WeiZen Ho is a Performing Artist and Deviser who brings together phonic-vocals and movement. Her performances transform and extend mundane postures, sounds and everyday objects or speech into poetic prayer. She excavates linguistic processes searching out their connection to identity. Her work draws upon a lineage of Chinese immigrants who have lived for several generations in Melaka (Malaysia) and Java and extends it to her status as an Asian immigrant in Australia. She is fascinated by ritual, in particular the animistic rituals still practised by Chinese clans in her hometown and throughout South-East Asia. For her, ritual and imageries, distilled into performance locates her visceral vocal-body.
She is currently a recipient of Australia Council's Arts Project funding to study and develop Performances, Interpreted & Reimagined of Asian Animistic & Shamanistic Rituals (2016-2018). The research phases have taken place in Sabah, Malaysian Borneo in May 2016 and Hanoi, Vietnam in March 2017. She devised and performed in Platform 2017 by De Quincey Co and will perform and conduct workshops for the Festival of Death and Dying in Melbourne and Sydney. She collaborated as the sound, text and vocal designer for Joshua Pether in Monster at the Yirramboi Festival in Melbourne in May 2017. WeiZen was 1 out 4 artists in Body as Material: Solo Practice, a partnership between Bathurst Memorial Entertainment Centre, Bundanon Trust, FORM Dance Projects and Critical Path. She was also invited to perform for the Asian Performing Arts Market Japan, part of Setouchi Triennale 2016.
A performance improvisation event WeiZen initiated in the Blue Mountains, now called Sound Bites Body, presented its twenty-third programme featuring thirteen artists from sound, installation and dance disciplines at Bilpin International Ground for Creative Initiatives (Bigci) in February 2016. As a current member of Splinter Orchestra she recently did a recording project at Lake Mungo and performed with them for Tectonics at Adelaide Festival of the Arts, 2016.