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Embodimen as knowledge p oduc ion
Mode ni y has p oduced an unwa e ing ai h in p og ess, de ined h ough
a ional, echnological and scien i ic me hods. This p og ess s ands on he
g a eya ds o mul iple al e na i e epis emologies o knowing he wo ld and
knowing ou sel es. Can we imagine a omo ow ha is based on eeling, he e o e
being; a he han Desca es’ knowing, he e o e being? (Desca es, 2003). As
Soma ic Expe iencing® ounde & auma- he apis Pe e Le ine w i es:
Mos people, i asked he ques ion, “How do you know ha you’ e ali e?”
would specula e wi h some hing like, “Well, because...” Bu ha jus isn’
he answe , i can’ be. The way we know we’ e ali e is oo ed in ou capaci y
o eel, o ou dep hs, he physical eali y o ali eness embedded wi hin ou
bodily sensa ions- h ough di ec expe ience. This, in sho , is embodimen .
(Le ine, 2010, pp.286-287)
In ela ion o he dicho omous cons uc ion o he a ional o e o he ways
(such as eeling) o knowing he wo ld, a chi ec u e oo is one o he p oduc s
o his epis emic loss, and emains complici . So, a ques ion becomes, how can
THE KINSHIPS OF TOMORROW:
NEW FORMS OF RADICAL
TOGETHERNESS IN AUDIENCE-
PARTICIPATORY DANCE THEATRE
STEFAN JOVANOVIĆ
80
a chi ec u e in eg a e models om disciplines like dance, soma ic he apy, and
hea e, o make spaces o al e na i e o ien a ions o he wo ld and o cul u al
p oduc ion? This pape explo es how he combina ion o sensing in o he his o y
o exis ing spaces and he me hod o gene a ing social cho eog aphies p oposes a
new way o c ea ing dance and hea e; one ha gi es p io i y o a ec , empa hy
and esonance.
The con empo a y dance scene in he Uni ed Kingdom is made up o make s
wo king a he edges o c i ical dance p ac ices ha explo e ques ions a ound
wha an audience is, is asked o do, and wha a pe o mance is and can do. In
Spi i Compass (2019), cho eog aphed by Lucy Sugga e, audiences a e in i ed o
di e in o deep exis en ial e lec ion o e h ee 45-minu e d umming medi a ions,
wa ching pe o me s “slip h ough he c acks and e-in eg a e, epu pose and
eo ganise in o de o be mo e- han-human” (Sugga e, 2019). In hei wo k Slug
Ho izons, Flo ence Peake and E e S ain on explo e “ he exp essi e po en iali ies
STEFAN JOVANOVIĆ
Figu e 1. Cons ella ions, di ec ed by he au ho , he show opens wi h he audience being in i ed o wal z
by a cas o se en a che ypal cha ac e s. This image ea u es pe o me Sa a Ruddock wi h a membe o
he audience, pho og aphed by Camilla G eenwell and p esen ed a Sadle ’s Wells Thea e, June 2019,
London, UK
81
o quee bodies h ough in imacy, ouch and collec i e eclaiming. P omo ing
an emo ional landscape o b a e y in esponse o es ic i e a i udes o he
sensual and isce al body, Slug Ho izons ele a es he ma ginalized a ec ion,
sexuali y, powe and ene gies wi hin non-no ma i e ela ionships” (Peake &
S ain on, 2018).
All h ee o hese a is s, and hei espec i e wo ks c ea e unique p oposals
owa ds how a space o encoun e s, o en imes wi hin a museum o galle y,
can be used and e-pu posed owa ds he needs o he collec i e expe ience. As
cho eog aphe Me e Ed a dsen w i es:
I hink dance is no p ima ily a isual a o m. I is also abou o he senses,
and how he senses a e wo king oge he . Seeing, lis ening, eeling, bu also
emembe ing, imagining and hinking. I hink o cho eog aphy as w i ing,
which doesn’ mean ha i needs o be language, bu also no an opposi e o
language, and maybe no as isual. (Ed a dsen, 2017, p.217)
I ha e o en wonde ed abou he ways in which a chi ec u al and cho eog aphic
me hodologies may o e lap in a meaning ul way; beyond he ends o c ea ing
ep esen a ions o i ual in isual a s spaces. Show a e show, I obse e ha ou
cu en ela ionship o echnology is, pe haps pa adoxically, mo ing in s ep wi h
a need o sensa ion, o empa hy, o esonance, and so he no ion o i ual as
a is ic p ac ice is eme ging wi h e e y cu a o ial u n1. In his ins ance, Pe e
Le ine’s wo k ac s as an in e ace linking hese needs o bodily expe ience:
As social c ea u es, i is h ough empa hy ha we make ou deepes
communica ions. To do his we mus be able o ‘ esona e’ wi h he sensa ions
and emo ions o o he s; we mus , in o he wo ds, be able o eel he same hings
1 See o example Sa ah Shin’s alk ‘The Ri ual Tu n om Ta o o Tan a’ a Ta e Mode n (Janua y
2020), and he co-cu a ion o ‘Tende In e als’ a he ICA (Feb ua y 2020).
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82
as hose a ound us eel. The way we indica e his is p ima ily non e bal; i is
h ough ou pos u es and exp essi e emo ions. (Le ine, 2010, p.42)
In my p ac ice, he pu pose o a chi ec u e and he pe o ming a s is o c a
expe iences wi hin spaces whe e gues s can pa icipa e wi h empa hic esonance
owa ds his o y and owa ds each o he .
As a cho eog aphe and a chi ec , I p omp you wi h he ollowing ques ion: wha
can ou disciplines do o b ing audiences close o mo e angible expe iences o
connec ing o hei ances y, o connec ing o belie sys ems ha a e di e en
o hei own, o c ea ing meaning ul ela ionships wi h s ange s, and wi h he
unknown? I would like o accompany you h ough he e lec ion and desc ip ion
o he key miles ones o my la es esea ch p ojec , Radical Toge he ness (2017-
18), and he dance- hea e show ha eme ged ou o i , Cons ella ions (2019), in
which I explo e hese ques ions and conce ns.
The con ac s o consen in being adically oge he
In 2016 I joined cho eog aphe Meg S ua in a se ies o in e en ions in he
ci y o Vienna du ing he ImpulsTanz In e na ional Dance Fes i al. Chu ches,
hospi als, museums and public swimming pools became si es o imp o isa ional
encoun e s esponding o he cho eog aphe ’s b ie o p ac icing “lo e (as) he
ag eemen ”. Museums quickly became hos ile en i onmen s, policed by secu i y
gua ds sca ed ha cen u y-old a wo k would ge damaged, whils chu ches
u ned a blind eye owa ds wha could ha e easily been ead as i ualis ic p ac ice.
Once he di ec o o he Kuns his o ischen Museum Wien lea n ha acclaimed
cho eog aphe Meg S ua was in he museum’s ju isdic ion, pe o ming a
gue illa-cho eog aphic-in e en ion, an in i a ion was immedia ely made o
us o come back he ollowing day, o do i all again. Re using he in i a ion,
S ua p omp ed us wi h he ques ion “Wha is adical oge he ness?”.
This is how Radical Toge he ness was bo n, a se ies o London-based in e en ions
b inging di e se a is s in o uncon en ional pe o mance spaces, ques ioning
STEFAN JOVANOVIĆ
83
which a is ic p ac ices a e allowed wi hin non- hea ical ins i u ional spaces?
Based on he esea ch in Vienna he p e ious yea , I ecognized ha chu ches
and museums sa on opposi e ends o a spec um be ween eedom and
censo ship, espec i ely. The model I based my me hod and esea ch on was
a body o wo k called C ash Landings, which Meg S ua and he collabo a o s
p oduced be ween 1996 and 1999:
Th ee cho eog aphe s, Meg S ua , Ch is ine De Smed and Da id
He nandez, joined o ces and isions o de ise an in e disciplina y
imp o isa ion pe o mance se ies ha became pe haps he mos daun ing and
de ini ely bigges imp o isa ion se ies in he s ill ecen his o y o Eu opean
con empo a y dance. In e disciplina y in na u e, his collabo a i e p ojec
en ailed in o al he pa icipa ion o 80 a is s who came om disciplines as
di e se as dance, music, pe o mance, hea e, scenog aphy, indus ial design,
isual a , ligh design, cos ume and w i ing. (Imschoo , 2009, p.104)
My i s ac ion was o make an open call o p o essional pe o me s, a is s,
and s uden s2 a he A chi ec u al Associa ion wan ing o ake pa in a se ies o
expe imen al and unannounced cho eog aphic in e en ions in he Tu bine Hall
(Ta e Mode n), Cu e Galle y (Ba bican), and The S o e (180 S and). I in i ed
he pa icipan s o use he a wo ks on display, anging om ilm o mul i-
media ins alla ions, as inspi a ional s a ing poin s o c ea ing non- iolen
imp o isa ional in e en ions. I soon anspi ed ha he pe cei ed o he ness o
hese sessions was ei he an in usion and we we e asked o s op, aking away
2 Du ing he Resea ch & De elopmen phase o Radical Toge he ness, he ollowing dance a is s,
cho eog aphe s, and pe o me s we e in i ed o pa ake: Roni Ka z, Alice Heywa d, Jen Rosenbli ,
Nassia Fou ouni, Cécile Tonizzo, Lynda Rahal, Ka ha ina Hölzl, Robe Malmbo g, Emma Zangs, E a
Recacha, Siobhan Ni Dhuinnin; musician Liam By ne, a is s Pa i de Souza Leão Mülle and Pe e Qiang
Dong; and he ollowing s uden s om he AA School o A chi ec u e: And eas S ylianou, Joyce Chen,
Tama a Rasoul, Ziyad Mou ad, Chuck Wang, Ma ion Delapo e, Le icia Dadal o, Da ia Moussa i, Jack
Ha dy and Oli e Sa o ani.
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84
he a en ion om he ac ual a wo k ha was on display, o we we e igno ed all
oge he o i was all oo quee o make sense o . I was he momen s when he
o he membe s o public in he space we e in i ed o join in wi h us, some imes
o pa icipa e in a ouch exe cise o a mo ing ain3, ha a ec became mo e
angible. I come o he ques ion o wha cons i u es an in i a ion in audience
pa icipa o y pe o mance?
The las decade o wo k by cho eog aphe Raja Fea he Kelly in oduced me
o he no ion o he agency o spec a o ship. In hei mos ecen wo k, We
May Ne e Dance Again (2019) audiences con on he unce ain y o being
spec a o s wi hin a space ha is deeply occupied by i s own cul u al p oduc ion.
Audiences a e in i ed o ques ion wha i means o be oyeu s and wa che s, and
a wha poin silence becomes as complici as loudness. The ansac ional na u e
o pu chasing a icke no longe s ands in o ei he an in i a ion o consen ,
and his was cen al in hinking h ough he implica ions o Radical Toge he ness
which nei he sough an audience, no en e ed in o clea ansac ional
ag eemen s.
In he museum, we soon began o iden i y he di e ence be ween pa icipa ing
by wa ching e sus pa icipa ing by mo ing. When membe s o he public we e
able o isually ecognise ce ain socially cho eog aphed o ms, o esemblances
o ga he ings, he in i a ion o pa icipa e was easie o nego ia e and accep .
Wha u he acili a ed joining in was he scale o anonymi y in he space, he
di e ence o hos ing a leas a hund ed indi iduals, a mass, a he han a hand ul
o spec a o s. Once epe i ion was wi nessed, such as a line o wen y people acing
he same di ec ion, walking o c awling wi h hands on each o he ’s shoulde s,
mo e people would join in. Wha eme ged om hese in e en ions was a
sugges ion ha he in i a ion o social cho eog aphies was much mo e accessible
3 A human mo ing- ain in ol ed one pa icipan placing hei hands on he shoulde s o ano he , bo h
acing he same di ec ion. G adually he line o people kep g owing, un il he di ec ion o mo emen
and manne o in e ac ion was clea o ollow. Once a ully o med ain o people was o med, he i s
pe son would ini ia e a se ies o mo emen s ha would escala e down he line in a domino e ec . This
exe cise, when pe o med wi hou ouch, is o en e e ed o as locking in con empo a y dance eachings.
STEFAN JOVANOVIĆ
85
han indi idualized modes o au hen ic mo emen exp ession. Despi e audience
ag eemen and a ec i e pa icipa ion, he impe meabili y o he museums’ ules
and egula ions s ill emained, unde he wa ch ul eyes o ushe s and secu i y s a .
In 2019, isual a is Anne Imho p esen ed Sex, a compila ion o he mos
amous wo ks a The Tanks a Ta e Mode n. Wha was p esen ed as an exci ing
possibili y o explo e a mosphe ic en i onmen s was cu ailed by secu i y
gua ds con inuously esco ing audience membe s ou o he enue, ha is, hose
who a emp ed o engage wi h he wo k by esponding o he cas ’s physical
p o oca ions. Audience-pa icipa ion in his con ex was alida ed so long as
i abided by s anda ds whe e he pe o me eplaced he a -objec : Don’ ouch
he a , keep a minimum dis ance o one me e om he a , do no ilm, do no
pho og aph wi h lash, e c. As c i ic Ad ian Sea le w i es o he Gua dian:
The pe o me s in Sex make you eel unce ain whe he you p esence is
welcome. Mee hei eyes and you ge a good ha d s a e, o an exp ession o
dis ain. Poking my head in o a da k co ne , a woman gi es me a bale ul look,
and a young man’s implacable exp ession ells me o uck o . I ’s like being
in a da k oom a a sex club. The e is an e ique e. Don’ ge oo close, don’
in e e e, no ouching wi hou consen . And hen some guy pogos in o me, and
elbows his way be ween he iewe s. Wha a e he limi s? Whe e should I be?
Is eye con ac allowed? (Sea le, 2019)
These expe iences o he ins i u ionalizing gaze o he museum led me o e lec
on wha spaces a e oid o p o ocol bu whose ounda ions, walls and oo s
s ill hold he semio ic his o y o p o ocol, i ual and spi i ? This is wha led
me o choose epu posed o de-commissioned chu ches as he si es o u u e
explo a ion. The a chi ec u al s uc u es in his ins ance become he a -objec s
hemsel es, absen o ules and egula ions ega ding con ac , dis ancing, media
p esence and audience-engagemen .
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The g[hos s] ha li e on when an a chi ec u e is le o die
In he summe o 2018, I began wo king on a g oup-show en i led Cons ella ions,
a wo-and-a-hal hou ga he ing in he ound, a piece o uncon en ional dance-
hea e ha sa a he c oss oads o a a elling ci cus, a da k comedy, ball oom,
and phan asmago ical club hos ed by ghos ly a che ypes. In he a mosphe ic
se ings ha we designed, audiences we e in i ed o econside who holds
ma ginal and dominan oles wi hin social spaces. Who leads and who ollows?
Who is in cha ge? Is he cho eog aphe always di ec ing? Is he ligh ing designe
always ixed behind a ligh ing desk? A e he echnicians only mean o ope a e
behind he cu ains and wea black a i e? Can he hea e’s s a be pa o he
show in a socially meaning ul manne ? Can he audience decide which ou e he
show will ake? Gende luidi y and social dancing we e called upon o explo e
new ways o unde s anding con empo a y social poli ics and he idea o adical
oge he ness. This in ol ed no only he in i a ion o audiences and pe o me s
STEFAN JOVANOVIĆ
Figu e 2. Radical Toge he ness, di ec ed by he au ho , he i s o h ee public sha ings o Resea ch and
De elopmen o he show Cons ella ions. This image ea u es pe o me s Pau A an Gimeno, Roni Ka z
& Cha lie Ca all, pho og aphed by Moad Musbahi and p esen ed a Asylum Chapel, Augus 2018,
London, UK
87
o in e ac in a di ec manne , bu also o a is s wi h adically di e se a is ic
p ac ices o sha e ai ime and s age-space a he same ime while inding a way
in which o pe o m h ough hei a is ic di e ences.
Ou conce n was no only ocused on how o engage audiences in hea e, and
how o ad ance no ions o imme si e pe o mance wi hin exis ing non- hea ical
spaces, bu a he how o b idge he con en ional hea ical expe ience wi h he
si e-speci ic his o ies o he spaces and ci ies ha lie ou side o he black box.
Rep esen a ion is inescapable, so wha does i mean o embody he s o ies o he
cha ac e s we dance and na a e? How does a chi ec u e se e he embodimen
o a s o y’s con ex ? How does cho eog aphy se e i ? Wha is he pu pose o
cos ume and d ag in his ins ance?
The beginning o ou c ea ion pe iod o Cons ella ions, in ol ed he inhabi a ion
o wo de elic chu ch-si es in London o he p esen a ion o he wo k’s ea ly
de elopmen . The i s e en ook place in Ca oline Ga dens Chapel, loca ed in
a o me ea ly-19 h cen u y almshouse es a e, “a house whe e paupe s a e suppo ed
a he public expense; a poo house. Also a house se apa o he aged poo ee
o en ” (B ewe , 2001, p.35). This speci ic almshouse once housed dispa a e,
men ally ill and e i ed membe s o Peckham’s Vic o ian communi y, who could
seek e uge and sanc ua y. Today, he space is known as Asylum Chapel, and is
o e ed as a d y-hi e enue, en ed by an a s o ganiza ion om he local council,
sub-le o a is s o pe o mances and weddings. I is a e y cu en example o
a space ha was once an asylum and is now easily mone ized o i s semio ics
and al e na i e appea ance.
The second space we inhabi ed was he Welsh Chapel, a o me P esby e ian
Chu ch in he hea o London’s Soho a ea, o me ly known as he nigh club
Limeligh . Today i ’s un by a non- o -p o i a s o ganiza ion, looking o
ad ance he inge dance and hea e scene. As one could imagine, Asylum
Chapel and S one Nes a e me ely wo, g ade-II lis ed buildings; ou o a
hand ul o o he s o he kind ha one comes ac oss in a la ge me opolis like
London. I ’s no a coincidence ha pe o ming a s o ganiza ions ha e ound
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A couple o weeks be o e Cons ella ions p emie ed, I was a a loss as o how all o
hese a ied p ac ices and ields would wea e hei way oge he . I had become
a challenge o in eg a e all he collabo a o s’ a ied a is ic p ac ices in o one
cohesi e show, whils e aining an abundance o con en gene a ed om each
o ou si e-speci ic chu ch imp o isa ions. Wha did we lea n by pe o ming in
he chu ches? How could we possibly con ey he immensi y o he s o ies we
el in an e e -changing neu alized hea ical space? How do we nego ia e wha
a e o en unspoken con ac s wi h audiences ha we ha e ne e me be o e? A
STEFAN JOVANOVIĆ
Figu e 4. Cons ella ions, di ec ed by he au ho . This image ea u es pe o me Sa a Ruddock, Pau
A an Gimeno, Roni Ka z, Cha lie Ca all and Ka ye Coe pe o ming he i ual sac i ice o he Fool,
pho og aphed by Camilla G eenwell and p esen ed a Sadle ’s Wells Thea e, June 2019, London, UK

95
his s age I acili a ed a Sys emic Cons ella ion9 in se ice o he wo k, whe e he
piece as a me a-physical en i y became he clien , he cas became pa icipan s
o hei own pe o mance, and I ac ed as acili a o . Twen y olun ee s ac ed as
ep esen a i es—cha ac e s ea u ing in ou p ocess so a , being in i ed in o he
deep end o ou g oup p ocess o help he ensemble disce n wha ma e ial, bo h
pe sonal and ic ional, o keep and which o le go o .
A e ou shows, he ques ion s ill emains: how li le o how much audience
pa icipa ion does one need o a i e o meaning ul modes o esonance, bo h
wi h he indi iduals and wi h he collec i e as whole?
I posi ion his enqui y by e e encing wo di e en dance & hea e wo ks
dealing wi h no ions o ime and knowledge p oduc ion, add essing audience
pa icipa ion in e y di e en ways. The i s is No-How Gene a o (2019)
by cho eog aphe Ma hias Spe ling, which explo es he neu oscien i ic and
hypno ic e ec s o looped sound & oice and ca e ully cons uc ed ligh ing
design. O e he span o an hou , audiences a e soma ically anspo ed in o deep
ene gy wells o con empla ion, spi i ual dissocia ion and expansion. The second
is A 24-Decade His o y o Popula Music (2016) by a is Taylo Mac, whe e “ he
audience pa icipa ion is almos cons an , pushing us way ou o ou com o
zone and ensu ing ha we emain engaged”. A e 24 hou s o s aying awake in a
show, a di e en s a e o spec a o ship is achie ed, o “s aying up o such a long
ime has a s ange e ec on one’s s a e o mind”. These wo enchan ing opuses
made me e lec on ou me hodologies o incan a ional du a ion e sus quick
i e pa icipa ion. I decided o look o a way o i a e he show’s mood be ween
momen s o high ac i a ion and momen s o subdued elaxa ion.
9 The labels “sculp u e”, “ econs uc ion”, and “cons ella ion” a e o en used synonymously. They e e
o a me hod in which pe sons a e “se up” as ep esen a i es o elemen s o a sys em in a space. When
p esen his way, obse e s o he apis s can elici in o ma ion abou a sys em ha would o he wise be
nea ly impossible o ga he a he same le el o complexi y h ough e bal means. Depending upon
he heo e ical model used by he he apis , he in o ma ion ga he ed has o do wi h he quali y o he
ela ionships be ween membe s o wi h he s uc u al cha ac e is ics o he sys em. As wi h psychod ama,
si ua ions can be ep oduced in a ious ime pe iods, including he p esen , he pas , and a possible u u e
h ough he use o sculp u es (F anke, 2003, pp.27-28).
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Whils he sys emic cons ella ion achie ed a dep h o empa hy and esonance
in a sho pe iod o ime h ough cons an physical audience-pa icipa ion, he
ac ual shows elied on du a ional in e mi en pa icipa ion o each simila wells
o emo ion. The choice I had o make was be ween he apeu izing a hea ical
expe ience o hea icalizing a he apeu ic con ex . The o me len i sel be e
and mo e unob usi ely o ou c ea i e p ocess. Wha esul ed was a wo-and-
a-hal -hou medley o igne es whe e audiences we e in cons an lux be ween
scenes o ance-like medi a ion and dynamic social dancing.
Wha I p opose in conclusion is an in i a ion owa ds e- hinking he ways in
which we ga he and he p ac ices ha we sha e when we do. In hindsigh I
migh say ha he mo e adical pe o mances dealing wi h a chi ec u al his o ical
esonance we e he ones ha happened in he chu ch-si es wi h mo e in ima e
audience numbe s. These momen s held a le el o imp o isa ion and hones y
h ough non- ep esen a ion ha we e made possible by he en i onmen and
con ex we we e in. On he o he hand, when hese ances al s o ies we e shown
a Sadle ’s Wells, ansla ed h ough he spec acle o se , cos umes, ligh ing, and
echnology, he en i e expe ience was ele a ed echnically, whils placing he
non- ep esen a ional na a i e unde g ea e s ain. Wha I obse ed h ough he
audience-pa icipa o y lens was ha he audiences in he chu ches we e in i ed
o embody he el na a i e o he space h ough a mo e li e al expe ience,
con e sa ion, and con ac wi h he pe o me s. The a chi ec u e o he chu ches
did away wi h he need o hea icali y, lea ing us in se ice o he sunligh ,
wea he , empe a u e and g[hos s] o he edi ice. The di e ence be ween he
pe o mances and hei espec i e enues was almos incompa able, lea ing
me wi h e en mo e ques ions abou he ways in which we migh hea icalize
uncon en ional pe o mance si es, o pe haps no a all.
A chi ec u e se es a cen al pu pose he e. I is a con aine ha holds
pe o mances, human encoun e s, and social cho eog aphies disguised as he
sys emic cons ella ions o ou li es. The esea ch and pe o mance wo k I ha e
done so a sugges s ha we mus look o he spaces ha we cu en ly ha e
STEFAN JOVANOVIĆ
97
access o, he buil and unbuil en i onmen s ha ha e se ed one o many
pu poses and now si wai ing o slumbe ing. Sensing in o he geo-social ances y
o hese spaces o e s an e ec i e way o elling a s o y, o c ea ing hea e.
T ansla ing hose s o ies om pe o me o audience holds he possibili y o
empa hy o be gene a ed be ween he li ing and he dead, he o go en, and
he missing. I is his momen o ansla ion which is key. Wha I lea ned om
Radical Toge he ness was ha he unpolished s o y elling o el expe iences and
exchanges b ough g ea e humani y o he me hods and p ocesses o public
engagemen . To achie e simila impac s wi hin he black-box equi ed a g ea e
le el o us -building, as we compe ed wi h he inhe en social p o ocols o
wha he hea e adi ionally allows o o doesn’ . I end wi h an in i a ion.
In he ex ao dina y imes ha we a e cu en ly li ing in, don’ be a aid o isk
upda ing he adi ions o spa iali y, o ien a ion and audience engagemen . One
de ini ion o auma is he ixa ion o an idea, s uc u e o p o ocol, and wi hou
THE KINSHIPS OF TOMORROW
Figu e 5. Cons ella ions, di ec ed by he au ho . This image ea u es pe o me Roni Ka z wi h a membe
o audience, pho og aphed by Camilla G eenwell and p esen ed a Sadle ’s Wells Thea e, June 2019,
London, UK
98
ha ixa ion, we migh jus be su p ised by all he possibili ies ha he unknown
can o e us.
This pape is sel - unded by S udio S e an Jo ano ić. The esea ch p ojec Radical Toge he ness and dance-
hea e show Cons ella ions, depic ed and e e enced, was unded by A s Council England. A special
hanks o all he pa icipan s o Radical Toge he ness and Cons ella ions including pe o me s Roni Ka z,
Ka ye Coe, Cha lie Ca all, Sa a Ruddock, Pau A an Gimeno, compose Domenico Anga ano, singe
Bliss Ca mxn, ga men a is Cu is Oland, mask-make Damsel au, Sadle ’s Wells a is ic p og amme
E a Ma inez, p ojec p oduce Robyn Caba e , p oduc ion assis an Ch is ophe Haddow and echnical
eam, Siobhan Da ies and Lau en W igh , Asylum Chapel and Ma e ick P ojec s, S one Nes , and he
d ama u gical suppo o F ank Bock and Jona han Bu ows. The pho og aphs ea u ing in he pape
we e aken by Camilla G eenwell and Moad Musbahi and a e copy igh o S e an Jo ano ić.
STEFAN JOVANOVIĆ
99
THE KINSHIPS OF TOMORROW
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