Our Common Sky: The Procession.

I am asking what is our dance (in the Forest of Dean) and what happens when we share it under our common sky? This research will use a procession as a form of public and social experimentation. Is the procession a way we can talk without words about what unites us? I am also addressing the choreographic question: what would an improvised folk dance practice look like? The procession sits between ideas of traditional performance art and orthodox folk tradition. What happens when the folk actually get to create a dance together right now.”

Image by Ceirios Bebb

Lover’s Rock – A sanctuary for softness, intimacy and rage

The work explores the potential of looking back as a way of moving forward, of activating hope in a hopeless time. Influenced by Lover’s Rock music, romantic reggae of the 1970’s born against the backdrop of widespread racism and police brutality in the UK. This work calls back to these ancestors that carved out sanctuaries to dance together in protest, in resistance, for joy, for intimacy and for healing.

Image by Dujonna Gift

Deafscapes of Gaia

I will expand my exploration of climate awareness and accessibility by further developing Deafscapes of Gaia – a new movement-based interpretation of human–nature connections using visual soundscapes. By collaborating with academics and fellow dancers, my aim is to now deepen my Deaf-led research around the theme of Water, creating inclusive, sensorial choreography that reflects nature’s fragility and resilience.

Image by Mark Pickthall

Magic Bird of Fire

In this Phase 2, Magic Bird of Fire begins to take real shape. With the support of a producer, a music creator and a costume designer, I’m transforming the phoenix metaphor into a full performance—bringing together Waacking, Voguing and my lived experiences of rebirth, strength and queer identity.

She Dreams. She Flies!

How far can I dream if my body and wheelchair are suspended in the air? Through research in Contemporary dance, aerial suspension, and the mechanics of my wheelchair, I am uncovering a new language of possibility. I further plan to question how I bring this practice of discovery into a future show reality.

Image by Courtney Lowe

Conditions for Making

I want to dig deeper into the “conditions for making” enabling professional adult dancers to work with young children as equals. I believe the work has the capacity to unleash the wisdom of the child and innocence of the adult, questioning what it means to be expert and rewriting norms for a child entering a dance space as a valued contributor.

Image by Marcus Way