メインビジュアルロゴ
NAHA, JAPAN / 2020-2021
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ABOUT JEJAK-TABI EXCHANGE

Jejak-旅 Tabi Exchange is both a platform built to serve as a venue for close exchange among Asian artists and a project touring several different cities.
The world “jejak” is Malay for “steps” and means “footprint” in Indonesian. The project participants actually travel to various parts of Asia for meeting counterparts, engaging in dialogue, viewing art, dancing, and eating. Through these and other activities, they physically apprehend the story of performing arts in each place. Under the project, exchange was held in Jogjakarta and Kuala Lumpur in 2018 in the first phase and scheduled to be held in Roxas City (Philippines) and Naha (Okinawa) in 2020 in the second phase.
Through the project, we interacted with local counterparts who are leading the contemporary performing arts in their respective areas, and orchestrated encounters pairing an international context and on-site scenes with a deep local coloring.

After the session in Roxas City in January 2020, the project was scheduled to be held in Naha, but was postponed due to the pandemic. Instead, it was decided to hold it online in fiscal 2020.

Held in Roxas City and Naha, two cities located in island Asian countries, the second phase focused on performing arts born in areas that have experienced occupation and colonization by the United States and Japan.Like many cities in Asia, Okinawa has a history of invasion by Japan and a cultural and artistic tradition strongly reflecting its historical development as the Ryukyu Kingdom. The project views it from a perspective that frames it in an Asian context. The aim is to newly discover historical and cultural dimensions that are not visible when Okinawa is merely regarded as a Japanese prefecture.

Taking a retrospective look at the history of the colonization of the Philippines, the session in Roxas City examined struggles and social activities in the modern period with several different styles of expression, including performance and video. Reflecting on the experience of works and discussions in the Roxas session, we are going to prepare presentations, panel discussions, and film screenings in the online session, in order to link it to the session in Naha next year. We request your viewing of the online distribution and the discussions.

 

 

WELCOME TO NAHA CITY

The city of Naha is a port on the western coast in the southern part of the island of Okinawa, in the East China Sea, about 1,600 kilometers from Tokyo. It has a population of over 300,000 and is the seat of Okinawa Prefecture. In premodern times, it was the capital of the Ryukyu Kingdom, and developed through interchange with Japan, China, and other East Asian countries as well as a wide range of regions in Southeast Asia. For this reason, it has nurtured the growth of a distinctive tradition, culture, and language that continue today and differ from those of the main Japanese islands, against the background of its climate and environment. Following the Meiji Restoration in the latter half of the 19th century, the kingdom was abolished and the Ryukyu Islands were incorporated into Japan as Okinawa Prefecture. During World War II, the central and southern parts of Okinawa Island, including Naha, became a battlefield in 1945 (in what became known as the Battle of Okinawa). After the war, Okinawa was administered by US military authorities for a period of 27 years, before its return to Japan in 1972 (Okinawa Reversion).

The population of the metropolitan area centered around Naha currently tops 800,000, and accounts for the majority of the prefecture’s entire population. Naha has a central location in Eastern Asia as a whole; Seoul, Hong Kong, and Manila lie within 1,500 kilometers of it, and Fukuoka, Shanghai, and all of Taiwan, within 1,000 kilometers.

map-okinawa

HOW TO JOIN THE EVENT

● Each program can be distributed on the official YouTube channel of The Drifters International. (Except for Q&A live streaming and ‘NINE STRAY OKINAWANS – 50 years since then’, ‘KHAO KHAO CLUB.mp4’)

YouTube channel of The Drifters International
Youtube

‘NINE STRAY OKINAWANS – 50 years since then’ purchase ticket
Atelier Mekaru Base

KHAO KHAO CLUB.mp4
KHAO KHAO CLUB.mp4

● The following programs require subscription to the zoom webinar. ​Please register from the register button of each program column.
●​​The interactive Q&A is open to questions. ​Please fill out this form.

12/4 Interactive Q&A-2 ‘After the Empire? Common Ground Between Okinawa and Southeast Asia’ 8:00-9:30 PM (GMT+9) Live streaming (in English, Japanese / both translation) 

[Register]

12/5 Interactive Q&A-6 PANEL DISCUSSION 6:00-7:30PM(GMT+9) Live streaming (in English / Japanese translation)

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12/6 Interactive Q&A-8 ‘Performing Resilience’ 6:00-7:30PM(GMT+9) Live streaming (in English / Japanese translation) 

[Register]

12/7 Interactive Q&A-5 ‘Criss-crossing the Terrain: From Okinawa to Chiang Mai and Back’ 7:30-9:00PM (GMT+9) Live Streaming (in English / Japanese translation)

[Register]

● You can watch programs free of charge except for ‘NINE STRAY OKINAWANS – 50 years since then Online Streaming’ .

PROGRAMS
DECEMBER 1 / TUESDAY 2020

Video Distribution1
INTRODUCTION OF Jejak-旅 Tabi Exchange NAHA @ ONLINE

7:00 PM (GMT+9) distributed

Speakers : Helly Minarti, Akane Nakamura, Masashi Nomura
Language:In Japanese, English / Japanese, English subtitles
Duration:about 30 minutes

This online session opens with a “welcome talk” program featuring curator Helly Minarti, Akane Nakamura, and Masashi Nomura. This program will introduce the mission of Jejak-旅 Tabi Exchange, the activities from 2018 to the present, the circumstances leading up to the holding of the online session, and the component programs in the event, through distribution using both slides and streaming. Please make sure to view this program before participating in the session!

*You can watch (12/1 -7) onYouTube channel during the period.


Video Distribution2
Okinawa Art Culture Theater
‘NINE STRAY OKINAWANS – 50 years since then Online Streaming’

Language:In Japanese / English subtitles
Duration:about 90 minutes

The team consisting of playwrights, a director and performers all from Okinawa got together to create this play, 70 years after WWII. In this play we witness the varying views and emotions of Okinawans on the eve of reversion to Mainland Japan. How did they take it? What did they hope for? What was the impact of the reversion on their lives and Okinawa?

*The video of the non-audience performance held at the Atelier Mekaru Base on Sunday, September 6, 2020 is distributed online.
Click here to purchase online tickets!

purchase ticket & viewing

*​​12/3 (Thu) 19:00 (GMT+9) ~ 12/4 (Fri) 22:00 (GMT+9) will be distributed free of charge on YouTube channel. ​
For the rest of the period, please visit the online delivery page of the Atelier Mekaru Base and purchase a ticket.
*​If you register for the Interactive Q&A-2, we will inform you the URL of the free distribution from 12/1 (Tue) to 12/3 (Thu).


Video Distribution3
Yudai Kamisato ‘KHAO KHAO CLUB.mp4’
from ‘KHAO KHAO CLUB ONLINE’

20:00 (GMT+9) distributed

Language:in Japanese and Thai / English and Japanese Subtitles
Duration:about 20 minutes
Viewing:Okazaki Art Theatre YouTube Channel

Yudai Kamisato, a playwright/director with roots in Peruvian of Okinawa ancestry and Japanese of Hokkaido ancestry, and Mark Teh, a director/researcher/curator who has been researching Malaysia’s political history for a long time.

From December 2019 to February 2020, two people who continue to create works by conducting research with different methods did research in the Ryukyu Islands and northern Thailand as “Collaborative Research: Re-Reading the history from the South.”
After a presentation at the “Jejak-Tabi Exchange” held in Yogyakarta, Indonesia in July 2018, a research collaboration by Yudai and Mark, who use a completely different research method, was launched.
In 2019, they replaced the “edge of the border” to central, research on the themes of central versus periphery and domination versus dominated.

The theater version is postponed this year and the premiere at Festival Theaterformen turned it into an online presentation, he creates the new online piece series.
As Yudai Kamisato’s first online project, he presents the audio play “KHAO KHAO CLUB.mp3”, text work “KHAO KHAO CLUB.pdf” and video work “KHAO KHAO CLUB.mp4”.

​For details, please visit the special website of KHAO KHAO CLUB ONLINE.


Video Distribution4
Curated by Lisa Ito ‘Screening of short films made under lockdown’

20:00 (GMT+9) distributed

Language:in English / Japanese subtitles
Duration:about 35 minutes

Curated by Lisa Ito, this section screens six films in total through which images we capture the mood, struggle and resistance by the people of the Philippines during the last months of this pandemic which only adds another layer of complexity on top of already political violations to the people.
Four short films made and all publicly shared by Concerned Artists of the Philippines (CAP) and Respond and Break the Silence Against the Killings (RESBAK) between April to October 2020.

  1. Quarantine Exercise (Your Human Rights), RESBAK (April 2020), TRT 10:53. 
    An exercise video triggered by the Philippine government leadership’ response (and lack of) to the pandemic starting from January 29 to April 1, 2020. 
  2. Counter Terror, CAP, TRT 03:42. ,
    A fictive narrative at the real life dangers of the then-newly passed Anti-Terrorism Law.
  3. #SONAgKaisa D. I. Y Mask Kontra  Veerus, RESBAK, TRT 04:18.
    A DIY mask/protest paraphernalia making workshop video facilitated by visual artist Leeroy New for the State of the Nation Address (SONA) 2020 protest.  
  4. Sakahan (Field, October 2020), Anonymous, TRT: 01:59. 
    An anonymously produced collaborative work from Quezon-based artists shared to CAP, this features an outdoor installation in October 2020, made in response to successive killings of peasant leaders and human rights advocates in Iloilo, Negros, Leyte, and Manila from May to September 2020.  

Today, we remember Sagay.
On this day two years ago, nine sugarcane workers, including four women and two children, were killed by armed men while eating dinner at a bungkalan (land cultivation area) in Negros Occidental province in Negros island. 
Last year, on the anniversary of the Kidapawan massacre in 2016, fourteen farmers were killed across Negros Oriental.
The killings of farmers and activists who stand with those who nurture our land continues under the pandemic. Remember some of their names: Marlon Maldos, Randy Echanis, Jory Porquia, Carlito Badion, and Zara Alvarez.

*You can watch (12/1 -7) on YouTube channel during the period.
*Please watch the interactive Q&A-6 ‘Emancipatory Movements: A Regroup of Solidarities’ (moderated by co-curator Lisa Ito from CAP, Manila, discussing and discoursing the latest situation in the Philippines.)


DECEMBER 2 / WEDNESDAY 2020

Video Distribution5
PRESENTATION ‘Criss-crossing the Terrain: From Okinawa to Chiang Mai and Back’

8:00PM (GMT+9) distributed

Speaker : Mark Teh, Yudai Kamisato
Language:in English, Japanese / both translation 
Duration:about 60 minutes

This Presentation weaves a conversation between two theatre-makers, Yudai Kamisato (Tokyo) and Mark Teh (Kuala Lumpur). Since they shared a panel at the first edition of  Jejak-Tabi Exchange in Yogyakarta in 2018, both artists have been invited to do a parallel research in Japan and Thailand. Moderated by Helly Minarti (Yogyakarta), the artists trace their journey back and reflect on respective interests, intentions and what theatre-making means for them. 

*You can watch (12/1 -7) on YouTube channel during the period.
​*Please watch the 12/7 interactive Q&A-5 ‘Criss-crossing the Terrain: From Okinawa to Chiang Mai and Back’ for this program.


Video Distribution6
PANEL DISCUSSIONEmancipatory Movements: A Regroup of Solidarities

8:00PM (GMT+9) distributed

Cancellation Announcement of Video Distribution6 PANEL DISCUSSION ‘Emancipatory Movements: A Regroup of Solidarities’.
We apologize for any inconvenience and appreciate your understanding.

The discussion and Q&A will be delivered live on 12/5 (Sat) in the Interactive Q&A-6 ‘Emancipatory Movements: A Regroup of Solitary’. ​


Video Distribution7
Podcast ‘TAGSUPIL (Suppression Season)

8:00PM (GMT+9) distributed

Speaker : Donna Miranda
Language:in English / Japanese translation
Duration:about 30 minutes
*Video Distribution7 Podcast ‘TAGSUPIL (Suppression Season)’ has been rescheduled for release 12/5 (Sat) or later.
We apologize for the inconvenience and appreciate your understanding.

Activism in the time of redtagging and suppression. The contents of the podcast is a roundtable discussion between artists/activists about the implications of redtagging and terrorist tagging to activism, critical thinking and guaranteed freedoms. Artists-activists from the fields of music, visual arts, theater and entertainment industry will be invited to provide input on how civil society actors and artist-activists can face increasing state repression and push forward with the agenda of peace and justice in the Philippines.

*You can watch (12/1 -7) on YouTube channel during the period.


Video Distribution8
PANEL DISCUSSION ‘Performing Resilience’

8:00PM (GMT+9) distributed

Speaker :  Alfian Sa’at, Mohammad Abe, Su-Wenchi, and Sei Kamida
Moderater : Nabilah BM Said (from Arts Equator)
Language:in English / Japanese translation
Duration:about 60 minutes

Most of this year has brought a fundamental change in how each of us live, how we perceive the world, and how we practice our arts. Moderated by Nabilah Binte Muhammad Said (Singapore, playwright) of Arts Equator, this panel engages four artists from four cities: Alfian Sa’at (Singapore, playwright), Muhammad Abe (Yogyakarta, actor/researcher), Sei Kamida (Naha, actor) and Su Wen-chi (Taoyuan, dancer/choreographer/media artist) to share their respective experiences of coping up with such changes whilst keeping oneself healthy, sane and productive. They reflect on the notion of ‘resilience’ as something they (un/consciously) have been performing, as life/arts strategy – as individual and part of community – and perhaps, also methodology.

*You can watch (12/1 -7) on YouTube channel during the period.
​*Please watch the 12/6 interactive Q&A-8 ‘Performing Resilience’ for this program.

DECEMBER 4 / FRIDAY 2020

Interactive Q&A-2
‘After the Empire? Common Ground Between Okinawa and Southeast Asia’

8:00-9:30 PM (GMT+9) Live streaming

Speaker :  Masashi Nomura, Gakuji Awa, Shoichi Toyama and Alfian Sa’at
Language:in English, Japanese / both translation

‘NINE STRAY OKINAWANS – 50 years since’ depicts the anguish over the ideals and realities of independence, autonomy and independence of Okinawa, which was ruled by the Empire of Japan in modern times and then by the United States after World War II. Okinawa is similar to the situation in which countries and regions that were ruled by Japan during World War II have faced each other since the end of World War II.
In this panel discussion, we look at the closeness of Okinawa and Southeast Asia from various angles through the dialogue between Alfian Sa’at (researched Okinawa 3 years ago), Gakuji Awa (the writer of ‘NINE STRAY OKINAWANS’), and Shoichi Toyama (the director of ‘NINE STRAY OKINAWANS) and Masahsi Nomura.
It will be delivered via zoom webinar. Please register and join us by clicking the “Register” button below.
If you register for the interactive Q&A-2, we will inform you the URL for free viewing ‘NINE STRAY OKINAWANS – 50 years since then Online Streaming’ limited from 12/1 (Tue) to 12/3 (Thu).

Register

​*Please watch the Video Distribution2 ‘NINE STRAY OKINAWANS – 50 years since’ before participating.
*​Interactive Q&A-2 is open to questions. ​Please fill out this form.

DECEMBER 5 / SATURDAY 2020

Interactive Q&A-6  ‘Emancipatory Movements: A Regroup of Solidarities

6:00-8:00PM (GMT+9) Live streaming

Speakers : Lisa Ito, Arianne Carandang, Karlo Mongaya, Tina Ponce and Chrissy Ustariz
Language:in English / Japanese translation

How to continue a conversation on emancipatory movements, as we navigate through the the pandemic and political repression?

This discussion takes off from the January 23, 2020 panel as part of the Jejak-旅 Tabi Exchange event in Roxas City on the theme of “Theater, Politics and Civil Movement in the Philippines: Session 1: Theatre with A Cause,” delving into theater and social movements in the Philippines. This exchange ended shortly before the first coronavirus case was reported in the Philippines on January 30 and before a lockdown was imposed on March 12.
Our four panelists today represent organizations who were involved in the Jejak-旅 Tabi Exchange in Roxas and are involved in cultural work in the Philippines, which continues under conditions such as the covid-19 pandemic and political repression. We share and discuss how this.

We will hold interactive discussions such as Q&A and exchange of opinions with the audience. ​Please join us.
It will be delivered via zoom webinar. Please register and join us by clicking the “Register” button below.

Register


*​Interactive Q&A-6 is open to questions. ​Please fill out this form.

DECEMBER 6 / SUNDAY 2020

Interactive Q&A-8 ‘Performing Resilience’

6:00-7:30PM(GMT+9) Live Streaming

Speakers : Alfian Sa’at, Mohammad Abe, Su-Wenchi, and Sei Kamida
Moderater : Nabilah BM Said (from Arts Equator)
Language:in English / Japanese translation

​We welcome the speakers of the Video Distribution8 ‘Performing Resilience’, and we will hold interactive discussions such as Q&A and exchange of opinions with the audience. ​Please join us.
It will be delivered via zoom webinar. Please register and join us by clicking the “Register” button below.

Register

*Please watch the Video Distribution8 ‘Performing Resilience’before participating.
*​Interactive Q&A-8 is open to questions. ​Please fill out this form.

DECEMBER 7 / MONDAY 2020

Interactive Q&A-5 ‘Criss-crossing the Terrain: From Okinawa to Chiang Mai and Back’

7:30-9:00PM (GMT+9) Live Streaming

Speakers : Mark Teh, Yudai Kamisato
Language:in English / Japanese translation

​We welcome the speakers of the Video Distribution5 ‘Criss-crossing the Terrain: From Okinawa to Chiang Mai and Back’, and we will hold interactive discussions such as Q&A and exchange of opinions with the audience. ​Please join us.
It will be delivered via zoom webinar. Please register and join us by clicking the “Register” button below.

Register

*Please watch the Video Distribution5 ‘Criss-crossing the Terrain: From Okinawa to Chiang Mai and Back’ before participating.
*​Interactive Q&A-8 is open to questions. ​Please fill out this form.


SCHEDULE

SCHEDULE LIST

CURATORS / ORGANIZERS

HELLY MINARTI

HELLY MINARTI

Helly Minarti is Jakarta-born and works as an independent, itinerant dance scholar/curator, rethinking radical strategies to connect theory and practice. She is interested in historiographies of choreography as discursive practice vis-a-vis the eclectic knowledges that infuse the understanding of human body/nature. She worked as Head of Arts for the British Council Indonesia (2001-03), which set her off to curating. She has been involved in various arts exchange projects, forums/conferences, and conducted research fellowships in Asia, Europe and the US. She is a recipient of the British Chevening Award, Asia Fellows Scholarship, Asian Cultural Council and most recently the US-ASEAN Fulbright Visiting Scholar Fellowship. Helly earned a Ph.D in dance studies from University of Roehampton (UK) and has just relocated to Yogyakarta where she is preparing to launch LINGKARAN | koreografi, a collaborative research platform focusing to expand the critical notions of choreography.

AKANE NAKAMURA

AKANE NAKAMURA

Born in Tokyo in 1979, Akane Nakamura became involved in performing arts while she was an undergraduate in the College of Art at Nihon University. She handles tasks in a wide variety of areas, such as production of the activities of contemporary theater and dance artists and companies inside and outside Japan, holding of site-specific festivals, and execution of programs for interdisciplinary human resource development. She founded precog Co., Ltd. in 2006, during her stint as program director at the NPO ST Spot Yokohama (2004 – 2008), and has been its Representative Director since 2008. precog has produced the works of artists in Japan and other countries, including Toshiki Okada’s chelfitsch and Mikuni Yanaihara’s Nibroll, and handled international tours and co-productions in 70 cities in 30 different countries. In 2009, she established the NPO Drifters International. She proposed and is one of the directors of the Open Network for Performing Arts Management (ON-PAM). Since 2011, she has served as a part-time instructor in the Nihon University College of Art. She has built up an impressive record of collaboration with other parties, such as The Japan Foundation Asia Center, British Council, Kanagawa Arts Theatre (KAAT), Tokyo Metropolitan Government, and the municipal governments of Kunisaki and Bungo-Takada in Oita Prefecture.

Since 2019, Ms. Nakamura has been broadening the activities of precog, as evidenced by its service as the secretariat of the True Colors Festival. This event is organized by The Nippon Foundation and aimed at transcending disabilities and differences in aspects including gender, generation, language, and nationality.

MASASHI NOMURA

MASASHI NOMURA

Masashi Nomura is a theater producer and dramaturge born in Nagano Prefecture in 1978. Since 2007, he has been enrolled in the production division of theater company SEINENDAN and Komaba Agora Theater. Alongside, he has worked as dramaturge for young directors. As the program officer of Okinawa Arts Council, he was involved in the establishment of a small theater/atelier Mekaru Base in Naha City. After that he started to organize the annual meeting of The Smaller Theatre Initiative. He is currently Nagano prefecture’s cultural coordinator and a board member of the Open Network for Performing Arts 10 / Management (ON-PAM). His latest works as dramaturge are The Bacchae−Holstein Milk Cows (Aichi Triennale 2019) by Satoko Ichihara, I Go Through You – Performance (Kyoto Experiment 2018) by Chikako Yamashiro, and The Story of Descending the Long Slopes of Valparaíso (Kyoto Experiment 2017).

ARTISTS / SPEAKERS

Gakuji Awa

Gakuji Awa (Naha)

Awa Gakuji is a true Okinawan who was born (in 1969) and bred there. He awakened to the world of theater with the organization of the troupe Gekishoku Otonadan in 2011. In Otonadan, he is the playwright, and has thus far created many plays that focus on Okinawa. As an actor, he has handled many roles of elderly people (both male and female), using his proficiency in the Okinawan dialect (Uchinaguchi). He joined in the establishment of Okinawa Art Culture Theater in 2015, and applied his carpentry experience to help build Atelier Mekaru Base, a small playhouse that opened in 2017.

Shoichi Toyama

Shoichi Toyama (Naha)

The actor Toyama Shoichi was born in Tokyo in 1966 and raised in Okinawa. After making his debut in a drama made for television in 1986, he began appearing on the stage in 1988, and subsequently appeared in many plays that toured Japan. He moved the base of his activities to Okinawa in 2004, and was involved in the organization of Otonadan in 2011, Okinawa Art Culture Theater in 2015, and Atelier Mekaru Base in 2017. Within Gekishoku Otonadan, he handles the directing chores and publicizes works that could only be made in Okinawa both inside and outside the prefecture. At both Okinawa Art Culture Theater and Atelier Mekaru Base, he accepts performances by companies from outside the prefecture in addition to Okinawan companies, and also contributes to interchange among cultural figures. On the front of human resource development, he is engaged in a program on staff work, a camp for members of high school drama clubs, and other activities.

Mark Teh

Mark Teh (Kuala Lumpur)

Mark Teh is a performance maker, researcher, and curator based in Kuala Lumpur, Malaysia. His diverse, collaborative projects address the issues of history, memory, counter-mappings, and urban contexts – often taking on documentary and speculative forms. His practice is situated primarily in performance, but also operates via exhibitions, education, social interventions, writing, and curating. His projects have recently been presented at MAIIAM Contemporary Art Museum, Chiang Mai (2020), Salihara, Jakarta (2019), Tokyo Metropolitan Theatre (2019), Yamaguchi Center for Arts and Media YCAM, TPAM, Yokohama (2019), BIPAM, Bangkok (2018), OzAsia Festival, Adelaide (2018), Fast Forward Festival, Athens (2018), MMCA Seoul (2018), SPIELART Festival, Munich (2017), Haus de Kulturen der Welt, Berlin (2017), and Bangkok Arts & Culture Centre (2017), amongst others. Mark graduated with an MA in Art and Politics from Goldsmiths, University of London. He is also the coordinator and a member of Five Arts Centre, a collective (formed in 1984) of interdisciplinary artists, producers and activists in Malaysia.

Yudai Kamisato

Yudai Kamisato (Tokyo)

Yudai Kamisato is a playwright and director born in Lima, Peru in 1982. His father emigrated to Peru from Okinawa, Japan. In 2006, he became the youngest person ever to win the first prize in the TOGA Directors’ Competition for his staging of“Desire Caught by the Tail,”written by Pablo Picasso. In 2018, he won the 62nd Kishida Kunio Drama Award for“The Story of Descending the Long Slopes of Valparaíso”. His work as a writer has attracted increasing attention in recent years, with his scripts appearing in the literary magazine Shincho and translations of his plays receiving performances and readings in Seoul, Hong Kong, Taipei, and New York. From 2016-2017, he spent a year in Buenos Aires, Argentina, on a grant from the Agency for Cultural Affairs. He was also a junior fellow of The Saison Foundation from 2011-2016.

Alfian Sa’at

Alfian Sa’at (Singapore)


Alfian Sa’at is the resident playwright of Wild Rice. In 2001, he won the National Arts Council Young Artist Award for Literature. He has been nominated 11 times for Best Original Script at the Life! Theater Awards, winning for Landmarks (2005), Nadirah (2010), Kakak Kau Punya Laki (Your Sister’s Husband, 2014) and Hotel (with Marcia Vanderstraaten, 2016). Sa’at has also been awarded the Boh-Cameronian Award in Malaysia for Best Book and Lyrics for The Secret Life of Nora (2011) and for Best Original Script for Parah (Wounded, 2013). His plays have been performed in Singapore, Kuala Lumpur, Tokyo, Stockholm, Copenhagen, Melbourne and Berlin.

Muhammad Abe

Muhammad Abe (Yogyakarta)


Born in Central Java, Indonesia, Muhammad Abe is based in Yogyakarta and works as an actor and researcher. He is the director of Indonesia Dramatic Reading Festival (IDRF). In 2019 he was one of the curators of Asian Playwrights Meeting in Yogyakarta. Abe has been working in various fields of art, with projects which include researching and exhibiting archives of Bagong Kussudiardjo and Wisnoe Wardhana for Jejak Tabi Exchange in Yogyakarta (2018), researching and writing for Pekan Teater Nasional Indonesia (Indonesia National Theater Festival, 2018), as observer for Asian Dramaturg Network (ADN) in 2018, and curator for Indonesian play in“ Indonesian New Plays”p ublished by Aurora Metro Books, London, 2019.

Su-Wenchi

Su-Wenchi (Taoyuan)


A choreographer, new media artist, she founded YiLab. in 2005 in Taiwan. The philosophy of the group is, ‘‘in a work, there is not just one dominant medium, only concepts that appear similar but collide with one another; every artist involved is an independent entity who has his/her own artistic trajectory, can freely put forward their viewpoint and undertake in-depth explorations of the core significance of the theme’’ . Combining the concepts and forms of new media and performing arts, Su attempts to rethink the possibilities of performing arts from the perspective of new media, extending the controversy and reflection of contemporary art in the face of the impact of digital technology. She was the artist-in-residence at the National Theater and Concert Hall in Taiwan, Arts@CERN and is currently the artist-in-research of EMPAC / Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute, Troy NY. She received the Jury’s Special Award in the 9th Taishin Arts Award and Alternative Design Gold Award in the 2017 World Stage Design Award.

www.suwenchi.com

Sei Kamida (Naha)

Actor. Born and based in Okinawa, he has been engaged in stage creation for children’s musicals in Laos from 2012 to 2014. After returning to Japan in 2015, he performed in Othello in Naha, in Blind Blind Box, Donsoko, Clif of time, and other appearances. In video work, he was selected to play the role of hero in the drama Acres Grandmaster (2016). Since then, Kamida also appeared in some films, including Forgotten Whale Island (2017) and King Shoen (2020). Expanding the scope of activities using English and Lao, he started creative activities in Thailand in April 2019. As a member of theater Unit USUNDAY Brotherhood 3on3 won the International Award at Bangkok Theater Festival 2019, the theater festival in Thailand. For independent projects, he also produced and performed poetry and video concerts: Pure Earth Poetry, Yasugai, and Douchi Uchiunii.  

Lisa Ito

Lisa Ito (Manila)


Lisa Ito is a writer, curator, and cultural worker. She is a faculty member of the Department of Theory, University of the Philippines College of Fine Arts. She is the current Secretary-General of the Concerned Artists of the Philippines (CAP), an organization of progressive artists and cultural workers founded in 1983, and a member of the Young Critics Circle (YCC) Film Desk. She was among the fellows of “Condition Report”, a Southeast Asia-wide curatorial development program of the Japan Foundation from 2015 to 2017.

Donna Miranda

Donna Miranda (Manila)


Donna Miranda is a choreographer living and working in the Philippines. She studied Anthropology at the University of the Philippines and received specialized training in contemporary dance in Philippines and Europe. At the moment she is producing works that delimit the notion of the choreographic through critical engagements with the institutions of dance and the body working along the intersection between choreography, pubic health and policy. She makes a living as a development worker providing communication and advocacy support to an international NGO on public and reproductive health.

KARLO MONGAYA (MANILA)

Karlo Mikhail I. Mongaya is instructor, Department of Filipino and Philippine Literature, College of Arts and Letters, University of the Philippines-Diliman, Quezon City, Philippines. He is pursuing his MA Araling Pilipino with a thesis on the practice of revolutionary journalism during the height of the anti-Marcos dictatorship struggle in the early 1980s.

Ariane Carandang

Ariane Carandang is the head artistic director of Sinagbayan (Sining ng Naglilingkod sa Bayan, or Arts for the People), a nationwide organization of cultural workers, artists, and educators founded 19 years ago and aiming to develop the youth in rural areas.

Cristina Ponce

Cristina Ponce is a cultural worker from the group SIKAD or Sining Kadamay, doing work under its  performing arts progam Tanghalang Mulong Sandoval. SIKAD is a cultural group advancing the rights of Filipino urban poor. Her most recent performance is from the group’s documentary theatre on the government’s brutal drug war dubbed “Sa Digma ng Halimaw” (2018-2020), presented at the Jejak Tabi Exchange on Asian contemporary performance.She was part of the creative team for the Public Information department of Kilusang Mayo Uno (May First Movement) as well as the Makabayan (Patriotic) Coalition from 2012-2017. In 2017, she was featured in the short film “Kontrata” by Mayday Multimedia which tackled the plight of Filipino contract-hired sales workers. In the same year, she was cast in a lead role as a migrant worker in the Taiwanese short film “Lovely Sundays” where she was also nominated as Best New Actor at the Taiwan’s 53rd Golden Bell Awards in 2018.

Chrissy Cruz Ustaris

CHRISSY CRUZ USTARIS is a documentary filmmaker and a lecturer at the FEU Department of Communication and Mapua University School of Media Studies. She received her MA in Media Studies (Film) at the UP Film Institute and is currently pursuing her Phd in Philippine Studies at the UP Asian Center. She is a member of the Concerned Artists of the Philippines (CAP).

CREDITS

Curator
Helly Minarti
Akane Nakamura
Masashi Nomura
Translation
Art Translators Collective
Kanoko Tamura
Kyle Yamada
Tomoko Momiyama
Yuki Harukawa
Technical Director
Takaki Sudo
Project Manager
Tamiko Ouki (precog)
Kei Aoki (precog)
Project Manager Assistant
Ayano Okawa (precog)
Tomo Seto (precog)
Organizer
Drifters International
Support
The Japan Foundation Asia Center
Asian Cultural Council
In co-operation with
Green Papaya Art Projects (Manila)

Concerned Artists of the Philippines/CAP (Manila)
Sama-samang Artista para Kilusang Agraryo/SAKA (Manila)
Okinawa Art Culture Theatre
Atelier Mekaru Base
Open Network for Performing Arts Management
P
Okazaki Art Theater

JEJAK TABI

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SUPPORTED BY