Last May, I have turned 50 years of professional life, a piece of history that is almost all of my adult life. And even if I don't think there's anything transcendental to celebrate, besides being still standing, thoughts overlap, flashes of memories; the persistence of a journey that, I see it again now, embraces four compact moments that I don't want to be overlooked by memory.
Lena and I meet at Magdalena Munich 2018. During rehearsal for "Daughter" of Jill Greenhalgh we talked a lot about our experience with asian heritages (she with chinese, and I with taiwanese one). We understand each other and wish to cooperate somewhere.
It was the month of December, the year 1999. I found the website of Magdalena. It was not a mirage; it was an oasis for me while questioning how to make feminist theatre in Istanbul. I wrote the email; I got the answer. Jill Greenhalgh replied. Then we met in Novi Sad in June 2000: The workshop, little talks, lots of energy exchange. It was the month August, the year 2000, we established our feminist theatre group, Tiyatro Boyalı Kuş (Theatre Painted Bird) in Istanbul.
I recently had the privilege of attending the third Tantidhatri Festival, a Magdalena festival held in different locations in India since 2012. This time, from 15 to 20 January 2019, Tantidhatri was held at Rabindra Tirtha – an arts centre dedicated to the poet and philosopher Ranbindranath Tagore.
I’d like to share a few thoughts following my participation in Mestiza Chile Festival 2018, organised around “Memory and Resistance”, an important theme in this tumultuous time, just after the Brazilian elections, and the rise of the extreme-right elsewhere including in Australia.