Speakers









CHARLENE RAJENDRAN (SINGAPORE)

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.


SPEAKING AT:

ADN Report
Artistic Direction as Thought Leadership [PROVOCATEUR]











Ho Tzu Nyen
HO TZU NYEN (SINGAPORE)

Ho Tzu Nyen is a Singapore-born filmmaker and visual artist whose practice spans video, writing, and theatre. His work explores the structure and power of myths, often revealing stories as discursive probes to shape past and present. His theatrical works have been presented at the Asian Arts Theatre, Gwangju, Wiener Festwochen, Theater der Welt and the Kunstenfestivaldesarts, his films were shown at Cannes Film Festival and Venice International Film Festival. Recent solo exhibitions at Guggenheim Museum Bilbao and Mori Art Museum.


SPEAKING AT:

The Political in Arts










JAE LEE KIM (SOUTH KOREA)

Jae Lee Kim is living and working in Seoul as a dramaturg, dance theorist and lecturer. Currently she is working as an adjunct professor in Department of Dance at Sungkyunkywan University in Korea. She received her PhD from the Department of Dance at Ewha Womans University in 2012, and also undertook a Postdoctoral Fellowship in the Department of Performance Arts at Kookmin University in Korea in 2013. As an academic, she has worked with The Society for Dance Documentation and History, The Korea Laban Movement Institute, and The Dance Research Institute at Ewha Womans University in Korea from 2011 to 2016.

As a dramaturg, Jae Lee was resident dramaturg at the Korea National Contemporary Dance Company from 2013 to 2015. While at KNCDC, she mainly worked with Ahn Ae Soon, an artistic director/choreographer, but also collaborated with visiting artists. After leaving KNCDC, she continued to work as a freelance dramaturg and an artistic coordinator for works including Choreography Laboratory (Korea National Contemporary Dance Company, 2014-2015) and Emerging Choreographer's Class (Hankook Performing Arts Center, 2012).  In 2017, she co-curated the 1st Seoul International Choreography Workshop.

As a scholar in dance, Jae Lee received certification for Laban Movement Analysis in New York (2004) and has published books such as Reading Body and Movement (2010) and Integrated Body-Movement-World (2016).  She was awarded the research grants Emerging Researcher Program from National Research Foundation of Korea in 2016, and the Academic Future Generation from National Research Foundation of Korea in 2017.  Jae Lee has also contributed articles to many journals for dance and choreographic studies in Korea. She recently published the articles Actuality of Performance Archive (2017) and Choreographic Approach on Archive (2017).


SPEAKING AT:

The Political in Arts









KAKU NAGASHIMA (JAPAN)

As one of pioneering dramaturgs in Japan, Kaku Nagashima has collaborated with many theatre directors and companies. Kaku also translated plays by contemporary, modern and classical authors including Samuel Beckett, Sarah Kane, Jon Fosse, Alan Harris, William Shakespeare and Henrik Ibsen. He is a member of Shigeki Nakano + Frankens. 

His major dramaturgical works: Atomic Survivors (2007, Tokyo International Festival, dir. Hatsumi Abe), ZooZooScene (2008, an adaptation from Zoo Story performed in a real zoo in Yokohama, Japan, dir. Shigeki Nakano), Cho-tancho (2010, a rap-music adaptation from The Seagull, dir. Shigeki Nakano), Les Grandes Vacances (2013, a butoh / dance performance inspired by a Japanese Sci-Fi novel, chor. Kakuya Ohashi), Le Nozze di Figaro and Don Giovanni (Nissay Opera 2012 and 2015, dir. Tomo Sugao). 

Kaku also participated in international collaborations: Performing Women - 3 Reinterpretations from Greek Tragedy (2007, The Japan Foundation, a collaboration of India, Iran, Uzbekistan and Japan), The Opportunity of Efficiency (2013, New National Theatre Tokyo with National Theatre Wales, dir. John McGrath), Rashomon | Yabunonaka (Festival/Tokyo14, with Al-Kasaba Theatre, Palestine, dir. Yukari Sakata), Double Tomorrow (2017, Engeki Shudan (Theatre Collective) EN, dir. Fabien Prioville)

In recent years, Kaku became interested in bringing theatrical ideas and techniques out of the theatre to the town and takes part actively in art projects such as: Series of The House of Atreus (2010- ), Kaku Nagashima’s How-To-Make-Laboratory: Someone’s Dream (2013-16, Tokyo Art Point Project), “← (Yajirushi, or Arrow)” (Saitama Triennale 2016). 

Kaku teaches at Tokyo University of the Arts, ZA-KOENJI / Creative Theatre Academy and Aichi University. 


SPEAKING AT:

Social Change/Action in Japanese Dramaturgy










KEN TAKIGUCHI (JAPAN)

Ken Takiguchi was a research fellow at the Theatre Studies Programme, Department of English Language and Literature, National University of Singapore. He obtained his PhD in Japanese Studies from National University of Singapore, specialising in theatre translations, intercultural theatre and cultural policy.

As a theatre academic, Ken was an Assistant Convener of a conference titled Unfinished Business: Krishen Jit’s Performance Practice and Contemporary Malaysian Theatre held in Kuala Lumpur in January 2015. He convened a symposium on Malaysian theatre for the Japan Association for Malaysian Studies in December 2015. Ken is also the Deputy Director and Translation Editor for an online archive project called the Asian Shakespeare Intercultural Archive.

Ken also works in theatre as a dramaturg, translator and producer. He started his practice when he was the Assistant Director of the Japan Foundation Kuala Lumpur. He has actively participated in numerous intercultural productions, including Spring in Kuala Lumpur (2004, Five Arts Centre [Malaysia] & Pappa Tarahumara [Japan]); Reservoir (2008, TheatreWorks [Singapore]); Mobile 2: Flat Cities (2013, The Necessary Stage [Singapore]); and HOTEL (2015, W!ld Rice [Singapore]).



SPEAKING AT:

Social Change/Action in Japanese Dramaturgy [PROVOCATEUR]










LEOW PUAY TIN (MALAYSIA)

Leow Puay Tin creates texts for performance through writing original pieces and/or using extracts of text culled from published and oral sources such as transcripts, articles, stories, songs, etc. Her way of working as a writer has moved over the years, from devising to writing and to text curation. She started out as a performer of self-devised texts by working first with director Chin San Sooi, and then with director and critic Krishen Jit who introduced her to the concept of using chance to generate a performance in their first project together called Tikam-Tikam: And Her Grandmother Said (1983). Krishen, who passed away in 2005, directed all her solo performances, with the last one in 2003 (Woman Ice-Seller), as well as her three major performance texts (Three Children, A Modern Woman Called Ang Tau Mui and Family). His search for the truth, whether to be found in a performance text, performance, or casual chat, his natural curiosity about people and his respect for the quirks and complexities of life had made a deep impression on her and her work as a performer, writer and educator. In 2017, Puay Tin took leave from Sunway University in Malaysia to spend six months in Japan on an Asia Center fellowship looking at site-specific performances by way of developing and clarifying her thoughts on using site as a starting point for the creation of performance and texts for performance which are grounded in reality.  



SPEAKING AT:

Social Change/Action in Japanese Dramaturgy










LI YINAN (CHINA)

Li Yinan is Professor for Dramaturgy and Theatre Studies at the Central Academy of Drama of China, Beijing. Since 2009, she has been making efforts to introduce the German concept and working methods of Dramaturgy into China. At the beginning of 2015, she established the Faculty of Dramaturgy and Applied Theatre at the Central Acedemy of Drama and took up its Director position.

Yinan's major dramaturgical work include YouMou (2015, Have/Have Not), About the Beautiful New World (2015), About Disappearance (2014), Stockholm Syndrome (2010), and Miss Special (2009). She was Chief Dramaturg at the Caochangdi Workstation, Bejing in 2007, and the Resident Dramaturg of Lin Zhaohua Theatre Studio, Beijing, in 2004.

Yinan is a 2012 recipient of the NCET (the programme for New Century Excellent Talents in university) Fellowship from the Ministry of Education, China.



SPEAKING AT:

The Political in Arts










LIM HOW NGEAN (MALAYSIA/AUSTRALIA)

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.



SPEAKING AT:

ADN Report
Continuing Topics in Dramaturgy [FACILITATOR]










LINDA MAYASARI (INDONESIA)

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.



SPEAKING AT:

Artistic Direction as Thought Leadership










ROBIN LOON (SINGAPORE)

Robin Loon is a dramaturg, academic and playwright. He currently teaches the Introduction to Theatre & Performance module as well as modules in Singapore English Language Theatre and Theatre Criticism at the Theatre Studies Programme, National University of Singapore.

Robin has consulted on many theatre projects as a dramaturg. He was Co-commissioning Dramaturg for Full Frontal (2007-2009), a directors’ incubation platform at the Singapore Arts Festival. Subsequently, he was appointed Commissioning Dramaturg for Open Studio (2010-2012), Singapore Arts Festival Platform for new works. He has also been writer and dramaturg in several projects, including Casting Back (2012, Esplanade’s 10th Anniversary), 男男自语 (2012, Singapore Arts Festival), and Blue Prince (2012, The Blue Statesmen).

Robin was also the head of Singapore's first Dramaturg Apprenticeship Programme under Centre 42's Garage initiative. The Garage is a programme conceived for fresh theatre graduates wanting to move into dramaturgy and for practitioners eager to do a mid-career switch to or emphasis on dramaturgy. It is a 12-to-18 months programme comprising theoretical and historical contextualising and two professional attachments to ongoing productions.

Robin has also represented Centre 42 at two international events : West Kowloon Cultural District's Producer's Network Meeting and Forum (May 2017) where he presented on Centre 42's content creation initiatives; and Taipei Performing Arts Centre's  Open Talk: Walking with New Talent (Nov 2017) where he and Centre 42's company Manager Ma Yanling delivered a joint key-note on Centre 42's approach to nurturing young talent.



SPEAKING AT:

ADN Report
The Political in Arts [PROVOCATEUR]
Continuing Topics in Dramaturgy [FACILITATOR]









RUHANIE PERERA (SRI LANKA)

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.



SPEAKING AT:

Artistic Direction as Thought Leadership










VIRKEIN DHAR (INDIA)

An alumna of the School of Planning and Architecture, New Delhi, Virkein’s training in architecture alongside a practice in dance, has instigated explorations that cross multiple fields of creative practice. She is engaged as an independent contemporary dance collaborator, scenographer, spatial designer and curator in India. Her interests lie in exploring the applications and documenting the impacts of the arts and design outside of their normative environments.

Currently based in Delhi, she is the Festival Director at IGNITE! Festival of Contemporary Dance and leads Strategy and Programming at OddBird Theatre, while building an artistic practice that creates spatial experiences through movement, design and media.

Virkein’s research work focuses on an alternative planning strategy that includes the socio-cultural context of the built environment, and thus able to create tangible affects that arise from utilizing parameters of vibrancy and social capital as defining factors for the sustainability of future cities in India. At the moment she is working on developing an up-skilling program for creative producers and a national touring circuit in India.