Die In speech + movement facilitation, Singapore Climate Rally, Sept 21, 2019

A guided silent earth walk, movement warm up and mass collective death Die-In at the first SG Climate Rally held at Hong Lim Park on Sept 21, 2019. Over 2000 people were present. Full speech available for viewing, here.

The Die In is a mass visual representation of the loss of biodiversity and a moment of collective grief for the land, the oceans, the people, animals, and other things that we have lost to our climate disaster. It is a global practice that has responded to anti-war, environmental issues, and human rights around the world.

For more information, refer to the Calls to Action by SG Climate Rally team

Press: Online Citizen, Channel News Asia, Straits Times, Yahoo Singapore


Power of Softness

FUSE #1, an inaugural digital magazine that documents the key projects at Dance Nucleus. Chloe participated as an ELEMENT #1.2 resident under the theme of "post-colonial tactics" where she expanded on the Power of Softness. FUSE #1 for download here.

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Artist of Color Council Curation - Spring 2018 at the Judson Church in New York City

Each season the AoCC invites a member of the community to curate artists to participate in Movement Research at the Judson Church. The Spring 2018 curator is Chloe C. Chotrani, who has curated Rina Casero Espiritu, Zavé Martohardjono and Jana Lynn (JL) Umipig, performing on February 12, 19 and May 7.

Curatorial Statement || Softness

These bodies draw from a post-colonial present that radiates the soft, fluid and the erotic as our creative power force. Embodied living is radically called for as we continue to dance within the global crisis. Diaspora discourse of the matriarch with Rina Casero Espiritu, Jana Lynn (JL) Umipig along with the queer vista of Zavé Martohardjono.

First Newsletter from the Artist of Color Council


Dance as Devotion in South India and Southeast Asia

"The integration of Indian philosophy and rituals of dance, through the spread of Hinduism and Buddhism by traders, travellers, nobility and preachers who settled in new lands, contributed to the birthing of a cultural identity we know today as Southeast Asia."

Chloe Chotrani takes us on a trip from Chidambaram, India, to Angkor, Cambodia, tracing the passage of iconographies of the body in classical dance, Hindu mythology, and architecture from South India to Southeast Asia.

- Arts Equator

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Importance of Documenting and Archiving the Performing Arts, Culture 360 Asia-Europe Foundation 

Can dance as an art form contribute to a change in archival practice? – Siobhan Davies

"For there to be continuity and a sense of history for us to move forward, performance has to exist beyond the borders of the stage, to be able to reach people outside audiences in the black box, outside the echo-chamber."


Dance Reviews for Arts Equator


Binary International Showcase at M1 Contact: Breaking all the rules with “Stigma” and “Dan-su”

Stigma was created in 1999. It continues to tour today and could be even more relevant than when it was created 20 years ago. In contemporary society where identity politics can be a defining narrative of one’s place in the world based on colour and class; stigmatisation is an internal battle that every human faces. Bringing these challenges into choreographic thinking with the body expands the conversation beyond a place in time and space — the meaning of the piece grows as the environmental landscape changes.”


Dance Podcast: The Truth About Voguing in Southeast Asia

“Personally for me, vogue culture is for everybody. There’s a space, a category for everyone whether you like to do model walk in the runway or you have a beautiful face or you’re into the voguing dance itself. It’s for everybody. That makes vogue culture so empowering and inspiring at the same time. It makes people feel like “Wow, I’m actually at home, I’m part of this.” It’s not exclusive.”


Binary International Showcase at M1 Contact: The Color of the Sun is Black

Closing the ninth M1 Contact Contemporary Dance Festival is the annual Binary – International Showcase: a double bill by Astrid Boons (Belgium/Netherlands) and Shamel Pitts (Israel/United States).

"Black Velvet stays with you, long after the performance has ended. The performance presented an idealised vision of humanity where all people glisten and glow. Constructs and borderlines of race, color, gender, skin, and sexuality are fluid and ephemeral, in a space where humanity can come to remember from the depths of our being, the interconnectedness of all, even if we see difference. The prism comes from a single source: all colors stream from that single source."


Garden Uprooted: Fluctuations of Silence 

"An enchanted garden is created within the Esplanade Theatre through the multi-sensory. ... The dancers slowly float their way through, activating the empty spaces on stage with large pieces of silk cloth that ebb and flow, creating a spatial expression that amplifies the soft strength of the subtle soundscape of Tōru Takemitsu’s 'Between Tides'... Chloe Chotrani on "Garden Uprooted" by The Philharmonic Orchestra, Singapore and ARTS FISSION, which ran at Esplanade - Theatres on the Bay on 19 May.


Dance Pocast: “Joget” and “Intersections: Traditionally Speaking” 

Corrie: We’ve had some really interesting conversations and I think what I kind of have drawn from all three of you is looking at how things calcify, how innovations sort of calcify – not just in choreographic practice or in dance, but also in terms of CMIO in Singapore; it was innovative for that time, but now how can we go beyond that conversation. 


Talk to me and I slap you: Confronting Intimacy and Violence

Each performance of Talk to me and I slap you unearths a myriad of new stories from different sets of audience members with varied ways of responding to the invitation to participate. One could watch it ten times over and never watch the same thing twice. What I found most fascinating was the show’s conflux of playfulness and aggression. Because this work was so carefully choreographed and staged, watching and engaging with an aggressive performer was less intimidating in a gallery than it is in public, or in real life. I have learned that it is in these kinds of “safe” spaces where we can confront difficult situations such as physical and psychological violence in our lives.


da:ns festival: Eisa Jocson: The Body as Archive of Filipino Labour

"Jocson becomes a hybrid of the exploited language of entertainment... Jocson exemplifies the multi-dimensional capabilities of the body as a tool for understanding, critiquing and responding to society. Macho dancing, a unique movement phenomenon tucked away in the Manila night clubs since the 70s has now become recognised as an expression of the social and economic conditioning of the Filipino people, through Macho Dancer. In Corponomy, Jocson reveals to us her overarching process which validates the relevance of the artistic process and performance as a means to research and respond to the complexities and struggles within societal structures."


M1 Contemporary Festival: Binary International Artist Showcase: Dream States

"She too, is in an altered oceanic state as she waves and teases rhythmically across the floor. Because she’s so mesmerising, I almost forget she can stand, until she stands on her two feet to approach Kirilov. Akiyama has an alpha presence as she simply walks towards Kirilov; almost demanding, but gently. Her unapologetic command of attention is striking in its bravery. Her maturity in movement gives me a sense of almost yearning to age, because she reveals so much pleasure while dancing."