Jacob Boehme is a Melbourne born and raised artist of the Narangga and Kaurna Nations, South  Australia.

       Jacob is a multi-disciplinary theatre maker and choreographer, creating work for stage, screen,  large-scale public events and festivals. Jacob has led the artistic direction of Tanderrum  (Melbourne Festival), Boon Wurrung Ngargee (Yalukit Willam Festival), Thuwathu (Cairns  Indigenous Arts Fair), Geelong After Dark and is the founding Creative Director of Yirramboi  Festival, recipient of the 2018 Green Room Award for Curatorial Contribution to Contemporary and  Experimental Arts. Jacob has choreographed for the opening ceremonies of Dreamtime at the G,  FINA World Swimming Championships and the Cricket World Cup. Jacob is the writer and  performer of the critically acclaimed solo work Blood on the Dance Floor, recipient of the 2017  Green Room Award Best Independent Production.

        Jacob is currently working on the 2nd piece in  his Blood Trilogy, titled Mother’s Blood, with an expected premiere in 2022. Jacob is a critic of  theatre and dance, writing for Witness Performance. Jacob currently sits on the Board of Directors  for Dance House and Polyglot Theatre and is a member of the Ministry of Culture Taiwan South  East Asia Advisory Panel. Alumni of the Victorian College of the Arts, (MA in Arts – Playwriting, MA  in Arts – Puppetry) Jacob is the recipient of the 2018 Australia Council for the Arts Aboriginal and  Torres Strait Islander Fellowship. Jacob is currently the Artistic Director of The Wild Dog Project,  reconnecting the dingo songlines between South Australia, Northern Territory and Far North  Queensland, creating a large-scale cultural gathering to be held as part of Tarnanthi Festival 2021. 

    Jacob Boehme is collaborating with Nithya Nagarajan and Kalanjay Dhir for Hyphenated Biennial.


THE project


a collaboration between
jacob boehme, kalanjay dhir & nithya nagarajan

image credit : Jackie Dixon

        An initial experiment in a body of work that grapples with the complexity of archiving the embodied wisdom and psychosomatic practices of Elders in martial, meditative and movement traditions across Australia, South Asia and the diaspora.

        The residency will unpack:
        — living legacies of traditions passed down orally and inheritance of their custody
        — muscle memory and embodied amnesia of ageing bodies
        — alternate archival and restoration strategies  

        — decolonising the digital as a counterpoint to the canon

        The artists aim to illuminate how bodies and spirits, living and ancestral, are choreographed by culture and how they, in turn, choreograph culture. Traces of the flesh in pre-colonial cultures are affected through ‘visual, physical, verbal, aural, tactile, haptic and olfactory means’ and the artists want to create multi-sensorial worlds that enable transmission of such sensation. Experimenting with transgressive forms to de-territorialize and de-familiarize the practiced and subjected body invites the viewer to negotiate space so they may reconfigure the absent body and its hauntings.

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