Adelaide Bannerman is a freelance project manager and curator based in London. Since 1998, Bannerman has worked for UK arts institutions that have included Autograph ABP, Iniva (Institute of International Visual Arts), African and Asian Visual Artists Archive (AAVAA), Tate, Live Art Development Agency, Platform London, Hastings Museum and Art Gallery, 198 Gallery and Arts Council England. She currently works for International Curators Forum and in partnership is developing an international residency programme amongst other activities. She is currently a trustee of Idle Women, an organisation that initiates and creates contemporary art with women and Beaconsfield Gallery Vauxhall an artist-run laboratory and presentation space for contemporary art. Her independent research interests valorise performative gestures and engagements with live and visual performance art and privileging the developmental process behind individual and group practices. Bannerman is also interested in exploring, noting and co-opting movement and improvisatory methods as part of her curatorial practice.
Jacob Boehme is a Melbourne born and raised artist of the Narangga and Kaurna Nations, South Australia. Jacob is the Creative Director of YIRRAMBOI Festival, Melbourne's premier biennial First Nations arts festival presenting innovation in contemporary and experimental First Nations arts practice from around the world. YIRRAMBOI is the recipient of the 2018 Green Room Award for Curatorial Contribution to Contemporary and Experimental Arts. Jacob is a multi-disciplinary theatre maker and choreographer, creating work for stage, screen, large-scale public events and festivals. Alumni of the Victorian College of the Arts, Jacob's solo work Blood on the Dance Floor premiered at Arts House North Melbourne in 2016 to critical acclaim with a subsequent season at Sydney Festival 2017. Blood on the Dance Floor will be touring nationally and internationally from 2019. Jacob currently sits on the Board of Directors for the Blackfulla Performing Arts Alliance, is a member of the International Advisory Panel for the Calouste Gulbenkian UK Enquiry into the Civic Role of Arts Organisations and the Australian Centre for Contemporary Art Yalingwa Advisory Committee.
Candy Bowers is a multidisciplinary writer, actor, producer, theatremaker and filmmaker. The co-artistic director of Black Honey Company, Candy has pioneered a fierce sub-genre of contemporary performance that delves into the heart of radical feminist dreaming and earned her the 2018 Geoffrey Milne- Green Room Award for outstanding contribution to Independent Theatre. Her original work for stage includes Hot Brown Honey, Who's That Chik?Australian Booty, MC Platypus & Queen Koala and One The Bear- A Fairytale for the Hip Hop Generation. She has written poetry, short stories, essays and commentary for The Lifted Brow, SBS Life, Junkee and PerilMag. She is published in Yours Truly- Women of Letters (Penguin), She's Having A Laugh (Affirm) and Queerstories (Hachette). Candy is a break-out comic performer with TV appearances on Get Krack!n, Newtons Law, The Ex PM, Tonightly (ABC/Netflix) and The Cry (BBC.) She is currently working on her first screenplay for Arena Media, her first video art work commissioned by Campbelltown Arts Centre and her first graphic novel for young adults at the Wheeler Centre. Candy is a proud member of the MEAA Equity Diversity Committee, ambassador for NOWAustralia and champion of Stella Schools and the Stella Prize.
Natalie Ibu is the artistic director and CEO of tiata fahodzi and leads a consortium in delivering the Artistic Director Leadership Programme - a strategic project funded by the Arts Council England’s Sustain Theatre Fund, facilitating the professional development of 28 leaders of colour. Previously she was the Creative Producer for In Good Company, launching the regional artist development programme in the East Midlands for Derby Theatre, Embrace Arts Leicester and Create Mansfield. During her 15 year arts management career, she has consulted for independent theatre companies like Openworks Theatre, Maison Foo, Fifth Word, Bear Trap Theatre Company and Spilt Milk Dance, led departments and programmes at the Roundhouse, Only Connect, HighTide Theatre and worked at the Traverse Theatre, Citizens Theatre and National Museums Scotland.
As director, credits include readings and productions at Paines Plough’s Roundabout, Watford Palace Theatre, Riverside Studios, Young Vic, Lyric, Southwark Playhouse, Southbank Centre, Jersey Arts Trust, The Old Vic Tunnels, Theatre503, The Gate, Latitude, HighTide, BAC, Oran Mor, Traverse, Royal Court, ATC at the Young Vic, OVNV at The Old Vic, Waterloo East and The Vineyard Theatre in New York, Royal Lyceum Theatre, Citizens’, The Arches, Contact and Nottingham Playhouse as well as national tours. Since graduating with a First Class Honours degree in 2004, she has completed the IETM Campus, Clore Leadership Programme Short Course, Stage One New Producers Workshop as well as residencies with the Royal Court, New Perspectives, New York Theatre Workshop, the National Theatre Studio, Royal Shakespeare Company, Citizens’ Theatre and Contact. She has been awarded bursaries from Regional Theatre Young Director Scheme, the Federation of Scottish Theatre, Scottish Arts Council and Arts Council East Midlands. Awards include Dewar Arts Award for Exceptional Artists Under 30, Time Warner Ignite 2, IdeasTap Innovator’s Award and the Lilian Baylis Award for Theatrical Excellence. She is a trustee of the Regional Theatre Young Director Scheme and an Arts Council England South East Area Council Member.
Abdul Shayek is a Theatre Director and Artistic Director of FIO, which he founded in 2005. In Autumn 2018 he will be directing Athol Fugard's The Island, which will tour to theatres, prisons and community spaces across Wales and England, he is also working on various other major local, national and international projects for Fio. He was also the director for 'Swarm', a devised site-specific show about migration and Katori Hall's 'The Mountaintop' and Ariel Dorfmans 'Death and the Maiden' at The Other Room. He is former Creative Associate for National Theatre Wales and has worked with a range of organisations including Contact Theatre, Theatre Royal Stratford East and The Almeida and various international organisations and projects. He is a visiting lecturer at the University of East London and has guest lectured at various other institutions. He is also a National Advisor to Arts Council Wales and was Vice Chair and a founding member of Youth Arts Network Cymru. Abdul is a Clore Cultural Leadership Fellow (2013-14) and sits on the steering group of the National Alliance for Arts in the Criminal Justice System.
Dr Mikala Tai is the director of 4A Centre for Contemporary Asian Art, Sydney. As a curator, researcher, and academic specializing in contemporary Asian art, she has collaborated with local, national, and international organizations to strengthen ties between Australia and Asia. Her curatorial projects at 4A include "The Burrangong Affray" (2018, co-curated with Micheal Do), “Before the Rain” (2017); “I don’t want to be there when it happens” (co-curated with Kate Warren and expanded at Perth Institute of Contemporary Arts with Eugenio Viola, 2017); and “Jogja Calling” (2016). She received critical acclaim for her organization of the performance program at Art Central Hong Kong (2016 - 2018). Her independent curatorial projects include “Abdullah M.I. Syed: Diving Economy—Structures” (Aicon Gallery, New York, 2017), “Closing the Gap: Contemporary Indonesian Art” (Melbourne Intercultural Fine Art, 2011), and “Yang Yongliang: On the Quiet Water” (Fortyfivedownstairs, Melbourne, 2009). Tai has taught at Monash University, Royal Melbourne Institute of Technology (RMIT), and the University of Melbourne in both undergraduate and postgraduate programs. Tai’s writing can be found in several exhibition catalogues in addition to periodicals such as Broadsheet Journal, Art Monthly Australiasia, Photofile, Vault, and Ocula. In 2015, Tai received her PhD, focusing on the influence of the global city on China’s local art infrastructure.