Dancing Voices

Audio recording of Live Art Development Agency event B Is for Blood: Nastja Säde Rönkkö in Conversation With Gemma Rolls-Bentley.

‘B is for blood in our veins, blood in our belly, between our legs, the flow of life within.’ – from Survival Guide for a Post-Apocalyptic Child

Survival Guide for a Post-Apocalyptic Child is a multidisciplinary project by award-winning video artist Nastja Säde Rönkkö, employing video, sculpture, text and workshops to explore strategies of survival in a world of contiguous crises.

Miranda Whall’s performance practice employs crawling as a tool that enables her to embody, inhabit and understand a place and its narratives from a four-legged rather than two-legged perspective. So far she has crawled through mountains, woodland, rivers, seaside promenades, tidal mudflats an island and urban centres. On Saturday 6th November 2021 she crawled with a 6-year-old potted Scots Pine on her back through the centre of Glasgow – from the Glasgow Sculpture Studios on Dawson Road to the COP26 Green Zone in the Science Centre on the Clyde Waterfront Regeneration area. Passers-by ignored, laughed, stared, cheered and filmed as the tree and Miranda silently and determinedly made their way through heavy rain and high winds to reach their destination. The intention of Miranda’s heroic/tragic/comic slow and gentle art activism is an expression of her grief, despair and outrage with a world dominated by corporate and personal greed and an insistence that non-human nature, and in this case trees, be put at the centre of discussions on how to mitigate the climate emergency and ecological crisis. Animals, plants, trees, air, earth and oceans should be, metaphorically, sitting at the discussion table with heads of government and delegates.

Miranda’s hope is that crawling to the COP26 United Nations Climate Change Conference carrying a tree, that was equal in size to her body, might inspire human beings to re-think and re-align their relationship to trees, seeing them not only as a resource to use and abuse but as an ally and a vital source of knowledge. She believes that we all literally need to get down from our human centric, two-legged, dominant and hierarchical position and start recognising our non-human vegetal others as equals, and as sentient beings with a voice – that we crucially need to listen to if we are to find a way out of our human made catastrophe.

Crossed Paths – Scots Pine premiered as part of LADA Screens and was available to watch online from 4 July until 4 August 2022.

This video was screened as part of Land, Material, Memory at Tate Britain on Saturday 28 February 2026.

The world’s biggest and only autistic green Drag Queen, Oozing Gloop is back and inspiring people to re-imagine the structures that govern their lives. Defying usual understanding of meaning and belonging, this world to come is run via a new economy of government – Commucracy!  (But what the fuck is Commucracy? Read the manifesto.)

Follow Oozing Gloop on this epic trip, where you’ll find psychoactive solutions for psychopathetic citizens trapped behind the very screens that are there to help them communicate. From the highest to the lowest Oozing Gloop will seek to link the universal to the particular to revive the democratic impulse and pose the communist hypothesis.

Commucracy Now! is a companion piece to Glooptopia!, Oozing Gloop’s latest theatre show, and is a direct challenge to the notion that people with Autism “struggle with social imagination”, and also to the simple fact it’s easier to imagine the end of the world than the end of capitalism. We have a wealth of apocalyptic omens, disaster movies and critique; but zero 21st century post-capital-culture. Oozing Gloop defies this with revolutionary zeal and determination to open radical new spheres of imagination and fantasy! Just as we got through that, we can get through this!

This video was screened as part of Land, Material, Memory at Tate Britain on Saturday 28 February 2026.

F A U L T L I N E S (2022) is a performance video from SITE, screened at LADA as part of Fringe! Queer Film & Arts Fest exhibition The Body Is a Thing in Time, curated by kane stonestreet.

peacefully if we can, forcibly if we must (2024) is a video by Joshua Woolford, screened at LADA as part of Fringe! Queer Film & Arts Fest exhibition The Body Is a Thing in Time, curated by kane stonestreet.

Writing by Shaun Caton surrounded by images of Shaun Caton's analogue montages "Night Life 11" (2024) and "Night Life 30" (2024).

Appears in COMPOST: Issue 2 Accidents and Emergencies

This guide celebrates the diversity and innovation of queer individuals in London, both historically and today. Delving into the cultural history of queerness in the capital, this book guides the reader through a welcoming spectrum of bars, clubs, shops, Pride events, charities, saunas and sex shops that cater to the LGBTQ+ community.

Would you like to start changing the world from your living room? What if your neighborhood made its own money? What would happen if all animals, including humans, had equal rights in the park next door? Have you considered that you are flying through space right now? Sibylle Peters, director of Theatre of Research, a Hamburg-based theater dedicated to creating social experiments together with audiences of all ages, invites readers to reimagine the world–and act on it. Based on 20 years of performance-based research, and guided by children’s wishes and concerns, this book of at-home experiments shows you how to change reality through play.

2024 marks the 40th anniversary of The Cholmondeleys dance company, founded in 1984 by Lea Anderson, Teresa Montano, and Gaynor Coward. Inspired by the DIY culture of post-punk UK, they wanted to create something that resonated with their friends, blending dance with the energy of fashion, music, and club culture of the 1980s.

They named themselves The Cholmondeleys, like a band. Emerging from this vibrant time, their performances featured collaborations with British artists, including choreographer Lea Anderson, costume designers Sandy Powell, Emma Fryer, Simon Vincenzi, composers Drostan Madden & Steve Blake, and lighting designer Simon Corder. Together with their sister company, The Featherstonehaughs (founded in 1988), they produced over 87 works, both live and on film, performing in the UK and internationally. This rich creative legacy is captured in an archive of images by photographers such as Chris Nash, Pau Ros, and Matilda Temperley, now presented together for the first time in this celebration of The Cholmondeleys and The Featherstonehaughs.

Playing Public: Performing Participation with Pens, Planes, and People is an A5 format artist/research publication and project archive focusing on participatory game Flight Club and the years that preceded its creation. Charting my participatory art journey from prior experiments and involvement with community groups and public-facing, performative events leading up to the production of Flight Club and its iterations, written and photographic documentation combine to show how this game emerged and developed through participation, community and open-source collaboration.

The reinforcements mounted by our profane masters have transformed the theatre into a boulevard or, closer to home, into a good-old thoroughfare. In other words, the theatre is a space that hasn’t changed at all. We have to reinforce its mountainous profanities yet again, a little less old-fashioned perhaps, but similarly escorted by those necessary moralists-in-mind and a concomitant mania for marvels. So, here we are.

My dramas- in which I seem to lean on the ludicrous which must be kept so, in order to be accountable, the inspiration of such a work being precisely its utter and insulting reality-must not be born of ‘today’ but of the spells and numerologies of the old masters, the drowsy and doddery in their chic flannel slippers and their well-practised blandishment.