JinnD Productions

02/08/2026

31/07/2026

Kunstenfestivaldesarts X Producer Academy 2026

I had the chance to catch some of the Kunstenfestivaldesarts performances as part of Producer Academy, and I realised how much I enjoyed the festival. I was so happy to be everywhere in the city, walking from one theatre to another; even in this “Malaysia” weather!

The festival really opened my eyes. There was such a wide range of work, from very experimental pieces where I sometimes felt completely lost, to works that really caught my heart. I also really enjoyed experiencing the festival across different theatres and spaces in the city. It made the whole city feel like part of the festival.

But I think what I appreciated most was the conversation with the Artistic Director. I really like the idea of the festival as a platform for artists to experiment; not everything has to be successful, and sometimes an artist can even say, “I’m not ready yet.”

I think there is something very valuable about creating a space where artists are allowed to try, question, fail, and simply keep exploring.

28/07/2026

Collective Residency at The Godown Arts Center

Echoing Li Cheng’s post

Between human and nature, there is always a space waiting to be rediscovered.

Although I have been coming to The Godown so frequently, this residency allowed me to slow down and see the space differently.

I started to observe the leaves around The Godown spaces, looking closely at the front and back bodies of these leaves. Finding relationship between plant and human bodies.the surfaces of leaves, their growth, aging, decay, and transformation, drawing parallels with the human body’s own front and back dimensions.

Slowly, this became a personal practice and improvisation task for myself. I started to talk more with the space, and even with the guard who takes care of these trees and knows their stories. It is something I would like to explore further, although I am still slowly finding my way into it (and still a little lazy sometimes!).

Thank you to my Tak Jadi Ikut Kelawar collective:
Chua Li Cheng, Ridhwan Saidi & Out•Away•Fara•in for the playful explorations, fun conversations, hanging out, camping together, being bitten by mosquitoes, and all the shared experiences that made this journey meaningful. And also The Godown Arts Centre for these wonderful experiences.

22/07/2026

I still remember a conversation with Ridhwan during our residency at One Utama. He asked me, “What is your community-based project?”

I answered, “It is not about me walking towards the community, nor the community walking towards us. It is about both sides walking towards each other and finding a meeting point in between, but I didn’t yet how.”

Over the years, Beyond Moving with Artisans (BMoA) has slowly become way of exploring that question. With each series, the work has become more participatory, shaped by the people, places, and unexpected encounters along the way.

At Want To Dance Festival 2026, we have to present two performances in two different locations. One of the biggest challenges was we have to adapt our lecture performance from an indoor setting into an outdoor version without projections. At first, I resisted the idea because it was not the original version we submitted. But after reflecting on the heart of the project and discussing it with Ridhwan, I realised: maybe sometimes a challenge becomes an opportunity.

Performing beside a playground gave the work a new meaning. Children ran in and out of the performance, Xue Li lay on the grass for the first time, and our rattan skipping became part of the park. The space itself became a collaborator.

What touched me most was what happened after the performance. The emcee and volunteers had a conversation with us about their reflections regarding the outdoor version. And for the first version, we had the audience members and friends stayed back to discuss and ask about the journey. Those conversations reminded me that participation doesn’t end when the performance is over.

A heartfelt thank you to everyone who came to support us， participated in the experience, and shared your thoughts. Thank you to my collaborators, volunteers, and the team. Every encounter continues to remind me that community is built not by walking towards one another, but by meeting in the middle. 🌿

14/07/2026

Producer Academy 2026

One of the most memorable experiences during the Producer Academy wasn’t inside a building.It was walking through the streets of Brussels.

A heartfelt thank you to Collectif Mémoire Coloniale et Lutte Contre les Discriminations (MCLCD) for leading such a powerful Decolonial Tour.

As Marie shared, we often spend our festival indoors, talking and exchanging ideas, yet we rarely get to know the history of the place where we gather. This tour invited us to step outside and experience Brussels through another lens.

As walked through the city, i uncovered stories hidden in its streets, monuments, and public spaces; from the exploitation of Black labour and Belgium’s colonial past to present-day struggles for justice, including the story of Mehdi. It reminded me that while the world seems to be moving forward, many painful histories and systems of inequality are still with us today.

For me, Brussels is no longer just a city of waffles and chocolate. It has become a place filled with stories, memories, and questions. Whose histories are remembered? Whose voices have been erased? How do the places we walk through continue to shape the way we see the world?

This experience resonated deeply with my own practice of working with memory, community, and embodied histories. It reminded me that producing is not only about organising projects; it is also about creating opportunities to listen, to question, and to reconnect with the stories held by people and places.

Sometimes, the most meaningful learning doesn’t happen in a meeting room. It happens simply by walking, listening, and seeing a place differently.

07/07/2026

Producer Academy 2026

Deeply grateful to have been selected as one of the participants in this year’s Producer Academy. Bringing together producers and artists from different continents who work with participatory and context-based practices, providing a space to reflect, question, co-learn, and exchange ideas about what it means to be a producer today.

Over four, we gathered in two beautiful venues, Théâtre Les Tanneurs and La Bellone, where I was fascinated by how the history of these spaces continues to live through the buildings.

Alongside the programme, experiencing Kunstenfestivaldesarts in Brussels also became an extension of our conversations. We also had chance to have conversation with the artistic director, Daniel Blanga-Gubbay about his experiences and thoughts behind of building programmes for these years.

Besides, Action Learning session with Rachel Nelken, which also reminded me that sometimes asking the right questions is more important than finding immediate answers.

Session with Rita Serra e Silva and Rita Westwood gave a chance to visit local grocery shops with my group, prepare food together, and have a picnic in the park. It was fascinating to see how food carries culture, memory, and care. Producing can also happen around a kitchen table.

A big thank you to Bek Berger for creating such a warm space from our first introduction, lunch conversations, table cards, until the last day of networking. Listening and silent became as important as speaking. Lastly, Thank you to , Marie and Beth for organising this meaningful gathering and for taking care of every detail; from the pre-meeting, vegan lunch, high tea and etc.

I really so touch to back to Brussels after years with new friendships, new questions, and a renewed understanding that producing is not only about making projects happen. It is about creating the conditions for people, ideas, and communities to meet and grow together. Looking forward to seeing how each pathway cross in the future.

📸: Cifas, Jean_Marc_Virgin, Beh Chin

04/07/2026

A heartfelt thank you to FMT and Terrence for featuring my work with the Myanmar refugee community with such care and dedication. Thank you for helping more people understand the journey and the process behind this work. Thank you for standing with Myanmar and for creating spaces where these voices can be heard. It truly means so much. Thank you to everyone who has been standing with me throughout this journey. Your trust, encouragement, and unwavering support have made this work possible. 🥰

24/06/2026

After two months, once again bringing this group of young people onto the stage.

Yes, this journey has not been easy. It is not simply about teaching dance, but about creating and choreographing work for a group of young people who have escaped from life-and-death situations, come from very different cultural and linguistic backgrounds, and have almost no prior experience in dance.

At times, I also reflect on whether I am pushing them too hard. After all, for a group of people who need to focus on survival, there is little time left for culture, art, or even performance.

But I know why I continue to hold high expectations for them.

Because I know that, no matter what they do, they are still placed in a position where they are not truly welcomed. When they work hard and perform well, people say they are taking away resources; but when they appear less active, people say they are lazy, unworthy of support, and only waiting for help. What is even more frustrating is that some who once claimed to support and accept them still turn away when it matters most. Faced with these realities, doubts, and discrimination, I know I cannot lower my expectations out of sympathy.

To me, they are no different from any other students I have taught. I have never seen them merely as “refugees,” but as real individuals. Despite the hardships and losses they have endured, they continue to live and learn. It is precisely this resilience that keeps bringing me back.

Through this platform and through each piece, I hope they are no longer seen only as a label, but as real human beings!

I would like to share a passage from Marc Colpaert, quoting Raimon Panikkar:

“We look at the world through a window... We see more or less the same landscape, but perhaps we look at certain aspects of it differently... We still need each other to see the complete picture.”

You are warmly invited to join us this week to listen to, feel, and witness their stories and culture!

18/06/2026

The weave.

This was my favourite part of the piece. I still remember the feeling I had when I first saw 黄雪莉 weaving her body with the rattan. That image stayed with me and continued to resonate throughout the process. It was not an easy section and at times almost drove Xue Li crazy, but I was deeply drawn to the authenticity of the encounter where the texture of the body meeting the rattan, the tension, resistance, and intimacy between them. There was something raw and honest in that relationship that I found beautiful to witness. It also brought me back to the many moments of watching Uncle Ng work with rattan that bending, pulling, shaping, and patiently responding to the material.

——————-

From Lecturer performance to site specific performance
BMoA: From ethnographic craftsmanship research to choreography

Beyond Moving with Artisans (BMoA) reimagines endangered Malaysian crafts through contemporary dance, transforming artisans’ gestures into movement archives.

Dramaturg: Ridhwan SAID Ridhwan Saidi
Choreographer / Presenter: LAU Beh-Chin
Performer: WONG Sek-Li 黄雪莉
Sound Designer: Kent LEE Kent Lee 阿部健

📸: 小麥, 曉劇場 Shinehouse Theatre & 張昭雅

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