Sendiri is a meditation on survival. This live digital performance is the premiere iteration of this collaborative body of work, developed since 2019.

an occasion, of sorts / and an everyday

and being in nothing is also being / and if i did it, this is probably how

and it’s not for me to tell you that it’s going to be ok / and how, then, could you even be alone, if a whole community lives inside you.

“impressive ability to morph from delicate, traditional Indonesian head tilts and toe lifts to full body crumples and kinetic wigouts” — The List

Access, as published in 2021

This is both a sound and visual work. There is no spoken text.

Credits

Concept: Claricia Parinussa. Performance: Rowdy SS & Claricia Parinussa. Videoscape: Isabel Barfod. Sculpture: Sequoia Barnes. Sound: Rowdy SS. Cinematography: Paradax Period. Lighting: Aisha Oyedepo / Jazz Hutsby / Paradax Period. Producer: Zoë Charlery / ID.Y. A Tramway Supports commission, supported by Creative Scotland, Transmission Gallery, The Work Room, Chisenhale Dance, CCA.

Welcome to The Making of Pinocchio – an up-close behind the scenes look at the quest to make Pinocchio the perfectly imperfect trans masc narrative of our times.

In a forest of real wood and fake wood, and real fake wood, and fake real wood, join the cast, crew and creators as they construct Pinocchio over and over again, shaking the boundaries between possible and impossible, reality and fantasy.

Artists and lovers Rosana Cade and Ivor MacAskill have been making The Making of Pinocchio since 2018, alongside and in response to Ivor’s gender transition. Glimpsed through a fictionalised making process, the artists’ real autobiographical experience meets the magical story of the little lying puppet who wants to be a real boy.

The Making of Pinocchio for Take Me Somewhere 2021 was designed as a special one-off digital performance, and was re-worked and toured as a live performance from Spring 2022.

Access, as published in 2021

Captioned by Collective Text, with audio description by Juliana Capes.

Credits

Created and performed by Rosana Cade & Ivor MacAskill. Set, prop & costume: Tim Spooner. Sound: Yas Clarke. Lighting & production manager: Jo Palmer. Producer: Mary Osborn for Artsadmin. Cinematographer: Kirstin McMahon. Outside eye: Nic Green. A Fierce Festival, Kampnagel, Tramway & Vooruit co-commission.

Future Perfect: New Byelaws for Civic Spaces is a hopeful, positive act of re-configuration. Byelaws that regulate behaviours in civic spaces — in this case Paisley’s ‘Rules for the Management of Public Parks’ — are cut up word-by-word and meticulously rearranged into a new set of rules for a transitioning world.

From this new poetic script, selected phrases are enlarged and re-inserted back into the architecture of the cityscape on hoardings and giant billboards, acting as playful instructions, permissions or manifestos.

A large-scale remnant of the cut-up process, the billboards and signs work against the fast-moving digital dialogues of the internet, media and advertising.

Access, as published in 2021

The work is an outdoor installation and highly visual.

Credits

Created by Gemma Paintin, James Stenhouse, Mia Rushton and Eric Moschopedis. Co-presented by Renfrewshire Leisure and Paisley Arts Centre. Funded by Future Paisley.

I am listening to you, getting to know you, marking and honouring you, seeing what you have to say, letting you take centre stage.

Pain and I is a bold and intimate audio piece, exploring the complexities of chronic pain experience through autobiographical text, sound and music. Sarah Hopfinger has lived with chronic back and neurological pain for 18 years, and has largely related to her pain as a barrier to her life and work. For this performance she turns towards her pain as a creative collaborator, exploring it as an unwanted life partner and intimate companion.

Pain and I originally existed as a choreographic studio performance for a live audience — this audio piece develops the work in a new direction, inviting the listener to reflect on what it means to care for our bodies, ourselves and each other in times of personal and collective pain.

Access, as published in 2021

This is an audio work with no visuals. A transcript is available to download.

Credits

Written and performed by Sarah Hopfinger. Sound design and composition: Alicia Jane Turner. Dramaturgy: Laura Bradshaw. Produced and funded by Take Me Somewhere and Platform, with support from Creative Scotland, The Work Room and Battersea Arts Centre.

Kòrónà Stomp is a digital performance piece that uses photography, video, sound, texts, and GIFs to situate the viewer in a ‘Covidscape.’

This Festivals of The Future commission asks ‘How can we be present in the absence?’ It foregrounds discussions on the ideas of connection, movement and proximity. The starting question for this piece is, ‘Is there a performance without the presence of the performer?’ and, ‘If the medium is digital, is it still performative?’

The artist has deployed 15 works – photographs, videos, archive materials, sound, GIF, and texts – in a performative way to reflect on the notion of presence and absence. The title is inspired by the Frank Stella painting ‘Hyena Stomp’, itself inspired by the tune of the same name by Jelly Roll Morton.

While the piece was to be staged in physical format, it was adapted digitally due to Covid restrictions, and the audience navigates it using the floor plan of the gallery space as a backdrop.

Access, as published in 2021

An interactive installation containing multiple visual artworks. Films within the installation which contain text are captioned.

Credits

By Ayọ̀ Akínwándé. Collaborators: Freddie Darke, Olasunkanmi Abayomi, Benjamin Udezi, Laura Ramirez Palacio, Paula Callus, Elena Rosauro. Captions: Collective Text. A Festivals of the Future commission.

Colonastics is a fitness workout that doubles up as a critical whiteness lecture. The concept emerged years ago, before the violent killing of George Floyd and the now famous Central Park incident that captures white embodiment so perfectly, both reminding us that even though the last year might have felt like a pause, the white supremacist, capitalist patriarchy doesn’t grant us a rest day.

Whether practised in the safe environment of your newly created home gym or in the studio, what Yoga, Zumba, Pole Dancing etc have in common is that their vocabulary feeds off an imaginary esoteric and exotic space and bodies that are constructed as the ‘other’.

Colonastics invites you to clear your surroundings for a sweaty workout that decolonises your body, mind and spirit — a physical practice that developed out of the unmarked embodiment of whiteness.

Access, as published in 2021

The films are captioned.

Credits

Concept & choreography: Joana Tischkau. Artistic collaboration: Elisabeth Hampe. Sound: Frieder Blume. Camera & cut: Malu Blume. Graphic design & animation: Justus Gelberg. Production management: Lisa Gehring. Commissioned by the Goethe Institut as part of Latitude Digital Festival 2020.

To us, the heart of any festival experience is the chance to gather, chat and see extraordinary things together. So this year we aim to recreate this communal experience for an online space, with our digital Festival Foyer.

Just as we would normally invite DJs into the Venue Bar to keep the atmosphere going, we’ve invited artists to populate the digital foyer space throughout the festival. Nine of our favourite artists have created Visual Mixtapes which play before and between shows.

Fri 21 May: Kieron Jina. Sat 22 May: FK Alexander & Oozing Gloop. Tue 25 May: Adam York Gregory + Gillian Jane Lees. Wed 26 May: Craig Manson. Thu 27 May: Solidarity. Fri 28 May: Melo-Zed. Sat 29 May: Moya Michaels & Malik Nashad Sharpe.

Access, as published in 2021

All visual mixtapes are captioned with song lyrics.

Credits

Co-funded by the Creative Europe Programme of the European Union. Supported by Something to Aim For.

Step into the world of Deer Dancer, into the wilderness. Observe five deer-men encounter one another during the rut – the Monarch, Warrior, Young Buck, Fool and Old Sage. Listen to their haunting display calls. Discover how they jump, trot, pronk and stot within their pre-hunt ritual.

Observe a quintet of female-identifying performers take it in turns to play five hybrid characters. In the space between wild-deer-ness and performed male-ness, see them gesture, lip-sync, dance and sing, undressing and redressing into costumes for another round of tragicomedy.

A complex cross-artform study into our multifaceted relationship with deer. Beginning with mimesis, specifically representations within dance, the work examines how the imitation of deer behaviour constructs ideas of ‘wilderness’ as the site for the cultivation of heroic hetero-masculinities.

For Take Me Somewhere 2021, Tuulikki re-worked her 2019 solo performance for moving-image into a live ensemble performance.

★★★★ “There’s something undeniably amusing about a tiny woman posturing in various fake beards and codpieces... it highlights the absurd weight we give to ideas of maleness.” — The Times

★★★★ “playful and meticulously crafted... the characters’ gestures and movements are beautifully matched by a score for voice which is haunting and ethereal.” — The List

Access, as published in 2021

A highly visual work with accompanying abstract sound and music. Audio description and captioning provided at key moments throughout.

Credits

Lead artist: Hanna Tuulikki. Performer-devisers: Nic Green, Jo Hellier, Simone Kenyon, Fabiola Santana & Hanna Tuulikki. Character development & choreography: Will Dickie, Peter McMaster & Hanna Tuulikki. Dramaturg: Peter McMaster. Composer: Hanna Tuulikki. Sound designer: Kim Moore. Producer: Siân Baxter. Supported by Creative Scotland, Magnetic North, Take Me Somewhere and Tramway.

A conversation between artists Zinzi Minott and Tarik Elmoutawakil, hosted by Janine Francois.

The conversation is driven by Zinzi’s research as part of her Adrian Howells Award, interrogating what it means to create separatist, Black-only spaces for performance. How do we understand separatism and exclusion in relation to liveness and care? In creating Black-only spaces for performance might we create something special, radical and intimate?

For our Live Art Lunches this year, things are a little different. We understand we can’t be together in person, but please feel welcome to bring a cuppa or maybe even your lunch along with you.

Access, as published in 2021

Live captioned and British Sign Language interpreted by Nikki Harris & Rebekkah Spencer. Content note: this conversation includes discussion of people’s experiences of racism.

Credits

Zinzi Minott was the recipient of the Adrian Howells Award for Intimate Performance 2020. Tarik Elmoutawakil is co-founder/co-director of The Marlborough Theatre, Brighton, and creator of Brownton Abbey.

MAMA is a short film adaptation of Icône Pop, the celebrated work by Montreal based company MAYDAY. Icône Pop is a work where religious and pop iconographies — the sacred and the profane — collide.

Originally conceived and performed as a solo by Montreal based choreographer Mélanie Demers, over lockdown the work was recreated as a choreography for camera, performed by others. Mélanie presents the premiere of the film and speaks about the wider context and themes of the work.

Inspired by the religious postures of the Pietà and the blazing colours of the voodoo divinity Erzulie, Icône Pop flirts with the subversive image of the Black Virgin, alongside pop culture imagery, in a slippery terrain between saintly glorification and self-glorification.

Access, as published in 2021

The short film adaptation is highly visual and captioned. The discussion afterwards is live captioned and BSL interpreted by Nikki Harris & Rebekkah Spencer.

Credits

Concept, choreography and direction: Mélanie Demers. Performers: Marc Boivin, Stacey Désilier, Chi Long. Filmmaker and editor: Xavier Curnillon. Music: Mykalle Bielinski. Co-commissioned by Take Me Somewhere with funding from the Québec Government Office, London. Part of the Québec Focus.

Jump Cut is a six-part cable-access-style web series of streamed collaborations between multidisciplinary international artists. Conceived by Dana Gingras / Animals of Distinction as a way to survive and thrive in these times, it curates an unpredictable encounter between artists who are currently working in isolation.

For Jump Cut #3, multimedia artist Austin Young brings together drag performance artists Alaska Thunderf***, Willam Belli and Laganja Estranja to form a triple deity. They are triple-voiced, triple-pointed and triple-faced. Together they playfully engage with themes of transformation and manifestation in a search for an authentic multiplicity.

Access, as published in 2021

The film and discussion are captioned.

Credits

Video, direction and concept: Austin Young. Choreography: Laganja Estranja. Performance: Alaska Thunderf***, Laganja Estranja and Willam Belli. Music by Peaches. Jump Cut conceived by Dana Gingras, produced by Animals of Distinction. Part of the Québec Focus.

Family Portrait is a four screen interactive video installation, combining striking imagery and choreography, capturing Barrowland Ballet’s Artistic Director Natasha Gilmore and her three children in an intimate portrayal of family life.

With space to roam, the children encounter rabbit skulls, converse with spiders, make war paint with berries and discover the fun of burying their mother in bark. With humour and candour, the work shares an honest depiction of what family really is — responsibility, joy, balance, intimacy and, most of all, love. Filmed in the splendour of Scotland’s natural environment.

The post-show activity brings elements of nature indoors and gives time and space to explore and re-enact moments from the work.

This was one of only two works in the 2021 programme to happen in physical space. It was not viewable online, and sold out.

Access, as published in 2021

The installation has integrated captions and audio description.

Credits

Created and directed by Natasha Gilmore and Robbie Synge. Choreographers: Natasha Gilmore, Aya Kobayashi, Robbie Synge. Composer: Davey Anderson. Editors: Monika Smekot and Robbie Synge. Designer: Emily James.

An hour-long exploration of radical care, pleasure and transformation for BIPOC bodies – a binaural audio journey, for headphones in a darkened room – followed by a 30-minute cinematic coming-together to regroup, where you will feel heard, supported and held.

We invite you to join us in recognising the urgency of care, of pleasure, of transformation, for BIPOC bodies. We present a revolutionary journey into the psyche, a washing away of our supposed shared reality, a gathering together of the fragments of which we’re comprised.

Nwando and Jennifer draw on performance art backgrounds, multidisciplinary sensory practices, neurodivergent perspectives and visions of Afro futures across time and space to delve into the radically sensual world of the 12th-century Benedictine abbess, composer, artist, writer and mystic Hildegard von Bingen.

This event was open only to Black, Indigenous and People of Colour. Nwando Ebizie was the recipient of the 2021 Adrian Howells Award for Intimate Performance.

Access, as published in 2021

Predominantly sound-based with minimal visuals. Assistance available if Zoom is an inaccessible platform.

Credits

Nwando Ebizie with Jennifer Muteteli aka Wennefer. Cello: Christopher Bangs. Supported by Something to Aim For, Buzzcut, Take Me Somewhere, BAC, with further support from LADA and University of Glasgow.

A discussion on relationship building, artistic friendship and co-mentoring between Scottish artists and the wider world, and an opportunity to gain a glimpse into the two-week online international exchange led by Karen Christopher. Featuring 12 artists from across Scotland, Europe and Québec, hosted by Kim Simpson.

Participating artists: Mele Broomes, Jian Yi, Elina Bry, Gordon Douglas, Leonie Rae Gasson, Melanie Frances, Olympia Bukkakkis, Yousef Iskander, Nina Muehlemann, Burcu Emeç, Émile Pineault, Laura Nsengiyumva.

Thick Time Radio Station is a workshop designed to explore approaches to co-mentoring relationships between artists, blurring the boundaries between mentorship and making, between making and finding, and between finding and illuminating.

Access, as published in 2021

Contains captioned film (captions by Emilia Beatriz). The discussion is live captioned by Karen Pritchard and BSL interpreted by Yvonne Strain & Anna Kitson.

Credits

Led by Karen Christopher. Hosted by Kim Simpson. Made possible with funding and support from Creative Scotland, Goethe-Institut Glasgow and British Council Canada.

Lucy is a dance artist and Molly is a retired greyhound. Through companionship, they have evolved a practice of reclining together. It began four years ago as a way to bond, connect and commune at a bodily level. During the pandemic, the reclining has taken on deeper significance, especially in relation to the act and role of rest and why it is so difficult to achieve.

The Giant Dog Bed is an invitation into a practice that follows the greyhound’s ability to translate rest into power. Together we slip and slumber.

Access, as published in 2021

This film is quiet, meditative and highly visual with no spoken text.

Credits

Lucy Suggate – dance artist. Molly Suggate – greyhound. Producer: Helen McIntosh. Artist filmmakers: Caitlin and Andrew Webb-Ellis. Commissioned by Take Me Somewhere. Supported by Creative Scotland, The Work Room, Dance Base.

Calvin & A Series of Events sees Calvin Z Laing present four new filmed works – Calvin & Karaoke, Calvin & Lockdown (second in Scotland) Shop, Calvin & Cat Pee and Calvin & Sauna – written during lockdown and performed in and around spaces at Tramway. In the same manner as TV soap scheduling, each performance was broadcast once during the week, followed by the entire omnibus on Saturday 29 May.

Where Calvin & Karaoke explores the cathartic experience of performance solely for the self, Calvin & Lockdown (second in Scotland) Shop considers more public displays of class and consumption. Calvin & Cat Pee focusses on overcoming personal challenges and how human connection can bring relief, while Calvin & Sauna recalls an encounter that raised questions around preconceived ideas about culture, etiquette and performative masculinity.

Humour, anxiety and emotive storytelling come together in a work that creates a unique tension between the heightened dramatics of performance and the prosaic, everyday nature of the content.

Schedule: Calvin & Lockdown (Second in Scotland) Shop, Tue 25 May 5pm (13 mins). Calvin & Cat Pee, Wed 26 May 6.30pm (16 mins). Calvin & Sauna, Thu 27 May 5pm (12 mins). Calvin & Karaoke, Fri 28 May 7pm (13 mins). All four films, Sat 29 May 5pm (1hr).

Access, as published in 2021

The films are primarily text based and are captioned and audio described.

Credits

Producer: Polly Wright. Filmmaker and grade: Jen Martin. Sound: Robert Newth. Composer: Alex Johnston. Lighting design: Dave Morris. Audio description: Juliana Capes. Captioning: AB Silvera. A Tramway Performance Now commission.

Launched as a research project on sharing and mutualized practices, A Certain Value immerses itself in the radical, artistic and human experiences of four European collectives: a group of inmates in a women’s prison; families of migrants and unaccompanied minors living in an occupied building; an art collective who share a single bank account; and eco-activist children from public schools or homeschooling projects, worried about the fate of the planet.

All these new voices, gathered in Genk, Rennes, Marseille, Brussels and Budapest, have given birth to a hybrid form, where real conversations are edited into a fictional dialogue between the different collectives, inviting the public to slip into the shoes of the protagonists in an interactive script.

Audiences could register to be one of the script readers (no experience necessary), becoming one of the protagonists, or join as a listener.

Access, as published in 2021

Content notes were published on the original listing.

Credits

Concept and research: Anna Rispoli & Martina Angelotti. Writing: Anna Rispoli & Céline Estenne. Dramaturgy: Céline Estenne. Scenography: Canedicoda. Executive producer: CIFAS. A pilot project of the platform IN SITU, supported by Creative Europe.

Turn off all the lights and light a single candle. With total anonymity, enter a dark cyberspace full of strangers. Now, immerse yourself in the sounds of the ends of the day from around the world.

At the Ends of the Day is a late night pirate radio station, run beyond the borders via Zoom. Every time zone has its own DJ, broadcasting for the last hour of their day. Each DJ weaves a unique, orchestrated soundscape based on their live outdoor ambient noise. Over this, they layer other end-of-the-day recordings, from countries where the same day has already finished.

Unlike normal Zoom meetings, anything that identifies you, such as your face or your name, is completely absent. It is both communal and reflective; a late night antidote to Zoom fatigue.

★★★★★ “The perfect way to end the day and by the time midnight rolls around, I feel sleepy and ready to dream.” — A Younger Theatre

Access, as published in 2021

Predominantly sound-based with minimal visuals. A simple participatory element, explained on booking. Assistance available if Zoom is an inaccessible platform.

Credits

Lead artist: Mamoru Iriguchi. Performers from east to west: Uther Dean (New Zealand), Yohei Yamada (Japan), Zhuoer Lin (China), Nuriya Sadaf Moin (Bangladesh), Jeries Abu Jaber (Palestine), Titus Shaanika (Namibia), Asja Mahgoub (Germany), Jaimie Sutherland (Scotland), Andrean Sigurgeirsson (Iceland). Dramaturg, co-sound designer, performer: Greg Sinclair. A Tramway Performance Now commission.

A group of artists and producers working internationally discuss, from their own perspectives and experiences, what approaches, barriers, real work challenges and strategies there are for international working.

How can we work collaboratively and practise solidarity in this moment that presents us with the climate crisis, the current pandemic, a hostile environment, border controls and Brexit? Through discussion, we navigate connectedness, how and where we might meet when we can’t meet, and what organisations can do to support internationally-aspiring and working artists.

Speakers: Liz Rosenfeld, Tsehgo Khutsoane, Ayọ̀ Akínwándé, Noa Winter, Fabian Lettow and Jadé Maravala. Hosted by Jack Tan.

Access, as published in 2021

Live captioned and British Sign Language interpreted.

Credits

Presented in partnership with Goethe-Institut Glasgow, in association with Festivals of the Future. Special thanks to Sophiensæle (Berlin) and Kampnagel (Hamburg), who nominated speakers.

A Pair Of Resting… is a sort of performance lecture, or maybe a loose, sticky web of ‘Humanimal’ experiences, observations and smells.

I’ve found that true love involves picking up somebody else’s shit. And a lot of us love our dogs more than we do each other.

Since 2017 I have been responding to this over-reaching question: how and what do we dance in the 21st century; the age of overwhelming crisis, complexity, information and opinion? It’s also the year that ex-racer Molly trotted into my life. Living with Moll feels like a lost childhood teddy bear has come alive.

Every day, I wake up to the presence and body of Molly the greyhound. I feel like I am in the presence of a mythical creature. Not really a dog, more shapeshifter. Saint Guinefort, protector of infants, a velveteen assassin, that can reach 43 miles per hour in three strides. It’s the softest, furriest relationship I’ve ever had. (Lucy Suggate)

Access, as published in 2021

Live captions and British Sign Language interpretation.

Credits

Lucy Suggate – dance artist. Molly Suggate – greyhound. Producer: Helen McIntosh. Artist filmmakers: Caitlin and Andrew Webb-Ellis. Supported by Creative Scotland, The Work Room, Dance Base, Take Me Somewhere.

Bedroom Frequencies renders a virtual reality experience of a biographic narrative about a young girl growing up in a strict and violent household. Going out, partying or attending mixed gendered environments were prohibited, and with the rest of the home hostile, the girl had nowhere but a small bedroom.

It was here she found a safe sense of freedom — performing in front of the mirror, using the body and sound together in synchronicity to combat feelings of trauma and isolation. A space for imagination and dreaming, where she would formulate stories of love and passion, in the hope that one day her thoughts could breed a different reality.

This virtual reality experience conveys sound, light, textures and movement, whilst giving the audience agency to roam freely within the interiors of imagination.

Access, as published in 2021

An interactive 360 film which is highly visual and does not contain any spoken text. Content notes were published on the original listing.

Credits

Artist: Cindy Islam. Lighting designer: Siobhan Lawson. Video editor: Fi Nicholson. Sound artist: Urban Feral. Camera operator: Alexander Storey Gordon. A Tramway Performance Now commission.

Every movement and breath we take is radical and a divine energy worth honouring. We are powerful, together, no matter where we are in the world — may we look up to the heavens and know that all of the stars, planets and moons smile upon us. This is for us.

In Keijaun Thomas’ new video performance, filmed during the global pandemic with her and one friend, she wanted to reimagine how we hold each other, how we care for each other, how we honour our time and energy. In her new video poem, Thomas sends a love letter and a gentle reminder, a kiss up into the sky as a guiding light for black and brown femmes to know that we are here.

Access, as published in 2021

This film is captioned.

Credits

Creative director, performance and text: Keijaun Thomas. Director of photography, editing and sound design: Charles Rice. Filmed on location in Chicago.

Elephant is a new text based solo performance for film by Peter McMaster in collaboration with Tim Etchells. Offered as a strange and endlessly truncated collection of memory, image and thought, it occupies an awkward half-way place somewhere between storytelling, personal disclosure and mis-communication.

A work of half finished utterances, Elephant courses through a personal landscape of mundane, traumatic, joyful and pensive statements, presenting a male performer attempting to straddle roles of reflective new father, confused performer and awkward messenger, continuing a life-long exploration and dissection of 21st century male-ness that is synonymous with McMaster’s work.

Access, as published in 2021

Predominantly text based and captioned. A short audio description is available at the beginning.

Credits

Text and performance: Peter McMaster. Dramaturgy: Tim Etchells. Director of film: Joe Dalton. Captioning: AB Silvera. Audio description: Juliana Capes. Commissioned by Take Me Somewhere & Tramway. Supported through Magnetic North’s micro-bursary scheme 2020.

A speculative, biohacked performance of multispecies IVF.

In this work, Picatrix-AI recalls the veiled spectacle of contemporary xenotransplantation, as it ellipses the longstanding, racialising and imperialist histories of medical experimentation and enslaved gestational labour. Through a reframing of mythological genealogy and embodiment of the Chimera-as-scientist, this performance presents the ethical predicaments within the socio-technological drive towards a hierarchical and designed auto-gestation of the human species.

The performance responds to Zakiyyah Iman Jackson’s interventions that demonstrate the categories of ‘race’ and ‘species’ as mutually reinforcing terms in Becoming Human: Matter and Meaning in an Antiblack World. The listing included a 15-minute reading/listening requirement before the performance began.

Access, as published in 2021

Captioned and British Sign Language interpreted by Bea Webster. Content notes were published on the original listing.

Credits

Picatrix-AI is a modular group, led in this iteration by Soojin Chang. Sound design: J.E. Battah. Producer: Claricia Parinussa. Commissioned by Tramway.

On a simple phone call, you and another audience member – nameless strangers to one another – follow a carefully crafted set of directives. Over the course of the journey, a portrait of each other emerges through fleeting moments of exposure and the simple sound of an unseen voice.

A phone number and clear instructions were sent to participants by email. The run sold out.

“Achieves more goals of theater — telling stories, triggering imagination, nurturing empathy, fostering connection — than nearly any other show I have experienced since pre-pandemic days.” — The New York Times

“600 Highwaymen’s experiments with theatrical form are distinctly generous. That is the case with ‘A Thousand Ways,’ which takes a simple premise and turns it into magic.” — The New Yorker

Access, as published in 2021

This is an audio work with no visuals.

Credits

Written & created by Abigail Browde & Michael Silverstone. Executive producer: Thomas O. Kriegsmann / ArKtype. Dramaturg & project design: Andrew Kircher. Sound design: Stanley Mathabane. Commissioned by The Arts Center at NYU Abu Dhabi, Stanford Live, Festival Theaterformen, and The Public Theater.

A conversation between Lucy Suggate and Hanna Tuulikki as they reflect on the connections in their creative practices.

Both artists navigate human/animal embodiment in their performance, working creatively with animal behaviours and physicality, folk tradition and mimesis. They compare their thinking and approaches to working in a discussion of human/animal working, ethics and ways of embodying damaged and vulnerable ecologies, and how we find structure in traditions.

Access, as published in 2021

Live captioned and British Sign Language interpreted by Yvonne Strain & Anna Kitson.

Credits

With Lucy Suggate and Hanna Tuulikki, both of whom also presented work in the 2021 programme.

A short film in three parts.

Borrowed from a work by the poet Rainer Maria Rilke, the title evokes the creative potential of an unfinished thing: a partial sentence, a half-finished drawing, a technical glitch, or a failed performance. We are engaging here in a time that is all mixed up; a smooth blend of long ago, present moment and speculative future.

A massive barren mountain becomes our collaborator: being loose, being lost, letting loose. The video was shot in the immense geological formations of the Tablelands in the northeastern region of the island of Newfoundland.

Access, as published in 2021

Highly visual and contains minimal text, which is captioned.

Credits

Artistic direction, music, performance, sculptures, choreography, costumes, editing, colourisation: Sarah Wendt and Pascal Dufaux. Performance and creative collaboration: Lucy Fandel. Video: Nina Vroemen. Lighting: Sophie Robert. A production of Tangente Danse 2021. Part of the Québec Focus.

A journey of rebirth, through a life built to care.

A womxn is called upon for service, following in the footsteps of her past generation and members of the Old World. With her ancestors alongside to guide and protect her, she leads herself to the opportunity she has been waiting for. With pride, she transcends physical distance to reach her apex; her journey is euphoric, visceral, and spiritual in nature.

A time of growth, understanding and inner battle, to fulfil the will of those who came before her, with the knowledge that one day, she too will join them in guiding a new generation of black womxn through life and love, of the self and others.

This is a reflective space to listen to the present archive. The narration of vocal melodies, dance and spoken word embodies a lingering question that haunts her. She asks herself: is this the way you want me to be?

★★★★★ “Broomes is elegant, stiff; undulating, and jagged… Hers is intelligent choreography informed of its own history and devoid of pretentiousness or self-consciousness.” — The Wee Review [VOID 2018]

Access, as published in 2021

A highly visual choreographic work which is captioned.

Credits

Director, concept & performer: Mele Broomes. Costume: Sabrina Henry. Music producers: Nwanneka Osammor, Sarra Wild, Shaheeda Sinckler. Lighting: Robbie Thomson. Filmmaker & editor: Daniel Hughes. Captioning: Collective Text. Co-presented with Contact. Commissioned by Contact, Live Art UK Diverse Actions, Black Gold Arts and Take Me Somewhere.

On your screen, out your door, in your face.

Buzzcut — Scotland’s hot-house for experimental performance — presented a Digi-Special-Performance-Spectacular for the final week of Take Me Somewhere.

Over lockdown, Buzzcut worked with artists and performance makers to explore what live performance can be and do in online spaces or when presented remotely. The festival featured 25 of these performance experiments, and was a rallying point and celebration of the tenacity and creativity of the UK’s performance makers.

Featuring Hamshya Rajkumar, PAIX, Symoné, Vanessa Macaulay, Claudia Edwards, Tammy Reynolds, Ghost & John, Jo Tyabji, Antonio & Riccardo, Gudrun Soley Sigurdardottir, Shrek 666, Claudia Palazzo, Kirsty Biff Nicholson, Fatt Butcher, Jade Blackstock, Mystical Femmes, Whiskey Chow, Samir Kennedy, Nelly Kelly, Alicia Radage, Purina Alpha, Thefuries, Subira Joy, Charles & Bry.

Access, as published in 2021

25 works, each with its own access key on the Buzzcut website.

Credits

Festival team: Karl Taylor, Bejal Desai, Louise Gregory, Daniel Hughes & Claricia Parinussa. Programmed by Claricia Parinussa, Karl Taylor, Jade Monsteratt & Ashanti Harris. Funded by Creative Scotland, supported by Take Me Somewhere, Tramway, CCA & British Council.