Founded in 2010 on the belief that it is possible for one person to start making a difference, one:lab aims to research ways of growing and living together through the arts.
one:lab engages in urban art-inspired place practices by young people, for young people, with young people.
one:lab’s performances aim to expand the ways in which we imagine place and find alternative responses to fear and loss.
Adelina Ong has been active in Singapore’s theatre scene since 1997. She was a founding member of SRT’s Young Company and volunteered as its youth company manager from 1998 – 2001. Adelina has acted widely on stage and television and was nominated for Best Newcomer at the inaugural Life! Theatre Awards for her role in Postcards from Persephone (2000) which she also co-produced. Adelina also co-organised interdisciplinary festivals such as the digital film project Digital Compassion 02 (2002) and Pulp (2003) which focused on collaborations between so-called ‘classical’ expressions (that were recognised as art) and street art. In creating opportunities for sincere dialogue through collaborations, Pulp sought to change the way that street art was perceived and recognise the skill, passion and dedication that street artists invest in their art. A selection of productions and performances undertaken is highlighted at this link.
In 2004, she was honoured to be one of fifty international female theatre practitioners selected to participate in TRANSIT IV: Roots – an international theatre festival in Holstebro, Denmark.
She worked closely with non-profit organisations through the National Volunteer & Philanthropy Centre from 2005 – 2007. From 2008 – 2012 she was part of a three-man team that founded The Little Arts Academy (LAA), managed by The Old Parliament House Limited. Apart from designing the environment for LAA, she worked closely with practitioners/teachers from Singapore to develop curriculum plans within an overarching curriculum framework developed in partnership with many established arts and education specialists on the board of The Business Times Budding Artists Fund. The enrollment of LAA grew from 47 children to approximately 250 regular children and youths every week. Adelina took on the role of producer and director for the performances created by the children and youths and devised between 15 to 18 performances a year with the students and their mentors/teachers. She also supported fundraising and marketing efforts for LAA and donated regularly to the school through personal performances produced under her own theatre company, one:lab.
Under one:lab, Adelina acted, directed and produced When The World Was Green by Sam Shepard at the Night & Day Bar. The play explored the malleability of memories, forgiveness and loss in a hotel bar/prison from 20 – 23 September 2010. She also developed W, a monologue that features 13 women who contributed significantly to the women’s movement. W (2012) premiered at Design Festa vol 35 in Tokyo with the support of Singapore International Foundation.
She graduated with a Master of Arts in Applied Theatre (Distinction) at The Royal Central School of Speech & Drama (London) in 2013 has done placements with Immediate Theatre‘s peer facilitators and Advanced Youth Theatre, Stratford Circus’ Children’s Glee Club. She has taught the seniors of 3rdthought theatre company to Skype, Google Hangout, use Google+ and Google Docs and upload videos onto YouTube. Adelina has also role-played for British Red Cross, co-organised a panel discussion in support of the British East Asian Actors campaign for better representation of East Asian actors on London stages, offered performance clinics and developed scripts with ex-offenders for Only Connect’s Big Wednesday and co-facilitated the after-school drama club at Elizabeth Garrett Anderson School.
Adelina is currently pursuing a full-time PhD at The Royal Central School of Speech and Drama.
Inspired by skateboarding, parkour, graffiti and breakin’ (commonly known as breakdancing), this research explores how these urban placemaking performances might open up more compassionate ways of living together. Parkour, art du déplacement, breakin’ and graffiti were used in combination with place practices (an applied performance practice), over 25 one-off workshops in London and Singapore to explore more compassionate ways of responding to fear and loss. Compassionate mobilities is a theory for negotiated living that combines hope (an imagination of the future that influences actions in present place), multispatialities (a way of imagining the future as multiple places, holding multiple narratives, coexisting in the same place) and compassion. For an abstract, click here.
Her research interests include: urban youth cultures and subcultures, performances of place, video games and interactive new media that bridges the digital divide and the feminist voice of East Asian women.
She is a visiting lecturer at The Royal Central School of Speech and Drama and has co-designed, taught and assessed Theatre and the City (a BA DATE Contemporary Studies Option), taught Key Concepts and Experience in Context sessions at BA level and supervised BA and MA dissertations for Applied Theatre (2014- ). She has also taught and assisted with the course design and assessment of the Applied Theatre (Special Unit) course at Kingston University (2015-2017) and currently supervises dissertations for BA Theatre and Screen students at Wimbledon College of Arts (2014 -).
Outside of the academy, Adelina is a regular Workshop Leader (2013-) at Outside Edge which offers theatre improvisation drop-in sessions to adults in substance recovery.
2nd prize, TaPRA 2014 Postgraduate Essay: Place-making Performances: What Can Applied Theatre Practitioners Learn From Skateboarders and Graffiti Artists?’
Ong, A. (2017) ‘For It Was Only as the Writing Faded that the Loss of Place was Felt’ TaPRA 2017: Performance, Identity & Community Working Group, University of Salford, 31.08.17
Ong, A. (2017) On Absence and Reading into Silence, Intersections 2017, London, The Royal Central School of Speech and Drama, 20.01.17
Ong, A. & Abraham, N. (2016) ‘‘I Didn’t Get It!’ Wanting To Do Disobedience Properly’ TaPRA 2016: Performance, Identity & Community Working Group, University of Bristol
Ong, A. (2016) ‘Performing Precarity in an Accelerated, Achievement-Oriented Singapore’, Theatre Applied: Hard Times: the performance of poverty and social injustice, Research@Central Processes and Practices series, 23.06.16
Ong, A. (2016) ‘Digital Traces of Lost Places’, International Federation of Theatre Research (IFTR) 2016: Political Performance Working Group, 16.06.16
Ong, A. (2016) ‘Practice (Confounds) Research: Grappling with ‘Lost Causes’’, Intersections 2016, London, The Royal Central School of Speech and Drama, 15.01.16
Ong, A. (2015) ‘Battling fears: a sea monster and a friend’, London Theatre Seminar, Senate House, 15.10.15.
Ong, A. (2015) ‘Moving On: Making Amends and Taking Responsibility for Disruptive Change’, Theatre and Performing Research Association (TaPRA) 2015, University of Worcester, Applied and Social Theatre Working Group, 10.09.15
Ong, A. (2015) ‘Creating ‘Places’ of Radical Openness in Singapore’, IDIERI 2015:‘Open Culture in the Asian Century: Reimagining Drama Education’, National Institute of Education (Singapore), 01.07.15.
Ong, A. (2015) ‘Multiplicities’, Utopias, Futures, Temporalities: Critical Considerations for Social Change Symposium, Bristol Zoo, 20.05.15
Ong, A. (2015) ‘What is the Value of Being a Public Nuisance?’, Intersections 2015, London, The Royal Central School of Speech and Drama, 16.01.15
Ong, A. (2014) ‘Beyond Panopticism: Reimagining ‘Places of Identity’’, City-Centric, King’s College of London, 21.10.14
Ong, A. (2014) ‘Compassionate Mobilities and Temporary Places’, Performing Places, London, The Royal Central School of Speech and Drama, 09.10.14
Ong, A. (2014) ‘Can Bodies Resist Panoptic Control Through Parkour-inspired Applied Theatre Practice?’, TaPRA 2014: Performance and the Body Working Group, Royal Holloway, University of London.
Ong, A. (2014) ‘Can Urban Arts be Considered as a Form of Applied Theatre Practice?’, IFTR 2014: New Scholars Forum, University of Warwick.
Ong, A. (2014) ‘Is Life Not Complete Without Shopping?’, Performing Research 2014, The Royal Central School of Speech and Drama, University of London.
Ong, A. (2014) ‘Can Heroes Limit One’s Imagination?’, TaPRA 2014 Interim Event: Applied and Social Theatre, The Royal Central School of Speech and Drama, University of London.
Place & Placemaking, MA Applied Theatre, Royal Central School of Speech and Drama, London (10 Feb 2017)
Art du Deplacement x Applied Theatre workshop, Singapore (5 Jan 2017)
ParkourDance, Pedagogy, Place, BA DATE Experience in Context, Royal Central School of Speech and Drama, London (15 Nov 2016)
Graffiti x Applied Theatre workshop, Signing Off Studio One at Royal Central School of Speech and Drama, London (12 July 2016)
Graffiti x Applied Theatre workshop, Traces of Lost Places, at Rose Bruford Symposium 2016, Kent (14 Apr 2016)
Disobedience, BA DATE Theatre & Change, Royal Central School of Speech and Drama, London (15 Feb 2016)
Breakin’ x Applied Theatre workshop with Recognize Studios (Felix Huang), Singapore (5 Jan 2016)
ParkourDance, Pedagogy, Place, BA DATE Experience in Context, Royal Central School of Speech and Drama, London (3 Nov 2015)
Graffiti Walk in Singapore (25 July 2015)
Breakin’ x Applied Theatre Workshop with Recognize Studios (Felix Huang), Singapore (July 2015)
Graffiti workshops with Femme Fierce (Artists: Jarvis and Zina) for 360 students from Year 1 to Year 6 at Britannia Village Primary School’s ‘Streets of London’ programme (June 2015)
Theatre workshop for ParkourDance Main Company, London (27.05.15)
Monthly theatre workshops for ParkourDance Youth Company towards their year-end showcase, London (January – June 2015)
Art du Deplacement x Applied Theatre workshop with ADD Academy Singapore and Singapore Polytechnic’s Diploma in Applied Drama & Psychology 2nd and 3rd year students, December 2014
Parkour x Applied Theatre workshop with Parkour Generations (Shirley Darlington) for Immediate Theatre, London (July 2014).