This is some of the work I do.
Please get in touch for a CV or tearsheets. I also have a Google Scholar profile.
Ongoing Projects & Creative Practice
MFA Fine Art at the Nanyang Academy of Fine Arts (applications open for 2024 intake)
co-lead
Tactility Studies (2018-ongoing)
dramaturg
M/MPI (“mimpi”; 2023) and Loading/Unloading (2022) by P7:1SMA
writer-in-residence
The Library of Care: a digital resource for the arts (2021-ongoing)
core circle of CITRUS practices (Care, Intimacy, TRaUma-informed & Safer practices in the arts)
Critical Ecologies working group (2021-2022)
coordinator and convenor
Something-Something Working Group (2021-ongoing)
with Shawn Chua, Chong Gua Khee and Deanna Dzulkifli
currently supported by the Co-Lab Residency platform at Centre 42, previously by ELEMENT at Dance Nucleus
Selected Press & Interviews
“What’s Next, ADN?” | Asian Dramaturgs’ Network book launch and dialogue with Dr Charlene Rajendran and team, August 2023
“Roundtable Dialogue: Body Language” | Esplanade’s da:ns focus, with Jonathon Young, Renée Sigouin & Pawit Mahasarinand, May 2023
“Critiquing with Kindness” | Dark Day Convos, July 2022
“CITRUS practices & Library of Care” | ArtsEquator, March 2022
“Expansive Criticism with Corrie and Katrina” | Bangkok Offstage, November 2021
Selected Criticism & Embedded Writing
Wild Rice’s “Hotel”: how do we host our histories? | Jom
What is the grammar of our relationships? — “The Vault: Past Perfect” at Centre 42 | Jom
The Intimate Critic | my ongoing newsletter on performance, criticism, intimacy and care
Citizen X by The Finger Players | ArtsEquator
Mapping ‘What If’ | M1 Peer Pleasure youth theatre festival
Coronalogues, pandemic spectatorship (and the critic) | ArtsEquator
Blunt Knife by Eng Kai Er | ArtsEquator
Southernmost 2018 | Emergency Stairs
Tiger of Malaya by Teater Ekamatra | ArtsEquator
Press Gang at the Singapore Theatre Festival | ArtsEquator
Einstein in the Carpark by Emergency Stairs | ArtsEquator
In Event of Moone Disaster at Theatre 503 | The Guardian
Bad Roads at the Royal Court Theatre | Exeunt Magazine
Pride and Prejudice at Nottingham Playhouse | The Guardian
Philip Ridley’s Killer at Shoreditch Town Hall | The Guardian
In the Depths of Dead Love at the Print Room | Exeunt Magazine
The Children at the Royal Court Theatre | Exeunt Magazine
Descendants of the Eunuch Admiral at The Studios: fifty | The Straits Times
It Won’t Be Too Long by Drama Box | The Straits Times
Selected Conference Presentations
Critical ecologies: parasitism, symbiosis, and the uses of the critic
TaPRA 2022, Documenting Performance Working Group, University of Essex (September 2022)
Pedagogies of Care for Revolutionary Times
Arrhythmia: Performance Pedagogy and Practice, LASALLE College of the Arts Singapore (June 2021)
Performance criticism in Southeast Asia: conversations, communities, collaborations
Doing Theory in Southeast Asia, The Chinese University of Hong Kong (May 2021)
Staging the historical record in Asia and Australia
Roundtable organised by Asia TOPA & University of Melbourne, Australia (March 2020)
Truth, facticity & interpretation – ‘fake news’ & collaborative critique in Singapore
Young Curators Academy, Maxim Gorki Theater Berlin (Oct 2019)
Critical collaborations: correspondences between critic and practitioner
IFTR 2019 New Scholars’ Forum, Shanghai (July 2019)
Embedding/Dwelling: writing intimately about the labour of performance
Platform Symposium: “On Criticism”, Royal Holloway (November 2018)
Selected Journal Articles & Book Chapters
‘The Lesson: Critical Dialogue in the Public Sphere’
(2022) Changing Places: Drama Box and the Politics of Space, edited by Charlene Rajendran and Richard Gough (Wales: Performance Research Books)
(forthcoming) Element #10: Ill-Disciplined Research-Creation-Something
By the Something-Something Working Group. Published in FUSE#6 by Dance Nucleus (Singapore).
This artefact may be perceived as an archive, a manifesto, a score, a refusal, a wish.
‘Public Space 公共空间’
(2022) Drama Box: 30 Keywords 戏剧盒: 30关键词, edited by Quah Sy Ren (Singapore: Drama Box)
Performing care on the borders of the self in Tactility Studies: Pandemic Distances
(2022) Performance Research 26(3), pp. 125-127
One Small Voice: the monodrama in Singapore theatre
(2016) BiblioAsia 12(1), pp. 32-37 (Singapore: National Library Board)
Politics for the apolitical: 50 years of socio-political theatre in Singapore
(2015) Draft, Vol. 4, pp. 10-33 (Singapore: Drama Box)
The Next Station: cultural memory and Singapore’s first collective arts space
(2015) 25 Years of The Substation: Reflections on Singapore's First Arts Centre, edited by Audrey Wong (Singapore: Ethos Books)
Selected Feature Articles
This is what succession looks like: The Finger Players | ArtsEquator
When your privates become public: from Synge to M1 Fringe | ArtsEquator
Yukio Ninagawa, the architect of cultural crossroads | Esplanade – Theatres on the Bay
Nelson Chia: cultural translator, ensemble builder | Esplanade – Theatres on the Bay
Liu Xiaoyi: bending space and time in the theatre | Esplanade – Theatres on the Bay
The arts as new global ambassador | The Straits Times
Art of censorship in Singapore | The Straits Times
Classic Singapore Plays | The Straits Times
Forum theatre in Singapore | The Straits Times
Cross Talk with Adrian Pang & Lim Kay Tong | The Straits Times
Cross Talk with Benson Puah & Kok Heng Leun | The Straits Times
Dragon lady of the toy piano; a profile of Margaret Leng Tan | The Straits Times
A vertical Yangon in Singapore’s CBD | POSKOD
Translation
The Mountain Road by Wu I-Wei in the anthology BooksActually Gold Standard 2016 edited by Julie Koh for Math Paper Press
The Nine-Nine Divine Skill by Wong Koi Tet in #NewWriting
Other Publications
Page2Primer: your guide to good English and greater knowledge | Straits Times Press
“Birth of a Nation (in memoriam: Khin Kyi)” in SingPoWriMo 2018: The Anthology | Math Paper Press & Sing Lit Station
Languages
English (native fluency)
Mandarin Chinese (full professional proficiency)
Bahasa Indonesia (professional working proficiency)
Russian (limited working proficiency)
Myanmar/Burmese (elementary proficiency)
I have also completed Speech-to-Text Interpretation training (in English) to provide access services for D/deaf and Hard of Hearing communities.