2015, Performance lecture at Dutch Art Institute, Arnhem in presence of two respndents Bassam El Baroni, Alena Alexandrova and Maria Hlavajova

If you want to see an excerpt of the presentation click here: link DAI

Marianna Maruyama wrote about the presentation:
"Anneke Ingwersen introduced the Wayangplay (puppet play) workshops she has been organizing at the Museum Bronbeek, a museum for Dutch-Indonesian (Post) Colonial and Military History in Arnhem. Her recent puppet play workshop took part in framework of the exhibition “War!”, which, for the curators, was an attempt to show both sides of the conflict and create public discussion about how it could be called. Ingwersen’s work looks into the Dutch–Indonesian post-colonial history and the politics of remembrance – while looking for the place of public memories. Ingwersen asks, “How was the Dutch-Indonesian war represented?” and, “Who decides what to remember and how?”

Testing the post-colonial discourse in practice, Ingwersen conducts her workshops in a simplified language, inviting participants to answer questions about their own reactions and their own relationship to the museum Bronbeek. As the artist points out, the form of the shadow puppet play can shows a few sides of the truth – the puppeteers can freely choose their roles. Ingwersen observed that it is interesting how in the shadow play, the projection field splits audience, revealing the way that every story has (at least) two sides; this two-sided performance presents itself as a kind of ritual showing various versions of the same event. In the play, puppeteers can express unconscious feelings in a secure framework of play – using the psychodrama to get in touch with subconscious feelings. The puppet play makes a safe setting to create aesthetic illusions with controversial meanings and statements. “I get to do and say anything with puppets,” Ingwersen claims. Furthermore, she asks how this ‘play’ works on collective consciousness and tests whether it could help overcome the practice of stereotyping. She is inspired by Stuart Hall’s call “to challenge the dominant forms of representation”."

About the context:
During a three day 'marathon' in July, 2015 our 21 + 1 ( there was one duo-presentation) graduates each presented a 20 minute final lecture or lecture-performance. Other than the constraints of the framework of time and space there were no restrictions to the content of the presentation. Following each performance, in a conversational mode, respondents reflected on the presentation while simultaneously engaging with a well considered key question, brought forward by each presenter at the beginning of their presentation.

2015, Performance lecture at Dutch Art Institute, Arnhem in presence of two respndents Bassam El Baroni, Alena Alexandrova and Maria Hlavajova

If you want to see an excerpt of the presentation click here: link DAI

Marianna Maruyama wrote about the presentation:
"Anneke Ingwersen introduced the Wayangplay (puppet play) workshops she has been organizing at the Museum Bronbeek, a museum for Dutch-Indonesian (Post) Colonial and Military History in Arnhem. Her recent puppet play workshop took part in framework of the exhibition “War!”, which, for the curators, was an attempt to show both sides of the conflict and create public discussion about how it could be called. Ingwersen’s work looks into the Dutch–Indonesian post-colonial history and the politics of remembrance – while looking for the place of public memories. Ingwersen asks, “How was the Dutch-Indonesian war represented?” and, “Who decides what to remember and how?”

Testing the post-colonial discourse in practice, Ingwersen conducts her workshops in a simplified language, inviting participants to answer questions about their own reactions and their own relationship to the museum Bronbeek. As the artist points out, the form of the shadow puppet play can shows a few sides of the truth – the puppeteers can freely choose their roles. Ingwersen observed that it is interesting how in the shadow play, the projection field splits audience, revealing the way that every story has (at least) two sides; this two-sided performance presents itself as a kind of ritual showing various versions of the same event. In the play, puppeteers can express unconscious feelings in a secure framework of play – using the psychodrama to get in touch with subconscious feelings. The puppet play makes a safe setting to create aesthetic illusions with controversial meanings and statements. “I get to do and say anything with puppets,” Ingwersen claims. Furthermore, she asks how this ‘play’ works on collective consciousness and tests whether it could help overcome the practice of stereotyping. She is inspired by Stuart Hall’s call “to challenge the dominant forms of representation”."

About the context:
During a three day 'marathon' in July, 2015 our 21 + 1 ( there was one duo-presentation) graduates each presented a 20 minute final lecture or lecture-performance. Other than the constraints of the framework of time and space there were no restrictions to the content of the presentation. Following each performance, in a conversational mode, respondents reflected on the presentation while simultaneously engaging with a well considered key question, brought forward by each presenter at the beginning of their presentation.