Si Thu Tan Naing (b. 1983, Myanmar) of Yangon adopted for himself a unique artist name, Moe Satt. Born in a country which suffers from the dictatorship of the military junta, Moe Satt became a leading artistic figure in his generation for his persistent concern for and criticism of the socio-political conditions that his people are subjected to, as well as his unprecedented artistic ideas and practice. The body is Moe Satt’s foremost medium. He places actions and performances in the intersection of public spaces and the wider public, thereby eliciting both the acts of witnessing and participation necessary for a sense of co-immunity and alterity. It is evident that Moe Satt’s pursuit is in de-hierarchizing order via choreographic structures that propose a disruption of normative public spheres and engagement in order to allow the spectators to perceive time, movement, and exchange in a renewed sense. Hand gestures and symbols are essential to Moe Satt’s practice. He uses the patterns derived from religion, social history, and even popular culture as a citational tool to communicate, express attitudes and information, raise questions, and provoke.