The article covers the Singaporean performance festival Future of the Imagination (FOI) 10, which has persistently since 2003 been taking full advantage of the Southeast Asian country’s efforts to present a more open, globally and culturally relevant face to the world by, among
others, lifting its ban that year on performance art. The author Jennie Klein takes an in-depth look at FOI 2015 and its decision to focus on women and feminist performance for this iteration, its success in gathering together an international selection of women artists, linking the festival
not only to other likewise alternative performance events in the region but to its own local alternative performance history, and shows the significance of these moves in the greater context of Southeast Asian alternative feminist performance as well as its connection to the movement globally.
(Auto)Biography of Hurt: Representation and Representability of Rape in Feminist Performance Art
