{"id":16094,"date":"2026-05-05T15:33:59","date_gmt":"2026-05-05T07:33:59","guid":{"rendered":"https:\/\/asef.org\/aecfest\/?p=16094"},"modified":"2026-05-05T15:33:53","modified_gmt":"2026-05-05T07:33:53","slug":"2026-interview-with-islandbar","status":"publish","type":"post","link":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/","title":{"rendered":"AECFest 2026 | INTERVIEW WITH EDDIE HARA, SERENE HUI AND TAM THI PHAM"},"content":{"rendered":"\t\t
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

WE SPEAK WITH 3 ARTISTS OF IsLAND BAR, AN IMMERSIVE PERFORMANCE BLENDING STORYTELLING AND COCKTAIL-MAKING. THE LATEST ITERATION OF THE WORK CENTRES ON MIGRANT STORIES, PERFORMED AS PART OF AECFest 2026<\/p>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

1. How did you first become involved in IsLand Bar<\/span><\/a>, and what motivated you to participate in a project that uses cocktail-making and storytelling as its artistic medium, rather than a more traditional performance format?\u00a0<\/strong><\/em><\/p>

Eddie Hara:<\/strong> Stephane Noel called me around 2-3 months ago and asked me if I\u2019m interested in joining the Island Bar project for the Asia-Europe Cultural Festival 2026 and SPRING Performing Arts Well, with this specific way of story-telling\u00a0 and performing. I believe Stephane mentioned he got my name\u00a0 from one of the SPRING Festibal personnels – as I had joined the SPRING festival in 2024, as part of a multimedia theater \u201cThe Indonesian Dialogue\u201d.<\/p>

Serene Hui:<\/strong> Stephane from Materialise has invited me to join this edition of IsLand Bar, we have known each other for almost a decade, from when I still lived in Hong Kong. When I was working on the project for the Thailand Biennale 2025, I shared with Stephane about my research that stemmed from the oral histories of my 102-year-old grandfather : his migration experience from Chaozhou through Vietnam, and finally to Hong Kong where my own story would begin decades later.<\/p>

What had drawn me most was a specific chapter of his life – his work as a street scribe who wrote letters on behalf of other Chinese migrants who could not write for themselves. I went on exploring the role of the scribe within the Qiaopi system (also known as ‘Silver Letters\u2019), a vital network of correspondence and finance that functioned as a lifeline for Chinese migrants communities across Southeast Asia in the early to mid-twentieth century. The Biennale work had explored this through installation and sound, centred on the listening relationship between the illiterate migrant and the scribe who transcribed their longing into legible form.<\/p>

When Stephane reached out to me about IsLand Bar, I recognised it immediately as a space for the work to move differently. The listening and transcribing experience had always been the core. This format essentially offered a table.<\/p>

Tam Thi Pham:<\/strong> I knew about Island Bar as an audience member in 2020, when I was invited as an visiter artist at TPAM in Yokohama. I still remember that it had a very nice atmosphere. I joined a table with a Taiwanese artist, later I also moved to other tables. I was curious about what was happening at all the tables.
When Minori asked me, I immediately said yes. One of the reasons is that I really like working with both Chikara and Minori. We had a networked dance and music performance between Hamburg and Yokohama during the Corona pandemic. It was a great collaboration, and we had a very nice experience working across distance and different time zones. I was really happy to have another chance to work with them.
Another interesting aspect is the concept of Island Bar itself. I\u2019m not a person who often goes to bars or drinks alcohol, but the idea of performing at a bar table and creating a cocktail based on a story brings me a new experience and broadens my view of non-traditional performance. I think with this performance, I will be very close to my audience and have a direct connection with them, which makes me very excited.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\n\t\t
\n\t\t\t\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\"AECFest\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\tAECFest Residency Programme Online Meeting - Deracine Rhizome \u00a9 Materialise and orangcosong\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\"AECFest\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\tAECFest Residency Programme Online Meeting - Deracine Rhizome \u00a9 Materialise and orangcosong\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

2. IsLand Bar has been developed since 2017 through multiple iterations in Asia with local artists. This new version, created through a hybrid process combining online meetings and on-site work as part of the AECFest Residency Programme<\/a>, marks a new phase in its development. How did this hybrid format shape the creative process?\u00a0<\/strong><\/em><\/p>

Eddie Hara:<\/strong> Well to me this hybrid process is really something new but quite challenging as well. Its kinda unusual. Usually for a residency or collaborative work, we meet at one place, discuss and rehearse and we’re always concerned with the ordinary stage and the many audiences who watch us, but with IsLand Bar, we met online and we didn’t know each other as we discussed and rehearsed while being recorded. And on top of that, there was the cocktail part too. Very unusual. I accepted the challenge anyways because I want my personal stories as an Asian migrant to be heard by a wider public.<\/p>

Serene Hui:<\/strong> I did not come to this work from theatre or performance. My artistic practice moves through installation, objects and sound, printmaking and text – forms that tend to speak through objects and structures. They usually begin from sustained inquiry into lived experience, historiography, linguistic anthropology, and the structural conditions under which certain voices are heard while others are not. In a way this performance project already asked something different of me before the format of the residency became a question at all.<\/p>

The hybrid process (online meetings spread across four to five months, with on-site work arriving later) suited that negotiation very well. The past half year has been dense with travels and projects, and the residency’s rhythm gave me the flexibility and headspace to move between commitments without losing the thread. The breathing spaces between sessions were rather productive. Feedback from the group needed time to settle before I could understand what it was asking me to change, and these gaps allowed things to ferment.<\/p>

There\u2019s also something valuable in the group’s togetherness across distance: our group chats on social media have created a nice bonding for us to share ingredients, references, and small discoveries, like someone would find the botanical ingredients necessary for one of the cocktails etc. I think throughout the multiple online sessions our works have developed in that atmosphere of lateral exchange, which is different from the usual pressure of an intensive residency. I personally appreciate a lot the horizontal stretch – there was sufficient time to reflect on the development process and take into consideration of other\u2019s suggestions.<\/p>

Tam Thi Pham: <\/strong>This new version uses a hybrid process combining online meetings and rehearsals. For me, it worked really well. I really appreciate the Materialise organisation. This success would be impossible without mentioning their role. The artists live in different countries with different time zones, and many artists are involved, so it is not easy to manage. However, everything ran smoothly, such as making plans, scheduling meetings, and providing support, which helped the artists focus on their creativity. It is very convenient to have everyone on the same page when someone shares content or ideas by sharing their screen. For me, it is effective, similar to a physical meeting.<\/p>

We also had remote rehearsals, which felt unusual at first. I had never rehearsed in a format where I performed while others watched as audience members through the screen. Since my performance includes interaction with the audience, I missed seeing abit of their body movements, but it did not become a major obstacle. Because it was to try it out, there is more importance for me to see how I perform, how I bring the story, get use to the format, structure of the performance.<\/p>

I still think it was a nice experience. It shaped the creative development in a positive way. It was especially helpful to record draft performances, watch them again, receive feedback from the team, and continue refining the work. Working across distance became not only convenient but also allowed time for reflection and careful development of ideas.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\n\t\t
\n\t\t\t\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\"The\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\tThe making of IsLand Bar 2026 \u00a9 Serene Hui\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\"The\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\tThe making of IsLand Bar 2026 \u00a9 Serene Hui\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

3. With this iteration of IsLand Bar, Asian artists based in Europe are engaged for the first time, introducing themes of migration and displacement more directly into the project. How does this reshape the work\u2019s framing and its presentation within a European context?\u00a0<\/strong><\/em><\/p>

Eddie Hara:<\/strong> Migration has been an interesting issue in Europe since the 50\u2019s or 60\u2019s. Holland with the new comers of Indo-Dutch, Moluccans, and other pro0Dutch Indonesians who joined the Dutch army in the end of 40\u2019s – after Indonesia declared its Independence in 1945. Then Germany, Switzerland and Austria with Italian and Turkish workers they need for growing industries in the 70s. France with Maroccans and Algierians. England with Pakistanis, Asian Indians, and Jamaicans. Later the Vietnam war also caused big wave of migration towards Canada, Australia, USA and Europe too. The list will go on, and has gone on till now.<\/p>

There will be always migration happening, whether from political or economical reasons. And now we – the Asian artists who live in Europe – will surely tell and share our personal stories to the European audience during the festival.

Serene Hui:<\/strong> What struck me first was how much resonance existed across the different projects, not as shared subject matter, but as shared structural preoccupations. The ways we each approach the migrant body, the inherited archive, the question of what gets translated and what gets lost. There is something quietly powerful about gathering a group of people who carry similar trajectories, even when that work remains entirely individual.<\/p>

For me personally, this framing opened a new door – to place my own migration story into the same line of thinking, to consider myself not only as an interpreter of that history but as a continuation of it. I was born in Hong Kong under the British colonial rule, and have lived in the Netherlands since 2019. I started to connect my own biographical details to the kind of structural conditions that sent my grandfather walking across borders a century before me. Across my research, I also encountered the \u00c9crivain Public \u2014 a practitioner formalised in Francophone Belgian communities, who helps migrants and those struggling with administrative language to translate their lives into forms that institutions will accept. That figure offered a bridge to European audiences: a local counterpart to the scribe, doing similar labour in a different century.<\/p>

Vietnamese-American filmmaker and theorist Trinh T. Minh-ha’s notion of \u201cspeaking nearby\u201d feels like the right ethical orientation for this work. To speak nearby is to stay close without closing the gap; to leave the space of representation open enough that others may enter it. My grandfather’s story is not mine to fully own or deliver. What I do is to approach it with proximity, and create enough of an opening at the table for the person sitting across from me to find their own way in. In a European context where migration is so persistently spoken about, at times managed, debated, quantified, that gap feels like the most honest place from which to work.<\/p>

Tam Thi Pham:<\/strong> I\u2019m really happy to connect with more Asian artists and learn how they develop their work here. In general, it is already challenging for local artists to find the way to present their wok, but even more so for artists coming from outside.<\/p>

All Asian artists bring their personal migration experiences into the work, reflecting on life in Europe. The work is no longer only artistic experimentation, but also reflects cultural memory, displacement, and adaptation within European society.<\/p>

The project also could adds another layer of meaning for audiences in Europe. Gestures, sounds, and rituals carry memories from our cultural backgrounds, while being performed in a new environment. This creates a space where different cultural references can meet and be reinterpreted.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\n\t\t
\n\t\t\t\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\"Asia-Europe\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\tIsLand Bar \u00a9 Taipei Performing Arts Centre\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\"Asia-Europe\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\tIsLand Bar \u00a9 Taipei Performing Arts Centre\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

4. IsLand Bar creates intimate, interactive encounters with audiences in informal bar settings across the city. How does this form of engagement differ from your previous artistic experiences, and what are you most looking forward to in meeting audiences in Utrecht?\u00a0<\/strong><\/p>

Eddie Hara:<\/strong> With our unusual way of performing and serving coctails to our audience, we\u2019re looking forward to sharing our personal stories to the Utrecht or Dutch public in a direct and intimate way – in a face-to-face manner just like typical dialogues or conversations at a bar with its specific atmosphere.<\/p>

Serene Hui:<\/strong> As a visual and conceptual artist, most of my work arrives to the audience without necessarily my presence. An installation holds its own space, the encounter is between the visitor and the object, the voice, or the instruction. But IsLand Bar inverts this practice, here I myself become the work.<\/p>

What interests me most about the format is its scale – the radical compression to two or three people at a table. At that proximity, the usual social contracts of art-viewing dissolve. There is no crowd to hide in, no white wall to orient yourself against. You are simply present with someone who has something to tell you, and a glass arrives, and then something shifts.<\/p>

Utrecht is in a sense my neighbouring city, since I am based in the Netherlands, and there is something strange and particular about performing for an audience who might share the landscape I now inhabit. My work for IsLand Bar moves between my grandfather’s migrations and my own. Meeting audiences here, especially those who have also, in various ways, arrived somewhere, feels like the right place to test whether a story from very far away can land very close.<\/p>

Tam Thi Pham:<\/strong> I have mostly performed on stages in theaters or concert settings, where there is a clear distance between the performer and the audience. In IsLand Bar, the situation is very different. I will be physically close to the audience, creating an intimate atmosphere and interacting directly with them. I am especially interested in observing how the audience listens to my story and how they respond in close distance. I will also bring a soft game about time to the table, which we will experience together, making the performance feel more like a shared moment than a traditional presentation. For me, this format feels less like performing for an audience and more like sharing time and space together.<\/p>

I expect to meet a diverse audience in Utrecht, probably people coming from different cities and countries. I\u2019m really looking forward to meeting them, sharing my
story together with a nice coctail based on it. I\u2019m curious about how they will experience the performance, and how this close encounter might create small but meaningful connections between us.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\n\t\t
\n\t\t\t\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\"Asia-Europe\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\tIsLand Bar \u00a9 Taipei Performing Arts Centre\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

5. IsLand Bar takes place in everyday social spaces. What does it mean to activate such environments as sites for artistic and narrative work and how does this framing influence the project\u2019s meaning?\u00a0<\/em><\/strong><\/p>

Eddie Hara: <\/strong>I believe engaging everyday social spaces in the mission of our story telling will have more of an impact on tge personal level, creating more understanding within (European) locals towards us – the Asian migrants! From my personal experience living in Switzerland for 29 years the South East Asian migrants are mostly welcome. We are peaceful people and make no trouble. And we\u2019re easy to adapt. Although Swiss-German dialect isn\u2019t easy to learn and catch for our tongue we mostly could get along with the locals. But I believe for many of us the loneliness is the number one enemy. The \u201cheimweh\u201d or homesickness often haunts us. Each of us has \u201cremedies\u201d to fight such hardship and hopefully this will be an interesting part of our storytelling!<\/p>

Serene Hui:<\/strong> I like to think of the bar as somewhat a place of confession. Some people go there to meet and speak, to explain themselves, to be heard. In that sense, IsLand Bar doesn’t impose an artistic frame onto a neutral space; it recognises one of the rituals that was already there.<\/p>

What I find generative about this framing is the idea of the encounter beginning before it is named as art. The table and the glass are always there, the conversation starts as something ordinary, and slowly, it becomes something else. This threshold is where I am interested in thinking and playing around with : the moment a familiar gesture begins to carry more weight than expected.<\/p>

The street stall of a letter-writer inhabited was also not a formal institution. It was a folding table on a street corner, a space borrowed from everyday life. The scribe operated in the gap between the private and the public, trusted with what could not be said by the person themselves, yet doing so in plain sight. The bar, I think, holds a similar structure: intimate and exposed at the same time.\u00a0<\/p>

Tam Thi Pham:<\/strong> The space and environment of the performance are very important, as they shape how the artwork develops and how it is experienced. Performing in a bar means I need to take into account the sounds and movements from both inside and outside the space. Instead of trying to control or remove these elements, I accept them as part of the performance environment and adapt to them. In this way, the space itself becomes as a part of the work.<\/p>

Social spaces such as a bar are also a meaningful aspect of the project. It makes the performance feel more connected to daily life rather than separated as something only for theaters. I guide the audience to become aware of the space and of each other when they arrive at the table, creating a shared awareness. This framing allows storytelling and artistic actions to feel more natural, personal, and closely connected to real-life experiences.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Eddie Hara <\/strong>was born in Salatiga, Java, Indonesia, and currently lives and works in Basel, Switzerland. Living on and off in Europe and in Indonesia, Eddie Hara describes himself as a kind of a marginal artist who is unafraid to give his opinions on political problems, gender and racial issues, environmental problems, and the prevalent poverty and the resulting violence in our society. Despite this serious aspect in his art, his canvases which are populated by mutant women and strange animals display a solid dose of irony and humour.<\/p>

Serene Hui <\/strong>is an artist currently based in the Netherlands and Hong Kong. Her practice is research-focused and multi-faceted, engaging primarily with installation, audio and live works, printmaking and text. Serene’s work is involved in a discursive, artistic and political exploration of her own context, using the geographical distance from personal lived experiences to investigate the wider socio-political impact of how meaning is made and who has access to making it.<\/strong><\/p>

Tam Thi Pham<\/strong> is a Vietnamese multimedia composer, improviser, and performer currently based in Hamburg, Germany. She works with improvisation and contact dance while integrating technology into live and networked performances, creating dynamic experiences where music, movement, and technology intersect.
Alongside her creative work, Tam organizes contemporary music and art events in Hanoi and Hamburg. Since 2025, she has been chairwoman of H\u00f6rbar e.V., presenting experimental music concerts with her team in Hamburg.
<\/strong><\/p>

Cover photo: IsLand Bar \u00a9 Taipei Performing Arts Centre<\/em><\/strong><\/p>

Get your tickets for IsLand Bar here<\/p>

Discover the full AECFest programme<\/a><\/span>.<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t
\n\t\t\t\t\t

SHARE THIS ARTICLE<\/p>\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t
\t\t
    \n
  • \n
    \n \n <\/i> \n <\/div>\n <\/li>\n
  • \n
    \n \n <\/i> \n <\/div>\n <\/li>\n
  • \n
    \n \n <\/path><\/svg> \n <\/div>\n <\/li>\n <\/ul>\n <\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

    WE SPEAK WITH 3 ARTISTS OF IsLAND BAR, AN IMMERSIVE PERFORMANCE BLENDING STORYTELLING AND COCKTAIL-MAKING. THE LATEST ITERATION OF THE WORK CENTRES ON MIGRANT STORIES, PERFORMED AS PART OF AECFest 2026 1. How did you first become involved in IsLand Bar, and what motivated you to participate in a project that uses cocktail-making and storytelling […]<\/p>\n","protected":false},"author":259224162,"featured_media":16208,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","omw_enable_modal_window":"enable","ofc_enable_fullscreen":"disable","ofc_fullscreen_speed":0,"ofc_fullscreen_nav":"enable","ofc_fullscreen_nav_pos":"right","ofc_fullscreen_nav_color":"","ofc_fullscreen_nav_tooltip_color":"","ofc_fullscreen_responsive":0,"ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"on","ocean_gallery_id":[],"footnotes":""},"categories":[1527,1364,1401],"tags":[],"class_list":["post-16094","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-edition2026","category-sector-performance","category-stories-interview","entry","has-media"],"yoast_head":"\nAECFest 2026 | INTERVIEW WITH EDDIE HARA, SERENE HUI AND TAM THI PHAM - Asia-Europe Cultural Festival<\/title>\n<meta name=\"description\" content=\"AECFest interviews Aoi Nakamura and Esteban Lecoq, co-founders of A\u03a6E and co-creators of LILITH.AEON, merging dance and augemented reality.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"AECFest 2026 | INTERVIEW WITH EDDIE HARA, SERENE HUI AND TAM THI PHAM - Asia-Europe Cultural Festival\" \/>\n<meta property=\"og:description\" content=\"AECFest interviews Aoi Nakamura and Esteban Lecoq, co-founders of A\u03a6E and co-creators of LILITH.AEON, merging dance and augemented reality.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/\" \/>\n<meta property=\"og:site_name\" content=\"Asia-Europe Cultural Festival\" \/>\n<meta property=\"article:published_time\" content=\"2026-05-05T07:33:59+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/asef.org\/aecfest\/wp-content\/uploads\/2026\/04\/ILB-TPE-04-\u00a9-Taipei-Performing-Arts-Centre-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1707\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Adlina Binti MOHD ANIS\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Adlina Binti MOHD ANIS\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/\"},\"author\":{\"name\":\"Adlina Binti MOHD ANIS\",\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/#\\\/schema\\\/person\\\/51b642d43c307fe3830137fb5207e043\"},\"headline\":\"AECFest 2026 | INTERVIEW WITH EDDIE HARA, SERENE HUI AND TAM THI PHAM\",\"datePublished\":\"2026-05-05T07:33:59+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/\"},\"wordCount\":3184,\"publisher\":{\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/ILB-TPE-04-\u00a9-Taipei-Performing-Arts-Centre-scaled.jpg\",\"articleSection\":[\"2026 Edition\",\"Performance\",\"Interview\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/\",\"url\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/\",\"name\":\"AECFest 2026 | INTERVIEW WITH EDDIE HARA, SERENE HUI AND TAM THI PHAM - Asia-Europe Cultural Festival\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/ILB-TPE-04-\u00a9-Taipei-Performing-Arts-Centre-scaled.jpg\",\"datePublished\":\"2026-05-05T07:33:59+00:00\",\"description\":\"AECFest interviews Aoi Nakamura and Esteban Lecoq, co-founders of A\u03a6E and co-creators of LILITH.AEON, merging dance and augemented reality.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/#primaryimage\",\"url\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/ILB-TPE-04-\u00a9-Taipei-Performing-Arts-Centre-scaled.jpg\",\"contentUrl\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/ILB-TPE-04-\u00a9-Taipei-Performing-Arts-Centre-scaled.jpg\",\"width\":2560,\"height\":1707},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/2026-interview-with-islandbar\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"AECFest 2026 | INTERVIEW WITH EDDIE HARA, SERENE HUI AND TAM THI PHAM\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/#website\",\"url\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/\",\"name\":\"Asia-Europe Cultural Festival\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/#organization\",\"name\":\"Asia-Europe Cultural Festival\",\"url\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/wp-content\\\/uploads\\\/2025\\\/02\\\/ASEF-AECF-retinalogo-header.png\",\"contentUrl\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/wp-content\\\/uploads\\\/2025\\\/02\\\/ASEF-AECF-retinalogo-header.png\",\"width\":1794,\"height\":458,\"caption\":\"Asia-Europe Cultural Festival\"},\"image\":{\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/#\\\/schema\\\/logo\\\/image\\\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/#\\\/schema\\\/person\\\/51b642d43c307fe3830137fb5207e043\",\"name\":\"Adlina Binti MOHD ANIS\",\"url\":\"https:\\\/\\\/asef.org\\\/aecfest\\\/author\\\/adlina-anisasef-org\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"AECFest 2026 | INTERVIEW WITH EDDIE HARA, SERENE HUI AND TAM THI PHAM - Asia-Europe Cultural Festival","description":"AECFest interviews Aoi Nakamura and Esteban Lecoq, co-founders of A\u03a6E and co-creators of LILITH.AEON, merging dance and augemented reality.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/","og_locale":"en_US","og_type":"article","og_title":"AECFest 2026 | INTERVIEW WITH EDDIE HARA, SERENE HUI AND TAM THI PHAM - Asia-Europe Cultural Festival","og_description":"AECFest interviews Aoi Nakamura and Esteban Lecoq, co-founders of A\u03a6E and co-creators of LILITH.AEON, merging dance and augemented reality.","og_url":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/","og_site_name":"Asia-Europe Cultural Festival","article_published_time":"2026-05-05T07:33:59+00:00","og_image":[{"width":2560,"height":1707,"url":"https:\/\/asef.org\/aecfest\/wp-content\/uploads\/2026\/04\/ILB-TPE-04-\u00a9-Taipei-Performing-Arts-Centre-scaled.jpg","type":"image\/jpeg"}],"author":"Adlina Binti MOHD ANIS","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Adlina Binti MOHD ANIS","Est. reading time":"16 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/#article","isPartOf":{"@id":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/"},"author":{"name":"Adlina Binti MOHD ANIS","@id":"https:\/\/asef.org\/aecfest\/#\/schema\/person\/51b642d43c307fe3830137fb5207e043"},"headline":"AECFest 2026 | INTERVIEW WITH EDDIE HARA, SERENE HUI AND TAM THI PHAM","datePublished":"2026-05-05T07:33:59+00:00","mainEntityOfPage":{"@id":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/"},"wordCount":3184,"publisher":{"@id":"https:\/\/asef.org\/aecfest\/#organization"},"image":{"@id":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/#primaryimage"},"thumbnailUrl":"https:\/\/asef.org\/aecfest\/wp-content\/uploads\/2026\/04\/ILB-TPE-04-\u00a9-Taipei-Performing-Arts-Centre-scaled.jpg","articleSection":["2026 Edition","Performance","Interview"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/","url":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/","name":"AECFest 2026 | INTERVIEW WITH EDDIE HARA, SERENE HUI AND TAM THI PHAM - Asia-Europe Cultural Festival","isPartOf":{"@id":"https:\/\/asef.org\/aecfest\/#website"},"primaryImageOfPage":{"@id":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/#primaryimage"},"image":{"@id":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/#primaryimage"},"thumbnailUrl":"https:\/\/asef.org\/aecfest\/wp-content\/uploads\/2026\/04\/ILB-TPE-04-\u00a9-Taipei-Performing-Arts-Centre-scaled.jpg","datePublished":"2026-05-05T07:33:59+00:00","description":"AECFest interviews Aoi Nakamura and Esteban Lecoq, co-founders of A\u03a6E and co-creators of LILITH.AEON, merging dance and augemented reality.","breadcrumb":{"@id":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/#primaryimage","url":"https:\/\/asef.org\/aecfest\/wp-content\/uploads\/2026\/04\/ILB-TPE-04-\u00a9-Taipei-Performing-Arts-Centre-scaled.jpg","contentUrl":"https:\/\/asef.org\/aecfest\/wp-content\/uploads\/2026\/04\/ILB-TPE-04-\u00a9-Taipei-Performing-Arts-Centre-scaled.jpg","width":2560,"height":1707},{"@type":"BreadcrumbList","@id":"https:\/\/asef.org\/aecfest\/2026-interview-with-islandbar\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/asef.org\/aecfest\/"},{"@type":"ListItem","position":2,"name":"AECFest 2026 | INTERVIEW WITH EDDIE HARA, SERENE HUI AND TAM THI PHAM"}]},{"@type":"WebSite","@id":"https:\/\/asef.org\/aecfest\/#website","url":"https:\/\/asef.org\/aecfest\/","name":"Asia-Europe Cultural Festival","description":"","publisher":{"@id":"https:\/\/asef.org\/aecfest\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/asef.org\/aecfest\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/asef.org\/aecfest\/#organization","name":"Asia-Europe Cultural Festival","url":"https:\/\/asef.org\/aecfest\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/asef.org\/aecfest\/#\/schema\/logo\/image\/","url":"https:\/\/asef.org\/aecfest\/wp-content\/uploads\/2025\/02\/ASEF-AECF-retinalogo-header.png","contentUrl":"https:\/\/asef.org\/aecfest\/wp-content\/uploads\/2025\/02\/ASEF-AECF-retinalogo-header.png","width":1794,"height":458,"caption":"Asia-Europe Cultural Festival"},"image":{"@id":"https:\/\/asef.org\/aecfest\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/asef.org\/aecfest\/#\/schema\/person\/51b642d43c307fe3830137fb5207e043","name":"Adlina Binti MOHD ANIS","url":"https:\/\/asef.org\/aecfest\/author\/adlina-anisasef-org\/"}]}},"_links":{"self":[{"href":"https:\/\/asef.org\/aecfest\/wp-json\/wp\/v2\/posts\/16094","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/asef.org\/aecfest\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/asef.org\/aecfest\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/asef.org\/aecfest\/wp-json\/wp\/v2\/users\/259224162"}],"replies":[{"embeddable":true,"href":"https:\/\/asef.org\/aecfest\/wp-json\/wp\/v2\/comments?post=16094"}],"version-history":[{"count":52,"href":"https:\/\/asef.org\/aecfest\/wp-json\/wp\/v2\/posts\/16094\/revisions"}],"predecessor-version":[{"id":16295,"href":"https:\/\/asef.org\/aecfest\/wp-json\/wp\/v2\/posts\/16094\/revisions\/16295"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/asef.org\/aecfest\/wp-json\/wp\/v2\/media\/16208"}],"wp:attachment":[{"href":"https:\/\/asef.org\/aecfest\/wp-json\/wp\/v2\/media?parent=16094"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/asef.org\/aecfest\/wp-json\/wp\/v2\/categories?post=16094"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/asef.org\/aecfest\/wp-json\/wp\/v2\/tags?post=16094"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}