MODERATOR FOR PANEL #1: THE ROLE OF THE DRAMATURG IN PERFORMANCE-MAKING









Melati Suryodarmo is an Indonesian-born visual artist who has lived and worked in Germany since 1994. She read Sociolology at the Universitas Padjadjaran Bandung and Politics Science at Hochschule für Bildende Künste Braunschweig, Germany. She was a student of Marina Abramovic and finished her post-graduate studies (meisterschule) with a focus on performance art and Raum Konzept. 

Melati’s performances deal with the relationship between the human body and the culture in which it belongs to. She compiles, extracts, conceptualises and translates phenomenon or subjects into movement, actions, and gestures. Her works explore identity, energy, politics and the relationship between the body and its environment.

Melati has presented her works in various international festivals and exhibitions since 1996, including the 50th Venice Biennale in 2003, Marking the territory, and IMMA Dublin. Melati has performed at the Van Gogh Museum Amsterdam during the Exhibition of the Life of Egon Schiele in 2005; Videobrasil Sao Paolo in 2005; Haus der Kulturen der Welt Berlin, 52nd Venice Biennale dance Festival in 2007; KIASMA Helsinki in 2007; Manifesta7, in Bolzano, Italy in 2008; In Transit festival, HKW Berlin in 2009: and Luminato festival of the arts, Toronto in 2012. In the past six years, Melati has presented work in Indonesia and other Southeast Asian countries. For the Padepokan Lemah Putih Solo Indonesia, she has been organising an annual Performance Art Laboratory Project and an “undisclosed territory” performance art event in Solo, Indonesia since 2007.

ROLE:
CRITICAL RESPONDENT for LAB 2









Muhammad Abbe was born in Pati, Central Java. He earned a BA in History, as well as a MA in Performing Art Studies and Visual Arts, from University of Gadjah Mada,Yogyakarta. He works as a writer, researcher, and film actor, known for Vakansi yang Janggal dan Penyakit Lainnya (2013), Soekarno: Indonesia Merdeka (2013) ,and Soegija (2012).

ROLE:
SPEAKER FOR PANEL #2: THE DRAMATURG IN PROGRAMMING, CURATING AND RESEARCH









Natasha Tontey is an artist and graphic designer based in Yogyakarta and Jakarta, Indonesia. She is interested in exploring the concept of fiction as a method of speculative thinking. Through her artistic practice, she investigates the idea of how fear, horror, and terror could be manifested in order to control the public. Her works have been shown internationally in Next Wave Festival 2016, Australia, Koganecho Bazaar 2015, Japan, Jejak-Tabi Exchange 2018, Yogyakarta, and Instrument Builder Project: Circulating Echo at Kyoto Art Centre. Her solo exhibition Almanak was held in 2018 at Cemeti Institute for Art and Society, Indonesia.

ROLE:
ARTIST for LAB 2









Nindityo is an Indonesian artist born in Semarang, Central Java, in 1961. He studied at STSRI (High Education of Visual Arts) “ASRI” (the present-day Faculty of Visual Arts, Indonesia Institute of the Arts in Yogyakarta). In 1987, he went to The State Academy of Amsterdam in The Netherlands.

Nindityo's works are shown locally, regionally, as well as internationally.  He has exhibited at the Jakarta Biennale in Indonesia; the Queensland Art Gallery in Brisbane; the Havanna Biennale in Cuba; the Gwangju Biennale and Busan Biennale in Gwangju; the Fukuoka Asian Contemporary Art Triennale in Japan; the  International Sculpture Exhibition in Arnhem, The Netherlands; and the Moscow Biennale in Russia. His works can also be seen in many museums and art institutions around the world. 

In 2006, Nindityo decided to focus on artistic research through participating in as well as running many residency projects, such as the Residency Programs in Bute Town Studio in Cardiff, Wales; Joo Chiat Road 106 in Singapore; Triangle Arts Trust in Kowloon, Hong Kong; the Bamboo Culture International in Tamshui, Taiwan; and residencies at Cemeti Art House, Yogyakarta. Some projects he has worked on include Peranakan [Chinese Hybrid in Southeast Asia]; Pesta Senam Kreatif [Party of Creative Gym] together with choreographer Ari Ersandi; and Menganyam Hilang [To Weave Speak] in collaboration with rattan- and grass mat-weavers.

In 1988, together with artist Mella Jaarsma, he founded Cemeti Art House, a non-profit arts organisation incubating and exhibiting the works of local and international artists. 

In 2005, Nindityo and Mella received the John D. Rockefeller 3rd Award from the Asian Cultural Council for their outstanding contributions to visual arts in Asia.

ROLE:
DRAMATURG for LAB 2









Otniel Tasman is a young choreographer whose practice is strongly rooted in Javanese tradition, especially from his hometown Banyumas. Tasman mainly uses the Banyumas traditional dance form Lengger to create his work. He is especially drawn to Lengger Lanang [Male  Lengger], a variation of the form featuring male dancers dressing up as women to perform, for its play on gender identity. 

Otniel graduated from the Indonesian Institute of the Arts, Surakarta, in 2013. He has choreographed works such as Rohwong (2010), Angruwat (2010), Mantra (2012), Looping Back Mantra (2012), Barangan (2013), Lengger Laut (2014), Penantian Dariah (2015), and Stand Go Go (2017). Has also collaborated with local and international artists, such as Ming Wong (Germany), Daniel Kok (Singapore), Maxine Happner (Canada), Hanafi Muhammad (Indonesia), and Garin Nugroho (Indonesia).

ROLE:
SPEAKER FOR PANEL #3: DRAMATURGIES OF GENDER PERFORMANCE









Graduate of the Performing Arts Faculty, directing program - ISBI Bandung, Continuing master curatorial art studies (art curatorship) at the FSRD (Faculty of Art and Design) ITB, Bandung. Extension Course Philosophy at the UNPAR Faculty of Philosophy, Bandung. Having interest in study / work in the field of fine arts, performing arts, cinema. Being a director and dramaturg at B.P.A.F (Bandung Performing Arts Forum) and curator at KURR CLUB (Visual & Performance Art). Elected to participate in the 'Curators Academy' at TheaterWorks and Goethe Institute Singapore (2017), dramaturgy residency at the Asean Design Theater, Central Cultural Phillipine, Quezon City, Manila, (2012). Chosen as 1st Place at the Bazaar Art Video Competition, at the Ritz Carlton Jakarta with the work: 'Unidentified Origin Of The Lightless', Participants in the Art Writing and Curatorial Workshop at the 2016 Jakarta Ruang Rupa Art Council, Participants of the 'Moving Image' Curator Workshop in Jatiwangi Art Factory, 2017. LINTAS MEDIA exhibition curator assistant: 'BODY-OUT' - at Galeri Cipta III, TIM (Taman Ismail Marzuki), Jakarta. Curator Assistant of Hanafi Exhibition, 'Javanese Noise', 2016 Directing Arts Foundation grant managed; 'CUT-OFF, to see, to see yourself, to be seen' in the Ampitheatre, Selasar Sunaryo Art Space, Bandung, and the performance 'Outside of the Outside' of Taman Budaya Yogyakarta. Performance art 'Rainy Season in Bandung / Rain Season In Bandung', Undisclosed Territory 10, Studio Plesungan, Surakarta, 'Surplus Exposure' at HAPPENING-NOW, by 69 Performance Clubs, at Kedai Kebun Forum, Yogyakarta, 'Chvimera - After Boris Nieslony , After Jason Lim ', at the SUPER-NATURAL exhibition at Gajah Gallery, Yogyakarta, took part in the GETOK TULAR 2 # exhibition, at Omni Space - Bandung. Performative Exhibition Programmer, Kraftwerk, Mediative Portraiture, Ali Robin Studio, Bandung. Writing essays and art criticism in Sarasvati Magazine.

ROLE:
ARTIST for LAB 1









Ruhanie Perera is a performer, performance-maker and lecturer working in Colombo, Sri Lanka. She is a founding director of Floating Space Theatre Company, and is also attached to the Department of English, University of Colombo, Sri Lanka as a visiting lecturer in performance and literature.

Ruhanie holds an MA in Performance and Culture: Interdisciplinary Approaches from Goldsmiths, London (2009), and her research has addressed storytelling cultures, performative acts and identities and cultural memory. Her most recent research project was titled A Place for Herstory: Memory, Archive and Creative Agency, and was presented at the Centre for Applied Philosophy, Politics and Ethics, University of Brighton, September 2013. 

Ruhanie’s recent work as a performer includes Forgetting November (2015, Harold Pieris Gallery [Colombo]); Inscribing Her (2013, Solo for the International Art Critics’ Association Seminar – Unpacking Multiple Identities within Gender Based Art [Colombo]); Somewhere Between Truth and its Telling (2012, Solo for Stranger Than Fiction [London]); and My Other History (2011 [Colombo] and 2012 [Galle, Jaffna and Kandy]).

Ruhanie also works as a curator in visual art contexts, creating conversations across practice – more recently as the curator of the ‘live art’ segment of the Colombo Art Biennale (2014) and currently (2015/2016) as the curatorial advisor of the ‘Sacred Cities’ project – an artistic research initiative by Espace Gallery, Delhi, India and Theertha International Artists’ Collective, Sri Lanka.

ROLE:
CRITICAL RESPONDENT for LAB 2
SPEAKER FOR PANEL #2: THE DRAMATURG IN PROGRAMMING, CURATING AND RESEARCH








Rustom Bharucha trained as a dramaturg in the first batch of dramaturgy students at the Yale School of Drama between 1977-1980. In 1981 he received his Doctor of Fine Arts from the School of Drama and proceeded to teach and conduct workshops in different parts of the world, including India, the Philippines, South Africa and Brazil on themes relating to the politics of touch, violence, empowerment and transformation.

A renowned writer in the fields of interculturalism, secularism and oral history, he has written a number of books, notably Theatre and the World, The Politics of Cultural Practice, Chandralekha: Woman/Dance/Resistance, The Question of Faith, In the Name of the Secular, Rajasthan: An Oral History, Another Asia: Rabindranath Tagore and Okakura Tenshin and Terror and Performance.

He has been a Fellow of the International Research Centre/Interweaving Performance Cultures in Berlin; the Project Director of Arna-Jharna: The Desert Museum of Rajasthan devoted to the study of traditional knowledge systems; and the Artistic Director of the Inter-Asian Ramayana Festival at the Adishakti Theatre Laboratory in Pondicherry.

Recently retired from his job as Professor of Theatre and Performance Studies in the School of Arts and Aesthetics at Jawaharlal Nehru University in New Delhi, Rustom is working on a critical edition of essays on Performing Ramayana, co-edited with Paula Richman, and looks forward to conducting a number of workshops on new dramaturgical models for theatre and social transformation in different parts of the world.

ROLE:
META-ANALYSIS COMMENTATOR for LAB 1
- SPEAKER FOR KEYNOTE LECTURE









Sekar Putri Handayani has been working in the performing arts field since 2007 as a freelance production manager, working with artists from Indonesia and abroad. Since 2014, she has been working as an independent producer, focusing on dance. In 2017 she co-founded Rumah Banjarsari, a public/art space where she also serves as general manager. As dance producer, she has been working intensively with Otniel Tasman, a young choreographer from Banyumas, Java, developing research-based work and combining script material with exploration-improvisation. In Rumah Banjarsari, she is exploring ways of working with various communities and artists. She taps into a wider opportunity to work in performing arts, often engaging in discussions exploring artistic decision-making. In running the space, she applies curative materials as the guideline for the programs.

ROLE:
OBSERVER for LAB 2









Suluh Senja Rohmana (born in Tuban, 1993) is a theatre performer. He is actively involved in Gadjah Mada Theater, where they use a community and cultural approach in some of their working process. In his recent work kupu kupu, he collaborates with Teater Gadjah Mada to disassemble an issue called generation problems. He is also a member of Koperasi Kadangkala, a cooperative which members are performing arts creator. For Suluh, every generation is responsible for determining the direction of theatre.

ROLE:
RAPPORTEUR for LAB 1









Tamara is a  Indonesian artist born in Tasikmalaya in 1989. In 2006, Tamara joined and worked with the transgender community, turning to busking and sex work for a living. In 2008, Tamara moved to Yogyakarta and worked as a busker until 2013. Tamara was introduced to the world of art in 2012 with her involvement in an art project entitled Makcik Project (YOG), which was curated by Grace Samboh.

Tamara's works explore gender and sexuality issues, transgender history in Indonesia, religion, and humanity.  In 2013, she developed the WE ARE HUMAN Project, and worked with Individuals from various backgrounds to survey sexual orientation, gender expression, equality and problems that occur in society.

ROLE:
SPEAKER FOR PANEL #3: DRAMATURGIES OF GENDER PERFORMANCE








Taufik Darwis is a dramaturg and researcher based in Bandung, the capital city of West Java province, Indonesia. He is co-founder of the Bandung Performing Arts Forum. Since March 2016, he has been a co-curator of the Indonesian Dance Festival. In 2018, Taufik has been invited as a guest curator at the Teater Garasi / Garasi Performance Institute.

In 2016, Taufik attended the Art Summit Indonesia dramaturgy workshops on dramaturgy run by Ugoran Prasad and Peter Eckersall. He was also involved in a dramaturgy forum organised by Teater Grasi in Yogyakarta, which runs presently under the name Dramaturgy Assembly.

With the Bandung Performing Arts Forum, Taufik worked as a dramaturg/director in the following productions: Cut Off: to See, See Oneself, to be Seen (2016), which reads the indigenous body as an artefact of colonialisation; Di Luar dari yang Di Luar (2016), a theatre project which reads the quality of living spaces of others in other cities through the perspective of migrants living in their new city; Malam Minggu Metal (2017), a collaborative performing arts project involving actors, choreographers, dancers, composers, and metal bands in reading the quality of life in Bandung from the standpoint of the metal community; and Membeli Ingatan (2017), a performance archive project based on dramaturgy resistance research on theatre in Bandung from 1997 to 2011. Taufik has also worked on Ari-Ari (2013), Maem Mendut (2014), To The Tit (2016), and Manusia Hotel No.00 (2017). 

ROLE:
DRAMATURG for LAB 1 
SPEAKER FOR PANEL #1: THE ROLE OF THE DRAMATURG IN PERFORMANCE-MAKING








Yustiansyah Lesmana is a theatre director who lives and works in Jakarta. He has been involved in theatre since 2003 and began directing a theatre work in 2007. Since then, he has been working as a theatre director until now. He is awarded as the Best Director in several theatre festivals, including the National Student Theatre Festival in 2009, Jakarta Theatre Festival in 2011-2012 and 2013-2014. In 2014, he participated in a theatre work at the International Anti-Racist Festival (Imagine Festival) in Switzerland. From 2015 until 2017, Lesmana involved in various interdisciplinary collaborative works with artists from various regions in Indonesia. In the last November to December, he was invited by Asia Performing Arts Forum to collaborate in directing several actors from Asian countries. Lesmana is currently working with Teater Ghanta, where they are preparing two collaborative works including a (re-enactment) project that based on the audio archive of Sutan Takdir Alisjahbana's lecture in 1970 and a project with APAF 2018 at Tokyo Festival which will take place in October-November 2018.

ROLE:
SPEAKER FOR LECTURE: DRAMATURGY AND ASSEMBLY