Community Co-Lab


“PILLOWTALK: Artistic Talkback” moderated by Emily Harney, BRIC Arts Media, Sept. 26, 2015.

Kyoung’s Pacific Beat collaborates with both cultural/academic institutions and local, community/social justice organizations, to create safe, diverse, and inclusive spaces for artists and local communities to engage in conversations about peace and communal experiences of violence and oppression.

Through community engagement and collective action, Kyoung’s Pacific Beat raises consciousness of the systems of oppression that exist invisibly amongst us, in order to radically destabilize institutionalized cultural norms that normalize direct and structural violence in society. Because we are a change-oriented organization, Kyoung’s Pacific Beat’s art is deeply inspired and shaped by our alignment with social movements leading to nonviolent social change.

Currently, this work falls under four axes: Creating Peace, Queering the Social Order, Securing Cultural Democracy and Representation, and Devising the Future.

Axis 1: Creating Peace (in Development)


WOVEN “Reject Violence” Campaign, New York City, Sept. 2016.

CREATING PEACE is an innovative project that combines deep and meaningful, in person engagement with diverse communities and the amplifying power of social media to foster peace.

“Kyoung Park recognizes that we will not live in a culture of peace until more leaders understand the necessity of creating dialogues within communities, within the plurality of society which requires us to find commonalities and a greater understanding of what peace means in America.”WOVEN

Contact info@kyoungspacificbeat.org if you’d like to get involved!

Previous Engagements and Related Activities:
“Art for Change: A Panel Discussion,” Asian-American Arts Alliance, New York, NY. Dec. 8, 2016
“Politics, Revolution, and Art: A Theatrical Symposium,” Woolly Mammoth Theater Company, The Laboratory for Global Performance and Politics, Global Theater Initiative in association with the Middle East Institute’s Arts and Cultural Program, Washington DC. Nov. 5, 2016
“Creating Peace Through Art,” Korea Arts Council – Artist House, Seoul, South Korea. Oct. 21, 2016
“Creating Peace Through Art,” Hot Asian Everything: A Seismic Exhibition, Multnomah County Library, Portland. Oct. 2, 2016


“Healing Political Trauma,” moderated by Sarah Rose Leonard. University Settlement, Jan. 15, 2015.

“On the Nature of Political Revolutions,” moderated by Randy Gener, with TALA Creative Team. HERE Arts Center, Jul. 29, 2012
“ North Korea: WTF,” moderated by Jesse Longman with Dr. Jacqueline Pak (Cornell Univ. East. Asian Studies Fellow) and Potri Ranka Manis (Founder and Artistic Director of Kinding Sindaw). Peter Jay Sharp @ 42nd Street, Feb. 26, 2011


“Experimental Peace Project,” Target Margin Theater’s Institute for Theater-Making. Hollaback! Headquarters. Brooklyn, NY. Aug.-Sept. 2014

Download “Rapproachment of Cultures”, written by Kyoung H. Park for The Korea Times, Jun. 20, 2010.

Axis 2: Queering the Social Order

Queering Marriage (2014-2018)


“Love’s Power/Microinvisibility,” moderated by Stephanie Hsu. Kyoung’s Pacific Beat, Jan. 25, 2018.

What is the difference between love and marriage? How can queer perspectives on sexual orientation, gender, and the intersections of sexuality and race, address systemic cultural violence? What is the human experience of these embodied politics, and the spiritual and material dimensions of love?

Kyoung’s Pacific Beat addressed these questions through a series of long-table conversations centering the voices of queer people of color, with Community Partners API Rainbow Parents of PFLAG NYC, BAAD! (Bronx Academy of Arts and Dance), CUNY’s Center for Lesbian and Gay Studies (CLAGS), GAPIMNY (Gay Asian Pacific Islander Men of New York), and Indie Theater Fund along with Cultural Partners the Korean Cultural Center and Official Media Partner Culturebot, and with support from Peoplemovr, Asian/Pacific/American Institute at NYU, and ART/NY-NYSCA Creative Opportunity Fund.


“PILLOWTALK: Post Gay Marriage Politics,” moderated by Stephanie Hsu, Center for Lesbian and Gay Studies “After Marriage” Conference, Oct. 2, 2016.

Previous Engagements:
– “PILLOWTALK: Post Gay Marriage Politics,” moderated by Stephanie Hsu, Center for Lesbian and Gay Studies “After Marriage” Conference, Oct. 2, 2016.
– “PILLOWTALK: Artist Moderated Talk Back,” moderated by Emily Harney, BRIC Arts Media, Sept. 26, 2015.
– “Queering Gay Marriage,” moderated by Stephanie Hsu, Ma-Yi Studio, Jun. 2, 2014.

Download Community Responses to “Pillowtalk: Long Table Series” and Kyoung’s essay, “Queering Marriage” published by our media partner, Culturebot.

K-Onda Hamlet (Fragments) (2015-2016)


Morley: Circle Round Dignity, Courage & Survival. David Rubenstein Atrium at Lincoln Center, April 2016.

K-Onda Hamlet is an experimental, dance-theater piece that explores the Korean pop phenomenon in Chile. This piece was written/directed by Kyoung H. Park and is based on local interviews, Heiner Muller’s HAMLETMACHINE, and K-Pop choreographies. In performance, seven Chilean teenagers tell their stories in search of their artistic identity as an “Other” living in the peripheries of their society, drawing connections between Chile’s K-Pop dancing community and the Zamudio Law, Chile’s first anti-hate crime legislation.

K-Onda Hamlet was developed at Centro Cultural Gabriela Mistral (GAM) in Santiago, Chile on Jan. 2016, with support from Theater Communication Group’s Global Connections Program, funded by the Andrew Mellon Foundation.


Observatorio Cultural, 31st Edition

Download “Nuevas Practicas de la Juventud Chilena: Danzas K-Pop, los Proximos Pasos”, written by Kyoung and published by Consejo Nacional de la Cultura y las Artes, part of Chile’s Ministry of Culture, Arts and Heritage.

The Next Genderasian (2012-2013)

Based on gender-bending, coming-out stories and queer Asian myths, Community Voices: The Next GenderAsian offers both moving and outrageous perspectives on what it’s like to be queer and Asian-American through six new, ten-minute plays written by Alain Chan, Joseph F. Lin, Avinash Rajagopal, Lolan Buhain Sevilla, Ryan Shen, and Jason Tseng.

The plays were written as part of Second Generations Community Voices writing workshop led by South Asian playwright and performer Deen, directed by Kyoung H. Park, featuring an ensemble cast of Asian-American performers, including Lost’s Ken Leung, and Obie Award-winners Ching Valdes-Aran and Jojo Gonzalez. Community Voices was announced during Second Generations’ Queer Voices Speak Out panel and ignited a yearlong outreach effort to New York’s queer API community in partnership with GAPIMNY, Q-Wave, and SALGA, three local, grass-roots organizations, with support from the Stonewall Community Foundation and Asian Women Giving Circle.



“Queer Voices Speak Out,” Second Generations @ HERE Arts Center, New York. Nov. 17, 2012.

Download “Queer Voices Speak Out” transcript.

Axis 3: Securing Cultural Democracy & Representation

Shifting debates within identity-based politics pose programmatic challenges for arts organizations. Criticisms of “tokenism,” in which slots or performances are directed towards a specific underrepresented community, address the statistical evidence that within our field, the majority or “mainstream” culture is still identified as white (Caucasian) and primarily male.

This problem is pervasive within the landscape, where intellectual and economic biases establish further limitations on the accessibility of the experimental arts, creating a cycle of exclusion in which artists and audiences do not feel invited to participate. And while funding has been provided to support the diversification of institutions, institutions require more than coercive support from the funding community, as the management of these shifts require long-term support of organizations to truly make a change. Furthermore, the lack of people of color not only in arts funding, but in philanthropy in general, poses another layer of complications to the way wealth is distributed to artists of color, especially considering the fact that few wealthy people of color start foundations to support other people of color.

Therefore: How can we diversify audiences, work, and artistic leadership? How do we address the value of diversity in artistic programming? How do we become socially responsible and address racism, ageism, sexism, or other types of ableism?

Intention, Accountability and Equity (2015-2018)


Wilfredo Hernandez and Kyoung H. Park at The Field’s Activate Equity 2018

Kyoung’s Pacific Beat was honored to be part of The Field’s 2015-2017 Field Leadership Fund (FLF), an ambitious program designed to move arts administrators into more resilient and financially viable careers in the arts and to move artists and arts organizations into new stages of work that push their visions forward.

Click here to learn more about FLF and The Field’s “Intention, Accountability and Equity” Report.


Kyoung H. Park, Guillermo Piñeda, Katherine Chambers, and Charles Rice-González at “This is my Life,” NYC Department for the Aging, Jun. 22, 2017.

Literature and Social Justice (2017)


Ehwha Women’s University, Seoul, South Korea. July 4-10, 2017

This seminar was designed for Ehwha Women’s University to engage graduate students in social justice discourse through literature. Students worked on independent research projects while participating in facilitated conversations that examined how creative writers engage with progressive politics to further our understanding of social issues. How does language and art serve communities?


Ehwha Women’s University, Seoul, South Korea. July 4-10, 2017

Latin@ Diversity/Divergent Aesthetics (2014)


CUNY, Martin Segal Center, New York. Nov. 10, 2014

How does your identity inform the work you do aesthetically as a Latino theater artist, what visions do you have for it, and what type of support would be ideal for you to receive from the New York Latino theater community to make art? These questions, and more, were addressed in a video-chat between Tiffany Vega and David Mendizábal with Christina Quintana and Alejandra Duque Cifuentes, followed by statements from New York Alliance of Latino/a Theatre Artists (Raquel Almazán, Beto O’Byrne, Claudia Acosta) and The Sol Project (Jacob Padrón).

This session was co-curated by Alison Lyman and Kyoung H. Park, and part of 2014 Latinx Theatre Commons Encuentro and Celebración. Learn more about the Latinx Theatre Commons and The Sol Project.

Immigrant Poets of New York (2014)


“Old Age” by Pei Lin Yu. University Settlement, Speyer Hall. Nov. 18, 2014

“Immigrant Poets in New York” is a community-based story sharing session in which senior, Chinese-American students from the University Settlement read poems and stories about their immigrant experiences, inspired by Federico Garcia Lorca’s “Poet in New York.” Created in collaboration with Korean-Chilean playwright Kyoung H. Park and the University Settlement’s Adult Literacy Program, “Immigrant Poets in New York” also featured an open mic session, inviting community members to share their own stories and shed light on the realities on which we build the American Dream.


Wen Fei Liang. University Settlement, Speyer Hall. Nov. 18, 2014

Read more about “Immigrant Poets in New York” on The Lo-Down.

Brooklyn Commune – Cultural Democracy and Representation Team (2013-2014)


The Brooklyn Commune Organizing Committee

The Brooklyn Commune was a grassroots initiative originally organized by Culturebot.org and The Invisible Dog Art Center to educate, activate and unify performing artists of all disciplines to work together towards a more equitable, just and sustainable arts ecology in America. The events and research were documented and disseminated through the publication of “The View From Here” which was launched in January 2014.

Kyoung spearheaded the Brooklyn Commune’s Cultural Democracy and Representation Research Team.


The Brooklyn Commune’s Performing Arts Census Statistics

Download “Creating Outside the Box,” The Brooklyn Commune’s Cultural Democracy and Representation Team Final Report written by Kyoung H. Park.

Download “Cultural Democracy and Representation,” written by Kyoung H. Park.

View “The View From Here,” The Brooklyn Commune’s Final Report.

Axis 4: Devising the Future

Based on DIY models, artists have for decades created their work outside the mainstream and this shift has enabled artists to continue their practice without the need to find ins to major institutions or mass-audiences, to instead focus the work on one’s artistic freedom and embrace one’s identity without fitting into any ethnic–or discipline–specific mold, transgressing the traditional definitions of aesthetic practice or identity-based narratives, if necessary.

Interdisciplinary, multi-disciplinary, hybrid, experimental, devised are all words commonly used in the field to classify new works coming from the dance and performing arts, but as performance and dance becomes more visible within museums and installation art becomes more popular in theatrical spaces, the cross pollination of artists and artistic disciplines will continue to provide both creative freedom and collaborative opportunities to further aesthetic forms, while tapping into different art audiences in new live experiences that challenge our conventional understanding of the arts.

Experimental Playwriting


Experimental Playwriting Workshop, Interdram, Santiago, Chile. Dec. 21-29, 2015

“Experimental Playwriting” is a practical workshop for writers interested in experimental American playwriting, which incorporates different writing techniques based on visual arts, poetry, performance, and Pataphysics—the science of imaginary solutions. This workshop is an intensive course designed to write a new play through writing sessions that incorporate theatrical games, writing exercises, and aesthetic-based discussions related to the participants current practice. The workshop is structured as follows:

  • In-Class Acting and Writing Exercises based on Sense-Memory and Voice
  • Daily Writing Assignments
  • Overview of American Playwriting Avant-Garde
  • Group discussions and individual feedback is provided to each participant upon completion of their first draft.

This workshop is open to theater artists and students with previous writing experience. Available upon request at info@kyoungspacificbeat.org.


Playwriting Workshop, University of Washington, Seattle. Feb. 2, 2016

Experimental Collaboration


Teatro To Be, Teatro DUOC, Santiago, Chile. Jun. 5-9, 2017

“Experimental Collaboration” is a practical workshop designed to develop new works-in-progress through artistic explorations in performance, playwriting, and direction, based on techniques developed by Kyoung’s Pacific Beat. The workshop trains pre-established, collaborative ensembles that are already developing new projects, and serves as a space for artistic reflection, the imagining of supportive creative structures, and the implementation of new skills that strengthen artistic collaboration. The workshop goals are to:

  • Nurture collaborative techniques through performance, playwriting, and devising exercises focused on self-reflection and artistic inquiry
  • Generate new theatrical material through assigned tasks addresses specific needs within the collaborative team
  • Explore aesthetic identity through the sharing of new materials between workshop participants and a general audience
  • Determine long-term goals for the creation and production on artistic goals and intents determined by the collaborative ensembles

This workshop is open to collaborative ensembles with at least advanced, undergraduate training. Available upon request at info@kyoungspacificbeat.org.


Compañía La Perra Flaka, Teatro DUOC, Santiago, Chile. Jun. 5-9, 2017

Experimental Theater-Making


Kyoung’s Pacific Beat’s TALA, HERE Arts Center, New York. Jul. 2012

“Experimental Theater-Making” is an interactive presentation that provides participants with an eagle-eye’s view of what it’s like to devise experimental theater based on Kyoung’s Pacific Beat’s leadership and organizational model. Topics covered include:

  • Developing Artistic Intentionality and Sustainability
  • Establishing Artistic Collaborations
  • Addressing Equity, Diversity, and Inclusion in contemporary experimental, performing arts
  • Building Community Partnerships in the devising of new work
  • Addressing Ownership, Copyright, and Collaborative agreements for Devised Theater
  • Finding your Audience

The goal of “Experimental Theater-Making” is to provide frameworks and infrastructure to the creation of devised theater, in order to balance the creative generation of material with the organizational planning necessary to support artistic collaborations. This workshop is open to artists at all levels of experience, ages 18+, and available upon request at info@kyoungspacificbeat.org.


Kyoung’s Pacific Beat’s PILLOWTALK, BRIC Arts Center, New York. Sept. 2015