2020 PAMS

KR
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Assembly

[Workshop 2] Re-framing Asian Networking Platforms

Last 30 years, Asian networks based on genre, venue, festival, producer with specific purposes have grown up both in quantity and quality. The Pandemic by outbreak of COVID-19 brought crisis of Asian international mobility and asked us new questions for Asian solidary and creative collaboration.
Many colleagues in Asian networks question whether we can go back to where we were before, or not and we have to re-think and re-shape of Asian collaborations at the post-COVID-19, if we accept a new reality we are faced with.
Asian networking platforms such as APAM, BIPAM, PAMS, and TPAM will gather together and share current situation, changes and challenges. This workshop will be a feeding back session based on what each platform and network need for solidarity, cooperation and creative collaborations among Asian platform and networks.
1) Why do we, Asian networking platforms need to re-connect?
2) What are new and different roles of Asian networking platforms?
3) Where should we start and with what questions for solidarity, cooperation and creative collaborations through Asian networking platforms?
This workshop session hopes to develop three main practical suggestions or ideas for more solidarity,
cooperation and creative collaborations among Asian networking platforms, APAM, BIPAM, PAMS, and TPAM

Date: Oct.13th(Tue) 14:00-15:30

※ Contents of internal workshops will be shared at the closing session on Oct.15th.

Hiromi Maruoka Director, TPAM Performing Arts Meeting in Yokohama

Vice President of ON-PAM – Open Network for Performing Arts Management. Established the Post Mainstream Performing Arts Festival (PPAF) in 2003 and introduced such groups as PME-ART, Forced Entertainment, Maison Dahl Bonnema and Hotel Modern to Japanese audience. In conjunction with TPAM, she held two IETM Asia Satellite Meetings (2008 and 2011) and Performing Arts Presenters’ Network Conference (2009) gathering Asian presenters. In 2012, she established a festival Sound Live Tokyo.

Naomi Velaphi Program Producer, Australian Performing Arts Market

The Australian Performing Arts Market (APAM) works year-round, and across Australia, to connect contemporary Australian theatre, dance, emerging and experimental art with national and international opportunities.
The role of APAM in its new iteration is to deepen relationships through exchange, reciprocity, and hospitality.

Kyu Choi Producer, AsiaNow / Creative Director, PAMS 2020

Under the themes of ‘Diversity and Inclusion, Art and the City’ and ‘Art and Technology’ Kyu has recently developed several research-led workshops and practices including ‘Connected City’ in 2017 questioning what the role of art and technology should be in a rapidly changing urban environment like Seoul, ‘The Korea DMZ Lab’ in 2019 exploring borders/boundaries in our contemporary society through the DMZ lens to engage with community and the public, ‘Aesthetics of Access Workshop’ in 2019, and ‘Dance Audio Description Workshop’ in 2020 for accessibility and creative development for arts and disability.
Kyu has worked as artistic director as well as creative director for the UK/Korea Season Festival 2017-18, the Chuncheon International Mime Festival and the Ansan Street Arts Festival. In 2005 he founded AsiaNow Productions so that he and his associates could produce and present innovative Asian contemporary theatre, dance and circus, also producing many intercultural co-productions and international artist-in-residency programmes for interdisciplinary arts. Since 2014, he has worked to develop the Asian Producers’ Platform and APP Camp 2014-2019.

Sasapin Siriwanij Artistic Director, Bangkok International Perfroming Arts Meeting

Sasapin Siriwanij is performer, director, and producer. She began acting in 2005 while studying at Chulalongkorn University, where she received her M.A and B.A in English Literature. She has been a core member of B-Floor Theatre since 2009, and co-founder of For What Theatre since 2015. Her latest work OH! ODE" (Oh! What Joy, What Goodness, What Beauty Calls For Ode No.7012) in 2017 won her Best Performance by a Female Artist by the Theater Critics Association Thailand (IATC 2017).
She was among the scholars of the Internationales Forum at the Theatertreffen, Berliner Festspiele 2017, and was a participant in the first-ever Curators' Academy by Theatreworks (Singapore).

Emilia Y.K. Lee Chief Manager, Performing Arts Planning Team, Int'l Relations Division, Korea Arts Management Service

Working in the performing arts field, Emilia Y. K. Lee is a chief manager of Performing Arts Planning Team of Korea Arts Management Service. Serving as the organizer of the 2 main performing arts platforms, Seoul Performing Arts Festival (SPAF) and Performing Arts Market in Seoul (PAMS), she especially is keen on how the platform makes the international mobility be active. In particular, facing Covid 19, she has explored the virtual space to make the international exchange works online.

Yukio Nitta Coordinator, TPAM / Independent Producer

Born in Tokyo Japan, Yukio Nitta graduated from MA in Graduate Institute of Arts Administration and Management, Taipei National University of the Arts. He is an independent producer with extensive experiences in international collaborations. He ventured into contemporary theatre, Taiwanese Opera, contemporary dance, tech art, street dance and pop music. In the past few years, he has worked with performance groups including Guling Street Avant-garde Theatre, YiLab, Shakespeare’s Wild Sisters Group and Huang Yi Studio+; and festival including Kuandu Arts Festival, Taipei Arts Festival, Taipei Fringe Festival and TPAM – Performing Arts Meeting in Yokohama.

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