Museum of the Moon is a touring artwork by UK artist Luke Jerram. Measuring seven metres in diameter, the moon features 120dpi detailed NASA imagery of the lunar surface. At an approximate scale of 1:500,000, each centimetre of the internally lit spherical sculpture represents 5km of the moon's surface.

From the beginning of human history, the moon has acted as a ‘cultural mirror’ to our beliefs, understanding and ways of seeing. Over the centuries, the moon has been interpreted as a god and as a planet. It has been used as a timekeeper, calendar and to aid night-time navigation. Throughout history the moon has inspired artists, poets, scientists, writers and musicians the world over.

Take Me To The Moon - Sun 20 May, 1.30pm–3.30pm, free. A free, intergenerational community event in partnership with Maryhill Integration Network, who bring migrant, refugee and local communities together. A celebratory, family-friendly gathering under the moon, with food, face painting, and songs from local choirs.

Access, as published in 2018

Babies in arms and buggies had free entry at venue staff's discretion.

Credits

Presented by UZ Arts in partnership with Take Me Somewhere, Synergy Concerts and the Charles Rennie Mackintosh Society. Photo: Carolyn Eaton.

Five women tackle the neo-liberalist cult of the body with all their performative brilliance and vicious, physical virtuosity in Florentina Holzinger's Apollon, which limbos between the aesthetics of an occult fitness-studio, a cyborg-bullfight and neoclassical ballet.

The all-female cast passionately conquers George Balanchine's famous neoclassical ballet, which centres around Apollo, the Greek god of art. In pointe shoes and with Olympic weights on their shoulders, the choreographer and her muses throw this poster boy off his throne with smiles on their faces.

Through this humorous, furious destruction of a classical narrative, Holzinger addresses the myth of the supposedly perfect woman: the artist herself. These perfect women – what do they even want?

“a wild clash between ballet and feminism” - De Morgen, Oct 2017

Access, as published in 2018

Venue is wheelchair accessible. Performance will be BSL Interpreted.

Credits

Photos: Radovan Dranga.

“We have been poisoned by fairy tales” — Anaïs Nin

VIOLENCE is a performance art piece by FK Alexander; a meditation on the cruelty of love, the weight of loneliness, the gift of desperation, the freedom of anxiety, the chrysalis of hopelessness… and the power of dreams.

VIOLENCE is a personal anti-love tribute to crushed hope and renewed desire, combining variously sourced text, live percussion, non-dance and flowers. It offers a non-linear fantasy panorama in praise and confusion of co-dependency between you, between them, between God.

“protect me from what I want” — Jenny Holzer

★★★★★ “a unique, powerful performance” - Broadway Baby, on (I Could Go On Singing) Over The Rainbow

Access, as published in 2018

Venue is wheelchair accessible. The performance is highly visual and all text will be captioned.

Credits

A commission presented by Take Me Somewhere, Outspoken Arts and The Marlborough Theatre. FK Alexander works with Amplifier: Nick Anderson. Image by Joanna Stawnicka.

Coffee and breakfast with Florentina Holzinger, discussing her process and practice in relation to Apollon, showing at Tramway on Wed 16 May.

Florentina Holzinger (b. 1986 in Vienna) is a choreographer living and working in Amsterdam and Vienna. She studied choreography at the School for New Dance Development (SNDO) in Amsterdam. She consciously plays with the shifting of boundaries between high culture and entertainment in all her works, earning her a reputation as one of the “most provocative” new choreographers in Europe.

Since 2011, she has enriched the international performance scene with dizzying acrobatics, muscular women's bodies and martial arts fight scenes – exploring different modes of female representation and trying to question the full potential of female physicality. Holzinger won the Prix Jardin d'Europe for her solo Silk at ImPulsTanz in 2012.

Access, as published in 2018

The venue is wheelchair accessible.

Credits

Presented by Tramway Take Part in association with Take Me Somewhere.

Hamnet is a solo work for an eleven-year-old boy, which stormed the Dublin Theatre Festival in 2017.

William Shakespeare had one son. He named him Hamnet. He then left home to pursue his career in the theatre, effectively abandoning his family. In 1596, he was told that the boy – who was then eleven years old – was seriously ill. By the time Shakespeare reached Stratford, Hamnet had died.

In 1599, Shakespeare wrote a play called Hamlet.

Hamnet is too young to understand Shakespeare. And he is one letter away from being a great man. We are too old to understand Hamnet. How close are we to greatness? We meet in the middle, in a theatre, in purgatory: youth reaching forward to a life it will never know, an audience reaching back to a life it has forgotten.

★★★★★ “A touching, thoughtful, and thought provoking production, ‘Hamnet’ is theatrical gold.” - Arts Review, Oct 2017

★★★★★ “Over the course of a beautifully spry hour you can admire the performance's bright surface or plunge into it fathoms deep” - Irish Times, Oct 2017

Access, as published in 2018

Venue is wheelchair accessible. Performance will be BSL Interpreted by Amy Cheskin.

Credits

Text by Bush Moukarzel, Ben Kidd and William Shakespeare. From the makers of the Fringe First and OBIE Award winning LIPPY and Chekhov's First Play. Supported by Culture Ireland as part of GB18: Promoting Irish Arts in Britain. Photos: Gianmarco Bresadola.

Steven Brett is a Programme Manager within the British Council's Theatre & Dance team based in London, with specific responsibility for the Americas, the Caribbean and EU Europe.

The Work Room hosted two sessions – one in Glasgow, one in Edinburgh – for artists and producers to hear more about the approach and work of the British Council in dance and theatre, to introduce their own work, and to ask questions.

The second session ran Tue 22 May, 9.30–11am, at the British Council Scotland office, Waverley Gate, Edinburgh.

Access, as published in 2018

The venue is wheelchair accessible.

Credits

The Work Room & Take Me Somewhere.

This eerie choreography of confusion was created in collaboration and performed with Jo Hellier and Peter McMaster. The performance includes a Visual Description developed in collaboration with Juliana Capes, aimed at describing and interpreting that which cannot be seen, but is present.

It is a bright space, light spring from deep below and from behind. There is nowhere to hide. There are 3 obscured vertical figures; a blood sack, a towering meat stack (or stink horn) and a jelly beast. The 3 figures signify the 3 different fires in the work: the inner fire, the secret fire and the dark fire that stimulates the other two. Four winds blow through and it is time to journey through the gloom.

Dark matter is brought to life through great heat and distilled up to twelve times. This phase lasts for a long time so one should be patient. The terror of the situation gives us a moist hug and the most fabulous sphere of wrath, for it is here that the chaotic blood tunnel opens and we visualise the golden nugget. Evocation at its best, for now we see through a mirror, darkly.

A double ticket deal was available with MOOT MOOT at The Art School (9pm) – £18/£12.

Access, as published in 2018

Venue is wheelchair accessible. Performance has integrated visual description, designed for visually impaired audiences, developed in collaboration with Juliana Capes.

Credits

Choreography: Louise Ahl. Created and performed by Jo Hellier, Peter McMaster and Ultimate Dancer. Visual Description: company in collaboration with Juliana Capes. Amplifier: Nick Anderson. Dramaturgy: Crystal Cooper. Scenic Painter: Charlotte Powell. Developed through the National Theatre of Scotland's Starter Programme (supported by McGlashan Charitable Trust), The Work Room, Beacon Arts Centre and Reykjavik Dance Festival. Supported by the National Lottery through Creative Scotland. Supported by Take Me Somewhere. Photo: Maurice Andersen.

It's all about you and your opinions… so get in touch!

Cade and MacAskill take on the roles of doppelgänger radio hosts Barry and Barry, batting banter back and forth in their surreal phone-in talk show. Seeking connection with the world beyond, they can only tune into the white noise at the edges of their outer space echo-chamber.

MOOT MOOT is a weird and wild trip through never-ending feedback loops; a riotous rhythmic transmission for our times.

Rosana Cade's immersive Walking-Holding and autobiographical performance Sister have toured the country to critical acclaim, as has Ivor MacAskill's solo performance piece STUD. See them desperately grasp at meaning in a post-truth world, where all facts are moot.

A double ticket deal was available with FOR NOW WE SEE THROUGH A MIRROR, DARKLY at CCA (7pm) – £18/£12.

“Never were two office chairs so exploited as Cade and MacAskill underscore their strange twin act by wheeling them from presenter formality to childish wildness.” - Exeunt, 2017

Access, as published in 2018

Venue is wheelchair accessible. Performance on 23rd will be BSL Interpreted by Amy Cheskin.

Credits

Presented by Take Me Somewhere & Outspoken Arts. Sound world devised by Yas Clarke. Co-commissioned by Fierce Festival, The Marlborough Theatre and The Yard Theatre. Supported using public funds by the National Lottery through Arts Council England.

As Far As My Fingertips Take Me is an encounter through a gallery wall between an audience member and a refugee. Their fingertips touch without seeing each other. The refugee will mark the audience. The audience will listen to those who have recently challenged border discrimination. Those stories can be kept or washed away.

Tania El Khoury commissioned musician and street artist Basel Zaraa, who was born a Palestinian refugee in Syria, to record a song inspired by the journey his sisters made from Damascus to Sweden.

Access, as published in 2018

Venue is wheelchair accessible and the performance will have basic audio description.

Credits

Creation by Tania El Khoury. Performed by Basel Zaraa. Song by Basel Zaraa (vocals, bass and keyboard) with Emily Churchill Zaraa (vocals), Pete Churchill (music production) and Katie Stevens (flute and clarinet). Presented by Take Me Somewhere and National Theatre of Scotland. Commissioned by “On the Move” LIFT 2016 in partnership with Royal Court Theatre, London.

Diamond is an avant-garde, angry and often hilarious journey into LGBT liberation from 1957 to present day, told via the thrilling, passionate biography of David Hoyle, with musical interludes from London drag four-piece The Lipsinkers.

Weaving together intimate personal experience with public events, Diamond charts David's rise from a gay adolescent working in BHS in Blackpool to Channel 4's famous anti-drag queer cult phenomenon.

Reclaiming renowned historical moments and reflecting on the lives of prominent gay figures such as Alan Turing, Diamond revisits LGBT political history through Hoyle's provocative and profound lens. Navigating and dissecting counter-cultures and British attitudes towards them, Diamond will appeal to all with liberation in their heart.

£10 tickets were also available for under-25s. Part of the TMS BIG DAY, with a free bus running between Tramway, Platform and the Tron.

★★★★ “Gloriously bad taste, extremely funny and properly unique.” - Guardian, Oct 2017

★★★★ “An explosion of energy, glitz, dance and drama.” - Everything Theatre

Access, as published in 2018

Venue is wheelchair accessible and has a built in hearing loop and infra-red system. The performance on Friday 25th will be BSL Interpreted by Iain Hodgetts.

Credits

Written & performed by David Hoyle, with special guests The Lipsinkers. Director Mark Whitelaw. Producer & Dramaturg Jayne Compton. Commissioned by Contact. Presented by Take Me Somewhere & Outspoken Arts Scotland. Main photo: Lee Baxter.

Twenty-five years ago, a small-town girl from Fife was catapulted to a rock-star life as the lead singer of a hot new indie band. On tour with Radiohead, partying with Blur and sharing a dressing room with the Cranberries, she was living the dream. Until she wasn't.

Based on her meticulously detailed teenage diaries, this is the true story of Cora Bissett's rollercoaster journey from the girl she was to the woman she wanted to be.

Performing with a live band, and directed by Orla O'Loughlin, Cora celebrates life's euphoric highs and epic shitstorms, and asks what wisdom we should pass on to the next generation – and which glorious mistakes we should let them make.

Part of the TMS BIG DAY, with a free bus running between Tramway, Platform and the Tron.

Access, as published in 2018

Venue is wheelchair accessible.

Credits

A Traverse Theatre Company & Raw Material co-production with support from Tron Theatre. Directed by Orla O'Loughlin. Dramaturgy Douglas Maxwell. Photo: Niall Walker.

We couldn't let The Lipsinkers come to town (with David Hoyle's DIAMOND) without putting on a wee late night party. So we teamed up with We Love Pop Glasgow to do just that.

Choreographed comedy, pop and politics, drags, fags and carrier bags. Formed in East London and now resident at The Royal Vauxhall Tavern, The Lipsinkers have been at the heart of London's alternative cabaret scene for over a decade. Their constantly changing five-star show played sell-out runs at the Edinburgh Fringe over four consecutive years. Contains nudity. And stupidity. Not tidy.

Taking place upstairs at the O2ABC right after the Beth Ditto gig, We Love Pop resident Spirit In The Dark DJs played all the big electro pop gems from Beth Ditto, Robyn, Chvrches, Annie, RuPaul, Scissor Sisters, Dragonette, Years & Years, Goldfrapp, Pet Shop Boys, Madonna, Lady Gaga, Charli XCX, Dua Lipa and more.

Free entry before 11.30pm, or with a Beth Ditto or David Hoyle: Diamond ticket.

Access, as published in 2018

Not stated on the original page.

Credits

Take Me Somewhere with We Love Pop Glasgow. The Lipsinkers also performed in David Hoyle's DIAMOND on Fri 25 and Sat 26 May at the Tron Theatre.

LIQUID SKY is a piece of visual theatre exploring the interface between sonic art and aerial circus, within a laser light scenography.

Titled as an homage to the cult 80s movie and a famous laser visual effect, the performance takes inspiration from Doris Lessing's feminist sci-fi novel The Marriages Between Zones Three, Four, and Five, about a matriarchal utopia.

Audiences are immersed in an otherworldly environment that sits between an AV concert and a live art happening. Awe-inspiring feats of physical strength by aerial artist Aedín Walsh are paired with a ‘Dark Wave’ live set from sonic priestess SUE ZUKI, whose throbbing synthetic hymns and mesmeric vocals raise the congregation into a fizzing euphoria.

Part of the TMS BIG DAY, with a free bus running between Tramway, Platform and the Tron.

Access, as published in 2018

Venue is wheelchair accessible. The performance on Saturday 26th was a relaxed performance, suitable for families. Subpacs were available (TBC) - wearable audio technology that converts sound into high fidelity vibrations you can feel. Contains laser, strobe and loud music.

Credits

Aerial Artist: Aedín Walsh. Music composition + performance: SUE ZUKI. Lasers + Set Design: Jack Wrigley. Performance Direction + Costume: Bex Anson. Presented by Tramway in association with Take Me Somewhere. Produced by Feral, in partnership with Bassline Circus and NTS radio. Funded with the support of Tramway, Creative Scotland, Swedish Arts Council and Swedish Arts Grants Committee. Photos: Jack Wrigley.

Combining a Dr Strangelove-inspired performance with a daring forum for public conversation, Unexploded Ordnances (UXO) explores ageing, anxiety, hidden desires and how to look forward when the future is uncertain.

In the Situation Room, twelve audience members are invited to become a Council of Elders to discuss the global issues of the day, as the company weave in satirical insights and humour. Adopting the characters of a bombastic general and ineffectual president, Peggy Shaw and Lois Weaver of Split Britches present this interactive piece as equal parts comedy performance and urgent political discussion.

Split Britches continues with the duo and solo work of Lois Weaver and Peggy Shaw spanning satirical, gender-bending performance, public engagement, videography, digital and print media, explorations of ageing and wellbeing, and iconic lesbian-feminist theatre.

Part of the TMS BIG DAY, with a free bus running between Tramway, Platform and the Tron.

Access, as published in 2018

Venue is wheelchair accessible and has an Infra-red Hearing Loop installed. The performance will be BSL Interpreted.

Credits

Presented by Take Me Somewhere, National Theatre of Scotland and Platform, with support from Luminate and Outspoken Arts Scotland. Image by Matt Delbridge.

Between Strangers was a one-day symposium as part of Take Me Somewhere. It responded to ongoing debates about access and accessibility in contemporary arts culture and performance by focusing on questions of hospitality and strange(r)ness.

‘What do we share and what do we owe each other? How are “we” counted and who is included?’ — Lois Weaver

Questions explored included: how do we ensure that performance is hospitable, inclusive or accessible? What is involved in hosting or making a home for such work? What assumptions about familiarity shape our understanding of hospitality? How do we make space for encounters with strangers and strangeness without fetishizing lives and experiences that may be different from our own?

Contributors included Lois Weaver, Stephen Greer and Amy Rosa. Places were limited and allocated by application, to bring together a mix of practitioners, researchers and students. To enable access, the symposium was free, with costs met by the host organisations, and included a shared pot luck buffet lunch and a wine reception.

Access, as published in 2018

Venue is wheelchair accessible and has an Infra-red Hearing Loop installed. The symposium will be BSL Interpreted.

Credits

Organised by Laura Bissell, Laura Gonzalez, Stephen Greer, Karl Taylor and LJ Findlay-Walsh. Hosted by the University of Glasgow, Royal Conservatoire of Scotland and Take Me Somewhere. Photo: Alex Legge.

Phantoms of a bygone theatrical era haunt the boards in this satirical response to the phenomenon that Hamlet is the most performed play of all time. Looking to expose the errors of theatre's male domination, whilst set in the dark and crumbling environment of the patriarchy's theatrical bosom, three ghost Princes evoke a cynical picture of a theatre tradition at the brink of collapse.

Competing, flirting, demolishing and disappearing, this offensive handling of Shakespeare's most celebrated work is a chaotic farewell to a theatre canon that is on its way out… hopefully.

Continuing with the troubles and questions around how to legitimise male presence in public performance spaces, Peter McMaster and company return for a final stab at deconstructing this oppressive institution from the inside.

Access, as published in 2018

Unfortunately the venue is not wheelchair accessible - it is on the first floor, up around 40 steps. The performance on 30th May will be BSL Interpreted by Iain Hodgetts.

Credits

Made in collaboration with Louise Ahl, Craig Manson, Murray Wason and Dan Cox. Directed by Peter McMaster. Dramaturg and design support from Nic Green. Producing support from National Theatre of Scotland.

A heart-wrenching, humorous journey into the female psyche, MOUTHPIECE received rave reviews and awards at Edinburgh Festival Fringe 2017.

MOUTHPIECE follows one woman, in the wake of her mother's death, for one day, as she tries to find her voice. Interweaving a cappella harmony, dissonance, text and physicality, two performers express the inner conflict that exists within one modern woman's head.

Ranging from tender to merciless, with uncompromising precision, MOUTHPIECE magnifies a daughter's contemplation of her mother, and becomes a rigorous investigation of womanhood itself.

Winner of The Stage Award for Best Performance, Edinburgh 2017. The performance on 31 May was followed by a post-show discussion with Norah Sadava and Amy Nostbakken.

“When we first saw Norah and Amy's breath-taking performance in Toronto we were speechless. MOUTHPIECE touches on every part of the female experience from birth to death using dance, music, and wicked humour with just a bathtub for scenery. The result is a new kind of feminist language, which ignites pure, intravenous emotion. It's impossible to describe and truly unforgettable.” - Jodie Foster & Alexandra Hedison

★★★★★ “Utterly fearless…relevant, vital…may leave you, too, speechless.” - Fest Magazine, Aug 2017

★★★★★ “Truly astounding stuff.” - The Stage

Access, as published in 2018

Venue is wheelchair accessible. Contains strong language and some sexual content.

Credits

Created & performed by Amy Nostbakken & Norah Sadava. Presented by Take Me Somewhere & Tramway. Photos: Brooke Wedlock.

Glasgow-based artist Christian Noelle Charles takes inspiration from pop culture, modern performance techniques and personal experience to create a series of works titled ‘CC Time’.

Exploring female representation, individuality and self-love in a contemporary world, Noelle Charles' performance is presented alongside a short exhibition of her expressive film work.

The performance was followed by LAST YEARZ INTERESTING NEGRO: i ride in colour and soft focus, no longer anywhere.

Access, as published in 2018

Venue is wheelchair accessible.

Credits

Presented by Tramway in association with Take Me Somewhere.

Last Yearz Interesting Negro is the solo project of Jamila Johnson-Small, who makes work with ‘in-between spaces’ – things that exist within cracks in time/memory/attention. Her work is based around syncopation, trance states, internal narratives, electronic music and a love of dancing on the spot.

In i ride in colour and soft focus, no longer anywhere, she examines the body as oracle, a trance, a rhythmic interface, an atmosphere, a landscape with the texture of her current mental state. The dance is informed by everything and everyone she has ever encountered, seen, heard, felt or been beside that has become part of her, as she tries to identify her own voice.

The choreography prioritises noise over silence, now over yesterday and pleasure over doing it right – a meditation on osmosis and internalisation, the responsibilities of blackness and queerness, the feeling of being possessed by other people's fantasies – and the fear that her own would just be too rude.

Access, as published in 2018

Venue is wheelchair accessible. The performance will be BSL Interpreted by Amy Cheskin. Contains flashing lights and strobe.

Credits

Presented by Tramway in association with Take Me Somewhere. Originally commissioned by Fierce Festival and The Marlborough Pub and Theatre, with funding from Arts Council England. Photos: Carlos Jimenez and Katarzyna Perlak.

Following the performance of i ride in colour and soft focus, no longer anywhere, Last Yearz Interesting Negro / Jamila Johnson-Small facilitates a practical workshop towards encouraging flow between dancing, talking and thinking.

“workshops terrify me. i don't want to learn anything – i feel too old to be able to let anything in because after a few decades of being alive i have been exposed too much to the dubious power-relations in rooms supposedly for education and learning, i have realised that a lot of what i have learned has been some training in obedience and subliminal correction.”

“point being: techno-meditations on states of being and coping with being and bodies and other people and all that mad energy i.e. some dancing, to some music, with some words to encourage, to ignore, to suggest, to convince, to seduce, to say a daily prayer that is a manifesto that is a fuck you that is whatever it needs to be”

Access, as published in 2018

Venue is wheelchair accessible. BSL Interpreted by Amy Cheskin.

Credits

Presented by The Work Room in association with Take Me Somewhere and Tramway.

Take Me Somewhere Sticky closed the festival with a stellar line-up of galactic goddesses to build a new paradise in Outer Space. Cosmic Queers… Maverick Martians! Come aboard and let's get outta here.

With live performance from gender-fluid, warrior princess rapper Mykki Blanco (USA), mythopoetic super heroine and vodou priestess popstar Lady Vendredi, alongside performance installations from Katy Baird, Bronze, Oozing Gloop and Ratty ByeBye, and tunes from Jumeau, LEZZER QUEST and Vatsala. Hosted in BSL and English by Lyn Chee and Vikki Ryan.

Running order: 8pm doors · 9pm–9.30pm Lady Vendredi · 10pm–11pm Mykki Blanco · 11pm–12.30am Oozing Gloop, Ratty ByeBye, Bronze · 12.30am Katy Baird · 12.30am–2am tunes.

On Mykki Blanco: a fearless artist at his challenging yet melodic best, Mykki Blanco released his debut album Mykki in 2016. A child actor who founded a performance art collective as a teen, ran away from home, and won scholarships to two prestigious art colleges – quitting both. Finding fame first as a fearless noise rap poet, he published a book, From The Silence Of Duchamp To The Noise Of Boys. Impossible to pigeon-hole, and hailed online as a digital warrior princess who rules across the underground music scene.

Free entry was offered to asylum seekers and those on benefits. Some performances contained explicit content.

★★★★ “this arresting, gender-fluid rapper sashays magnificently between braggadocio and distress… one of the year's most riveting musical self-portraits” - Guardian, on Mykki Blanco

Access, as published in 2018

The venue is wheelchair accessible and there was BSL interpretation all night except Mykki Blanco's set from 10pm–11pm, so a reduced ticket price of £8 was available for BSL users arriving before 11pm.

Credits

Programmed by a group of local queer artists: Thulani Rachia, Bonzai Bonner (Shoot Your Shot), Karl Taylor, Nima Séne and Bea Webster. Presented by Take Me Somewhere and Outspoken Arts Scotland, in association with Synergy Concerts. Poster by Wildeblood Design.

What if your food started talking back?

Meet Lionel the lion. He's just eaten a human called Mamoru for lunch. Being very hungry, Lionel hasn't chewed his food, so Mamoru is still alive and very well in his stomach, and now wants to say hello. A strange friendship between the eater and the eaten starts to grow – meanwhile, Lionel's breakfast wants to say hello… from his bottom!

Eaten invites children and grown-ups to the fascinating world of the food web. It asks: what should we eat? And who should eat us?

★★★★★ “Iriguchi's creation is unpretentiously intelligent, warm, and as honest as it is silly” - ThreeWeeks

★★★★ “an educational conceptualist entertainment for ages six and up that plays with the notion ‘you are what you eat’” - The Times

Access, as published in 2018

Venue is wheelchair accessible and has a built in hearing loop.

Credits

Presented by Platform in association with Take Me Somewhere. Photo: Manuel Vason.

The inaugural Diane Torr bursary was awarded to Eilidh MacAskill & Rosana Cade.

Diane was an influential performance artist from Scotland who died in 2017. She was a founding member of The Work Room in 2008, and to honour her, The Work Room collaborated with Take Me Somewhere to award an artist bursary in her name. Working in dance, drag king performance, installation, film and video, much of Diane's work challenged assumptions about gender. The bursary continues that spirit by supporting movement-based research and development investigating issues of gender in life.

Eilidh and Rosana used the award to undertake research exploring shifts in their bodies, identities and relationships. As well as receiving the £2,000 bursary, they participated in Take Me Somewhere's Artist Constellation.

A travel bursary was also awarded to FRAN.K, a mixed-race performance artist based in Glasgow working with movement and visual art in club spaces, to connect with the Dutch Ballroom scene and undertake mentoring with artist Bridge Markland – who curated the Go Drag festival with Diane in Berlin in 2002.

“We are honoured to receive this inaugural bursary in Diane Torr's name. She was a source of inspiration to us as queer performers… This project will see us exploring our shifting identities as a couple and as individuals, utilising movement and image where words fail us.” - Eilidh MacAskill & Rosana Cade

Credits

Applications were considered by a panel involving Work Room members, Rosanna Irvine and Angie Dight, along with LJ Findlay-Walsh and Gillian Garrity from Take Me Somewhere.