Micha Espinosa is an Arizona-based artist, activist, teacher, and voice, speech, and dialect coach. She has performed, lectured, and taught voice and speech around the world since 1992. She is a proud 30-year member of SAG/AFTRA (Arizona/Utah board member), and has performed in film, television, and regional theatre. As a performer she has been privileged to work with film and theatre directors including Oliver Stone, Peter Patzak, Tina landau, Les Waters, and Aaron Landsman, among others. As a voice and dialect specialist she has worked with regional theatre companies, such as: The Old Globe, Southwest Shakespeare, Mixed Blood, Phoenix Theatre, and Coconut Grove Playhouse as well as clients chef and host - Lorena Garcia, network - Telemundo , and company - Hewlett Packard. She is a certified Hatha yoga instructor with extensive background in Bikram, Kundalini, Ashtanga and the Feldenkrais method. A master teacher of Fitzmaurice Voicework, Director of Diversity and Inclusion for the Fitzmaurice Institute, and a master trainer for the Fitzmaurice Teacher Certification.


She is Associate Professor of Voice and Acting at Arizona State University - Herberger Institute for Design and the Arts, in the School of Film, Dance, and Theatre, program coordinator for the acting concentrations in Screen and Film Acting and Musical Theatre. She is also affiliate faculty with Arizona State University’s School of Transborder Studies. She has served as an officer for the Voice and Speech Trainers Association (VASTA -since 2000).  She has served as conference director or co-director for five of VASTA’s national and international conferences. She is especially proud to have coordinated the first bi-lingual voice conference in Mexico City and is currently planning the first Asian voice and speech trainer’s conference in Singapore (2017). As an associate editor for the International Dialects of English Archive- Micha has contributed and analyzed over 20 dialect samples from all over the globe. She has published several peer reviewed articles in the Voice and Speech Review, the Journal for Intergroup Relations, and was a contributing author for The Politics of Actor Training published by Routledge.


She is the editor of the award winning book Monologues for Latino Actors: A Resource Guide to the Contemporary Latino/a Playwrights with contributions by biographer Jason Scott and published by Smith and Kraus. Since 2013, Micha has been the program coordinator and somatic educator for Aole Miller’s actor training program in Bali, Indonesia - Bali Taksu. She is a proud and active affiliate of Guillermo Gomez-Peña’s performance troupe - La Pocha Nostra and the South American female performance, empowerment, and advocacy collective -Mujeres Poderosas. Her research, performance, and scholarship examines and contextualizes the current climate with the training of actors of non-dominant groups. A Fulbright specialist, she is passionate about social justice in actor training, global perspectives, and the cultural voice.


BUDI MILLER is the Senior Lecturer, Head of Acting at Victoria College of the Arts University of Melbourne, Australia. He is Co-Artistic Director of The Theatre of Others. He is an associate teacher of Fitzmaurice Voicework, a certified integrative studies practitioner, and an UNESCO designated master teacher of mask work. He has been an actor-director-writer-teacher in the United States, the United Kingdom, Denmark, Singapore, Hong Kong, Taipei, Australia, Malaysia, India, and Indonesia since 1992. He is the first African American ceremonial mask dancer of Bali and the first teacher to bring Fitzmaurice Voicework to Denmark, Singapore, Taipei, Malaysia, China and Indonesia. He coached Michelle Williams for her Academy Award nominated performance in Ang Lee's movie Brokeback Mountain. He teaches Mask Work, Fitzmaurice Voicework, Michael Chekhov, Clown, Viewpoints, and Grotowski. He has been on the faculties of The Chautauqua Theatre Company since 2004, LASALLE College of the Arts, Singaore 2009-2017. He has taught at Yale School of Drama, NYU Tisch School of the Arts, The Actors Center, Wayne State (MFA), The New School (MFA), SUNY Purchase College, University of Southern California, The Bill Esper Studio, Rutgers Mason Gross School of the Arts, The National Theatre Institute, Howard University, Western Michigan University, The National University of Singapore, The Queensland Theatre Company (Brisbane), Curtin University (Perth), and the Michael Chekhov Conference 2002. Directing credits: Ragnarok (Substation, Singapore), Spring Awakening (Lasalle College of the Arts), Scorched (Lasalle College of the Arts), DNA (Lasalle College of the Arts), Cloud Nine (Lasalle College of the Arts), Our Country’s Good (Lasalle College of the Arts), Trilogia (Lasalle College of the Arts, Zoo Story (Skinned Knee Productions), Romeo & Juliet (Curtin University, Perth), Proof (New Moon Rep, Los Angeles), I Kreon (New Moon Rep, New York), Voices of Juarez (New York Fringe 2003), and over 20 difference Clown Shows in around the world. He has coached voice for Chautauqua Theatre Company, Singapore Reparatory Theatre, Pangdemonium Productions, and KLPAC (Kuala Lumpur Performing Arts Center). He holds a B.F.A. in theatre from NYU Tisch School of the Arts. He was the Executive Director of the International Antonin Artaud Fringe Theatre Festival 2008.  He was a featured presenter at the International VASTA conference in Mexico City 2010 and London 2014. He is the conference director for the first VASTA conference in Asia 2017. He is a member of VASTA, SAG and the Asian Pacific Bureau. He is pursuing a practice as research PhD at the University of Melbourne.

IDA BAGUS ANOM  is known internationally for his handcraft and the strong images of his masks. After his appearance in the Ring of Fire and Bali: Masterpiece of the Gods documentaries, he gained his international acclaim. The phantasmagoric, traditional masks of Ida Bagus Anom are in high demand by topeng dancers and pantomimes all over Bali. During the fall of 2001 he received an invitation from a Japanese television program to exchange work with one of Japans greatest mask makers and dancers. The major question of the Japanese was "how could Anom create Japanese style masks so close to the original style without training under the great masters of Japan or even setting foot on Japanese soil?" This meeting began transforming Anom's work. Now one can see the Japanese influence in Ida Bagus Anom's most contemporary works. As a "modern" mask maker eager to find his own artistic style and craft, Ida Bagus Anom spent most of his life as an outcast in the Balinese mask maker tradition. Now in Bali, his work is known as outstanding artistry. Today he has a major influence on Bali's new generation of woodcarvers. As a traveler and fluent in English, he has taught hundreds of students and visitors in making masks and in Hinduism. His artistic skills range from storytelling, music, and dance. He also teaches the special use of voices in the famous Kecak trance dance.


IDA BAGUS ALIT, born in Latondu near Ubud, is Bali's most celebrated mask maker and mask dancer like his father and ancestors before him. Alit has been dancing since 1973 and carving masks since 1967. He is most know for his contribution to Bali’s spiritual community for his wood carvings of the Barong and Durgha masks which are the most important images in the Balinese Hindu culture. He is the Vice president of the Latondu village cultural ministry. Alit is a very important spiritual leader in the village community conducting rituals and cleansing ceremonies His dance troupe is one of the most popular in Bali. Traditional ceremonies must be accompanied by a canon of mask dances, which Alit is most famous. He specializes in the Penasar or clown mask, which connects the community to the traditional stories of the dance and acts as the social voice allowing current village issues to be debated. He is also a noted teacher of Balinese dance and mask carving to overseas students. He is on the faculties of the Bali Conservatory sponsored by Brooklyn based acting school Studio 5 and the Bali Purnati Center for the Arts, Batuan, Bali. After his travels to Japan in 1995, he received an award of excellence from the Japanese ambassador. He has carved masks for the Japanese and East Javanese government.

I Wayan Dibia, born in Singapadu village of Gianyar, is an artists and scholar specializing in Balinese performing arts. Trained in a family of artists, he has studied various forms of classical Balinese dances from different masters on the island.  From 1970, Dibia started to experiment with elements of traditional Balinese performing arts to create new works for a contemporary audience.


His formal education and training includes Conservatory of Balinese Performing Arts (Kokar), Indonesia Dance Academy (ASTI) Denpasar. He joined the faculty of dance at the Indonesia Dance Academy in Denpasar in 1974, received grant from the Asian Cultural Council New York in 1982 to do his MA in Dance, and from The Fulbright Hays in 1987 to pursue his Ph.D. in Southeast Asian Performing Arts, both at the University of California, Los Angeles.


Dibia has written a number of books and articles, both in English and Bahasa Indonesia. As a performing artist he has toured to Asia, Europe, Australia, and The United States of America. From 1997 to 2002 he served as the Director of STSI Denpasar. While teaching at STSI or now ISI Denpasar, Mr. Dibia has recently opened a house for performing art creativity, GEOKS, in his home village. From Fall 2005 through Spring 2007, he was a visiting fellow of Balinese performing arts at The College of Holy Cross, Massachusetts, to teach Balinese music and dance. In 2011 he was invited as a consultant to the exhibition entitles “Bali Dances for The Gods” at the Horniman Museum in London (UK).


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