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Rosebud Village Tree House Tommee Tippee Big Weaning Bowl With Heat Sensor Spoon 7th Generation Liquid Laundry 4x Baby 1.2l Aden + Anais Snap Bib Newborn Ellie/Cloud/Dew - 3 Pack JuJuBe Sanrio Mini Be - Hello Sanrio Vehicles Jigsaw Puzzles in a Box Silver Cross Zest Stroller - Aqua Early Learning Centre Blossom Farm Laurie Lamb Playmat Tommee Tippee Closer to Nature Anti-Colic Plus 260ml Bottles 2 Pack Mothercare Little Beep Beep Cot/Cot Bed Quilt Mothercare Sport Car Seat - Black Pink Bunny and Floral ShawlNovember 12th — November 13th VenuesKoto wardReception: SAKuRA Gallery Dates11/12 (Sat) 12:00/15:00*11/13 (Sun) 12:00/15:00* Running Time90 min. (TBC) TicketsAdvance: ¥2,000 / Same Day: ¥2,500 Festival Pass (5 Performances)¥1,600 Festival Pass (3 Performances)¥1,700 High School & Under Tickets¥1,000 Weaving the contours of society through space, bodies, and mattresses Ren Xin Lee is an experimental choreographer and dancer whose signature series has seen her use mattresses as symbols of comfort and security, exploring the public and the private, and questions of belonging to a space versus possessing.
This is the premiere of the latest entry in the series. Around the venue, audiences encounter mattresses and dancers composed in various images and situations. In collaboration with the dancers, Lee creates a unique site-specific work following a residency period in Tokyo. Ren Xin Lee is a dancer and choreographer based in Malaysia. Her work has been presented at Festival BO:M in Seoul, M1 Contact Festival, National University of Singapore Arts Festival, The Third Space in Singapore da:ns festival, International Young Choreographers Project in Taiwan, MyDance Festival, Dancing In Place, d’MOTION in Malaysia, and in “2 Minute Solos (Art Meets Politics)”, curated by Marion D’Cruz. She studied dance at the Nanyang Academy of Fine Arts in Singapore, and completed a Bachelor of Fine Arts (BFA) in dance at the Purchase Conservatory of Dance, State University of New York. She has been called one of the most talented young choreographers in Malaysia by Marion D’Cruz, a founder of Five Arts Center.
In 2013, she participated in a dance dramaturgy mentorship with Lim How Ngean, organized by The Esplanade, Singapore. In 2014, she joined the Southeast Asian Choreolab held by MyDance Alliance at Rimbun Dahan, facilitated by Janis Claxton. In the same year, she received the Krishen Jit Astro Fund, which supported her to conceive and explore this B.E.D. project. In June 2016, she was a Fellowship Grantee at the Festival Teaterformen in Braunschweig, Germany. Lee danced project-based with The Human Expression (T.H.E.) Dance Company in Singapore and briefly with LeeSaar The Company in New York City. She is also a project dancer with the DPAC Dance Company in Malaysia. Conceived, Directed and Choreographed byRen Xin Lee Performers:Tan Bee Hung, Faiq Syazwan Kuhiri, Leow Hui Min, Lau Beh Chin Sound Coordinator:Akira Aikawa (Sound Weeds Inc.) Translation, Production Assistant:Yuka Takebuchi Video Support:Janome Sewing Machine Co., Ltd. (Tokyo Branch), Takabashi Noraku Road, Toy Park Masamiya
Publicity Design: aichi Abe (GOKIGEN) Front of House:Takako Yokoi Production Coordinators:Shiori Sunagawa, Ayano Misao, Orie Kiyuna Interns:Tomoki Kurokawa, Hiromi Komorita, Hana Fukui In cooperation withThe Saison Foundation Co-organized bythe Japan Foundation Asia Center Asia Series Vol.3: Malaysia Artistic responses to multi-ethnic society This year the series examines Malaysia, a complex mix of ethnic groups and cultures. The nation continues to embrace globalization through strengthening foreign investment, IT and heavy industry. Bringing together an ethnically varied range of artists, the program includes performances as well as lectures and talks, and even a card game that allows audiences to experience Malaysian politics. There are also generational differences, with Jo Kukathas and Oimin Wong being born in the 1960s during the early days of Malaysian independence, while Renxin Lee, Mun Kao and Suri Liu were born in the 1970s and 1980s, a period when Malaysia began to develop rapidly.
This yearʼs festival theme is “beyond borders”. Comprising different languages, religions, customs and ethnic groups, Malaysiaʼs contemporary artists engage with problems and approaches that can resonate deeply with Japanese audiences, who today must grapple with the various issues that arise from globalization as they explore the nature of diversity. Each year the Asia Series chooses one country in the Asian region and showcases its contemporary performing arts scene. Based on careful research into the specific history, culture and social backgrounds of the selected country, the program aspires to introduce artists and form a sustainable platform for exchange between languages, cultures and approaches to the body. Presenting Korea in 2014 and Myanmar in 2015, the curation reflects the diverse contexts and social conditions in each nation through the work of exciting local artists. Co-organized by the Japan Foundation Asia Center This talk features multimedia artist Fairuz Sulaiman and multi-disciplinary artist Roslisham Ismail (Ise), who apply different approaches to the city in their work.
They will discuss the art scene and state of culture in Malaysia with a focus on cities and communities. Born in Petaling Jaya in 1982, Fairuz Sulaiman is a multimedia artist working in music video, animation, theatre, and more. He studied film and animation at Multimedia University in Cyberjaya. Combining digital and analog formats, he has made music videos for local indie bands, animation for short films, and created visuals for stage using stop-motion, puppetry, hand-made masks, 3D animation, and live video mixing. Highly acclaimed in Malaysia, his work explores everyday things and performance. Though humorous and accessible, his themes and techniques also incorporate cynical messages about society. He is the program director of DA+C Festival (Digital Art + Culture Festival). Born in Kota Bharu in 1972, Roslisham Ismail (Ise) is multidisciplinary artist working in installation, video art, and participatory projects. A graduate from MARA University of Technology (UiTM), his practice is largely informed by elements of popular culture, and serves to represent alternative histories of place and culture.