1
10
55
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Videos
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<a href="https://vimeo.com/693385061">https://vimeo.com/693385061</a>
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693385061
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00:03:32
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On AiR with Han Xuemei
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Archival Practice
Performance
Theatre
Description
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Artist-in-Residence
4 October 2021 - 31 March 2022
NTU CCA Singapore
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Han Xuemei
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The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
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Short Description
This talk will reflect on the fascination of artworks in Theatrical Fields with the phantasmatic past. In providing a brief theoretical overview of "the politics of theatricality," Murray will reflect on the exhibition's screenic re-possesion of cinematic characters, buried stories, and influential texts in a way that challenges the historical groundings of theatricality in the ethnocentric certainty of culture and law.
Programme Type
Talk and Lecture
Audience
General
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Onsite (CCA)
Offsite
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Offsite
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Yes
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No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
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Theatrical Fields Symposium – Screening Theatrical Phantasms: Toward an Uncertain Futurity, Keynote by Timothy Murray, Professor of Comparative Literature and English, Cornell University
Subject
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Theatre
Fiction
Mythology
Ways of Seeing
Description
An account of the resource
23 Aug 2014, Sat 1:00 - 2:00pm <br />72-13 Mohamed Sultan Road, Singapore 239007<br /><br />This talk will reflect on the fascination of artworks in <em>Theatrical Fields</em> with the phantasmatic past. In providing a brief theoretical overview of "the politics of theatricality," Murray will reflect on the exhibition's screenic re-possesion of cinematic characters, buried stories, and influential texts in a way that challenges the historical groundings of theatricality in the ethnocentric certainty of culture and law. "What happens to the relation of mnemonic past and theatrical present when the screen functions as the field of phantasms that are liberated by artistic intervention from the certainties of their mythological, historical, and cinematic pasts?" This emphasis on artistic retellings in the present of weighty phantasms from the historical past will then lead to further reflection on their bearing on the future. "What might it mean that prior utopian aspirations might now be recast as the unsettlings of uncertain futurity? Might the contemporary re-theatricalization of the screen provide a historically distinct approach to futurity? Or might futurity already be in our grasp either through digital orientations of 'future cinemas' or through the sudden arrival of futurity via the vexing uncertainties of the anthroprocene and global collapse?"<br /><br />A public programme of <em>Theatical Fields: Critical strategies in performance, film and video</em>.
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2014-08-23
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Timothy Murray
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North America
Europe
-
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Theatrical Fields Symposium
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General
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Offsite
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Yes
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
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None
Place.Labour.Capital.
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Symposium: Theatrical Fields
Subject
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Theatre
Ways of Seeing
Performance
Description
An account of the resource
23 Aug 2014, Sat 10:30am - 4:00pm <br />TheatreWorks, 72-13 Mohamed Sultan Road, Singapore 239007 <br /><br />10.30 am - Welcome Note: Ute Meta Bauer<br /><br />10.40 - 11:00 am - Introduction to Theatrical Fields: Anca Rujoiu, CCA Curations, Exhbitions<br /><br />11.00 am - 12.00 pm - Roundtable Discussion: Eva Meyer and Eran Schaerf, Artists in conversation with Ute Meta Bauer and Katarina Pierre, Director of Bildmuseet<br />Moderator: Ong Keng Sen, Festival Director of Singapore International Festival of Arts (SIFA)<br /><br />12.00 -1.00 pm - Lunch Break<br /><br />1.00 - 2.00 pm - Screening Theatrical Phantasms: Toward an Uncertain Futurity, Keynote, Timothy Murray, Professor of Comparative Literature and English at Cornell University<br /><br />2.15 - 3.15 pm - Life or Theatre? Events so far...Keynote, Eva Meyer, Artist, Writer and Filmmaker<br /><br />3.30 - 4.00 pm Q+A<br /><br />The symposium is a public programme of <em>Theatrical Fields: Critical strategies in performance, film and video</em>.
Date
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2014-08-23
Contributor
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Ute Meta Bauer
Anca Rujoiu
Eva Meyer
Eran Schaerf
Katarina Pierre
Ong Keng Sen
Timothy Murray
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Europe
North America
-
Dublin Core
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Title
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Contributors
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Surname or Business Name
Teater Ekamatra
Birth Date
1988
Birthplace
Singapore
Occupation
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Theatre company
Biographical Text
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<span class="s1">Teater Ekamatra </span><span>is an established Singapore arts company that shines a spotlight on contemporary experimental theatre. Guided by its values of diversity, inclusivity, integrity, accountability and people-centredness, Teater Ekamatra is committed to creating engaging theatre that inspires, while incubating emerging talents and expanding diversity within the industry. Currently helmed by award-winning director and designer Mohd Fared Jainal, Teater Ekamatra has been commissioned by notable international arts festivals such as the M1 Singapore Fringe Festival, Man Singapore Theatre Festival and KakiSeni Festival. Teater Ekamatra’s productions have won numerous accolades, including The Straits Times Life! Theatre Awards for Best Original Script (</span><em>Kakak Kau Punya Laki</em><span>, </span><em>Charged</em><span>, </span><em>Nadirah</em><span>) and Best Actress (</span><em>Nadirah</em><span>).</span>
Professional Website
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<a href="https://ekamatra.org.sg">https://ekamatra.org.sg</a>
Country of Practice
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Singapore
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None
None
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Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
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Teater Ekamatra
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Theatre
Performance
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Teater Ekamatra
Coverage
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Southeast Asia
-
Dublin Core
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Title
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Cake Theatrical Productions Ltd
Years Affiliated
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2017
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2005
Birthplace
Singapore
Occupation
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Contemporary Performance Company
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<span>Led by Artistic Director Natalie Hennedige, </span><strong>Cake Theatrical Productions</strong><span> (Singapore) is a contemporary performance company based in Singapore committed to exploring the possibilities of performance, creating pieces that are varied, multidisciplinary, and artistically adventurous. Their mission is to create highly original theatrical works that speak powerfully, connect viscerally, and address with bold honesty modern day concerns and complexities.</span>
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<a href="https://www.caketheatre.co">https://www.caketheatre.co</a>
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Singapore
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None
None
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Climates. Habitats. Environments.
None
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Cake Theatrical Productions Ltd
Cake Theatre
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Theatre
Performance
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Cake Theatrical Productions Ltd
Cake Theatre
Cake Theatrical Productions
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Southeast Asia
-
Dublin Core
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Programmes
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Duration
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00:46:06
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Podcast
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Han Xuemei
Hsu Fang-Tze
Anna Lovecchio
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Residencies AiRCAST Episode #5: Han Xuemei
Subject
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Theatre
Artistic Research
Description
An account of the resource
<p>For our fifth episode of AiRCAST, we entrusted curator and scholar Hsu Fang-Tze to pick the mind of our Artist-in-Residence Han Xuemei. In their insightful exchange, Xuemei discusses how her urgency for engagement steers her fluid theatre practice towards experimenting with different modes of audience participation. As she shares about her current efforts to carve out “intervals of quiet” and “plots of rest” in the hectic context of Singapore, you will also discover that the research on the topic of “rest as resistance” she conducted throughout her residency at NTU CCA Singapore grows out from another residency she did in Taipei a few years ago.<br /><br />Committed to socially engaged practices, multi-disciplinary theatre practitioner Han Xuemei (b. 1987, Singapore) employs art as a tool for bringing communities together and engaging the audience in visceral and personal ways. In her practice, she creates spaces and experiences that incite participants to think outside the box of existing paradigms and articulate forms of hope and resistance. Since 2012, she is Resident Artist at the Singapore-based theatre company Drama Box. In 2021 she received Young Artist Award, Singapore’s highest award for young arts practitioners.<br /><br />Hsu Fang-Tze is a lecturer at the Communications and New Media Department, National University of Singapore where she is also a coordinator of the M.A. in Arts and Cultural Entrepreneurship. Her research interests include the formation of audiovisual modernity in Asia, Cold War aesthetics, philosophies of sonic technology, and the embodiment of artistic praxis in everyday life. Apart from her academic work, she is also active as a curator and has curated exhibitions such as A<em>rt Histories of a Forever War: Modernism between Space and Home</em><span> </span>at the Taipei Fine Art Museum, Taiwan (2021-2022) and<span> </span><em>Wishful Images</em><span> </span>at National University of Singapore Museum (2020). <br /><br />Contributors: Han Xuemei, Hsu Fang-Tze<br />Editor: Anna Lovecchio<br />Programme Manager: Kristine Tan <br />Sound Engineer: Ashwin Menon (The Music Parlour) <br />Intro & Outro Music: Tini Aliman <br />Cover Image & Design: Arabelle Zhuang, Kristine Tan</p>
<p>CREDITS<br />12’38”: Audio excerpt from<span> </span><em>MISSING: The City of Lost Things</em>, 2018. Courtesy Drama Box.<br />15’07”: Audio excerpt from<span> </span><em>MISSING: The City of Lost Things</em>, 2018. Courtesy Drama Box.<br />19’15”: Audio excerpt from<span> </span><em>FLOWERS</em>, 2019. Courtesy Drama Box.<br />21’00”: Audio excerpt from<span> </span><em>FLOWERS</em>, 2019. Courtesy Drama Box. <br />26’24”: Audio excerpt from Taipei Main Station & Research Field Recording workshop part of<br />Asia Discovers Asia Meeting for Contemporary Performance Artist Lab, 2019. Courtesy the artist. <br />35’30’’: Audio excerpt from Han Xuemei, field recordings at Tanah Merah, January 2022. Courtesy the artist.</p>
Date
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2022-03-02
Contributor
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Han Xuemei
Hsu Fang-Tze
Anna Lovecchio
Kristine Tan
Ashwin Menon
Tini Aliman
Arabelle Zhuang
Fang-Tze Hsu
Format
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Podcast
Language
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English
Identifier
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<a href="https://www.buzzsprout.com/1845756/10518783-aircast-5-han-xuemei">https://www.buzzsprout.com/1845756/10518783-aircast-5-han-xuemei</a>
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/c8299a012917a183c042b0364c538778.pdf?Expires=1712793600&Signature=aQamC16-Borh8CHn80s79pyDozdnys1%7EZSFwmdNVM9q-lizMmv9XpVbZrJhuRBCx09P1aaEFh8DvCmSFlXanEOJ0Y%7ErDr%7ECJaBW4LPEPvomyoTaV61ckzUy-eniV-OrrnAKpa9rvqK9Svr0IhYAeX88aiFOl-7dXjSrGqEjdsXo3eM-TM31qJhCbVkL1kLNw0yjok4Xgs0RWAF-Bf7rtUlTHmJGbZ%7Eab-R32GRIxrzb98RQfL9zo8iJ95aIycXA3ZXEccx9-rI-PHEew6I-AS49KRoLvslhLe%7ESSWAdF0H7N3whBO5rTTka3NRuQGoFfhJO3tT7exij-LRUFRzg3Sg__&Key-Pair-Id=K6UGZS9ZTDSZM
47961c5bb9fb15c1ae121c0e9c1aeddc
PDF Text
Text
#5
HAN XUEMEI
exchange, Xuemei opens up about her fluid theatre practice that explores
modes of engagement through audience participation. As she shares about her
current efforts to carve out “intervals of quiet” and “plots of silence” in the hectic
context of Singapore, you will also hear how the research on the topic of “rest
as resistance” she conducted throughout the residency at NTU CCA Singapore is
connected to another residency she did a few years ago in Taipei showing how
residencies can be powerful triggers of the artistic imagination.
Committed to socially engaged practices, multi-disciplinary theatre practitioner
Han Xuemei (b. 1987, Singapore) employs art as a tool for bringing communities
together and engaging the audience in visceral and personal ways. Through her
practice, she creates spaces and experiences that incite participants to think
outside the box of existing paradigms and articulate new forms of hope and
resistance. Since 2012, she is Resident Artist at the Singapore-based theatre
company Drama Box. In 2021, she received the Young Artist Award, Singapore’s
highest award for young arts practitioners.
Hsu Fang-Tze and Han Xuemei recording AiRCAST, 2 March 2022. Courtesy NTU CCA Singapore.
Anna Lovecchio: Welcome to AiRCAST. AiRCAST takes us inside the Residencies
Studios of NTU Centre for Contemporary Art Singapore, located right at the edge
of a lush tropical forest in Gillman Barracks. On this podcast, we broadcast the
inner lives of our Artists-in-Residence entering their studios during their residency
and inviting them to share about ideas, materials, processes, influences and
research methodologies behind their practice. I’m Anna Lovecchio. I’m a curator
and Assistant Director for programmes at NTU CCA Singapore and I am your host
for today.
Hsu Fang-Tze is a lecturer at the Communications and New Media Department
at the National University of Singapore where she is also a coordinator of the
Master in Arts and Cultural Entrepreneurship. Her research interests include the
formation of audiovisual modernity in Asia, Cold War aesthetics, philosophies
of sonic technology, and the embodiment of artistic praxis in everyday life.
Apart from the academic work, she is also active as a curator and has curated
exhibitions such as Art Histories of a Forever War: Modernism between Space and
Home at the Taipei Fine Art Museum, Taiwan (2021-2022) and Wishful Images:
When Microhistories Take Form at NUS Museum here in Singapore (2020).
For this episode, we entrusted curator and scholar Hsu Fang-Tze to probe
the creative mindset of our Artist-in-Residence Han Xuemei. In this insightful
The floor is theirs.
�Fang-Tze Hsu: Good morning, and good afternoon Xuemei. How are you today?
Han Xuemei: I’m good, I’m good.
Fang-Tze Hsu: Have you rested well?
Han Xuemei: As well as I can. As well as my schedule allows. As well as my brain
allows…
Fang-Tze Hsu: Right, we will have an in-depth conversation on rest in the later
part of our conversation. However, I want to start with some kind of career
review, since this is a very serious podcast we’re doing, right? Looking at the
formative period of your artistic journey and career, it is hard not to pay attention
to your transition from film to theatre. Here, I am referring to your undergraduate
study at Wee Kim Wee School of Communication and Information (NTU)—they
should pay me for advertisement!—and your work at Mediacorp as a producer.
Subsequently, you joined Drama Box as their Resident Artist in 2012, and you have
been affiliated with Drama Box since then. What brought you into the creative
universe of theatre, and what does this migration from filmmaking to theatre
mean to you?
Han Xuemei: Actually, the interesting thing for me is that my affinity with theatre
started before my affinity with film. Because when I was in secondary school, I
was in the drama CCA [co-curricular activities]. In a way, drama is the first love,
and then film came in. But then what it did for me was that it kind of opened up
this idea of mediums for me, in a way, if I think about it. At least back in my time,
which is not too long ago, there was still this idea that whatever you studied in
university was going to be whatever you do for the rest of your life. There was still
that feeling back then, the perception of education being something that is meant
for career, work, job. I continued my theatre journey even when I was studying
in school, I was part of the youth wing of Drama Box. That informal/formal kind
of theatre training exposure was very important for me because it allowed me to
see that whatever I studied did not have to be everything… Even after I finished
my studies, it was a continuous journey for me, an ongoing journey of trying
to figure out how to integrate whatever I studied with whatever I am doing, or
exploring, and learning in theatre. So I think one of the most important things
that this journey did for me was to somehow build this “carelessness” with the
idea of forms and mediums. I’m not too fixed on theatre being theatre-theatre
in a certain way. It has never been like that for me, right? It has always been me
going into, or studying about this, but then doing something else and then taking
something from that thing that I am doing, or learning something from that
thing I am doing, and applying it somewhere else. I’ve always been this migrant.
If we use the word migration, then I’ve always been migrating here and there,
and never staying too long in one [place]. During this journey, I also questioned:
is this something that is good? Never staying long enough in something, never
specialising in something? But I think along the way, I felt like somehow this has
also shaped me in a slightly different way, I guess.
Fang-Tze Hsu: How do you find a medium? When you have an idea, a concept,
or expression that you want to get out there, or turn into a form, what is the
thought process involved in the journey of having this particular project take the
form of moving images and that project in the language of theatre?
Han Xuemei: Initially, my adaptation of whatever I studied in film was very literal.
It was also a time when, in theatre, there was a lot of exploration and playing with
projection, with what they call multimedia, which doesn’t make sense because
theatre is multimedia. So I’ll refer to it as projection, or visual media, maybe. There
was a time when my translation of whatever I studied was quite a literal one, like
the use of projection, or the use of visual images in theatre performances. But
then, subsequently, I really became interested in thinking about the audience’s
experience and I think that kind of opened up more possibilities, right? When I
think of an idea, or when I start conceptualising a work, the two main things that
I am always thinking about are: why do we need to tell this story or do this work?
and what is the audience’s relationship to it? How can they experience this? I
wouldn’t say that I don’t do theatre plays anymore. I still do, and I still want to do
it, to explore how the audience’s experience vary..
Fang-Tze Hsu: This also allows me to zoom in a little bit on your theatre
practices. Among numerous of your works, you’ve been involved in several
projects and initiatives. There seems to be a tendency to move into a particular
direction that we can probably associate with what Hans-Thies Lehmann refers
to as “postdramatic theatre”. By postdramatic theatre, he is referring to this
opposition between the dramatic and the postdramatic theatre by foregrounding,
here I’m quoting Lehmann, “appearance instead of plot action, performances
�instead of presentation.” For me, that particular opposition between the dramatic
and postdramatic has become quite relevant when we come to appreciate two
of your recent works. I’m thinking specifically about MISSING: The City of Lost
Things, produced and presented in 2018, and FLOWERS, presented in 2019.
Would you mind sharing with us what those two works are about, and why you’d
need to adopt such an approach to go beyond the conventional notion of the
stage?
Han Xuemei: I’ll start with MISSING. I think there are two important starting
points. One was my interest, or curiosity, about the idea of connection and
disconnection for people who are living in urban environments. And the other
was an experience that I had [when] I attended a workshop in Hong Kong, and
that workshop was by two artists who were based in Brussels back then. They—
Ant Hampton, as well as Christoph Meierhans—were both not from Brussels but
they did a workshop called An Automatic Workshop [The Thing: An Automatic
Workshop in Everyday Disruption]. The idea behind the workshop was to figure
out how to do a workshop where the facilitators do not need to be present.
Through that experience, I was introduced to the world of Fluxus, of prompts
and scores which were not familiar to me in my earlier years of theatre exposure.
In theatre, you know, I was exposed to theatre directors, theatre forms, actor
training, and all these things but not to movements that are more associated
with visual arts or performance art. I think that was the first time where I started
knowing more about Fluxus, the possibilities of audience participation, and where
it could go. So when I came back from the workshop, I started to think: how can
I explore my curiosities about connection using this new thing that I’ve learned
and discovered? For me, it made a lot of sense because I often questioned why
I would want to do a play, and have people sit down and watch a play about
connection? How do I deepen their connection to this play, or performance,
about connection? So, finding the Fluxus vocabulary of audience participation
became a very important key for me to open another door. I started thinking
about that and that started the whole conceptualisation of MISSING: The City of
Lost Things, where I was very clear that this experience had to be driven by the
audience’s own impetus to reconnect with a lost connection that they have in
their lives.
[Audio excerpt from MISSING: The City of Lost Things, 2018. Courtesy Drama
Box.]
MISSING: The City of Lost Things, 2018, multimedia (participatory experience). Courtesy the artist.
In a way, at that time, I was also very conscious that it’s a huge risk, in the sense
that there is no performance or theatre, if the audience does not choose to invest
in it. Basically, what happens [in MISSING: The City of Lost Things] is that we
have 16 people attend a session, and each of them are required to bring along
an object as the starting point of their journey. This object is representative or
symbolises a lost connection they want to reconnect with, and that starts off
the entire journey. They come to the performance venue and there is some
kind of installation. There are no actors, no facilitators, but there is a voice
that accompanies them throughout the journey. At some point they are asked
to choose and visit a particular place where they would like to go to, to find
this reconnection. So in a way, at some point, we have 16 people dispersed to
different parts of Singapore. And I don’t even know where they go.
So it becomes something like the audience embarking on their own individual
journeys, yet accompanied by the audio guide that we gave them, this little travel
kit that we gave them. The travel kit is also inspired from the idea of Fluxkits,
which were a very prominent medium for the Fluxus movement. Yeah, I think that
was how the work came about. And through that, I also made some discoveries
from the audience’s response [to the work] as well. For example, someone
mentioned about how they felt that this is like a theatre of the mind, and I thought
that that’s a very interesting way to think about it: can this idea of performance
�be something that is both public, but at the same time, also very internalised?
Something that exists in that person’s own mind?
[Audio excerpt from MISSING: The City of Lost Things, 2018. Courtesy Drama
Box.]
That experience actually opened up a lot of discoveries and thoughts for me
about theatre… what theatre means, what it can be, and how it can appear, or
what form it can take.
many rounds of struggling with myself, and trying to figure out what exactly the
work was about, I zoomed in on this idea of doing a work that actually asked
the question of what exactly the cost of patriarchy is on all of us. It was a very
different process that was informed by the performance venue more than it was
informed by the story. So it was the venue first, and then the story came. In a way,
it started off with us knowing the issue we were exploring, and because of time,
we had to decide on the performance venue first. Intuitively we just went with it.
There are these empty two-storey houses in Holland Village for rent, okay? This
is going to be the venue! Somehow, we go in, we feel it, and it’s okay. Now, what
is the story? How can we tell [a story here] that would explore the issue?
Fang-Tze Hsu: How about FLOWERS?
Han Xuemei: FLOWERS was a project I wanted to do to look at the idea of
violence. Specifically, violence against women. I knew that I wanted to tackle
patriarchy and I didn’t really want to do something that was about gendersversus-each-other kind of thing. I didn’t want that dichotomy, or that polarizing
way of looking at the issue. I wanted to look at something more systemic. After
Naturally, houses and domestic violence have a very immediate connection. We
all felt that that could be a way to explore the nuances of violence because, within
the domestic context, the likelihood of attributing blame is not so straightforward,
right? There’s a lot of feelings intertwined in it, and you can’t really say the
perpetrator is an evil monster. It’s not so black-and-white. That fitted nicely with
whatever we wanted to explore. Then came the next question… because I was in
the momentum of wanting to look at participation and audiences. Participation,
for me, it’s very important, it’s different from interaction. It’s not about you setting
an activity and then the audience performing the activity. There is something that
is driven by the audience’s own experiences. But then came the dilemma of trying
to find a way that would not exploit the audience’s stories or experiences… and
I didn’t manage to do it. So I decided, okay, let’s not look at participation, let’s
just focus on how they can experience the story in a different way. The format
of the piece was such that the audience came, and they were given a cassette
tape recorder. Then they listened to a voice, a first-person narrative telling [them]
about her memories in this house.
At the same time, what they are seeing is the present-day house where the only
character remaining is the father figure, which somewhat implied as you listen
to [the recording]. Then you slowly make sense of whatever you are seeing and
going through. That’s how the narrative came together. It’s a very simple story of
a family broken apart because of certain things that happened in the past. But the
remnants of whatever happened is still very much present.
[Audio excerpt from FLOWERS, 2019. Courtesy Drama Box.]
FLOWERS, 2019, experiential installation/performance. Courtesy the artist.
�That’s a very simple experience. But what came out from that experience for me
was that I found another way to incorporate my film influences into theatre. In a
way, I realised that through the audience’s perspective, when you are hearing the
story, the voice, and yet there are things happening in front [of you] and you are
allowed to freely roam and move around the house, in a way, your eyes become
the camera, you are framing what you see. What you see includes the other
[members of the] audience as well. So there are moments where she is talking
about her brother, and [someone in] the audience walks past… and I think there’s
something very accidental in that experience. For me, it became interesting
[to consider] audiences being ‘moving cameras’ in that way. So, yeah, that’s
FLOWERS.
[Audio excerpt from FLOWERS, 2019. Courtesy Drama Box.]
Fang-Tze Hsu: That’s a beautiful way of putting it. I mean, in a sense, there’s a
conceptual shift that has happened in the medium itself putting the audiences,
and the notion of the passive recipients of the content, into the [role of] actors
of their own experiences right on the spot. There’s also another dimension of
your work that I find quite interesting. There seems to be a very strong inspiration
in the dialectical tension between what has been proposed and experienced in
MISSING where you have a sense of privateness in the public space, through
audiences contributing, [being] involved in, and becoming part of the project by
bringing their own experiences and their own stories which then become the
collective stories that you’re presenting there. In the meantime, when we think
about FLOWERS, the subject of domesticity is the main focus of the work. But
again, that domesticity also finds a collective embodiment, hence it goes beyond
the singular of the domesticity. I wonder, have you been aware of this tendency of
thinking of this extreme, and interesting I think, dialectical tension? I think this also
comes out quite pronouncedly in your residency project at NTU CCA Singapore…
Han Xuemei: Maybe I start with responding to the question on the dialectical
tension, or whether I consciously think about, or selectively choose, private
actions to be performed in public. Interestingly, that is something that I noticed
on hindsight. But it doesn’t really inform me, cognitively. It was not sitting in my
mind when I started off. I feel like there is a subconscious relation to the desire
to think about how to make everyday actions powerful, or able to contribute to
change, you know? Actually, I think the idea of everydayness came about when
I was able to find the word ‘everyday’ to articulate what I was interested in when
I was researching for FLOWERS. I read an article where someone talked about
the everyday culture of protest. For me, that kind of opened up... I mean, I really
agreed with this idea of change. How do we create opportunities where we can
actually bring in the everyday? So this idea of everyday started to sit in [my mind],
and it’s been [there] ever since.
Coming back to the research that I’m interested to look at [right now]: how do we
perform rest as a form of resistance? The origins of this idea came from another
residency that I did in Taipei back in 2019. At that time, the residency focus was
really more on working with communities. There was a community that we
researched on, and it was the migrant workers who gathered weekly at a public
space in Taipei. It’s actually the central plaza in Taipei Main Station. So it’s an open
space, with high ceilings. Every Sunday, they come together, Indonesian migrant
workers mostly. They come together, and they are free to do anything. They sit
around, eat, chat, catch up, play music, and all these things, right? Through the
research, we discovered that there was only one thing that was prohibited in that
space, which is lying down. The action of lying down, specifically. Not sleeping.
You can sit and sleep. But once you lie down, then, apparently, we were told
that that was prohibited. So, in that residency, we embarked on this research. A
research topic that we started exploring was napping, and [we] also created a
series of activities that revolved around learning, and then napping. For example,
we had a session where one of the Indonesian artists taught us Bahasa Indonesia.
[Audio excerpt from workshop at Taipei Main Station, part of Asia Discovers Asia
Meeting for Contemporary Performance, 2019. Courtesy the artist.]
After we learned certain words, we were given the task to ask the Indonesian
migrant workers, or the Indonesian-speaking migrant workers, questions for our
homework. After that, we napped. So what happened was that we were napping
happily, I really fell asleep, and then suddenly, I felt someone kick me. Not kick
me, but more like somebody tapping on my shoes. Not the friendly kind, but
the kind where you will wake up and you’ll be disorientated… Anyway, someone
woke us up, and it was the security/police. That research made me wonder
about why this rule was in place. Why? Why can’t we have a place where we lie
down or rest? After the residency, I started to look at this idea of resting, what
has it got to do with unrest? If I were to play with the word. At the same time,
�there was also another interesting layer for me: because we were not doing
any performances, we were considered everyday users of the space. Hence,
this action was prohibited. But I did think a lot about what would happen if we
were able to obtain permission to stage a performance and the performance
required everyone to lie down… By logic, if we had obtained permission, then
that would have been allowed, right? So I think, for me, this idea of legitimacy,
and the permission to do something became something that I was interested to
explore, you know? How can we strategically use performance as a way to open
up our imagination of how spaces can be used? I think there were a few ideas
that came out of the [Taipei] residency, which I then carried forward to whatever
I’m researching on using the NTU CCA [Singapore] residency platform. In a way,
really looking at how we use rest, and the various aspects of it, with rest being
something like an interval of stillness, an interval, a moment of pause. How do we
use that to resist against the capitalist-induced culture that we are currently living
in within this urban environment? So that became my main strand of investigation
during this residency. Okay, that was very long. Good luck, everybody!
Fang-Tze Hsu: I think there’s something quite interesting in thinking about the
cadence of our everyday life, or thinking along the lines of urban spaces, such
as Singapore, as almost the entire island is an urban space. It reminds me of a
set of photographs [I saw] when I visited you during the NTU CCA Singapore’s
Residencies Open Studios. There was a set of photographs where you set up tents
inside a shopping mall, or you set up tents in an area under the National Park
Boards. I’m quite curious, are these public interventions? What are these public
interventions exactly about as part of your action-driven research processes? And
what are some of the memorable memories you can share with us here?
Han Xuemei: Maybe to give context on what this research entails… when I
started on my research on this topic of rest as a form of resistance, I came across
this book, recommended by my mentor, called One Square Inch of Silence [by
Gordon Hempton]. I came across this book, and I wanted to go deeper into it,
because I was interested in exploring the sonic aspects of rest. So this deviates a
little bit from my experience in Taipei. I’m interested to think about rest beyond
the physical action of lying down, to understand rest from the perspective of
sound. In music, we talk about rest being an interval of silence, and that’s why the
first part of this research is called An Interval of Silence. When I started looking
at the book, One Square Inch of Silence, it actually talks about this acoustic
geologist’s journey to preserve silence in the United States, in national parks,
Han Xuemei, Residencies OPEN, installation view, 22 January 2022. Courtesy NTU CCA Singapore.
going to the wilderness to really discover places where silence allows him to
hear everything. Hearing everything, meaning that, you hear everything in nature,
separated from the urban noise that we are creating. So I think this book then
sparked the inspiration for the second part of the title, which is A Plot of Quiet.
This research then became about two things. One is about time, the interval,
how long is this interval and what does this interval look like, or feel like? And the
other dimension is about space. How do we find plots of quiet, or plots of rest in
Singapore? That’s the idea. The actual research then became a walk from one end
of Singapore to the other end. The walk is not yet finished. It’s a very treacherous
endeavour because of all the highways. In any case, the idea of the walk is to
physically search for these intervals and plots [of silence] in Singapore itself. So
we started the walk. I went with a spatial designer friend to borrow her spatial
sensitivities. We started from Changi, as far east as we could go, attempting to go
over to Tuas. Along the way, that’s where the tents came in. It was a very simple
idea. We took three forms of rest: the tent, where there is an enclosed space; the
hammock, a playful, less intrusive mode of rest; and then the chair. The chair is
a less obvious kind of intrusion into the space. We took these three things, and
along the way, we would then identify where they could be used. That was part of
�somehow, I don’t know how, but we spent five hours trapped inside Changi itself.
[Audio excerpt from Han Xuemei’s field recordings at Tanah Merah, 2022.
Courtesy the artist.]
Fang-Tze Hsu: Wow.
Han Xuemei: There’s a huge plot of reclaimed area in Changi now. So I think
the physical experience of actually encountering the kind of urban intrusions
was actually also a very important discovery for me. I think it kind of made me
think again about what this whole research is about, and what this resistance is
against…
Han Xuemei, Residencies OPEN, installation view, 22 January 2022. Courtesy NTU CCA Singapore.
how we were researching about where the intervals, these plots of rest are in that
walk. I think that one of the most interesting things that happened is that nothing
happened! It’s somehow interesting that we did that. And then we had the open
studio, right? During the open studio, there were multiple responses from the
public whenever we said that we actually did this thing. The first response people
naturally had was, “Oh, is it allowed? You can do that?” So the most interesting
thing that happened is really that nothing happened. No police came… Maybe
now they will! But no police came. Nobody stopped us. Nothing happened.
That was one very important discovery for me, not just as an artist, I think, but as
someone living in Singapore all my life. That discovery is actually very powerful,
in a way, that you can do something and nothing happens…
Fang-Tze Hsu: Maybe not the case anymore after this podcast!
Han Xuemei: We will see, it depends on whether you edit this in! Coming back
to that experience, of course there were also other things that came in, the
discovery of how our environment is actually already being consistently, or
constantly, intruded by urban structures. For example, we were walking and
thinking that we could cut across, but we couldn’t because of the highway, and
Fang-Tze Hsu: We will see, we will see. I think it’s something quite exciting to do.
Maybe they will trigger and encourage people to have a collective mobilisation of
putting hammocks around the city, on the trees, at the corners of this wonderful,
beautiful garden environment, right? I would like to bring in this analogy with
the wonderful acoustic ecologist Gordon Hempton’s work. That’s where the
reference of his book comes in, as your title The Interval of Silence, A Plot of
Quiet, is in fact coming from his book, One Square Inch of Silence. I mean, in a
sense, there are parallels between both. So there is you, attempting to situate the
so-called economy of rest in this urban jungle versus the nature forests where
Hempton is trying to conserve/preserve a sense of silence. I’m quoting his words,
“a sense of silence that touches our soul” [speaks] very much to the kind of field
recording that he has done. Suppose we may consider Hempton’s field recording
of the silence as a poetic resistance in this era of capitalism, right? Everything
has become part of the network, or defined by power, profit, and reproduction
of the life. But in your case, what does it mean for you to explore the notion of
resistance in the embodiment of the rest? Because there’s a very interesting, and
again dialectical, moment between the rest versus resistance right there…
Han Xuemei: Firstly, the association of rest as something that is very harmless,
non-threatening, and non-violent… I think it has its relation to the history of
nonviolent protests. As part of the research, I was also looking at the different
ways nonviolent protests have emerged, and I was trying to do an A to Z
catalogue, where people use various objects and peaceful ways of resisting
against various issues. I think rest actually sits within this bigger historical
context, right? At the same time, I have been trying to figure that out because
�of my interactions with people, especially the people who came for the open
studio to look [and saw] the research in progress. There was a question that
asked them to suggest what is rest to them, how do they rest? Generally, there’s
this sense of rest being something that is comfortable, of finding a way where
you can feel at ease. Throughout the process, it has been an ongoing struggle
inside me where I keep thinking about how this thing that’s supposed to make
someone comfortable, sits in relation to the fact that it’s meant to be a resistance
in the context of this research, right? Whether or not we perform, if I’m inviting
everyone to come and perform this act of rest as a form of resistance, if it is too
comfortable and too everyday, does it really become a resistance? Or is it just
part of life? But, if it’s too staged, then what’s the point? Why are we trying to
manufacture this artificial mode of rest?
For me, the struggle has been trying to find a way to take this everyday action
that is so different and subjective to different people, because different people
define rest in different ways, right? For some people to rest, they need to sleep.
For some people to rest, they need to exercise. So how do we find, or how
do we use, this variety and turn it into something that still has the quality of it
being a resistance, or being against this bigger culture that we are talking about?
By this bigger culture, I’m referring to the whole capitalist-induced culture of
consumption, of going at a pace where we’re constantly producing. You can
find this energy very prominently in shopping centres. There is this huge wave of
restlessness in shopping centres. So, the thing is, how do we do something that
is actually in resistance to this culture and this energy of restlessness while, at the
same time, we have this whole economy of rest in the sense of wellness services?
There’s this gravity-defying salt bath that you can pay to [soak in], and people
have talked about how it’s very different, how it really relaxes the body and you
really feel like you’re resting, you know? Blah, blah, blah... So there is this rest that
is not unique to this project. In fact, it is already something that people are talking
a lot about, how do we self-care or [keep our] wellbeing? But I kept coming
back to the question of, “is that the kind of rest this research is talking about?”
Intuitively, my heart says no. And so the struggle has been [to understand], “How
else then? How else?” Yeah, this research is up to this point. It’s really all these
ideas floating around, waiting for the right medium to come to anchor it. Does it
make sense?
Fang-Tze Hsu: It does resonate quite a lot. I remember when I first encountered
this book, One Square Inch of Silence. I also recognised the field recording
Han Xuemei, Residencies OPEN, installation view, 22 January 2022. Courtesy NTU CCA Singapore.
component of it, and when I managed to find a YouTube video of the field
recording, I immediately associated it with meditation, the body memory
exercises I do. As you say, I think this is just unfortunate. It’s just so unfortunate
somehow that there’s a certain economy of rest. And by economy, I think we are
not talking about the financial dimension of the operation, but more or less about
the distribution, the politics of distribution, organisation, around our society.
And what this economy stands for in relation to the notion of rest. Yeah, so I
think we’re wrapping up this session. Thank you so much for this exchange, and
conversation.
Han Xuemei: Thank you. I think this podcast has helped me unlock some of the
questions [I had], and gave me some new directions to think about. Yeah, because
I’ve been stuck for a while. So if you have any thoughts about rest, feel free to
contact me.
Fang-Tze Hsu: So I wish you have a great rest today, and I wish you can rest in
ease.
Han Xuemei: Thank you. Thank you.
�Anna Lovecchio: You listened to AiRCAST, a podcast of NTU Centre for
Contemporary Art Singapore, a national research centre for contemporary art of
Nanyang Technological University. To find out more about our programmes, visit
our website at www.ntu.ccasingapore.org, you can sign up to our newsletter, or
follow us on your favourite social media platforms. And of course, if you’d like to
hear the voices and thoughts of our other Artists-in-Residence, do subscribe to
this podcast.
AiRCAST is produced by NTU CCA Singapore with the support of National Arts
Council Singapore. This episode featured artist Han Xuemei in conversation
with Hsu Fang-Tze. I am Anna Lovecchio, the editor of this podcast series. The
Programme Manager is Kristine Tan, the Audio Engineer, Ashwin Menon from The
Music Parlour.
The intro and the outro were composed by our previous Artist-in-Residence Tini
Aliman with field recordings taken at different times of the day in the beautiful
forest around us.
Hsu Fang-Tze and Han Xuemei recording AiRCAST, 2 March 2022. Courtesy NTU CCA Singapore.
This episode was recorded on the 2nd of March 2022.
Thank you for listening.
�
Dublin Core
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Title
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Programme Resource
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Short Description
For our fifth episode of AiRCAST, we entrusted curator and scholar Hsu Fang-Tze to pick the mind of our Artist-in-Residence Han Xuemei.
Programme Series
Residencies AiRCAST
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
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Title
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Transcript of Residencies AiRCAST Episode #5: Han Xuemei
Subject
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Theatre
Artistic Research
Description
An account of the resource
<span>For our fifth episode of AiRCAST, we entrusted curator and scholar Hsu Fang-Tze to pick the mind of our Artist-in-Residence Han Xuemei. In their insightful exchange, Xuemei discusses how her urgency for engagement steers her fluid theatre practice towards experimenting with different modes of audience participation. As she shares about her current efforts to carve out “intervals of quiet” and “plots of rest” in the hectic context of Singapore, you will also discover that the research on the topic of “rest as resistance” she conducted throughout her residency at NTU CCA Singapore grows out from another residency she did in Taipei a few years ago.</span>
Date
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2022-03-02
Contributor
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Han Xuemei
Hsu Fang-Tze
Fang-Tze Hsu
Anna Lovecchio
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Transcript
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English
Coverage
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Southeast Asia
-
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<a href="https://vimeo.com/233438894">https://vimeo.com/233438894</a>
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233438894
Short Description
Mark Nash in conversation with Isaac Julien addressing the artist’s work in Theatrical Fields.
Duration
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01:15:26
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Theatrical Fields: Special Brunch and Screening with Isaac Julien and Mark Nash
Subject
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Theatre
Institutional Critique
Description
An account of the resource
Mark Nash in conversation with Isaac Julien addressing the artist’s work in Theatrical Fields, but also more recent productions such as Playtime. A screening of Playtime will follow the conversation.
Date
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2014-10-26
Contributor
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Isaac Julien
Mark Nash
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Southeast Asia
Europe
-
Dublin Core
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First Name
Madhusree
Surname or Business Name
Dutta
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2015
Affiliation
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Majlis, Mumbai, India
Birthplace
India
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<span>Madhusree Dutta is a filmmaker; also a curator and pedagogue. Filmmaking, theatre, visual arts, text productions; students’ movement, feminist movement, movement against communalism, movement for democratisation of art practices; cultural literacy, art pedagogy; interfaces between genres, movements and disciplines form the trajectories of Madhusree’s journey. She is the founder and executive director of Majlis, a centre for rights discourse and multi-disciplinary art initiatives in Mumbai, India, and was one of the curators of the Artists’ Cinema programme at the Kochi-Muziris Biennale 2014.</span>
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India
Public Resource Centre Affiliation
Artist Research Platform
Library
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None
None
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Speaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
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Madhusree Dutta
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Performance
Theatre
Body
Contributor
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Madhusree Dutta
Coverage
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Asia
-
Dublin Core
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Title
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Contributors
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First Name
Miguel
Surname or Business Name
Escobar Varela
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2014
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National University of Singapore
Birthplace
Mexico
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Assistant Professor
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<span>Miguel Escobar Varela is an assistant professor in NUS and has teaching appointments in Theatre Studies at Faculty of Arts and Social Sciences and University Scholars Programme (USP). Dr Varela is a web developer and theatre researcher who has lived in Mexico, The Netherlands, Singapore and Indonesia. He is also the Academic Advisor on Digital Scholarship at the NUS Libraries and convene the informal </span><a href="http://digitalhumanities.sg/" class="waffle-rich-text-link">Digital Humanities Singapore group.</a>
Professional Website
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<a href="https://www.miguelescobar.com">https://www.miguelescobar.com</a>
Country of Practice
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Singapore
Indonesia
Public Resource Centre Affiliation
Artist Research Platform
Library
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None
None
Contributor Type
Speaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Miguel Escobar Varela
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Technology
Theatre
Contributor
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Miguel Escobar Varela
Miguel Escobar
Coverage
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Southeast Asia