Browsing: OzAsia Festival

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This weekend OzAsia welcomes The Ongals, the South Korean comedy troupe spectacular we never knew we were missing. The Ongals consist of four men all sporting colourful, oversized baby’s clothes and bibs – literally wearing their childlike approach to circus and comedy on their sleeves.

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After viewing Kuro Tanino’s latest theatre production, you cannot help but notice a departure, or better yet, an expansion to his notorious directorial style and creative process.

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The End features Hatsune Miku who is an internationally renown pop star with fans across the globe, including the show’s composer Keiichiro Shibuya.

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Scary Beauty is a vocal performance like no other as, backed by the Australian Art Orchestra, the audience is sung to by a human-like android called Skeleton in this ground-breaking sample of what the future of vocal performances may possibly hold.

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Formed in 2010, Bombay is led by Andy Williamson (“The Captain”) on sax. Lead vocals are delivered by Parvyn Kaur Singh (“Mysterious Lady”) and Shourov Bhattacharya (“The Tiger”).

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When considering After Utopia overall, it seems to express how we, as humans, possess this perpetual strive for perfection. We yearn for something that is not, and perhaps never will be, achievable.

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Japanese pop-punk band, Shonen Knife, now in their 36th year of releasing music and touring worldwide, grace the stage in Adelaide as part of this year’s OzAsia Festival, alongside supporting local band, Satan’s Cheerleaders.

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Singaporean theatre company W!ld Rice has created a sprawling epic, which gives audiences a journey through the last 100 years of Singapore history.

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The basic background for the show is that it’s an all female production that uses ideas around gender and race to present an overall display of dance, song, spoken word, burlesque, and some circus.

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Electric Fields took to the Little Dumpling Market stage with a simple set up of a few microphones, a keyboard and a handful of people who had gathered in advance to their set.

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As a teenager, Akram Khan performed in Peter Brook’s seminal work Mahabharata. Now in middle-age, and with residencies at Sadler’s Wells London and Curve Leicester, Khan has revisited this epic in Until the Lions.

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Claire Wong and Noorlinah Mohamed are long-time friends and collaborators in the performing arts. Both hailing from Singapore, they embody the cultural and racial mix of the Malay Peninsula.  Being middle-aged women, they would often discuss their relationships with their ageing mothers

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