PANELIST & MODERATOR
Carmen Nge is currently an assistant professor at the Faculty of Creative Industries, Universiti Tunku Abdul Rahman (UTAR), Malaysia. She has been writing about Malaysian arts and culture for a variety of publications for almost 20 years. She is the co-editor of two books: Ismail Hashim: Essays, Interviews and Archives (2015) and Excavations, Interrogations, Krishen Jit and Contemporary Malaysian Theatre (2018). Carmen is a passionate educator who teaches broadly in the fields of Malaysian media and culture, games design, and critical thinking.
Corrie Tan is a President’s Graduate Fellow in Theatre and Performance 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. www.corrie-tan.com
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.
Hiroyuki Takahashi is a critic of theatre, performing arts, and a researcher on modern and contemporary Japanese theatre. He is an associate professor of Toho Gakuen College of Drama and Music, and a part-time lecturer, Theatre Academy of Za-Koenji, Setagaya Public Theatre. He is a regular contributor to the Japanese theatre magazine Teatro, and a weekly culture newspaper, Tosho Shinbun. His article “Pre-underground Theatre and 1960’s Japan-U.S Security Treaty” “History of Nuclear Bomb Theatre and Nuclear Plant Theatre,” “The Position of Minority: Tsuka Kohei,” “From Agora to Agon: A position of Hirata Oriza,” “Space, Animal, Narrative: Theater Generation of 2000-2010s.” etc.
Nabilah Said is a playwright, poet and the editor of ArtsEquator. Nabilah is a former arts correspondent and critic for The Straits Times and has six years’ experience as a communications professional in the arts and cultural sector. Her plays have been presented in Singapore and London by Teater Ekamatra, The Necessary Stage and Bhumi Collective. She is the co-founder of international theatre collective Lazy Native and founder of playwright collective Main Tulis Group. Nabilah holds an M.A. in Writing for Performance from Goldsmiths, University of London.
Dr.Parichat Jungwiwattanaporn is known for both her academic and artistic roles. Her academic interests include political performance, theater for social change, and contemporary performance in Asia. Her publications include three co-authored books and two books on Thai contemporary theater and criticism as well as a number of academic articles. As a theatre artist, she has written, directed, and produced theatre productions both in Thailand and the USA. Her latest productions include For Fury and Passion (2019), The Voyage (2017), Once Upon a Time (2020). At present, she is a lecturer at the Fine and Applied Arts Faculty, Thammasat University, Thailand.
Pristine L. de Leon is an art writer and graduate student taking up Art Theory and Criticism at the University of the Philippines. She served as an editor in Hinge Inquirer Publications where she produced features on visual art among others. In 2016, she received the Purita Kalaw-Ledesma Prize for Art Criticism and has since contributed features and reviews on visual art and theatre for The Philippine Star. She currently teaches at the Fine Arts Department of the Ateneo de Manila University.
Uchino Tadashi received his MA in American Literature (1984) and Ph.D. in Performance Studies (2002), both from the University of Tokyo. He was a professor at the Graduate School of Arts and Sciences (1992-2017) and received the title of professor emeritus at the U. of Tokyo (2019). He is currently a professor at the Department of Japanese Studies, Faculty of Intercultural Studies, Gakushuin Women’s College. His publication includes The Melodramatic Reveng (1996), From Melodrama to Performance (2001), Crucible Bodies (2009) and The Location of J Theatre (2016). Uchino has served in many Japanese academic societies, and is currently a contributing editor for TDR (Cambridge UP).
Dr. Yoshitaka Mōri is Professor of Sociology, Cultural Studies and Media Studies at Tokyo University of the Arts. Born in 1963. BA in Economics (Kyoto University), MA in Media and Communications and Ph.D. in Sociology (Goldsmiths College, University of London). His research interests are postmodern culture, media, contemporary art, the city and transnationalism. His publications include, Banksy, Kobunsha, 2019, Sutorīt no Shisō (The Philosophy in the Streets) NHK Publications, 2009 and Popyurā Ongaku to Shihonshugi (Popular Music and Capitalism) Serica Shobō, 2005/2012 (in Japanese) and “J-Pop Goes the World: A New Global Fandom in the Age of Digital Media” Made in Japan: Studies in Popular Music, T. Mitsui (Ed), Routledge, 2014, and “New Collectivism, Participation and Politics after the East Japan Great Earthquake”, World Art, Routledge/Taylor & Francis, 5/2, 2015 (in English).
Theater researcher. Born in 1948. Otori specializes in Russian arts and philosophy. He has held positions as member of the Global Advisory Committee at the Walker Art Center (Minneapolis, U.S.); artistic director of the Laokoon International Theater Festival (Kampnagel, Hamburg); vice-president of Kyoto Performing Arts Center, Kyoto University of Arts and Design (Japan). Otori also worked as a chief editor of numerous theater magazines, including ‘Theater Arts and Performing Arts’.
Dr. in Culture and Representation, and is a member of the Japan Center of the International Association of Theatre Critics (AICT) and the editorial board of Theatre Arts. She specializes in performing arts theory in German-speaking countries. Her recent interests include the reception of gender representation in festival productions. She is the author of “Oskar Schlemmer: The Performing Arts of the Bauhaus” (Suiseisha).
Theater reviewer/Dramaturg. The leader of the Dance Group Oyatsu Table (on hiatus). She completed her MA in Contemporary Theatre Practice, Lancaster University in England. After working as a Research Assistant at the Theatre Museum of Waseda University and Assistant Director to the late Shogo Ohta and Yoji Sakate, she wrote articles on contemporary theater and dance for various media. In 2012, she participated in the launch of the Asian Women Performing Arts Collective. She is currently the Arts Program Coordination Manager, International House of Japan.
Musician, Dance critic. Sakurai is an organizer of “Azumabashi Dance Crossing” and a co-manager of SCOOL in Mitaka. He has released solo albums ‘IS IT JAPAN?’ and hinemi, and published books including Nishiazabu Dance Seminar. He has also worked on many stage music projects for U-enchi Saisei Jigyodan, Chiten, Mikuni Yanaihara, and Wasshoi-house.
Born in 1983. Theater critic, Dramaturg. He is the editor-in-chief of the theater review magazine “Shihai”. He writes a series of short reviews on the web magazine “artscape”.Other works include “SF Aspects of Contemporary Japanese Theater” (“S-F Magazine” (Hayakawa Shobo), February 2014 – February 2017). He works with Kiyoshi Hashimoto, a director and actor, as y/n. His major works include “Coming Out Lessons” (2020) and “Sex/Work/Art” (2021).