Podcasts about hong kong exile

This week Phil Rickaby chats with Patrick Blenkarn and Milton Lim about asses.masses, a unique theatrical experience that sits at the intersection of video game and theatre. This episode promises to uncover the layers of this innovative game-meets-stage play and will leave you questioning your perceptions of traditional theatrical conventions. Expect to be drawn into a world where the audience becomes the performers, engaging in a live, interactive video game that requires the negotiation of power within the story, all while remaining enjoyable to watch for the non-participants. As we navigate through the mechanics and origin of asses.masses, you will also find yourselves questioning prevalent stereotypes about the humble donkey. Commonly misconceived as stubborn and unsmart, our fascinating exploration of the donkey as a symbol of labor initiates insightful discussions about digital labor and its implications today. Coupled with the intriguing concept of game show mediation and audience involvement, this episode will certainly broaden your understanding of performance art, digital labor, and animal symbolism. Our discussion extends beyond the boundaries of performance, delving into the debate over video games as an art form. You'll be immersed in the collaborative process of game development and storytelling as we dissect the structure of Asses Masses and its influence from other famous titles. We also reflect on the changing attitudes towards art consumption and its impact on the reception of such innovative works. As we conclude, you'll be left with a deeper appreciation for the intricacies of game development, the symbolism of labor, and the power of audience engagement in redefining performance art. Patrick Blenkarn is an artist working at the intersection of performance, game design, and visual art. His research-based practice revolves around the themes of language, labour, and economy, with projects ranging in form from video games and card games to stage plays and books. His work and collaborations have been featured in performance festivals, galleries, museums, and film festivals, including the Festival Internacional de Buenos Aires, the Humboldt Forum (Berlin), Festival of Live Digital Art (Kingston), STAGES Festival (Halifax), Banff Centre for the Arts, Risk/Reward (Portland), SummerWorks (Toronto), rEvolver (Vancouver), RISER Projects (Toronto), and the Festival of Recorded Movement (Vancouver). In 2020, he was nominated for Best Projection Design at Toronto's Dora Awards. In 2022, his work with Milton Lim, asses.masses, received the National Creation Fund from the National Arts Centre of Canada. Patrick has frequently been an artist in residence at galleries and theatres around the world, including The Arctic Circle (Svalbard), the Spitsbergen Artist Center (Svalbard), GlogauAIR (Berlin), Fonderie Darling (Montreal), Malaspina Printmakers (Vancouver), Skaftfell Center for Visual Art (Iceland), VIVO Media Arts (Vancouver), and The Theatre Centre (Toronto). Patrick is also the co-founder of and a key archivist for videocan, Canada's video archive of performance documentation, and one half of Guilty by Association with Cole Lewis. He has a degree in philosophy, theatre, and film from the University of King's College and an MFA from Simon Fraser University. patrickblenkarn.com Instagram: @patrickblenkarn Milton Lim (he/him) is a digital media artist, game designer, and performance creator based in Vancouver, Canada: the traditional, unceded, and occupied territories of the Coast Salish peoples of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaɬ (Tsleil-Waututh) Nations. His research-based practice entwines publicly available data, interactive digital media, and gameful performance to create speculative visions and candid articulations of social capital. This line of inquiry aims to reconsider our repertoires of knowledge aggregation and political intervention in the contemporary context of big data and algorithmic culture. Often cheeky and audience/participant driven, his work challenges standard performance traditions including duration, linearity, and repeatability. Milton holds a BFA (Hons.) in theatre performance and psychology from Simon Fraser University. He has created works for and performed in various international festivals and venues including PuSh International Performing Arts Festival (Vancouver), CanAsian Dance Festival (Toronto), Carrefour international de théâtre festival (Quebec City), IMPACT Festival (Kitchener), Seattle International Dance Festival, Risk/Reward Festival (Portland), Festival Internacional de Buenos Aires, artsdepot (London), Battersea Arts Centre (London), New Theatre Royal (Portsmouth), Strike a Light Festival (Gloucester), Hong Kong Arts Festival, soft/WALL/studs (Singapore), and Darwin Festival. Performance credits include The Arts Club's The Great Leap, Gateway Theatre's King of the Yees at Canada's National Arts Centre, and Theatre Conspiracy's award-winning immersive show: Foreign Radical at CanadaHub (Edinburgh Fringe). Milton's media artworks have been presented at the Vancouver Art Gallery, San Francisco State University, F-O-R-M, VIVO Media Arts Centre, and The New Gallery. In 2016, he was awarded the Ray Michal Prize for Outstanding Body of Work at the Jessie Richardson Theatre Awards. He is a co-artistic director of Hong Kong Exile, an artistic associate with Theatre Conspiracy, a co-founder and key archivist with the videocan national archive, an infrequent Sessional Instructor with Simon Fraser University's School for the Contemporary Arts, one of the co-creators behind culturecapital: the performing arts economy trading card game, and a founding member of Synectic Assembly—an Artificial Intelligence focused art collective. Upcoming: Milton is part of an 18-month Artistic Leadership Residency with the National Theatre School (Canada); his work on the asses.masses video game project recently received the prestigious National Creation Fund and premiered in Buenos Aires in February 2023; along with Patrick Blenkarn, he will be doing a self-directed residency in South America (February-April 2023) as well as continuing work with Darren O'Donnell, Alice Fleming, and a dedicated group of young people at the Humboldt Forum in Berlin over the next few years. www.miltonlim.com Instagram: @miltonlim About asses.masses: Labour, technophobia, donkeys, and sharing the load of revolution: asses.masses is a long form participatory performance that follows the epic journey of unemployed asses as they navigate the perils of a post-Industrial society in which they've been made redundant. At its core, asses.masses is a custom-made video game designed to be played on stage by a live audience. Brave spectators take turns each night stepping forward from the herd to seize the means of production and become the player. There are no instructions. It is up to the audience and their self-elected leaders to make decisions and play out their version of the game. Cheeky, political, and best described as Animal Farm meets Aesop's Fables retold by Franz Kafka, Karl Marx, and Sonic the Hedgehog, asses.masses puts the control(ler) in its audience's hands and asks them to discover the space between the work that defines us and the play that frees us. www.assesmasses.work Tickets to asses.masses at the Theatre Centre: https://theatrecentre.org/event/asses-masses-23/ Support Stageworthy Donate: tips.pinecast.com/jar/stageworthy

Show notes below:   Talking Shit With Tara Cheyenne is a Tara Cheyenne Performance Production www.taracheyenne.com Instagram: @TaraCheyenneTCP  /  FB: https://www.facebook.com/taracheyenneperformance Podcast produced, edited and music by Marc Stewart Music www.marcstewartmusic.com      © 2023 Tara Cheyenne Performance   Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts and Spotify.   Donate! To keep this podcast ad-free please go to:  https://www.canadahelps.org/en/dn/13386   Links:   Ashley Whitehead: https://ashleywhitehead.ca/ Natalie Tin Yin Gan: https://nataliegan.com/ Lip Service: https://ashleywhitehead.ca/post/185619673729/ever-wonder-what-your-vulva-alter-ego-might-do-if Pulsive Party: https://www.instagram.com/pulsiveparty/   "Pleasure Activism" (book): https://www.akpress.org/pleasure-activism.html     About Ashley Whitehead:   (they/them) is a multidisciplinary creator and performer, and a third generation European (Swedish, English)-Canadian living on the unceded Coast Salish territories of the Squamish, Musqueam, and Tsleil-Waututh First Nations - also known as Vancouver, BC. Ashley comes from a background of contemporary dance and clown, is an emerging singer/songwriter, and a sexual health educator. Combining performing arts and education, they love to use humour and play to create accessible, inclusive, and now often informative, performances drawing upon skills in facilitation, interaction, and improvisation. Ashley has studied with, and been influenced, by numerous, meaningful mentors and teachers including: David MacMurray Smith (Fantastic Space Enterprises), Shirley Gnome, Tiffany Tregarthen and David Raymond (Modus Operandi), Jonathan Stancanto (Inside Voice), Serge Bennathan, and Peter Bingham (Edam Dance).  After creating Pulsive Party with creative partner Natalie Tin Yin Gan and their first full length show ‘Lip Service: Come and get some', Ashley pursued a career in sexual health education, and has since graduated from Options for Sexual Health's certification program. Ashley currently works as an independent educator and is employed with Real Talk, a sexual health initiative aimed at people living with cognitive disabilities.  Ashley and Natalie share educational videos through Tiktok, and have completed a second show that revolves around a safer sex lesson plan, ‘Lip Service 2: Breaking down Barriers' that looks to tour to festivals, schools, and conferences in the coming years. About Natalie Tin Yin Gan:   Natalie Tin Yin Gan (顏婷妍) is an independent dance artist, writer, and teacher based in so-called Vancouver, on the unceded ancestral lands of the Musqueam, Squamish, and Tsleil-Waututh First Nations. Her practice squats at the intersection of ancestral spirit, somatics, and technology-induced melancholy. Natalie is the Co-Artistic Director of company Hong Kong Exile that explores the historical and contemporary politic of the Chinese diaspora. She is also the smaller half of vulva duo, Pulsive Party. She is a graduate of The Writer's Studio and a certified teacher of Fitzmaurice Voicework®. Currently, she is a Narrative Designer at indie video game company, Sunset Visitor Studios.    Natalie is a late sleeper, a late riser, a late bloomer, a latecomer, and a late-night snacker.  nataliegan.com   About Tara: Tara Cheyenne Friedenberg, is an award winning creator, performer, choreographer, director, writer, and artistic director of Tara Cheyenne Performance, working across disciplines in film, dance, theatre, and experimental performance. She is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level". Along with her own creations Tara has collaborated with many theatre companies and artists including; Zee Zee Theatre, Bard on the Beach, ItsaZoo Theatre, The Arts Club, Boca De Lupo, Ruby Slippers, The Firehall Arts Centre, Vertigo Theatre (Calgary).  With a string of celebrated solo shows to her credit (including bANGER, Goggles, Porno Death Cult, I can't remember the word for I can't remember, Body Parts, Pants), multidisciplinary collaborations, commissions and boundary bending ensemble creations Tara's work is celebrated both nationally and internationally.  Tara is known for her unique and dynamic hybrid of dance, comedy and theatre. She is sought after for creating innovative movement for theatre and has performed her full length solos and ensemble works around the world (highlights: DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, High Performance Rodeo/Calgary etc.). Recent works include a collaboration with Italian dance/performance artist Silvia Gribaudi, empty.swimming.pool, (Castiglioncello, Bassano, Victoria and Vancouver), ensemble creation, how to be,  which premiered at The Cultch, and her solo I can't remember the word for I can't remember, toured widely, and her newest solo Body Parts has been made into a stunning film which is currently touring virtually. Tara lives on the unceded Coast Salish territories with her partner composer Marc Stewart and their child.

Megan Gibson interviews Hong Kong democracy activist Nathan Law.They discuss his new book, Freedom: How We Lose It and How We Fight Back.They talk about the speed of the impact of Hong Kong's National Security Law, how safe and stable western democracies really are and whether he could ever return to Hong Kong.If you have a You Ask Us question for the international team, email podcasts@newstatesman.co.ukFurther Reading:Nathan Law: From Poland to the UK, “freedom is under threat”One year on from China's national security crackdown, Hong Kong is a changed placeRadosław Sikorski: “Poland is on the path of Hungary and Russia” See acast.com/privacy for privacy and opt-out information.

Conor Wylie is a performer, writer, and director creating experimental theatre. He lives and works on the unceded, ancestral, and occupied lands of the Coast Salish peoples, including the xʷməθkʷəy̓əm (Musqueam), Səl̓ílwətaɬ (Tsleil-Waututh), and Skwxwú7mesh (Squamish) nations. Alongside Nancy Tam and Daniel O’Shea, he runs A Wake of Vultures, a performance collective working across sonic, visual, and theatrical disciplines, who recently released an online miniseries called K BODY AND MIND, a mash-up of 90s cyberpunk anime aesthetics and minimalist theatre. Conor's work has increasingly incorporated explorations of science-fiction and videogame aesthetics, and he frequently collaborates with a variety of independent companies, including Theatre Replacement, Hong Kong Exile, and members of the Progress Lab consortium. In 2019, he was named Siminovitch Prize Protégé by Maiko Yamamoto and James Long. In 2021, he joins the writing team of a new video game studio, sunset visitor 斜陽過客. conorwylie.ca Instagram: @awakeofvultures Support Stageworthy: https://tips.pinecast.com/jar/stageworthy

Are we willing to divest from our arts practices, or to change radically our performance practices, in order to make necessary changes and concessions?milton lim, conscient podcast, january 2020, ottawaMilton Lim is a media artist and performance creator based in Vancouver.Lim holds a BFA (Hons.) in theatre performance and psychology from Simon Fraser University.His current work utilizes publicly available data and game structures to articulate new expressions of value and labour within our systems of power and politics.He is a Co-Artistic Director of Hong Kong Exile, an Artistic Associate with Theatre Conspiracy, a key archivist with videocan, a Digital Interaction Designer with The Cultch, and one of the co-creators behind culturecapital: the performing arts economy trading card game.This conversation took place in January of 2020.  *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

The week in dance left us stunned and slack-jawed. We caught Wen Wei Wang’s all-male Dialogue, juxtaposed with the incredible light-play in Hong Kong Exile’s ROOM 2048 (thanks to Laura Raboud for hopping in on that hot take!). Finally, Andrew and Fawnda took a pilgrimage to Banff to see the preview of Kidd Pivot’s newest full-length foray, […]

The week in dance left us stunned and slack-jawed. We caught Wen Wei Wang’s all-male Dialogue, juxtaposed with the incredible light-play in Hong Kong Exile’s ROOM 2048 (thanks to Laura Raboud for hopping in on that hot take!). Finally, Andrew and Fawnda took a pilgrimage to Banff to see the preview of Kidd Pivot’s newest full-length foray, […]

On this special bonus episode of Well Reds, host Charlie Demers speaks with Hong Kong Exile's Milton Lim, fu-GEN Theatre's David Yee and Theatre Conspiracy's Tim Carlson on loss, resilience and the Chinese diaspora. Their new multidisciplinary show 'No Foreigners' premieres February 7th, 2018 at Vancouver cultural diversity and innovation hub The Cultch!https://thecultch.com/https://conspiracy.ca/https://www.hongkongexile.com/https://fu-gen.org/Photo credit: http://cuag.ca/osl/labs/02/media.html

In this episode, Performance Curator Victoria Mohr-Blakeney speaks with Natalie Tin Yin Gan from Hong Kong Exile about their upcoming performance of NINEEIGHT and Room 2048 and the future of Hong Kong. Theme Song: Damned be this Transmigration by Rob Fortin featuring vocals from Susan Newman and Em Glasspool Producer: …

Hosts: Natalie Tan, Natalie Tin Yin Gan, Milton LimTech: Tyler Russell(Recorded on August 3, 2015)In the INAUGURAL episode of Get Tanned!:- We have a midnight discussion over delicious bubble tea.- NT is unsure about the name Get Tanned, and Milton and NG share what Hong Kong Exile was almost named.- NT saw Arts Club’s error-ridden production of "In the Heights" back in June, and asks NG and Milton what to do next.- We discuss inaccessibility and privilege in the theatre on various levels, from audience diversity to ticket pricing to awards. - Milton and NG talk about what it’s like to perform to a disinterested audience. - It’s not about the money…even though we mention the money a lot. - Milton talks about the exclusivity of Vancouver’s Jessie Awards, and how it affects smaller, independent companies.- If you see something you don’t like, should you say something? And other Canadian questions.Supplementary links for your viewing/listening pleasure:Hong Kong Exile: http://www.hongkongexile.com/In the Heights opening number: https://www.youtube.com/watch?v=mzWCc9JwZToReACT’s open letter to the Jessie Awards from July 2015: http://news.gvpta.ca/wp-content/uploads/2015/07/ReAct-Open-Letter-to-the-Jessie-Richardson-Theatre-Awards-Board-of-Directors.pdfPost-production correction: Arts Club does have same day rush tickets for students at $22.

Hosts: Natalie Tan, Natalie Tin Yin Gan, Milton LimTech: Tyler Russell(Recorded on August 3, 2015)In the INAUGURAL episode of Get Tanned!:- We have a midnight discussion over delicious bubble tea.- NT is unsure about the name Get Tanned, and Milton and NG share what Hong Kong Exile was almost named.- NT saw Arts Club’s error-ridden production of "In the Heights" back in June, and asks NG and Milton what to do next.- We discuss inaccessibility and privilege in the theatre on various levels, from audience diversity to ticket pricing to awards. - Milton and NG talk about what it’s like to perform to a disinterested audience. - It’s not about the money…even though we mention the money a lot. - Milton talks about the exclusivity of Vancouver’s Jessie Awards, and how it affects smaller, independent companies.- If you see something you don’t like, should you say something? And other Canadian questions.Supplementary links for your viewing/listening pleasure:Hong Kong Exile: http://www.hongkongexile.com/In the Heights opening number: https://www.youtube.com/watch?v=mzWCc9JwZToReACT’s open letter to the Jessie Awards from July 2015: http://news.gvpta.ca/wp-content/uploads/2015/07/ReAct-Open-Letter-to-the-Jessie-Richardson-Theatre-Awards-Board-of-Directors.pdfPost-production correction: Arts Club does have same day rush tickets for students at $22.