Ridhwan Saidi is a Malaysian writer, theatre practitioner, and filmmaker known for his interdisciplinary experimentation with language and his fearless exploration of taboo subjects, with his trademark mix of ‘art berat’ and ‘art ringan’, dry humour, and esoteric discourse. In 2011, Ridhwan penned his first novel, “Cekik,” followed by “Amerika” in the same year. Since then, he has authored “Mautopia” (2012), “Stereo Genmai” (2012), “Babyrina” (2014), and “Brazil” (2015). Each of these works delves into a wide array of themes and courageously challenges conventional storytelling. However, his examination of the darker aspects of human existence has elicited both admiration and concerns regarding its moral implications. In addition to his association with Moka Mocha Ink, Ridhwan’s enthusiasm for theatre and the performing arts led him to establish Ensembel Teater Kaos Nol. Through this collective, he nurtures artistic talent, encourages conversations, and addresses important issues through artistic means. “Our aim is to be open and inclusive when it comes to diverse modern art forms and traditional craft. When you have a thirst for knowledge, value historical understanding, and have a sense of humour, things will fall into place.” –Ridhwan Saidi (Moka Mocha Ink, an indie publisher, is making strides in literature and theatre circles. The Star, 20 July 2019) Ridhwan has made contributions to the field of theatre performance through his works in Teater Modular and Teater Normcore. Teater Modular employs a system of independent modules, creating an ever-changing and interactive experience for the audience. On the other hand, Teater Normcore explores the intricacies of the creator-creation relationship in “Stereo Genmai,” delves into the roles we assume in both private and public spaces in “Masam Manis,” and examines the human condition within urban settings through productions like “Hamlet Fansuri,” “Karaoke Medea,” and “Tahun-Tahun Seorang Novelis.” His approach remains firmly rooted in unconventional and grassroots theatre. In his film “Tiada Cinta Selama Muda” (No Love for the Young), Ridhwan blends body movements, documentary footage, and poetry, creating a peculiar audiovisual experience. He welcomes spontaneity while filming on-site and fosters a sense of collective creativity. Apart from his own projects, Ridhwan actively collaborates with others and works as a dramaturg in productions such as “Tidur Lambak” (2022), an immersive performance exploring communal sleeping, and Lau Beh Chin’s “Beyond Moving with Artisans” (2021-2024), a choreography exploring fading crafts.