Photo of Mika                                                        Photographer:  Guy Coombes

“I met Mika in 1998. I was attracted by Mika’s use of Maori performance to express his queer identity. UK organisations supported our first collaborations and in 2000 our production Mika HAKA gained masses of support from the New Zealand government, key Maori organisations and many NGOs. Mika HAKA toured internationally and led into two TV series for Maori Television and many more live projects including presentations in Japan and India. I returned to the UK in 2011 and Mika continues his work from his studio complex in Auckland.”



                                                                  Photographer: Kerry Brown

“I met Rosanna on an NZ video shoot in 1999. In 2000, we performed with Mika for BBC Radio 1 at Leed’s Love Parade. Eleven years later we met again in London. I joined Rossana’s live art project SaVAge K’lub, exploring ‘the non-canabalistic consumption of the Other’. We created works using Polynesian culture to explore contemporary interculturalism. In 2015, Rosanna returned to Auckland from where she travels internationally with her work. I continue to support the London work of Jo Walsh, a fellow SaVAge.”



                                           Photograph: East Anglian Daily Times


“I met Shane in 1999 when he was my friend’s bharatanatyam teacher (South Indian classical dance). We began a research collaboration in 2014 which seeded Shane’s development of his solo Confessions of a Cockney Temple Dancer. Together we explored new approaches to devising drama through Indian movement principles. We presented at conferences in Poland and the UK and Shane evolves this work as World Theatre guest lecturer at E15 (University of Middlesex). I support Shane in his strategic planning.”


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                                                                          Photographer: Birdman Foxglove

“Daniel and I met through his involvement with a colleagues’ performances in 2014. In September 2017, we began our collaboration. As a mentor and dramaturg I helped him construct Salvation: Shamanic Striptease, his first solo performance. Salvation uses lap dancing in a ceremonial framework as a rite of transformation for Daniel and his audience. Salvation was performed in nine London venues and in Ireland and Iceland also. In addition, Daniel and I created a work called Creatrix: Cosmic Mother, a ceremonial celebration of divinity as female. I continue to support Daniel’s work, in studio practice and career development, and we collaborate to create new body and voice training programs.”