KM — We make mostly devised theatre with a humanistic approach to movement. Works are often structured in a montage style: a series of overlapping images, weaving dance with gesture, story, text, image, and sound. 

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Performances and workshops are often situated in alternative spaces. We tend to avoid traditional theatres and prioritize site specificity, always considering the design of the space, how that affects the power balance between audience and performers, and the notions of intimacy within that space. We also like to work with ‘untrained bodies’ alongside trained movers, helping to disrupt preconceived ideas about who has the right to dance. 

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We begin in the studio with some movement phrases and improvisation tasks, then transpose the material into found spaces, utilizing the specific architecture to give further shape to the work. And sometimes we do the whole thing in reverse too; start in the space, find out its history and allow the texture and stories of the space to inform the concept.   

 

Humans have always craved experiences that enable us to enter into spaces of transformation. And perhaps the tradition of the theatre curtain rising at the start of a performance was once a signifier for audiences to enter into the story. But more often in modern Western culture and traditional theatre models, there’s this perception of audiences as passive observers; the idea that audiences watch but do not do, is still very prevalent. Immersive performance can challenge the nature of dance spectatorship, offering agency and greater investment from audiences.