Wendy McPhee (1999/0), Indonesia
Wendy McPhee is an experienced performer, teacher and choreographer. She has worked with national and international dance companies since 1982. In 1995 she formed the Tasmanian company Two Turns, in order to pursue her interests in performance. McPhee completed half of her residency based at the Institut Seni Indonesia in Yogyakarta and during this time she taught and took part in traditional and western technique workshops while also attending performances during the Yogyakarta Arts Festival. McPhee returned home early due to the reformasi upheavals and completed the residency in late 2000 when she worked on a new dance production with the ISI students.
Funded by the Australia Indonesia Institute, Arts Tasmania and the Australia Council.
Andrew McLellan (2011), Indonesia
Andrew McLellan is a sonic artist who creates live performances and compositions using self-made instruments and field recordings. He operates under his own name and the pseudonym Cured Pink. Site-specific performances play a key role in Andrew’s work as he utilises surrounding materials to create instruments and music. At Performance Klub Andrew will explore Jogjakarta’s unique sonic ecology. He will collaborate with artists, both in the field of traditional Javanese gamelan, and contemporary Indonesian underground and experimental music. (SUPPORTED BY ARTS QUEENSLAND AND THE AUSTRALIA-INDONESIA INSTITUTE)
Rod Cooper (2010), Indonesia
Rod Cooper is a Melbourne-based sound artist working in the area of instrument building and performance. He transforms traditional instrument designs into new metallic hybrids. His instruments incorporate percussion, strings, bowing mechanisms, and resonant springs. Cooper has performed in America, the United Kingdom and New Zealand. During his residency in Java, he will focus on his passion for gamelan and the instrument-building practices of the Javanese metal workers. Through his host Principle of South, Cooper also hopes to use his teaching experience to conduct instrument building workshops with the local community of Yogyakarta.
Supported by the Australia-Indonesia Institute and the Australia Council.
Indija Mahjoeddin (1997), Indonesia
Queensland based choreographer/performer, Indija Mahjoeddin spent three months at the Aski Padang Panjang and Randai Folk Theatre Troupe.
Funded by the Australia Council.
Carlos Gomes (2007), Indonesia
Theatre director, designer and performer Carlos Gomes trained in Brazil, the United Kingdom and Australia and has been involved in theatre for the past 15 years. Most of his work has been in visual and physical based theatre and his projects have demonstrated an interest in collaborative and hybrid forms of theatre. His residency with theatre company Komunitas CCL, consisted of working with the company, its performance students and the local community in a practical exchange of physical training, theatrical conception and performance design, resulting in the performance The Tangled Garden.
Funded by the Australia Indonesia Institute and Arts NSW
Grisha Dolgopolov (2000), Indonesia
Grisha Dolgopolov is a first generation Russian-Australian director, writer and performer. He has worked in cross-cultural performance and research exploring the hybrid combinations of Russian, Aboriginal and non-Aboriginal Australian and Asian cultures. His recent productions, which include Vibes, Bombs & Suitcases and Black Russians, are examples of his hybrid, cross-cultural collaborations. In Indonesia Dolgopolov worked with STSI, Bandung as a dramaturg and developed a cross-cultural, dance-musical theatre adaptation of The Demon, a Russian epic poem.
Funded by the Australia Indonesia Institute and the Australia Council.
Tony Yap (2004), Indonesia
Tony Yap is a dancer, director, choreographer and visual artist. Yap's residency, was based with dance/theatre companies Teatre Garasi and Bimo Dance in Yogyakarta and Rivergrass Dance Theatre in Malaysia. In Indonesia Yap conducted workshops to introduce his unique Grotowski and Butoh influenced training methods, culminating in a performace entitled Pulse. In Malaysia Yap collaborated with Rivergrass to create The Light in the Shadow that was presented at Malaysia’s premier dance festival. Since his residency, Yap has invited Indonesian dance artist Agung Gunawan to Australia to conduct workshops on classical Javanese dance and to take part in the BB05-Beyond Butoh Mini Festival at Dancehouse.
Funded by Arts Victoria, the Australia Council and the Australia-Indonesia Institute.
Nicola Morton (2011), Indonesia
As a performing artist of Asian heritage Nicola Morton is motivated to focus her new works on bicultural studies, emphasising cultural displacement and the Asian supernatural. At Performance Klub Nicola will connect with Javanese village arts and urban street culture. Her residency will provide a framework of idea exchange, re-contextualisation of Asian supernatural phenomena, participatory musical performances and critical theory workshops. (SUPPORTED BY ARTS QUEENSLAND AND THE AUSTRALIA-INDONESIA INSTITUTE)
Ron Reeves (1996), Indonesia
Ron Reeves has been playing, studying and working throughout Asia and Europe for nearly 20 years and is a diverse, dynamic multi-instrumentalist. During the residency he was able to fulfill a five-year dream to form Earth Music, a collaborative band fusing jazz and traditional Sundanese music. The band performed and gave workshops in Jakarta and Bandung, and recorded an album that was subsequently released in Australia, Europe and the USA. The aim was to create new music and foster new understandings through a broad mixture of Australian/Indonesian traditional and non -traditional approaches, both for the artists involved and the wider audience.
Funded by the Australia Council and the Australia Indonesia Institute.
Sally Sussman (2010), Indonesia
Sally Sussman is Artistic Director of Australian Performance Exchange, a company devoted to creating intercultural theatre projects that respond to issues of identity, politics and social justice, with artists from Asia and Australia. She trained at The Central Academy of Drama in Beijing and the Shanghai Conservatorium of Music. In 2007 she collaborated with Ram Prapanca, artists from Teater Kita Makassar (TKM) and Indigenous artists to create The Eyes of Marege, which was presented at the Adelaide Festival Centre’s OZAsia Festival and The Studio, Sydney Opera House. During her residency at TKM, she aims to learn more about their approach to making work, to deepen the relationship between the two companies, and improve her skills in intercultural performance practice by collaboratively developing a work around the idea of asylum.
Supported by Arts NSW and the Australia Council.
Peter Wilson (2010), Indonesia
Melbourne artist Peter Wilson has been working in puppetry for the past 35 years as a director, writer, puppeteer, producer and teacher. He co-founded Handspan Theatre in 1977 and was Artistic Director for Company Skylark during the 1990s. Large-scale works have included The Sydney 2000 Olympics and The Asian Games, Doha and Commonwealth Games, 2006. Wilson established the Postgraduate Puppetry Program at the VCA in 2004. He has worked extensively throughout Asia with an Asialink residency in 2002 in Japan. For his residency in Bali he will work with Master Puppeteer Made Sidia, with whom he has previously worked on The Theft of Sita to extend their collaboration with a view to developing a new production.
Supported by the Australia Council.
David Young (2004), Indonesia
David Young is a renowned composer whose music is performed in Australia, Europe and Asia in contexts ranging from concerts to music theatre and installation. At the time of his residency Young was Artistic Director of Aphids. In Indonesia Young was mentored by Rendra, Indonesia’s foremost poet and playwright and founder of Bengkel Theater. He also had the opportunity to work with Teater Gadja Mada and Teater Garasi in Yogjakarta, and with various musicians, artists and individuals in Sumatra and Bali to develop new ways of composing and creating collaborative performance art.
Funded by Arts Victoria and the Australia Indonesia Institute
Deborah Pollard (1996), Indonesia
Deborah Pollard is a performer and director who was the Artistic Director of Salamanca Theatre Company in Hobart from 1997 to 2000. Since 1993 Deborah has been working in collaboration with Indonesian performance and installation artists. She spent three months at the Teater Asdrafi.
Funded by the Australia Council and the Australia Indonesia Institute.
Monica Wulff (1998/9), Indonesia
Monica Wulff is a freelance dancer and contemporary performer with a strong interest in traditional Indonesian mask dance. A founding member of Balai South East Asian Dance Ensemble, she has also performed with Sidetrack Performance Group as well as in numerous independent performances. During her residency in Indonesia, Wulff worked with Ibu Sawitri in an intensive study of Losari mask dancing, focussing on the Rumiyang and Patih mask dances. She also undertook to document the work of Ibu Sawitri and to make an audio recording of the gamelan music which accompanies the dance.
Funded by the Australia Council, the Australia Indonesia Institute and NSW Ministry for the Arts.
Joanna Dudley (2005), Indonesia
Singer, musician, director and performer, Joanna Dudley, works at the Schaubuhne Theatre in Berlin. During her residency in Indonesia with the Solo College of the Arts, Dudley studied the various singing styles of the wayang kulit, Javanese dance techniques from wayang orang and wayang topeng as well as instruments of the gamelan. A result of the residency has been the international touring of the German-Australian co-production of The Scorpionfish, a music theatre piece which was developed during her stay in Solo; the creation of The Geisha Big Band with original arrangements of the Indonesian song styles; and the performance of renowned kroncong singer, Waldjinah and her band from Solo, at WOMAD Festival in Adelaide 2007/2008 and at the House of World Culture, Berlin in 2007.
Funded by Arts SA and the Australia-Indonesia Institute.
Anna Loewendahl (2009), Indonesia
Theatre director, animateur and performer, Anna Loewendahl is Co-director of TransVision Arts, an organisation dedicated to social change through performance. Loewendahl has worked with YSpace aerial dance, social theatre in Zimbabwe, and teaches dance to youth at risk. She directs and performs Play at Being, investigating philosophical questions through multimedia performance. Loewendahl’s residency at Paper Moon was a temporary departure from an arts and theatre practice that uses a relatively fixed set of tools and strategies, to an opportunity to engage in Yogyakarta’s unique culture, exchanging creative ideas that challenge her existing theatre-making praxis.
Supported by The Australia Indonesia Institute and The Australia Council.
Rendra Freestone (2004), Indonesia
Rendra Freestone is a musician who has studied and performed original music throughout Australia, Japan and Indonesia. At the time of his residency he was Artistic Director of Australian percussion ensemble The Rhythm Hunters and resident musician for West Sumatran ensemble Musik Kabau. Freestone’s residency was part of the Sumatralia project involving travel to remote cultural strongholds in Sumatra to record traditional musicians and study their music. Over 30 diverse groups were recorded on these field trips and the resulting new compositions were compiled onto a CD which includes educational material on culture, instrumentation, and stories on life in Sumatra.
Funded by the Australia Council and the Australia-Indonesia Institute.
Nigel Jamieson (1999/1), Indonesia
Nigel Jamieson has worked with the Royal National Theatre and the acclaimed Trickster Theatre Company in London. He has directed productions for organisations such as the Adelaide Festival, Legs On The Wall and the Rock ‘n’ Roll Circus. During his residency Jamieson was hosted by Tedung Agung in Bali focusing on traditions like Wayang Kulit (shadow puppetry) and spent his residency developing
The Theft of Sita for the 2000 Adelaide Festival; a work combining Balinese artists, animation, a 40-piece gamelan orchestra and the Australian Art Orchestra. Jamieson went on to direct a segment for the Sydney Olympics Opening Ceremony and work on the National Corroboree.
Funded by the Australia Council and the New South Wales Ministry for the Arts.
Andrish Saint-Clare (2006), Indonesia
Andrish Saint-Clare began his professional work as an actor and musician with Rex Cramphorne's Performance Syndicate, a seminal Australian theatre company working with performance styles from diverse cultures. In recent years, he has collaborated with practitioners in remote indigenous communities, which has resulted in major stage productions at festivals in Melbourne, Perth, Darwin and Makassar, Indonesia. Saint-Clare headed to Indonesia to collaborate with the Balinese dalang I Made Sidia. While there he explored traditional forms of Balinese performance and shadow puppetry, using contemporary concepts and production techniques.
Funded by the Australia-Indonesia Institute and Arts NT.
