Reality revisits a work originally created by Soy Chanborey nearly a decade ago, drawing upon the personal experiences and daily lives of both himself and his father. In this new version, Chanborey retraces their intertwined stories, bringing years of accumulated memories and observations into a fresh creative process.
Tetuha Halimawong grows from a myth inherited by Ahmad Susantri in Lampung about ancestral spirits taking the form of tigers, believed to watch over the forest. Their presence connects humans with animals, ancestors, sacred territories, and the forest, while also shaping an ethic of living in relationship with the environment.
How have menstruating bodies historically been spoken about and marginalised? Can we entrust pain and the sense of the absurd to something?
Team Chiipro’s Menstruation Sumo Dance explores the social contexts of menstruation through shiko, the traditional stomping movement in sumo.
Melanie shares her ongoing exploration of the mythical body, conjuring strategies for the material and immaterial, enchantment and magic.
Painscriptions is a workshop emerging from Sina Saberi’s choreographic research on pain, informed by medical practices such as EMDR and Somatic Experiencing among others. Through simple somatic instructions and shared movements, participants are invited into an embodied exploration of pain. Drawing on Saberi’s concept of “writing pain,” the workshop approaches pain as a lived experience that can be witnessed, engaged with, and moved through collectively.
How does a woman build and sustain an artistic practice as life continues to change? Making, in Her Own Rhythm brings together three choreographers from different generations, contexts, and artistic trajectories to reflect on how a practice grows alongside a life.
New Fieldwork is a project that begins with observing pigeons living close to people. Through this project, we explore the relationship between humans and other living beings in cities. The project is carried out by artists, including actors, dancers, and theater practitioners, who are not professional field researchers.
Anchored in the erased coastlines of Hong Kong, Sea-Ghosts fights to remember a time when salt was a gift to Hong Kongers. Blending the materiality of places with choreography, this performance-exhibition allows sea spirits in their geological, spiritual and political forms to wake up from centuries of land reclamation and massacres.
KONJO: Becoming Otherwise was developed through artistic research of the Konjo people of Bulukumba Regency, South Sulawesi. Culture is not treated merely as a symbol to be transposed onto the stage, but rather as a source of inquiry into how human beings shape themselves through their relationships with place, nature, community, memory, and "the other."
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