AAP 2016 Conference Schedule

(Subject to Change)

Association for Asian Performance 16th Annual Conference
Chicago, IL

August 10 and 11, 2016

Download the Program PDF

Wednesday, August 10


Coffee and Registration

Salon 8-9

Welcome from the President


Collage Panel I
Salon 8-9
chair: Siyuan Liu, University of British Columbia

“National Archive and Kinesthetic Repertoire: A Historiography of Cloud Gate Theatre”
— Po-Hsien Chu, University of Maryland, College Park

“Becoming a Modern Dancer on a Global and Local Concert Stage in the Late 1930s—Seung-hui Cho’s Transnational Figure in the Context of Korea and USA”
— Hyo Jeong Hong, University of Minnesota

“Integration of the Ideographical Style and the Psycho-physical Style: The Influences on Zuolin Huang’s Directing Concept”
— Huihui Huang, Indiana University

“Misinterpretation of Brecht in China in the Era of Reforms”
— Weiyu Li, Indiana University

Organized Panel I: Recasting and Remixing Showa Empire: Performances in and of Japan’s Wartime Years
Salon 10
chair: Jyana S. Browne, University of Washington

“’Oriental Modernism’ and Empire: The Battles of Coxinga at the Tsukiji Little Theatre”
— Jyana S. Browne, University of Washington

“The Edge of Allegiance: Ito Michio in the War”
— Tara Rodman, Northwestern University

“Re-performing Soshi Theater: Inagaki Hiroshi’s Soshi Gekijo and the Recasting of Meiji Radicals”
— Aragorn Quinn, University of Wisconsin—Milwaukee


Coffee Break


Collage Panel II
Salon 8-9
chair: Jennifer Goodlander, Indiana University

“’A Monk Walks into a Bar’: Meng Jinghui’s Si Fan at the China National Experimental Theatre”
— Bettina Entell, University of Hawaii

“The Transmission of Embodied Knowledge for Intercultural Performance: A Case Study”
— Margaret Coldiron, E15 Acting School/ University of Essex

“’Help Us Stand Up Proudly Again’: Lao She’s Love and Revolution”
— Whit Emerson, Indiana University

“Finding Comfort in Silence: The Absence of Partition Narratives from the Contemporary Group Theatre in Kolkata”
–Arnab Banerji, Loyola Marymount University

Collage Panel III
Salon 10
chair: Matthew Kelty, University of Hawaii at Manoa and the East West Center

“Translating, Performing, Teaching Modernism: Mohan Rakesh and ‘Contemporary World Theatre’”
— Aparna Dharwadker, University of Wisconsin-Madison

“Performing the Body in Pain: The Reading of Comfort Women’s Everyday Routines and Regulated Rules in the Eyes Holds the Truth
— Yi-Ping Wu, The Ohio State University

“Mei Lanfang’s Mustache: Its Sources, Historicity, and Reception”
— Guandu Wu, University of Minnesota

“Dialectical Contradiction in Postwar Milieu: The Chinese Influence of Lao Tzu and Mao Tse-tung’s Philosophy on Bertolt Brecht’s Late Creation from 1950-1956”
— Wei Zhang, University of Hawaii at Manoa


Collage Panel IV
Salon 8-9
chair: Whit Emerson, Indiana University

“Parody as Tactical Protest in Hong Kong’s Activism: An Auto-Ethnographic Account of Performative Critical Engagement”
— Wen Yau, Northwestern University/ Hong Kong Baptist University

“The Dead Body Dance: Competitive Tamil Cultural Pride in the West”
— Kirsten Rudisill, Bowling Green State University

“Art and Politics in Proletarian Theatre: Three Plays by Murayama Tomoyoshi”
— Guohe Zheng, Ball State University

“Tickling the Public Servants: ‘Anti-Corruption’ in Chinese Political Satire Plays of the 1950s”
— Man He, Williams College



Brown Bag Session for Grad Students — A great chance to ask your career and research questions from our panel of experienced professors!
Salon 10

Host: Tarryn Li-Min Chun, Harvard University

Panel Members:

David Mason, Rhodes College

He Man, Williams College

David Jortner, Baylor University


Emerging Scholars Adjudicated Panel
Salon 8-9
chair and discussant: Man He, Williams College

We are pleased to welcome these emerging scholars to AAP

Chair and Discussant: Man He, Williams College

“Performing Hamlet Q1 on the Korean Stage: Textual Identity in Intercultural Theatre.”
— Yi-Hsin Hsu, National Taiwan University

“Localized Classic and Performed Local—The Practice of Wu Dialect in The Peony Pavilion in Late Imperial China”
— Han Zhang, University of Chicago

“Careful Village: Comedy and Linguistic Modernity in A mdo Tibet, ca. 1996”
— Timothy Thurston, Smithsonian Institute


Workshop I: The Conduit: An Introduction to Chinese Shadow Puppets
Salon 10

— Annie Katsura Rollins, Concordia University


Coffee Break


Collage Panel V
Salon 8-9
chair: Christopher J. Mitchell, Eastern Illinois University

“Play Translation/Adaption: Issues of Genre, History, and Authorship in Osanai Kaoru’s Musuko (“The Son)”
— David Jortner, Baylor University

“Adaption and Continuity: The Process of Adapting Western Literature for the Jingju Stage”
— Yining Lin, University of Hawaii at Manoa

Hedwig, The Musical: Transgender as Commercial Commodity in South Korean Theatre”
— Hyewon Kim, Yonsei University

“’The Inimitable Dave’”: Performing Colonial Mimicry, Mimesis, and Inimitability Under the Raj”
— Kellen Hoxworth, Stanford University

Collage Panel VI
Salon 10
chair: Margaret Coldiron, E15 Acting School/University of Essex

“Aesthetic Nationalism and its Detriments on Modern Indian Performances: A Case Study”
–Rose Merin, Jawaharlal Nehru University

“Intercultural Bodies: Politics of Performance in Modern Taiwanese Theatre”
— Wei Chih Wang, Penn State University

“Japanese Traditional Performing Arts as Inspiration for Tennessee William’s Late Plays”
— Sarah Johnson, The University of Colorado at Boulder

“Curricula and Politics: Rehearsing Chineseness at the Hong Kong Academy for the Performing Arts”
— Ellen Gerdes, University of California, Las Angeles


Schmoozefest Gathering – details TBD

Join is for dinner and conversation!

9:00pm (or right after Schmoozefest!)

Grad Student Get Together!!!


Jennifer Goodlander, Indiana University

Emily Wilcox, University of Michigan

Thursday August 11


Board Meeting
Salon 7

All incoming, current, and outgoing members of the board should attend.


Collage Panel VII:
Salon 8-9
chair: Arnab Banerji, Loyola Marymount University

“An Element of Enlightenment and Illusion: An Analysis of Spirits/Wine in the Scene ‘Deadly Scurry’ (“Sicuan”) in The Story of Handan (Handan ji)
— Yihui Sheng, University of Michigan

“Criminal/Liminal: Outsiders and the Mutable Body in the Plays of Mokuami Kawatake”
— Matthew Kelty, University of Hawaii at Manoa

“East Asian Women Running the Show: Female Musical Theatre Producers in China, Japan, and South Korea”
— Laura MacDonald, University of Portsmouth

“Translating Time and Location: Translating Korean Traditional Puppetry”
— Kyounghye Kwon, University of North Georgia

Organized Panel II:

Love and Labor in Reinventing Asian Performance Tradition as Cultural Capitol
Salon 7

“Theatre Represents Literature: Love and Labor to Send Away Under Escort
— Iris H. Tuan, National Chiao Tung University

“Paradox in the Consumption of Taiwanese Folk Temple Performances”
— Sue-Han Ueng, National Taipei University

“Representing King Lear in Matriarchy: The Love and Labor in Mother-Daughter Bond(age)”
— Ivy I-chu Chang, National Chiao University


Roundtable: Publishing the Routledge Handbook on Asian Theatre
Salon 8-9
chair: Jennifer Goodlander, Indiana University


Siyuan Liu, University of British Columbia

Kathy Foley: University California, Santa Cruz

Jonah Salz, Ryukoku University

Aparna Dharwadker, University of Wisconsin-Madison

Margaret Coldiron, E15 Acting School/ University of Essex

AAP Panels at ATHE
Please see the ATHE Conference Program for locations and the most accurate information

ATJ Lecture
“Filling Holes, Building Bridges: Three Decades of Intercultural Theatre in Kyoto, Japan”
Jonah Salz, Ryukoku University
Thursday, August 11
3:15 – 4:45

Precarious Places, Precocious Performers: Contemporary Theater and Performance in Taiwan, Hong Kong, and China
Friday, August 12
8 – 9:30
chair: Tarryn Chun, Harvard University

Ellen Gerdes, University of California at Los Angeles, “Envisioning Hong Kong’s Future: Post-90s Occupy the Stage and Streets”

Jasmine Yu-Hsing Chen, University of Wisconsin-Madison, “Stepping Out of the Frame: Contemporary Jingju Actor Training in Taiwan”

Tarryn Chun, Harvard University, “Labors of Love: Contemporary Independent Theater Making in Beijing”

Changing Forces Behind the Labor of Performance in Traditional Chinese Theatre (1930s-2010s)
Friday, August 12
4:00 – 5:30
coordinator/chair: Siyuan Liu, University of British Columbia

Xing Fan, University of Toronto, “’As Long As She Has the Right Body’: Light, Entertaining Jingju in the Republican China”

Siyuan Liu, University of British Columbia, “Restricting The Free Movement of Xiqu Performers in Early People’s Republic of China”

Elizabeth Wichmann-Walczak, University of Hawai‘i, “Yes We Can vs. No You Can’t: Administrative Practices aka Labor Relations at the Shanghai and Jiangsu Jingju Companies”

Josh Stenberg, University of British Columbia, “The Opportunity Cost of a xiqu Career: Securing Performers in a Developing Local Economy”

Alternative Modes of Performing Labor: Case Studies from the PRC, Singapore, and the U.S.
Saturday, August 13
7:00 – 8:30
Coordinator/Chair/Discussant: Xing Fan, University of Toronto

Xiaomei Chen, University of California at Davis, “Breaking Out of the Main Melody: Meng Bing and His Monumental Theater”

Melissa Wong, City University of New York, “The Forum Theatre of Marginalized Labor in Neoliberal Singapore: A Delicate Balance of Representation, Co-option, Resistance”

Yiman Wang, University of California at Santa Cruz, “From Star Studies to ‘Minor’ Performer-worker Studies: Regarding Anna May Wong’s Labor”

Merchant-Heroes on the Chinese Stage: Embodied Ideologies of Work and Economy
Sunday, August 14
9:45 – 11:15
Coordinator/Chair: Emily Wilcox, University of Michigan

Ariel Fox, The University of Chicago, “Playing Against Type: Merchants on the Seventeenth-Century Stage”

Anne Rebull, The University of Chicago, “Acting Transactions: The Economy of Performance Practice in Fifteen Strings of Cash

Emily Wilcox, University of Michigan, “Performing the Post-Mao Economy: Global Capitalism and the Merchant Hero in Flowers and Rain on the Silk Road

Theatre and/as Cultural Diplomacy: Three Case Studies in Lahore, Pakistan
Sunday, August 14
11:30 – 1:00
Coordinator: Erika Hughes, Arizona State University
Moderator: Mahwish Kahn, Kinnaird College for Women, Lahore, Pakistan

Erika Hughes, Arizona State University, “Culture and the Ethics of Aid”

Boyd Branch, Arizona State University, “Telepresence, Performance, and Pedagogy”

Asma Niaz, Kinnaird College for Women, Lahore, Pakistan, “Lahore in Miniature: Performance, Ethnography, and Women in Pakistan”

Multidisciplinary Sessions

Labor of Love: The Revolutionary Potential in the Work of Theater
Co-sponsored by Association for Asian Performance and Performance Studies
Friday, August 12
8:00 – 9:30
Co-organizers: Arnab Banerji, Loyola Marymount University, and Matthew Moore, Muhlenberg College

Arnab Banerji, Loyola Marymount University, “Mazdoori or Majboori: Theatrical labor in Bengali Group Theatre”

Matthew Moore, Muhlenberg College, “Working Together: The Community of Audience and Performer in Contemporary Devised Theatre”

Frances Lieder, (University of Wisconsin-Madison), Loitering as a Performative Labor of Love in the Neoliberal Indian City

Alicia Corts, Saint Leo University), “Freire’s Pedagogy of the Oppressed in Work: Collaboration in the Classroom”

Call It A Labor Of Love: Producing, Making, and Consuming Performance In Neoliberal South Korea
Co-sponsored by Association for Asian Performance and Performance Studies
Friday, August 12
9:45 – 11:15
Co-chairs: Soo Ryon Yoon, Northwestern University, and Ji Hyon (Kayla) Yuh, CUNY Graduate Center

Ji Hyon (Kayla) Yuh, CUNY Graduate Center, “Whose Labor of Love?: Political Economy of (International) Musical Theatre Festivals in South Korea”

Soo Ryon Yoon, Northwestern University, “(Un)Doing the Partnership: Cultural and Political-Economic Implications of ‘Korean-African’ Dance Performances”

Kyungjin Jo, CUNY Graduate Center, “Consuming Multicultural Seoul: The Musical Laundry and the Portrait of Migrant and Immigrant Workers”

Kee-Yoon Nahm, Yale School of Drama, “Superfluous Value: Performing the yingyeo in Geun Hyung Park’s Don’t Be Too Surprised

Katherine Mezur, Independent Scholar, “Dohee Lee’s Devotion: Heart Labor and Bleeding Hearts”

“Opening Doors”: The Labor of Musical Theatre Translation in East Asia
Co-sponsored by Association for Asian Performance and Music Theatre/Dance
Saturday, August 13
7:00 – 8:30
Co-ordinators: Ji Hyon (Kayla) Yuh, CUNY Graduate Center, and Caleb Goh, Western Australian Academy of Performing Arts
Chair: Laura MacDonald, University of Portsmouth

Caleb Goh, Western Australian Academy of Performing Arts, “Song of the Sands of Singapore: The Localization of La Cage Aux Folles

Sissi Liu, CUNY Graduate Center, “Yi Bu Deng Tian (One Step to Heaven): How to Succeed in China without Really Trying?”

Jon Reimer, University of San Diego, “The Witches That Were: Japan’s Abridged Wicked and the Negotiation of Interculturalism”

Iris Tuan, National Chiao Tung University, Taiwan, “Translation from Kiss Me Kate into Kiss Me Nana in Taiwan”

Ji Hyon (Kayla) Yuh, CUNY Graduate Center, “Make It Work: Translating the (Imagined) America to Koreans”

New and Experimental Noh: Twenty-First Century Transformations of a Medieval Form
Co-sponsored by Association for Asian Performance and Performance Studies
Friday, August 12
5:45 – 7:15
Coordinator: Gary Mathews, North Carolina State University

Kevin Salfen, University of the Incarnate Word, “Transformations of Noh and Kyogen: Where Rivers Meet and Performing Theater History”

Colleen Lanki, TomoeArts/University of British Columbia, “Harmony and Discord: Working with Noh Actors and Opera Singers in the New Chamber Opera Kayoi Komachi”

Gary Mathews, North Carolina State University, “Medieval Japan Meets Americana: Adapting Traditional Noh in Blue Moon Over Memphis

Mariko Anno, Tokyo Institute of Technology, “Oppenheimer and Noh Musical Structure: Adhering To and Deviating From Tradition”

John Oglevee, University of Hawai‘i, “Teaching and Learning Noh: Twenty-First-Century Technologies and Medieval Theater in Japan”