The AAP Conference takes place in August, in conjunction with the annual meeting of the Association for Theatre in Higher Education (ATHE). The conference offers selective and adjudicated panels of papers, showcasing research on theatrical performance in, about, and relevant to Asia.  It also features performance and training workshops, professional interest meetings, and discussions of member publications.

AAP 2020 Virtual Conference Community Guidelines


Welcome to AAP 2020! The conference strives to provide both a safe and accessible space for scholarly, artistic, and cultural exchange. Please respect this and follow these guidelines: 


  • Zoom session links are for registered participants only. Do not forward or share on social media, messaging apps, or other online platforms. This helps reduce the chances of Zoom bombing or other malicious interruptions.  

  • Join sessions on time and avoid entering/exiting during presentations as much as possible. 

  • Keep your microphone muted unless specifically asked to unmute by the panel host/chair. As an Attendee, your default should be mute, but please double check and adjust if necessary when you join a session. 

  • Do NOT screen shot, capture video, or otherwise record any live conference content. This protects both intellectual property rights and academic freedom, as much of the work presented is in progress and some might touch on politically sensitive topics. 

    • If you would like to request a copy of slides or a paper, please contact the presenter directly.  

  • Attend as many panels and ask as many questions as you would like! AAP encourages robust engagement on the part of all participants, not just panelists/presenters. 



What do I do if….? 

  • The Zoom link doesn’t work!! 

    • Check the AAP Updates GoogleDoc (which you received in email). We don’t anticipate making any changes to Zoom links, but will post here if we do.  

    • If that doesn’t help, please email IT Officer Tarryn Chun at aap2020conference@gmail.comASAP. 

  • The Zoom session is full! 

  • I can’t see or hear the panelists! 

    • Post a comment in the Q&A or use the RAISE HAND tool to get the host’s attention. The host will chat you to try to figure out the problem. 

  • My friend/colleague forgot to register and really wants to attend some panels! 

  • I’d like to get in touch with a particular panelist after the panel. 

    • Come to the AAP Social Hour on Wednesday evening!  

  • I don’t have Zoom! Or, I’m in a country where Zoom is blocked! 

    • Email aap2020conference@gmail.comwith a list of the panels you want to attend and your location. We will send further instructions and/or phone numbers so you can dial in from a phone (audio only).  

2020 AAP Annual Conference
Jul 27, 9:00 AM – Jul 29, 10:00 PM
Online via Zoom

Association for Asian Performance

Annual Conference 2020

July 27-July 29, 2020


Online via Zoom

All times are Eastern Daylight Time, so adjust for your time zone!!!



Monday July 27, 2020                                                                                                                      


9:15am                  Welcome! 

                              Jennifer Goodlander, AAP President 


9:30-11:00am       Session 1 - Collage Panel: Asian Popular Music, Recording, and Technology


“Becoming Stars Behind the Screen: Voice Performers from Shanghai Dubbing Studio in Socialist China (1949-1976)”

Nan Hu (Washington University in St. Louis)


“Creative Work-in-Progress: Kun-Pop: An Exploration of Making Kunqu-Inspired Pop Music”

 Dongshin Chang (Hunter College, City University of New York)


“One Dream, One Asia: Rhetoric of Business, Technology, and Transnationalism in Z-POP”

So-Rim Lee (University of Pennsylvania)


“A Technology of “Dianban”: Recording and Transmitting Chuanqi Music in Late Ming China”

Yihui Sheng (University of Michigan)


11:00am-1:00pm       AAP BOARD MEETING


1:00-2:30pm        Session 2 - Organized Panel: Ritual to Secular in Puppet Performance

Organizer and Chair: Kathy Foley (University of California, Santa Cruz)


“Pacing the Void, Facing Disease, and Combating Covid: Asian Puppets/Masks Confronting the Demonic and the Cosmic”

Kathy Foley (University of California, Santa Cruz)


“Wayang Ritual Drama: Ecology, Community, and Ritual in Traditional and Post-Traditional Cirebon (West Java, Indonesia)”

Matthew Cohen (University of Connecticut)


“Goddess Chen Jinggu and Snake Gods: Religious Marionette Plays in China”

Fan Pen Chen (SUNY Albany)


“Sacred to Secular: Kkokdugaksi Noreum’s Buddhism and Confucianism from Joseon to the Present”

Mina Kyounghye Kwon (University of North Georgia)        


2:30-4:00pm       Session 3 - Organized Panel: Contemporary Innovations in Puppetry: Forefathers, Festivals, and Current

Reformulations in Puppet and Mask Performance: Part I

Organizer and Chair: Kathy Foley (University of California, Santa Cruz)


“Festivalization Impacts and Contemporary Chinese Puppetry”

Annie Katsura Rollins (Concordia University in Montreal)


“Harmony Puppet Channel and Festival, Sema Thai and Building Southeast Asian Community via Puppetry”

Jennifer Lynn Goodlander (Indiana University)


“What Now? Responses to Covid-19 by Puppet Artists in India”

Claudia Orenstein (Hunter College, CUNY)


4:00-5:15pm        Roundtable 1 - A Midsummer Night's Bollywood Dream in Hawaii: Triumphs and Tribulations

Chair and Organizer: Sai Bhatawadekar (University of Hawaii)


Panelists:         Sai Bhatawadekar (University of Hawaii)

                        Paul Mitri (University of Hawaii)

                        Maile Speetjens (University of Hawaii)

                        Kripa Bhagat (University of Hawaii)


5:15-6:15pm         FILM  We are Not Together and Yet We Are: Interview Film with Astad Deboo and his Dancers

Q&A with Sai Bhatawadekar (University of Hawaii)


6:30-7:30pm        Membership Meeting


7:30-9:00pm        Session 4  - Emerging Scholars Panel 

Chair: Arnab Banerji (Loyola Marymount University)


“Theatre as Democratic Act: ToBakYi’s Kumhi’s May(1988) and the Politics of Mourning in South Korea”

Hayana Kim (Northwestern University)


“Sisterhood in the City: Creating Community Through Lion Dance in Boston’s Chinatown”

Casey Avaunt (Elon University)


“Prakrits in Performance: Theatricality and Multilingual Drama in Pre-Modern India”

Amanda Culp (Vassar College)


9:00-10:30pm      Session 5 - Collage Panel: Contemporary Theatre in Asia and its Diasporas

“Translating the “Original” in the Takarazuka Revue: Acknowledging “Form” in Interpreting Adaptations for Stylized Theatre”

Jennifer Yoo (University of Hawaii at Manoa)


“Representing the Unrepresentable: Staging the Sewol Ferry Disaster in Theatre Troupe Yellow Ribbon’s Talent Show, Namsan Art Center’s From Pluto, and Camino de Ansan”

Areum Jeong (Sichuan University-Pittsburgh Institute)


“Actresses of Modern Tokyo Comedy”

Yoshiko Fukushima (University of Hawaii at Hilo)


“Bollywood or Realism? Negotiating Aesthetics of South Asian Diaspora Theatre under Britain and Canada’s Multiculturalisms”

Rohan Kulkarni (University of Toronto)


Tuesday July 28, 2020


7:30-9:00am        Session 6 - Collage Panel: Politics and the Nation


“Revisiting Singapore Chinese Student Movement: Performing Socialism, Negotiating Politics and Diasporic Chineseness, 1950s-1960s”

Beiyu Zhang (University of Macau)


“Staging the Nation-State: Ediriweera Sarachchandra Open-Air Theatre as a National Time-Space”

Sandamini Ranwalage (Miami University, Ohio)


“Playing Games in Serious Context: Indian Street Theater in times of Political Turmoil”

Aurélien Bellucci (Harvard University)


“Religion and Caste in Cho Ramasamy’s Sastiram Sonnathillai”

Kristen Rudisill (Bowling Green State University)


9:00-10:30am      Session 7 - Organized Panel: Contemporary Innovations in Puppetry: Forefathers, Festivals, and Current

Reformulations in Puppet and Mask Performance: Part 2

Organizer and Chair: Kathy Foley (University of California, Santa Cruz)


“Brand New Balinese Water Puppetry ‘The Floating Subadra’”

I Nyoman Sedana (Indonesian Arts Institute) and I Made Sidia (Indonesian Arts Institute)


“UNIMA and Asian Puppetry Practice and Festivals”

Karen Smith (UNIMA)


“Asian Masks in Actor Training”

MJ Coldiron (University of Essex)


10:30-12:00pm    Session 8 - Collage Panel: Tradition, Colonialism, and Historiography


“Slaves, Prostitutes, or Artistes: Politics of categorization of Indian female dancers in colonial western India”

Pratichi Priyambada (University of California, Irvine)


“Imagination Exercises with Archive Images: the Balinese Performers at the Colonial Exhibition of 1931”

Juliana Coelho de Souza Ladeira (São Paulo University / São Paulo Research Foundation (FAPESP))


“The Limits of the Traditional and Modern Divide: The Case of Cantonese Opera”

Siyuan Liu (University of British Columbia)


“Reaching Beyond Filling the Female Blanks of History: In Searching of Theoretical Frameworks for Gender Representation in Asian Theatre Historiography”

Xing Fan (University of Toronto)


12:00-1:00pm      Publisher’s Q&A with Vijay Shah 

Facilitator and Zoom Host: Kristen Rudisill


1:00-2:30pm        Session 9 - Organized Panel: From Jumping, Gliding and Pushing, to WOW!: Figure Skating, Sumo and Robots in

Paratheatrical Japan

Organizer: Helen Moss (IchiFuji-kai Dance Association)

Chair: John Weinstein (Bard College at Simon's Rock)


“Throwing Their Weight Around: Sumo 101”

Helen Moss (IchiFuji-kai Dance Association)


“Yuri!!! on Ice/Yuzu on Ice!!!: - Fantasy, Reality, and Spaces in Between in the Performance of Japanese”

John Weinstein (Bard College at Simon's Rock)


“Fighting Robots, Kung Fu Pandas and Electronic Samurai: Constructing a Westernized Imagined Tokyo at Shinjuku’s Robot Restaurant”

David Jortner (Baylor University)


2:30-4:00pm       Grad Student/mentor session


4:00-5:15pm        Roundtable 2 - The Balinese Wayang Listrik Production of The Last King of Bali at UHM

Chair and Organizer: Kirstin Pauka (University of Hawaii)


Panelists:        Kirstin Pauka (University of Hawaii)

                        Madé Moja (ShadowLight Productions)

                        Nezia Azmi (Independent Scholar)

     Melisa Orozco (University of Hawaiʻi at Mānoa)  


6:00-7:30pm       Session 10 - Organized Panel: Getting around the beaten road, refusing to acquiesce to mainstream pressures in

Tamasha, Odissi, Nukkad Natak, and Bengali group theatre

Organizer, Chair: Arnab Banerji (Loyola Marymount University)


“Rediscovering the Aesthetic of Struggle: Shifts in Bengali Group Theatre”

Arnab Banerji (Loyola Marymount University)


“The Choreography of Poetic Dissent: Exploring Space and its Political Aesthetics in Indian Street Theatre”

Sukanya Chakrabarti (San Francisco State University)


“Censorship and Reform of Tamasha in the 1940s”

Sharvari Sastry (University of Chicago)


“Katha Surpanakha: Identifying Diversity and Counteracting Tradition”

Sinjini Chatterjee (University of California, Riverside)


7:30-9:00pm       Session 11 - Collage Panel: Media and Dance in East Asia


“A Comparative Study of Dance Notation of Confucian Temple in Ming Dynasty”

Yanfen Che (Minzu University of China)


“Cold War Counter-Publics and the Ghosts of Pan-Asianism: The Japanese Matsuyama Ballet’s 1958 White-Haired Girl Tour in China”

Emily Wilcox (University of Michigan)


“Wang Chong and the Theatre of imMEDIAcy: Media, Technology, and ‘Chinese’ Performance across Cultures”

Tarryn Chun (University of Notre Dame)


“No Room for Vulgarity: Satiric Skits in CCTV Spring Festival Gala (2013–2020)”

Hongjian Wang (Purdue University)


9:00-10:30pm      Session 12 - Organized Panel: Tradition Today: How Artists Make Ends Meet in Korea’s Traditional Performing

Arts Scene and Beyond

Organizer and Chair: Jan Creutzenberg (Ewha Womans University)


“The Future of Korean Traditional Theatre: A Case Study of the Exceptional Artist, Heo Changyeol”

CedarBough T. Saeji (University of Indiana, Bloomington)


“Consoling the Dead: Sim Woo-sung’s Puppet Rituals for Modern Korea”

Jungmin Song (University of Connecticut)


“"Old-Fashioned" Music Performed by "Even Older-Fashioned" Singers: The Increasing Presence of Young Pansori Performers in the Korean Trot Music Scene”

Yoo Min-Hyung (Kyonggi University)


“Staged Voices: Experimental Pansori Singing/Storyelling in the Korean Theatre Scene”

Jan Creutzenberg (Ewha Womans University)


Wednesday July 29, 2020


8:10-9:40am         Session 13 - Organized Panel: Re-making and Re-claiming Meaning through Gender and Materiality

Organizer, Chair: Jashodhara Sen (University of Colorado Denver)


“The Representation of Goddess Sitala and Community Building Through the Interface of Ritual and Performance”

Jashodhara Sen (University of Colorado Denver)


“Lengger lanang is Not a Queer Performance?”

Y Joned Suryatmoko Ndaruhadi (The Graduate Center – CUNY)


“Materiality and Meaning/s”

Deepsikha Chatterjee (Hunter College and Graduate Center- CUNY)


“Performing Gender in Mahabharata Plays: The Case of Brihannala and Shikhandin”

Amanda Culp (Vassar College)


9:40-11:10am        Session 14 - Collage Panel: Contemporary Puppetry Audiences and Performers


“Glove Puppet”: An Emotional Attachment of The Performer and Audience

Atasi Nanda Goswami (Centre for Knowledge Ideas& Development Studies (KnIDS))


“(Re)making of Taiwanese Subjectivity through Puppetry”

Chee-Hann Wu (University of California, Irvine)


“Images of Regional Japanese Puppetry in 2019”

Bradford Clark (Bowling Green State University)


“Examining Multicultural Representation in Lepus Songket of Palembang”

Dicky Maryoga Hutadjulu, M.M. (BINUS Northumbria School of Design)


11:10am-12:40pm     Grad Student/Mentor Session


12:40-2:30pm       Session 15- Collage Panel: Explorations of Jingju


“Peking Opera The Orphan of Zhao and Beyond: A Study of the Chinese Ideal of Loyalty”

Guohe Zheng (Ball State University)


“Intervening in Chinese Nationalism: One Hundred Years on Stage and Contemporary Jingju in Taiwan”

Jasmine Yu-Hsing Chen (Utah State University)


“Ban, Self-Censorship, Marketable Political Correctness: Negotiating a Space for ‘Chinese’ Opera in Taiwan”

Daphne Lei (University of California, Irvine)


“Abstraction of Violence into Virtuosity in Zhang Huoding’s Jingju Adaption of ‘Legend of White Snake’”

Alissa Elegant (Ohio State University)


“Xiaoli zhisi (Death of a Little Servant): Yan Qinggu’s Jingju Performance of Saving Face”

Yining Lin (Independent Scholar)


2:30-3:30pm        Play Reading


Scenes from Ekibyō Ryūkōki (Journal of the Plague Year)

Organizer and Director: Colleen Lanki (TomoeArts/University of British Columbia)


3:30-5:00pm       Session 16 - Organized Panel: Utterly, Butterly, Delicious: Food, Devotion, and India’s National and International


Organizer and Chair: Radhica Ganapathy (West Virginia University)


“Stewing: India’s Beef Crisis”

Radhica Ganapathy (West Virginia University)


“What Chhappan Bhog Says about Kinds of Experience”

David Mason (Rhodes College)


“On the Trail of the Tikka Masala: a Study of Hybrid “Indian” Food as a Metaphor for the Performance of a Hybrid Indian Diasporic Identity”

Arnab Banerji (Loyola Marymount University)


5:00-6:00pm      Bollywood Dance Workshop led by Sai Bhatawadekar (University of Hawaii)


6:00-7:30            Session 17 - Collage Panel: Modern Asian Theatre

“Gut Searching for Her Lost Face: Seoul Performing Art Company’s Lost Face 1895 (2013)”

Dohyun Gracia Shin (The Graduate Center CUNY)


"I am your sickness" – Girl as Epidemic in Terayama Shūji and Kishida Rio's Journal of the Plague Year

Colleen Lanki (University of British Columbia)


“The Lady from the Village of Falling Flowers is Reborn in Japan: An Intercultural Exploration of one of Tennessee Williams Earliest Plays”

Sarah Johnson (Texas Tech University)


“Bringing the Third World Home: The Challenge of “Entering the Life” in 1960’s Chinese Theatre”

Yucong Hao (University of Michigan)


7:30-9:00pm        Session 18 - Collage Panel: Festivals and Folklore


“Strolling in the Disappearing Places: Postcolonial Memories, Urbanization and Arts Festivals in Taiwan”

Yatin Lin (Taipei National University of the Arts)    


“i-Dance Festival: Improvising “One Country, Two Systems” in post-1997 Hong Kong”

Ellen Gerdes (University of California, Los Angeles)


“The Transformation of Folklore as Intangible Cultural Heritage in Contemporary Performing Arts: Miroirs de Vie with the Keelung Ghost Festival as an Example”

 Haochen Xi (Taipei National University of Arts)


“The Inauthentic and Inaccessible Ethnic Play: Songs of the Dragons Flying to Heaven,Multilingualism, and Pacific-crossing”

Minwoo Park (University of California, Irvine)


9:00-10:30pm      Social Hour


The Association for Asian Performance is an international organization of scholars and artists interested in the theatre and theatrical performance traditions of Asian regions.

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Image Credits: 

David Mason

Victoria & Albert Museum

Metropolitan Museum of Art

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