Bed Time is a hypothetical work in the future, in which I celebrate all the ways in which being in bed has been good for me. Even the nightmares.
This is a work about preparing for dance. Which means preparing for the thing that saved me and shaped me, that I can’t (or won’t) let go, despite the disaffection I have around and for it. It is a solo, but it has at times many people. It is long, because it is not a summary, but in fact the real thing, or as close to real as possible when fitting it all onto a stage.
The Hell of the North is a hypothetical work in the future, in which I prepare for, and ride the 257 kilometres of the Paris-Roubaix race.
The Green Hell is a 6-hour endurance performance. It is a lecture on technology and engineering, on design and aesthetics, on velocity and noise, on the smell of hot engines, scorched brakes, burnt tires, sweet fuel, sweat and exhaustion.
I wanna push you up against a wall and man-handle you a little tonight. Preferably in some dirty public toilet. Lean in to you so you can feel my crotch against you and squeeze your tits under your shirts, put my mouth over them, drag your hand down the front of my pants so you can feel how much I want you.
This is a performance about black metal & being a metalhead, about being an immigrant & looking white, being not Muslim but not not-Muslim, about being true to myself even if it’s only in my bedroom, & about mediæval Germanic nun-mystics, who were metal as fuck.
abjection was (still is) a series of rehearsals on particular themes, the bones of which provide fodder for subsequent works.
There are many people and many ropes. It is an anarchy of shibari; repetition and difference. It is It is also somewhat baroque, or ‘dressed up’; something of an installation, something of a performance.
The anarchy of knots or the n+2 dimensional space for n >1 or the rope was a plant. A knot theory installation choreography from Dasniya Sommer and Frances d’Ath.
A performance in the Uferhallen Kulturwerkstatt with Dasniya Sommer & Hartmut Fischer, using the 5000kg mobile gantry hoist.
L’abjection is something that disgusts you, for example you see something rotting and want to vomit – it is an extremely strong feeling that is at once somatic and symbolic, which is above all a revolt against an external menace from which one wants to distance oneself.
monadologie is a performance coming from an ANAT AIR Residency at the Swinburne Centre for Astrophysics and Supercomputing.
A friend said, “You’re lucky, you get to do what we only theorise about.”
Judith said, “am I a gender after all? and do I ‘have’ a sexuality?”
Gilles said, “There are as many sexes as there are individuals”
Jean said I am not a ‘normal human’.
crush was made in Adelaide with Amanda Phillips for the I Hear Motion festival.
temperance is a return to pure choreography, based on Gilles Deleuze’s text The Fold: Leibniz and the Baroque, and Gottfried Leibniz’s texts Theodicée and Monadologie.
Canton demon nightmare in Liwan.
Death metal pornographic Chungongtu.
Zhuangyuanfang acid-dipped showgirls.
Going upriver and out of your mind.
“We do not die because we must, we die because it is a habit, to which one day, not so long ago, our thoughts became bound.” “To the Gods, death is only ever a prejudice.”
pretty girls with too much money, rapists with murder on their minds, prostitutes, lepers, hanged men, witches, demons, corpses.
capricious little bitches.
extermination is a meditation on Jean Baudrillard’s book “Symbolic Exchange and Death”; on bodies that are models, robots, animals, corpses; on heavy metal, Motörhead and Slayer.
carnivore was made for the Guangdong Modern Dance Company 广东现代舞团 as part of their 10th Anniversary celebrations, through an AsiaLink Performing Arts Residency.