2016 OzAsia Festival Strikes a Chord with Local Audiences Keen to Experience Cutting-Edge Asian Culture

Thousands of people stepped into the unknown and experienced the excitement and emotions of the 2016 OzAsia Festival in an event that celebrated contemporary Asian performance - not even the wild weather could dampen the spirit of OzAsia artists and audiences throughout the festival which has evolved into Australia's leading annual contemporary arts Festival focusing on Asia.

From human trafficking to technology, bondage to baseball, racism to resilience, music to multi-culturalism - this was a festival that delved into themes at the core of who we are and how we can co-exist in an ever-changing world.

Running from September 17-October 2, the event kicked off with the ever-popular Moon Lantern Festival, where the 40-person dragon led the beautiful procession of lanterns in all shapes and sizes.

To mark the 10th anniversary of the Festival, events were expanded into Elder Park where the Good Fortune Market saw Elder Park transformed into an Asian adventure throughout the Festival with music and performances every night at the Outdoor Live Music Concert Series, creating a high-volume and vibrant hub for visitors.

South Australians today get a final opportunity to experience the cultural melting pot of the Festival, make sure you head down to theGood Fortune Market the melting pot of food, fun and entertainment for everyone with an emphasis on all things Asian. The Festival will finish on a high note this evening with the very special performance of King of Ghosts, a live film score to a classic Indian film, created by India's Soumik Datta and featuring Adelaide Symphony Orchestra. This FREE family performance has been moved to the Festival Theatre due to the high probability of rain. The performance will commence at 7pm.

You can also see the final performance by Cambodia's Phare Circus and hilarious Korean family comedy Croquiky Brothers both performances are in the Ukiyo Tent, Elder Park.

Performers in the year's festival were from diverse Asian countries including Japan, India, China, Taiwan, Hong Kong, Korea, Cambodia, United Kingdom, Malaysia, Singapore, Indonesia and Israel.

OzAsia Festival Director Joseph Mitchell says: "This year's festival was about accessibility, as well as entertainment and engagement. Audiences tapped into the diversity and creativity of this year's program, where world-class artists gave us a window into contemporary arts and culture from across Asia. We know that authentic and ground-breaking Asian performances resonate with South Australian audiences who are keen to experience something new.

"Our aim this year was to ensure that OzAsia was a holistic experience - so rather than just see a show, we offered the invitation to eat at the Good Fortune Market, hear great music for free at the Outdoor Live Music Concert, and take in incredible visual arts exhibitions and more.

"OzAsia Festival this year featured 49 major events, including 35 Australian premieres. There were more than 120 professional performances, as well over 100performances by community groups, seven exhibitions, 16 film screenings, 59 workshop events and more. More than 360 professional artists performed in Adelaide, along with over 400 community artists.

"The severe and erratic weather played a part in reduced attendances however plenty enjoyed the Festival across ticketed performances, as well as non-ticketed performances including visual arts exhibitions, Indofest, Fabricasian, workshops and lecture along with Moon Lantern Festival and the Outdoor Concert Series in Good Fortune Market. Official attendances will be collated in the coming weeks."

Adelaide Festival Centre CEO Artistic Director and AAPPAC Chairman Douglas Gautier says, "OzAsia Festival has grown enormously over the last ten years and we are very proud of what it has become. The Festival has expanded this year with the addition of the Good Fortune Market and the Outdoor Concert Series and a number of successful international collaborations with institutions and presenting partners across Asia.

"OzAsia 2016, its international collaborations, associated events and conferences have received wide spread national and international acknowledgement as a leading example of engagement with Asia and Asian focused arts.

There is no doubt the weather did effect the 2016 OzAsia Festival. As we do with all our Festivals we will undertake an post-event examination to consider ways we can ensure the ongoing success of the OzAsia into future and this will include giving consideration to moving the event to later in the year to benefit from more favourable weather. Any change will be undertaken in consultation with our communities, presenting partners and our colleagues in the Arts industry."

Artists who took part in the Outdoor Live Music Concert included Japan's Kenta Hayashi; Indonesia's Ega Robot, Eyuser and Ria Rhythm Chambers; India's biggest cultural and musical export Raghu Dixit rocked out the main stage along with Pung Cholom. Hong Kong was represented by Jin Wong, four-girl band GDJYB, Jabin Law and SIU2.

The expanded program was made possible with additional annual funding of $750,000 from the State Government and a one-off $400,000 from the Federal Government Catalyst grant program.

The 2016 AAPPAC Annual Conference was also held during the OzAsia Festival, 27 - 30th September. The three-day conference saw 200 arts leaders from all over Asia, as well as Australian arts leaders seeking to deepen connections here in Adelaide and examine key issues affecting Asia Pacific arts centres and festivals.

Highlights of the Festival included The Record by 600 Highwaymen which brought together 45 South Australians together for the first time on stage to create a live performance that captures and explores the essence of mortality

Sk!n certainly got under your skin the show based on true stories of human trafficking, cutting edge contemporary new promenade style theatre and dance work by TerryandtheCuz, had people well and truly out of their comfort zone. As did Bunny the collaboration between Australian Luke George and Singaporean Daniel Kok, the two had audiences unleashing collective and dormant desires with a bondage theme.

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