OzAsia Festival 2019 starts this week: 14 events with French links

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OzAsia Festival 2019 starts this Thursday 17 October and runs to 3 November.

Among the events in the impressive program are some exhibitions, music, dance performances, and masterclasses and workshops with French links. 14 of them!

There are both free and paid events in the program. We tell you all about these below.


OzAsia Festvial has added visual arts to its 2019 free events program. Among the exhibitions on offer, there are two with French links.


Tabita Rezaire: Sorry for Real

17 Oct – 23 Nov 2019 (open Monday to Friday from 9am – 6pm and on Saturdays from 9am – 5pm plus Festival Theatre performance times).


Sorry for Real explores the questions of “What is the function of an apology and who really benefits?” “What power structures are hidden behind our apologetic age?”


Sorry for Real is said to be a virtual apology on behalf of the Western world from French Guyanese/Danish artist, Tabita Rezaire.


The exhibition features a video and five large light boxes filled with text message exchanges laced with barbed wire witticisms. Through these exchanges, the works interrogate the violent deeds of colonial histories and their legacies. While holding space for what still needs to be heard, healed, and accounted for, this cyber exchange unapologetically addresses the politics of ‘reparations’ and the need to decolonise our technologies and reconciliation strategies. 


Sorry for Real is a confrontation of the apology-forgiveness narrative that will remain with audiences long after they leave the gallery.


Lee Mingwei: Sonic Blossom

31 Oct – 1 Dec 2019

Art Gallery of South Australia

Duration 30mins


Lee Mingwei is a Taiwanese-American artist based in Paris and New York. His work hovers in a space across poetry, aesthetics, and intimate human exchange. His invitational projects heighten the senses and remind us to be present.


Sonic Blossom offers the gift of song to Gallery visitors. The artist writes, ‘Like Schubert’s Lieder, our own lives are brief, but all the more beautiful because of this.’

Originally created for the opening of South Korea’s National Museum of Modern and Contemporary Art, Sonic Blossom has been enjoyed by audiences at Boston’s Museum of Fine Arts, the Metropolitan Museum of Art in New York, Mori Art Museum in Tokyo, Auckland Art Gallery Toi o Tāmaki, Centre Pompidou in Paris, and Museum MACAN in Jakarta.





Fri, 1 Nov 2019, 8:00PM – Saturday 2 November 2:00AM

Nexus Arts




Founded and curated by Paris-based Lebanese producer, Hadi Zeidan, Beirut Electro Parade explores the underground sounds and  portrays the modern soundscapes of Beirut, with club-style takeover events initially happening in Paris, Beirut and now for the first time, Australia.

The inaugural line-up for Adelaide includes an eclectic mix of electronic beats that define the progressive sounds of Beirut, a city known for its post-war pop-up venues, underground music and pioneering electro scene.


Featuring: Renata, June As, Jad Atoui, Jack the Fish, Hadi Zeidan


You can also read our interview with Hadi Zeidan here.



31 Oct 2019

Duration: 2 hours

Thu, 31 Oct 2019, 7:30PM

Nexus Arts

Adult $35.00
Concession $29.00

Bring your friends and soak up the vibes with retro-style cocktails in a cabaret lounge that looks like it’s time-travelled directly from Lebanon’s golden age of music and cinema.

Shik Shak Shok immerses audiences into the colourful world of Beirut’s iconic retro music scene with unique visual projections and soundscapes. Lebanese-born, Paris-based producer Hadi Zeidan is set to transform Nexus Arts with a selection of Arabic and neo-Arabic grooves, including jazz, funk, disco, tarab and belly dance.

Grab a table or lounge, a cocktail and some hummus, and let the experience of Shik Shak Shok transport you to another time and place.




Sat, 2 Nov 2019, 7:00PM
Lucky Dumpling Market, Riverbank Lawns

Lebanon’s best-known DJ-composers join forces to bring you their boundary-breaking soundscapes. Shik Shak Shok online radio founder Hadi Zeidan favours electronica with a nod to bellydance and the golden age of Arab music, while sound experimentalist Jad Atoui has a weakness for ambient tones and incorporating biosensors. Witness their different influences melting together on the dancefloor in this intimate, experimental DJ set.




17 – 18 Oct 2019
Duration 1hr

Thu, 17 Oct 2019, 11:00AM
Thu, 17 Oct 2019, 7:30PM
Fri, 18 Oct 2019, 7:30PM

Space Theatre


Image: Emmanuel Berthoule

Edgy hip-hop and high-octane breakdance meet contemporary dance under the sure-handed expertise of Anne Nguyen, a world leading choreographer known for bringing street dance culture into the spotlight of the modern dance world.

After years of studying b-boy style, capoeira, gymnastics and Brazilian jiu jitsu, Anne Nguyen seeks to promote the virtuosity of street dance. In Kata, the French-Vietnamese artist has assembled eight charismatic dancers who employ explosive dance moves, not only from the hip-hop scene, but also from other horizons.

Against an original percussive backdrop, the dancers approach imaginary adversaries, and confront one another in complex battle scenarios, channelling the warlike energy of breakdance. Following acclaimed seasons at Holland Festival, Tanz im August in Berlin and Théâtre National de Chaillot in Paris, Kata finally makes it to Australia for this OzAsia Festival exclusive event.

You can read our interview with Anne Nguyen here.


22 – 23 Oct 2019
Duration 1hr 5mins
Tue, 22 Oct 2019, 7:00PM
Wed, 23 Oct 2019, 7:00PM
Dunstan Playhouse


Image: Nathalie Sternalski

Combining strength, form and athleticism, 12 male dancers from across the Mediterranean Basin form spirals in fluid patterns of Sufi whirling, breakdancing, ballet and gymnastics that seem to defy physics. 


Acclaimed French-Algerian choreographer Hervé Koubi has crafted a distinct style of movement, one that fuses extraordinary athleticism and acrobatic skill with contemporary dance, physical theatre, warrior culture and capoeira.


A deeply personal exploration of human migration and different cultures at the crossroads of east and west, What the Day Owes to the Night is at once beautiful, impossible, astonishing, and even dangerous. 


With a score mixing Bach, Sufi rhythms and Egyptian influences, the dancers’ composition unfolds like an ancient desert ritual. Performed over 300 times worldwide, this is the Australian premiere and only chance to see award-winning Hervé Koubi’s most iconic creation.



Damien Jalet and Kohei Nawa
26 – 27 Oct 2019
Duration 1hr

Sat, 26 Oct 2019, 7:30PM
Sun, 27 Oct 2019, 5:00PM
Dunstan Playhouse


Image: Yoshikazu Inoue

In collaboration with Japanese visual artist Kohei Nawa, renowned Belgian choreographer Damien Jalet has created an experience that is truly out of this world. Paired with a surreal score by Marihiko Hara with Ryuichi Sakamoto, this breathtaking production is a pioneering work that brings together dance and visual art to create a futuristic and even science-fiction-inspired exploration of the human body.


Seven bodies on this hauntingly lit, floating stage conjoin into abstract sculptural dance, evoking a primordial, otherworldly metamorphosis. As the boundaries between what is human and what is not slowly dissolve a profound installation unfolds of writhing limbs and eerie figures amidst a reflective pool of water.



1 – 2 Nov 2019
Duration 1hr 20mins

Fri, 1 Nov 2019, 8:00PM
Sat, 2 Nov 2019, 8:00PM
Dunstan Playhouse


Image: Jean Louis Fernandez

Multi-award-winning choreographer Akram Khan kickstarts the next phase of his career and continues his passion for exploring old and new myths in the context of modern times with his latest production, Outwitting the Devil.


Inspired by the newly discovered fragment of the Babylonian Epic of Gilgamesh, one of the world’s earliest surviving great works of literature, Akram’s new work is a concentrated piece of dance-theatre about ritual and remembering. In a landscape of broken tablets and fallen idols, six characters trade their remaining wealth and stories, seeking to make whole the fragments of ancient knowledge lost and forgotten over time.


With a superb ensemble of dancers from Taiwan, Australia, Philippines, US and France, Outwitting the Devil invites us all to the table where life, death and our half-remembered myths are the bread we break together.



£¥€$ (LIES)

19 – 22 Oct 2019
Duration 1hr 50mins
Space Theatre


Image: Michiel Devijver

You can read ‘lies’ in the title, or ‘eyes’, or Pound, Yen, Euro and Dollar. But whether falsities or currencies, it’s about money. £¥€$ invites you to get under the skin of the well-to-do 1%, the super-rich, the ones who pull the strings, the faces we never get to see.


For one night, you can take their chairs. You call the shots. You’re in the centre of our economic system. And who knows, you might make the world a better place, more fair, more responsible, because you’ll do things differently, or maybe the taste for greed will overtake?


Returning to Adelaide with a cast of performers from Belgium and Hong Kong, the acclaimed company behind popular shows such as Fight Night and The Smile off Your Face, Ontroerend Goed, aims at what you truly value: Money. 


As interactive theatrical experiences go, Ontroerend Goed’s £¥€$ has got to be one of the best. The audience are sucked into a world of global markets, banks and the deals to be had, then hit square between the eyes with message about economics.


You can read our interview with Aurelie Lannoy of £¥€$ here.



OzAsia Festival has introduced masterclasses and workshops run by the artists to its 2019 program. 


By Valentine Nagata-Ramos
Wed 16 Oct 2pm


Image: Homard Payette

B-girl Valentine has danced for leading hip-hop troupes around the world. She performed with the MTV dance crew and has won numerous breakdance battles.

Bookings via https://valentinenagataramos.eventbrite.com.au


You can read our interview with Valentine Nagata-Ramos here.


By Guillaume Gabriel
Monday 21 Oct 5.30pm

This masterclass from Company Hervé Koubi co-founder Guillaume Gabriel will highlight the importance of quality movement, weight, balance, and provide guidance to work through challenges.

Bookings via https://guillaumegabrielhervekoubicompany.eventbrite.com.au


By Damien Jalet & Aimilios Arapoglou
Sunday 27 Oct 10am

Choreographer of Vessel, Damien Jalet will share his experiences in the areas of visual arts and films with his collaborator, Aimilios Arapoglou.

Bookings via https://damienjaletmasterclass.eventbrite.com.au


Wednesday 30 Oct 2pm

Paris-based Lebanese music producer and curator, Hadi Zeidan, will share the storyline of Lebanon’s music scene from the retro era of late 1970s to the modern electronic scene of today.

Registration via email to [email protected] 


Which events will you be attending at OzAsia Festival 2019?



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In £¥€$ (LIES) Aurélie Lannoy asks us “if we were in control of the world’s money would we do things differently?

Reading Time: 6 minutes

Aurélie Lannoy is part of the Belgian theatre troupe Ontroerend Goed which is bringing its immersive theatre show £¥€$ (LIES) to the OzAsia Festival 2019 in Adelaide in October.

£¥€$ (LIES) is a show about being in control of the world’s finances, which puts audience members in the bankers’ seats.

We recently chatted to Aurélie Lannoy about the show and about audiences reactions to it around the world. Full ticket details can be found at the end of the article.


You are in the show £¥€$ (LIES) which is coming to Adelaide for its Australian premiere at OzAsia Festival in October. Tell us about the show as well as your role in the show.

£¥€$ is an immersive show about money and the world of high finance. We realised that we and the majority of people around us feel that they are little informed as to the functioning of the world economy. Why do crisis repeat themselves over and over and what impact do they really have on our lives. In the end, we know so little about money which is omnipresent.

With £¥€$, the idea is to propose a clearer insight into the world of high finance. As a spectator, you enter a room which has the look of a casino. You are seated at a table with 6 other spectators and you become banks. Opposite you, the actor is your guide, your croupier during the show. It’s this person who invites you to invest, throwing the dice, explains the risks but it’s you who decides. 


It’s this role of croupier that I play in this play. The challenge once we find ourselves with 7 spectators opposite us is to take everyone into the metaphor. The text is fixed of course, but there’s an improvised part because the people opposite us interact. After each show, we continue to share our experiences between actors which allows us to refine the script and give the best possible experience to the spectator.


Tell us about the company Ontroerend Goed?

The company has existed for about 20 years and started as a poetry collective. It has evolved since then producing artforms from individual performances for a single spectator (The Smile off Your Face, Internal, A Game of You) to larger productions for large theatres  (A History Of Everything – en collaboration avec la Sydney Theatre Company, Fight Night, Sirens, Are We Not Drawn Onward To New Era, World Without Us, Loopstation).

With Alexander Devriendt as Artistic Director, we are always trying to come up with creations which are anchored in the here and now and which invite the spectator to reflect on his or her position as an individual in the world today. The subject that we want to talk about guides the form that the show will take. We don’t censor ourselves about the form. It can be a lot of things, the most important is that it best serves the subject.

Ontroerend Goed operates on the following concept: each person having contributed to the work becomes its “owner”. For us, theatre is essentially an experience which is shared, in all of its aspects.  


Ontroerend Goed has already been to Adelaide for the Adelaide Fringe and Adelaide Festivals with Internal and A Game of You. How is £¥€$ (LIES) different to the other shows that you’ve performed in Adelaide? 

We also presented The Smile off your Face, a performance for which we won a Fringe First Award. It was the start of our Australian adventures. We then came back a few years later to perform A Game of You and Internal. These three performances, in which the spectator finds him/herself alone or almost alone opposite an actor, are part of a trilogy in which we amused ourselves by rethinking theatre’s codes. We wanted to offer the spectator a personal experience in which (s)/he finds her/himself as the protagonist.

A few years passed between this trilogy and £¥€$; we were able to put forward other forms, often for larger theatres and in a more frontal manner but always with the same idea of engaging the spectator.

With £¥€$ we wanted to come back to something immersive. We wanted to make the spectator feel that (s)/he could be in the place of these traders engaging in this simulation of the economic world in a direct and emotional manner.

What £¥€$ could have in common with the trilogy of individual performances is that the immersive and interactive character highlights certain human comportements. In £¥€$, we can clearly observe excitement related to wins, to the desire to make a profit.


The company Ontroerend Goed makes immersive theatre. The show £¥€$ (LIES) gives the audience the chance to be a banker. Do audiences around the world react the same way or are there sometimes surprises for you?

The different audiences that we have met are, in the end, quite similar. Some people in particular are different to others. At the same table, you can have someone who is very timid who opens up more and more during the show and finishes up as a leader, and with someone who is very extroverted who ends up being the most prudent. Others feel good until they lose. Negative energies can take over. Some people completely forget that they are at the theatre and that we are actors. 

It’s quite fascinating and at times confronting bit it’s the risk that we take in presenting this kind of device. It’s up to us to be ready to welcome all possible reactions and to continue to include each person with their own character, and their own story. As an actor, the ideal is to engage in the show without prejudgment (a priori). There aren’t good or bad spectators. After a while, we feel a little like a psychologist, it’s thrilling to decrypt the profiles of the people you have opposite you and to create with them.


Similarly, in your experience are there genders that take more risks? Or younger or older people?

We expect that older people might be more conservative or that the younger ones will have a taste for risk but we have been surprised to see that what we often expect of people isn’t true. As for the genders, I haven’t observed any particular difference as to who is willing to take risks. In contrast, there is something that often recurs at a certain moment in the play, when we ask the spectators/bankers to decide who the financial expert at the table is. We sadly notice that in most cases, men are the ones who put themselves forward or are elected by the others.


You work as an actress, as a creator and as an artist. Do each of these different hats give you different things?

Absolutely, and for a few years, I also translate shows into French like £¥€$ that we have just performed at the festival d’Avignon.

It’s beautiful and rare to be able to have confidence in everyone within a company and to each assume different responsibilities. Each activity feeds another and gives the impression of always learning more artistically but also about yourself and about the other creators and actors with whom we spend a lot of time in creation and especially on tour.


In £¥€$ (LIES), there are some Belgian artists as well as some artists from Hong Kong. How did you find the Hong Kong artists and are you all based in Belgium? Where did the idea of working with artists from Hong Kong come from?

The company is based in Ghent but we regularly work with artists from other countries. The core £¥€$ team is made up of Belgians, Dutch and an Englishman. The group then got bigger with the French version. 

We also had the chance to train other actors abroad for a remake of the show in Russia, in Kazakhstan and in Hong Kong.

For OzAsia Festival, the idea was to make a team mixed with actors from Hong Kong. We  are pleased to share this experience with them.


Is there a message in £¥€$ (LIES)?

We don’t preach the truth. Besides if we knew how to prevent financial crises from happening and to avoid their impacts on millions of people, we would be rich! But in proposing this glimpse of reality, we hope to enlighten spectators as to the system’s faults and to eventually make them wonder “If it were me, if I was in the bankers’ place, would I do things differently?” 


Anything else that you would like to tell us?

We are very happy to come back to Australia to present £¥€$. 



There are 6 performances of £¥€$ (LIES) at OzAsia Festival 2019:

  • Sat, 19 Oct 2019, 4:00PM
  • Sat, 19 Oct 2019, 7:30PM
  • Sun, 20 Oct 2019, 3:00PM
  • Sun, 20 Oct 2019, 6:00PM
  • Mon, 21 Oct 2019, 6:00PM
  • Tue, 22 Oct 2019, 6:00PM

Venue: Space Theatre

Ticket prices: 

  • Adults: $49.00
  • Concession: $44.00
  • Greenroom members: $35.00

Tickets can be purchased via https://www.ozasiafestival.com.au/events/lies/

If you’re interested in finding out about other OzAsia Festival 2019 shows, you may also like to read our interview with Hadi Zeidan about his shows coming to OzAsia in October and November 2019. 


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