Upload
others
View
4
Download
0
Embed Size (px)
Citation preview
KEYNOTE SPEAKER
MARIBEL LEGARDA Artistic Director Philippine Educational Theater Association
Ma. Isabel Legarda is the Artistic Director of the Philippine Educational Theater Association (PETA) a leading theater company in the Philippines founded in 1967. As a Senior Artist-Teacher of the company, she has directed and choreographed the company’s major productions as well as conducted workshops for Dance, Women and Children’s Theater both locally and internationally. Her productions of “Hans Christian Andersen Must Be Filipino” and “Dreamweavers” have toured Holland and Hongkong. She has directed the hit musical “Caredivas”, a show that revolves around five gay Overseas Filipino Workers in in Israel who are caregivers by day and drag queens by night. In 2011, Philippine Daily Inquirer Lifestyle Section’s year-end review cited Maribel Legarda as Best Director for her notable plays, “Care Divas” and “Wiliam”. Both plays were also cited as Best Musical and Best Full-length play, respectively. The following year, 2012, PHILSTAGE Gawad Buhay Awards, the
Philippine Theater’s premier award-giving body, named “William” as Best Full-length Play and “Caredivas” as Best Musical. Maribel was then bestowed the award Best Director for the play “William.” In 2013, she directed “Pamana”, the country’s first docu-musical that chronicles the country’s struggles from the Martial Law era up to the present political situation to celebrate the legacy of Ninoy and Cory Aquino. In 2014, she directed “Rak of Aegis,” a musical-comedy production featuring the hit songs of iconic pop-rock band Aegis. The play took the theatre scene by storm with its highly entertaining musical numbers and it’s very relevant story of an urban-poor community struggling with to get back on its feet after months if being flooded. “Rak of Aegis” grabbed the lead in the 1st/2nd-quarter citations of the 2014
Gawad Buhay!, the Philstage Awards for the Performing Arts, with 16 citations in the performance and technical categories. Rak of Aegis, originally conceived with 30 performances had then performed 165 Standing-Room-Only shows and is opening again for another 70 shows from June to September of 2015. Maribel was also the Artistic Director of the International Festival of Women in the Arts (Philippines, 2002), the Mekong Performing Arts Laboratory (Philippines, Vietnam, Cambodia, 2005-2009), and the recently concluded Mekong Arts and Media Festival (Cambodia, 2009). Though majority of her time is spent with her theater work, she has also been active as an Assistant Director for TV advertisements and has directed three documentaries: “PETA Through the Years,” “Under the Same sky: A Documentary of Women Artist in the Mekong Region,” “Maghuhubad Na Ba Ako Direk? An Unreleased Documentary On the Bold Genre of Philippine Cinema” and recently MTV’s based on the Renato Santos poetry “Ewan lang atbp. kuwan” In 2012, she directed her first full-length as a part of the Cinema One Originals Digital Film Festival entitled “Melodrama Negra” which one the Audience Award and was nominated for Best Picture in the said festival. “Melodrama Negra” also received nominations for Best Direction and Best Screen play at the Gawad Urian Awards 2013.
HIROSHI NIRASAWA Visiting Professor of Music, Showa University Former Executive Director, New National Theatre Foundation Hiroshi Nirasawa graduated from the School of Political Science and Economics, Waseda University. He is now a Visiting Professor at Showa University of Music (Cultural Policy). He is also the Chairman of the Board of Tokyo Nikikai Opera Foundation. He has 35 years of experience in the Ministry of Education Culture,
Sport, Science and Technology. Through the 35 years, he served as
the Director General of Cultural Affairs Dept., Agency for Cultural
Affairs; the Director of Traditional Culture Div. Agency for Cultural
Affairs; and the Director of Japanese Language Div. Agency for Cultural Affairs. Drawing on his wealth of
managing experience and knowledge of cultural policy, he is the former President of Wakayama National
College of Technology, etc. He is also the former Executive Director of New National Theater Foundation
from July 2009 to June 2016.
SPEAKERS
SESSION 1: The Laws of Attraction: Festival Strategies for Engaging NextGen Audiences
JOSEPH MITCHELL Festival Director, OzAsia Adelaide
Joseph is an experienced arts manager and festival director.
Currently Artistic Director of OzAsia Festival in Adelaide, his first
festival program was delivered in September 2015 and set new
records for audience attendance and introduced a bold
contemporary-focused vision for Asian arts in Australia.
Under Joseph’s stewardship, OzAsia Festival has been referred
to as Australia’s ‘necessary festival’ by RealTime Arts for its
unique focus on contemporary Asian arts and as an avenue to
support Australian-Asian arts collaboration.
Prior to OzAsia Festival, Joseph was Executive Producer at Brisbane Festival (2011-2014) where
he was responsible for supporting the artistic program and overseeing the producing and
production teams of each festival.
Joseph is also an accomplished theatre and opera director with productions presented at State
Opera of South Australia (2019 – 2020) and Queensland Theatre Company (2006 – 2011)
including new Australian works, international classics and devised programs. He completed his
post-graduate education at Victorian College of the Arts, majoring in Dramatic Direction.
Undergraduate study included Bachelors in Communication (Journalism) and Arts (Theatre) at
Newcastle University.
ANDREI NIKOLAI PAMINTUAN Festival Director, Fringe Manila Manila
Andrei Nikolai Pamintuan is a director and
producer. He has divided his time between the
Philippines, New Jersey, and New York City where
he took on various production roles in non-profit
theater, festivals, cultural organizations and other
art related fields. Andrei is the Festival Director
and founder of The Manila Fringe Festival, Inc., a non-profit organization, which produces Fringe
Manila, a multi-genre international arts festival that celebrated its 5th year in 2019. He is
currently the Creative Director of Pineapple Lab, an artist-run creative hub that features
contemporary performances and interdisciplinary arts in Poblacion, Makati City. In 2018, he co-
founded Fringe Cultural and Creative Industries, Inc. or Fringe Creatives – a new company that
produces Filipino productions and mediates international collaborations, highlighting original
and inclusive content with diverse narratives in media, events, and live performances.
Andrei was one of the first Asian recipients of the Australia Council for the Arts Future Leaders
Program. He jumpstarted an Inclusion and Access Plan Toolkit for Melbourne City’s Arts House
for artists and audiences with a disability. He was also part of the first contingent of the Japan
Foundation Asia Center’s Next Generation Producing Performing Arts Program (2017-2018).
Andrei completed a Directing and Producing Program at the New York Foundation for the Arts'
Immigrant Artist Mentoring Program (NYFA-IAP) in Brooklyn, New York (2015) and represented
the Philippines and USA as a delegate to the Salzburg Global Forum for Young Cultural Innovators
in Austria in October 2016.
SESSION 2: "Engaging Next Generations to Cultivate their Physical and Mental State through Performing Arts"
GLEN S. FUKUSHIMA Senior Fellow, Center for American Progress Washington D.C., San Francisco, Tokyo Glen S. Fukushima is a Senior Fellow at the Center for American
Progress, a public policy think tank headquartered in Washington,
D.C., where he focuses on U.S.-East Asia relations. He divides his time
between Washington, D.C., San Francisco, and Tokyo.
He has served on numerous corporate boards of directors, advisory
boards, and government advisory councils in the United States,
Europe, and Japan. He has served as Chairman of the Mori Art Museum Best Friends, member of
the Director’s Circle of the San Francisco Museum of Modern Art and of the Jade Circle of the
Asian Art Museum of San Francisco, and co-founder of the Tokyo Committee of Human Rights
Watch. He also serves on the board of the Washington Bach Consort, PostClassical Ensemble,
and American Friends of the Bach Collegium Japan. In 2016, he was appointed Commissioner of
the Smithsonian Institution’s National Portrait Gallery, and in 2018, he was invited to join the
board of the Mori Art Museum.
A native of California, Mr. Fukushima was educated at Stanford University, Harvard University
Graduate School of Arts and Sciences, Harvard Business School, and Harvard Law School. At
Harvard, he was awarded a National Science Foundation Fellowship. He was a Stanford/Keio
Exchange Scholar at Keio University and was a Fulbright Fellow and a Japan Foundation Fellow at
the Faculty of Law, University of Tokyo.
“Make the Garden Grow: Developing the 21st Century Audience” RACHAEL CHAN Cellist, Orchestra of the Music Makers Singapore City
Rachael is an avid orchestral musician, and has been a cellist with Singapore's Orchestra of the Music Makers (OMM) since 2013. She served as Chairperson of OMM's volunteer Community Engagement Team from 2017 to 2018, which curates both offstage and onstage encounters that aim to enhance the public’s appreciation for the art form. Rachael studied the cello at School of the Arts, Singapore (SOTA) under the tutelage of Dr Park So Youn, where she received prizes for chamber music, music history, music theory, and composition. She is now reading Geography at the University of Oxford. Music continues to hold a central place in her heart, and she hopes to continue creating opportunities for others to fall in love with orchestral music. LUTGARDO LABAD Founding Artistic Director, Kasing Sining Foundation Manila
Lutgardo Labad or Gardy is a multi-awarded theater and film composer, a theater director, and a cultural development specialist in the various fields of education, governance, and community development work. He has directed around fifty plays, composed for about 90 movies and music theater, and conducted hundreds of community arts capability building programs across the country and abroad.
From the seventies to the early nineties he trained in and nurtured the progress of one of the major national theater groups in the Philippines, the Philippine Educational Theater Association or PETA. He conceived the basic foundations of the PETA Creative Pedagogy called BITAW or Basic Integrated Theater Arts Workshop. He was Pedagogy and Artistic Director of PETA for many years leading the faculty of artists-teachers in creating workshop curricula for communities, schools, groups all over the country, in Asia, North America and Europe.
In 1994, he left PETA and settled in the Visayas region, in his home province of Bohol, where he has become engaged in cultural development work. As a member-officer of the National Commission for Culture and the Arts or NCCA, he led the use of the creative theater arts pedagogy approach in developing community arts workshops and production programs across the region.
In the last ten years, he has concentrated on the establishment and organization of community theaters in Bohol and in other provinces of the Visayas, as a major component of sustainable community development, and a people-based model for community-based ecological and cultural tourism.
He is the international manager of the internationally acclaimed Loboc Children’s Choir and a founding leader of the Bohol Arts And Cultural Heritage. In 1997, he established a repertory theater company in Bohol, the Kasing Sining Teatro Bol-Anon Ensemble.
His national awards include Film Scores for a number of significant Filipino movies from national award-giving bodies like FAMAS, the Metro Manila Film Fest, URIAN, and the Film Academy of the Philippines, and an award for Best Theater Director in 2010 from the Aliw Awards for his direction of the PETA production Post Office. He was a senior grantee of a Fellowship from the Nippon Foundation as an Asian Public Intellectuals (API). Most recently, Philstage awarded Gardy the Natatanging Buhay Award 2019 for his lifetime achievement in theater, and the Film Development Council of the Philippines has chosen him as one of the national luminaries who have contributed to the development of the Philippine film industry.
Currently, he is a member of the NCCA Task Force for Cultural Mapping, Special Program for the Arts for DepEd, and Philippine Values. He is Artistic and Pedagogy Director of the Bohol Arts and Cultural Heritage (BACH) Institute, and Cultural Consultant for the master plan of the Region VII Regional Cultural Hub, and for the forthcoming NCCA Teleserye on Philippine Values.
SESSION 3: Mavericks Or Madness: Innovation In Performing Arts Production And Presenting
JOE SIDEK Raintree Fringe Festival Penang Best known as director of the George Town Festival (GTF), Joe Sidek has established himself as one of Malaysia’s strong advocates for the arts. GTF is an annual month-long festival that turns the town into a brilliant canvas for local and international performances, visual arts, culture and community-infused activities. Before taking up the position of festival director, Joe Sidek played major roles in various forms of art expression - from event management, art curatorship, restaurant ownership and even costume design. A lesser known fact about Mr Sidek is that he still runs his family-owned textile chemical factory. With his industrialist background, entrepreneurial nature and his visionary passion for the arts, it is no surprise that 8 years after his appointment as Festival Director of GTF in 2010, the festival has grown incrementally ever since. Alongside GTF in 2018, Joe also directed the 2-year-old Rainforest Fringe Festival in Kuching, having founded the festival in the previous year. He has also helmed the Butterworth Fringe Festival for 3 years (2015-2017) and earlier in 2014, he brought Tropfest, the world’s largest short film festival to Southeast Asia and showcased the inaugural Tropfest South East Asia in Penang. Elsewhere, he has been invited to speak regionally and in cities like Brisbane, Taipei, Seoul and Yokohama about his role in the creation and continued growth of GTF. He also sits on the Industry Advisory Panel of CENDANA (Cultural Economy Development Agency), which was initiated in June 2017.
EISA JOCSON Contemporary Choreographer and Dance artist Manila Eisa Jocson exposes body politics in the service and entertainment industry as seen through the unique socioeconomic lens of the Philippines. She studies how the body moves and what conditions make it move – be it social mobility or
movement out of Philippines through migrant work. In all her creations – from pole to macho dancing and hostess to Disney princess studies – capital is the driving force of movement pushing the indentured body into spatial geographies.
Eisa Jocson is a contemporary choreographer and dancer from the Philippines, trained as a visual artist, with a background in ballet. She has been commissioned by and toured extensively in
major contemporary festival with her solo triptych: Death of the Pole Dancer (2011), Macho Dancer (2013) and Host (2015). Macho Dancer won the prestigious Zurcher Kantonalbank Acknowledgement Prize at the Zurich Theater Spektakel in 2013. Her new series HAPPYLAND (2017) is a study on Disney Princess and the production of fantasy within the ‘happiness empire’. A recipient of the 2018 Cultural Centre of the Philippines 13 Artists Awards, she is commissioned to do a new performance work in Sharjah Biennale 2019.
SESSION 4: Performing Arts on Display: Expositions, Markets and Creative Parks
HIROMI MARUOKA Artistic Director, TPAM Tokyo Hiromi is the Director of TPAM – Performing Arts Meeting in Yokohama, President of PARC – Japan Center, Pacific Basin Arts Communication, and Vice President of ON-PAM – Open Network for Performing Arts Management. She 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 the 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.
謝玲達 LINDA SUSAN HSIEH
Producer, EPPAX She is currently a producer at EPPAX in Beijing,
responsible for building up the company’s online
presence through website design, social media
content managing and connecting and building a network in Asia for business development. She
also leads in providing strategic planning and consulting performing artists and artist managers
who are seeking opportunities in Asia.
An experienced manager for artists, she has also worked at AC Orange as Chief Talent Manager,
identifying booking opportunities for international artists in China. She is also in charge of
business development with brands, venues, and other artist-managers. Her professional career
started after graduating in the United States. Since then, she has worked for Park Avenue Artists
as Associate Artist Manager, Primo Artists, (Le) Poisson Rouge, and at IMG Artists in New York
City.
She took trainings on Event/Concert Photography at the School of Visual Arts and enrolled at the
Martha Graham Contemporary Dance in 2014. She also studied Teacher Training, Piano and
Viola Performance, and Composition from 1996 to 2012. She was a recipient of scholarships
from the Eastern Music Festival, North Carolina in 2009; and from the Aspen Music Festival and
School, Colorado in 2013.
She finished Bachelor of Music in Classical Viola Performance from the Tunghai University,
Department of Music 台中東海大學音樂系 in 2012 and took a Master of Arts, Music Business
Graduate Program at the New York University where she graduated in 2015.
BRIAN JOHNSON LOWE Co-Founder, My Performing Arts Agency Kuala Lumpur
Brian is the Co-Founder of My Performing Arts Agency, a privately
owned arts consultancy & arts events management agency with the
express goal of supporting the continuing development of artistic &
cultural efforts in Malaysia where he leads the overall goal and vision
of the company, company values and philosophies, measures of
success quantitatively, short to long term business and financial
strategy, high level execution plans, co-development of brand
strategy and identity of MyPAA.