Interviews and Conversations

Falling Skies; Curating and Creating Social Experiments; Silence (RE)Sounds

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Epona Hamdan Curator, Freelance, Germany

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Juma Pariri Artivist, Freelance, Abya Yala

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Knut Ove Arntzen Professor emeritus, University of Bergen, Norway

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Jingyi Wang Graduate, Peking University, China

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Raimund Rosarius Writer, Freelance

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Cai Qing Artist, Freelance

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Juma and Epona met in autumn 2022. At the time Epona, along with Nara Virgens and Melmun Bajarchuu, was curating an event1 on the topic of sustainability in transnational cooperation in performing arts, to which Juma was invited as a guest speaker. Since then, they have continued their conversation and exchanged their perspectives. A recurring topic in their conversation is the question of decentralizing power dynamics in the global performing arts scene, on the backdrop of climate change and unequal distribution of resources. As an Indigenous artist and activist from Pindorama (colonially known as Brazil), Juma's perspective is informed not only through her locality within a global performing arts scene but by the knowledge they carry and the challenges they are facing stemming from her (human and non-human) Indigenous coexistence. Based in Berlin, Epona works in the performing arts field as a producer and curator and has gained varied experience in transnational cooperation in recent years. Her critical approach has been informed by her Lebanese heritage within European contexts and by being a mother to her daughter.

Contributor Notes

Juma Pariri is an artivist based in Abya Yala who seeks to listen and learn from forest (r)existences. They move in the friction between the arts of the body, undisciplined pedagogy, and the Indigenous struggle for environmental justice. Among others, they activate the performance platform AGITPORN!–no to inequality, for social decolonization!, to learn (and create) from Indigenous ancestors about anti-monocultural processes around sexualities, foods, crops, “cannibalism,” menstruation, and rituals. Their current research project is called (In)dig(e)nous perforMAGICAL ACTivations against the farce of colonial representation and is connected with the Sustainable Tools for Just Transitions project, coordinated by Kimberly Skies and supported by the Catalyst Collaboration Fund Climate and Nature Emergency (UBC/CANADA). They also act as curator of events that unite arts and Indigenous cultures, as the: MIACAY-Indigenous Exhibition of Performing Arts in Abya Yala: dance the impossible to move worlds.

Epona Hamdan works as a curator, live arts producer, and critical companion, based in Berlin. Exploring themes related to anti-colonial futurities, critical pedagogies, and the transformative potential of artistic practices in designing new structures. Considering that artistic practices are inherently interconnected with their environments, she explores more holistic approaches to curation. In her work as a producer, she has gained extensive experience in international touring and transnational collaborations in recent years. She studied Theatre Studies, History and Culture of the Middle East and English Philology at the Freie Universität Berlin and completed the course Curation in Performing Arts at the Paris-Lodron-University in Salzburg. In 2022, she participated in the program for emerging curators It Speaks to Me with the 12th Berlin Biennale.

Knut Ove Arntzen was born 1950 in Fauske, Norway. He is professor emeritus of theatre studies at the University of Bergen, Norway, where he has taught in theatre studies since 1984. He is a visiting professor to various universities and theatre academies in Europe and Asia. He has taken part in numerous symposia and conferences in academic and artistic research. He worked with the Les 20 Jours du Théâtre â Risque festival in Montreal (Québec) and has been an international consultant to BIT Teatergarasjen. A theatre critic since 1976, author and editor of a series of essays and books in Norway and internationally, he was also a guest editor of Nordic Theatre Studies.

Jingyi Wang was born 1984 in Beijing, China. She initially studied Advertising at Peking University, then Global Communications and Cultural Management at The Chinese University of Hong Kong. She came from China to Europe via the ERASMUS Mundus MA study program in Spectacle Vivant, taking her to the Université de Nice in Southern France, dance studies in the Department of Theatre and Performance Studies at the Copenhagen University and the Université Libre in Brussels. She first visited Bergen, Norway, for the October Dance Festival at BIT Teatergarasjen in 2012 before finally settling in Bergen in 2013, where she began her artistic work in 2014.

Cai Qing is an artist, curator, and bookmaker known for his expertise in live arts. Born in China he has been working and teaching in Germany, China, the USA, and Singapore. His art focuses on social intercourse that empowers the creation of new relationalities between people. In 1998, he co-curated the renowned exhibition Traces of Existence: A Private Show of Contemporary Chinese Art with curator and critic Feng Boyi. He has lived in Germany and New York, taught at the China Academy of Art and the Nanyang Technological University in Singapore and his outputs include numerous publications.

Raimund Rosarius is a writer, live artist, curator, and embodied researcher. Born in Germany he has been teaching in China, Austria, and Germany. His writing moves on the border between prose, science, and essay writing with neurodiverse (auto)ethnography as a creative vehicle. He has curated live arts festivals such as “Performative Varnishings” at Beijing's Red Gate Gallery, researched and lectured on the practice and curation of Chinese live arts.

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TURBA

The Journal for Global Practices in Live Arts Curation

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