A night of new works
explored by emerging &
mid-career Asian diaspora artists
in partnership with Omnibus Theatre.
It’s the night before Eid in Southend and Alysha is alone in her kitchen. She can’t remember for the life of her - How. To weave. A freaking. Ketupat.
She downs many cups of PG tips. Still can’t remember. Her grandmother suddenly appears, in hazy visions and old memories.
Will Alysha remember then?
Cara menganyam ketupat (How to weave a ketupat) is a movement piece looking to experiment with sound design and choreography to explore the tenuous relationship to our ethnic roots. Told through Alysha’s perspective, a 19 year-old studying in the UK, she dives into her hazy memories of her grandmother in order to try and remember how to weave a ketupat.
In between, elements of her UK life and home life somehow blend into one.
Diving into a new solo work, Sino Ako meaning
who am I? Hiphop dance theatre Artist Chris Reyes explores the inter-generational affects of postcolonial psycological of modern Filipinos.
Exploring racial inferiority and the oppresive state into the colonial mind, Chris navigates through his personal journey in search to discover his cultural indegenous roots.
A̶L̶L̶ ̶L̶I̶V̶E̶S̶ ̶M̶A̶T̶T̶E̶R̶,̶ ̶A̶L̶L̶ ̶C̶O̶P̶S̶ ̶A̶R̶E̶ ̶B̶A̶S̶T̶A̶R̶D̶S̶,̶ ̶ ̶
S̶T̶O̶P̶ ̶A̶S̶A̶I̶N̶ ̶H̶A̶T̶E̶ ̶
ALL ASIANS ARE THE SAME, is a dark comedy using autobiographical experiences of queerness in asianess, it explores the role of the activist and the role of the performer. In this performance, we wish to devise our process by improvisation and use projected images to compliment our messages. We will possibly use pre-recorded performance, live-stream, photography, to convey tools at our exposal for celebrating Asianness, queerness, performance. Each scene will have an independent storyline but is joined by projected “Instagram infographics” and the aforementioned themes.
The first scene infuses Milla’s drag persona with a monologue, as Art. It starts with Art’s lipsync to Ionalee’s “Remember the Future” which sets the stage for our play: we are acknowledging the past, and figuring out what it means to be Queer Asians in our present and future. The performance will be interrupted by an Art Gallery Visitor, who sees the living art, and steals away their clothes, while ironically talking on the phone about belonging. Finally, Art recognises this and chases the Visitor to the next scene. This scene considers collective memory in art and exploitation.
The second scene is set in a karaoke booth, where two people try to overcome language and cultural barriers using a stereotypical Asian activity. Inspired by the 1995 documentary “Shinjuku Boys” about transgender men in Tokyo and the fringe show “Ladyboys of Bangkok” we wish to explore gender.
The third scene is an embassy protest, which considers how technology influences our activism. Influenced by drag performance (see image below) and how we use social media to distribute messages, we want to interrogate the meaning of “#StopAsianHate’ and how some Asians live more equal lives than others (we must consider class, gender, etc). We can also question why people think #AllAsiansAreTheSame.
Main-Main means ‘Playing’ in the Malay language. RUMAH wants to encourage artists to use this platform to play, something that artists often neglect even during the pandemic. There's always that pressure to not make mistakes and present a finish but rushed 'product'. Even while playing, RUMAH believes in taking a supportive approach, making sure all artists are supported throughout the process.
For this online edition, Main-Main is taking over Omnibus Theatre Engine Room.
Dynamic and talented theatre-makers and writers present daring, new work in the first stages of development. Give feedback, offer ideas and be a part of the next generation of innovative and engaging theatre. Engine Room puts you, the audience, at the heart of the creative process. Be part of the conversation.