Jean Baptise Phou’s work My Mother’s Tongue began as a way for the artist to examine his relationship with his Teochew-speaking mother. Through collocations with other artists and audiences, the work has undergone different manifestations, but remains an “an exploration of the barriers to connection that transcend language” writes Deborah Augustine.
The tale of a pioneering woman Indonesian filmmaker converges with the mission of a group of women film researchers, as Adrian Jonathan Pasaribu highlights how archives and historical records often render some stories invisible.
Azrin Fauzi mengulas “Two Lines in A Square”, persembahan yang dilancar di Taipei dan Kuala Lumpur dari dua perspektif berbeza.
In this visual essay, puppet maker and designer Daniel Sim, begins with a set of rejected stage chairs, and ends up on a lyrical journey through Singapore’s theatre history.
Katrina Stuart Santiago demonstrates how recent incidents of artistic censorship in the Philippines have focused on the silencing of female and LGBTQIA+ voices.
In the latest episode of our popular 10 Things You Should Know series, we share facts about the keris, a warfare weapon commonly used in maritime Southeast Asia.
“Make Hantus Great Again”, Teatre Ekamatra’s latest production, combines kooky supernatural characters with social commentary this Halloween.
SMU students Caitlin Leong and Joy Lo interview Isabella Chiam about her gardening workshop, ‘The Last Gardener’, gaining insights into the risks and challenges that artists face in the creative sector.
Corey Koh began with a simple question about the early days of opera in Singapore. Trawling through newspaper archives and scholarly articles, Corey, a young classical tenor who has performed widely in Singapore and abroad, uncovers a fascinating story of Singapore’s place within a larger transcontinental touring circuit, and gives us a glimpse into early performance criticism in Singapore.
Alan Choo is a Singaporean violinist and the artistic director of Red Dot Baroque, a group of Singaporean musicians promoting baroque music here.
In the latest installment of AWARE’s Growing Up anthology, Diana Rahim finds that in an environment where our experience of race and womanhood may be constricted, personal stories can be powerful acts of re-making and re-narrativising.
Sudarat Musikawong delves into the life of the late Wat Wanlayangkoon, an award winning novelist who left a lasting impact on the world of arts and activism in Thailand.
Xiao Ting Teo is moved to consider how the detritus of being shapes us anew as she encounters two works, “Declutter Me!” and “Frequencies” at the The Substation’s annual SeptFest 2022: uproot | rootless.
T.H.E Dance Company’s Infinitely Closer at the Singtel Waterfront Theatre, Singapore, creates space for human connections .
The Singapore Writers Festival (SWF) returns with a milestone celebration as it reaches its 25th edition this year. Since its inception in 1986, the Festival has evolved into a premier multilingual literary arts event which has featured more than 5000 homegrown and international authors over the years.
Zikri Rahman menghuraikan tentang filem-filem yang ditapis secara tegas dan peluang yang terlepas akibat tindakan tersebut.
In the latest episode of our popular 10 Things You Should Know series, we share facts about batik, a fabric popular in Southeast Asia.
Faisal Tehrani’s ‘Ghaib’, a complex portrayal of family, agency and voice, contends that real emancipation is still elusive in our society.
Daryl Lim pays moving tribute to literary marvel Wong Phui Nam and his legacy in the world of poetry on both sides of the Causeway.
Alia Swastika, the Director of the Jogja Biennale, offers a bold analysis of ruangrupa’s documenta fifteen, one that frames their artistic direction as an opening of new pathways that are long overdue.
documenta fifteen closed on 25 Sept after its customary 100 days, which were filled with controversies and generated intense debate in the global art world. To mark the end of the exhibition, ArtsEquator has created a timeline to track the key incidents over the past two years.
Chong Fah Cheong is the artist behind First Generation, the iconic bronze sculpture of boys jumping into the Singapore River.
Naeem Kapadia reviews ‘Berak’ by Singapore’s Teater Ekamatra and comes away moved by the sensitive trancreation of the original play by Chong Tze Chien.
In conjunction with the ‘Mental Health Awareness & Wellbeing Festival 2022’, ArtsEquator learns how storytelling can be a catalyst for mental clarity and self awareness.
Dwiki Aprinaldi critiques the influences of colonial history that still seep through the film industry in Southeast Asia. This article is published as part of the inaugural AE x Goethe-Institut Critical Writing Micro-Residency 2021/2022.
Burmese artists make art in exile in Thailand, finding refuge and showcasing cross-border solidarity for artistic freedom.
In his latest exhibition, Jerome Kugan embraces his amorphous self and allows themes of religion, sexuality and nudity to intertwine ever so delicately.
In Wild Rice’s restaging of Animal Farm, Rebecca G finds a production that leavens the darker aspects of the text by drawing out the absurdities of the narrative.
There is no excerpt because this is a protected post.
In our latest podcast, we discuss Boom, a production by A Mirage which took place on 1-20 July 2022.
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