𝘛𝘈𝘐𝘉𝘏𝘚𝘌 [𝘎𝘩𝘰𝘴𝘵]
2025
.
Music: Dilan Shant (@dilanshant )
Lighting: Finlay Wyer (@fwinter102 ) and myself
Filming: Millie Hine (@milliehinefilm )
Given that I spent a year writing about ghosts in various forms, I wanted to try and translate some of that thinking into movement. Along with Dilan’s music and Finlay’s lighting, we found a way to explore my preoccupation with returns, repetitions and hauntings. This took the form of creating the score through an on-stage mic, with all sound originating from my breath or my touch, mixed live by Dilan.
At its core, repetition is a form of haunting: a ghostly persistence of spirit or action which recurs against the present moment (thank you, Avery F. Gordon!). Repetition (hopefully) bears out the imperative of that haunting, an imperative which gains strength through its insistence. I was particularly interested in extended repetitions, in trying to see what happens when you push repetition past the point of redundancy: whether what remains offers some new legible quality, something essential or affective; and whether affect — a purer, embodied form of affect — emerges more keenly through the force of repetition.
𝘛𝘈𝘐𝘉𝘏𝘚𝘌 [𝘎𝘩𝘰𝘴𝘵]
2025
Thirty minutes
Solo movement and audio piece (scratching, voice, guitar)
.
Music: Dilan Shant @dilanshant
Lighting: Finlay Wyer @fwinter102 and myself
Photography: Kitty Fay @kittyfaymedia (1, 3, 4, 5); Madeleine Whitmore @madeleineesme_ (2, 6)
Final image is a passage from Avery F. Gordon’s 𝘎𝘩𝘰𝘴𝘵𝘭𝘺 𝘔𝘢𝘵𝘵𝘦𝘳𝘴 (2008), a major influence on this piece for its thinking on returns, repetitions, and hauntings, and how hauntings might be read as something forgotten now labouring to be (re-)known.
@tai_bhse
This year has taught me an incredible amount in terms of who I am as an artist. @ainsleyricketts The vulnerability you create in your choreo opened up an entirely different world for me as a dancer. I know I fluff this at times, but what I felt dancing it was out of this world. Thank you for creating that space to share and see other people tell their stories. .
Music: 'Wanderlust' - Empara Mi
![[]2025.Music: Dilan Shant (@dilanshant)Lighting: Finlay Wyer (@fwinter102) and myselfFilming: Millie Hine (@milliehinefilm)Given that I spent a year writing about ghosts in various forms, I wanted to try and translate some of that thinking into movement. Along with Dilan’s music and Finlay’s lighting, we found a way to explore my preoccupation with returns, repetitions and hauntings. This took the form of creating the score through an on-stage mic, with all sound originating from my breath or my touch, mixed live by Dilan.At its core, repetition is a form of haunting: a ghostly persistence of spirit or action which recurs against the present moment (thank you, Avery F. Gordon!). Repetition (hopefully) bears out the imperative of that haunting, an imperative which gains strength through its insistence. I was particularly interested in extended repetitions, in trying to see what happens when you push repetition past the point of redundancy: whether what remains offers some new legible quality, something essential or affective; and whether affect — a purer, embodied form of affect — emerges more keenly through the force of repetition.](https://sp1.picnob.com/p/pt_6721246331672649283961_0_92fa0b4a06f097ec0e0be3198ea6154f.jpg?o=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&h=625ffad9e3914f203376a00f2abb2d0b)
![[]2025Thirty minutesSolo movement and audio piece (scratching, voice, guitar).Music: Dilan Shant @dilanshantLighting: Finlay Wyer @fwinter102 and myselfPhotography: Kitty Fay @kittyfaymedia (1, 3, 4, 5); Madeleine Whitmore @madeleineesme_ (2, 6)Final image is a passage from Avery F. Gordon’s (2008), a major influence on this piece for its thinking on returns, repetitions, and hauntings, and how hauntings might be read as something forgotten now labouring to be (re-)known.@tai_bhse](https://sp1.picnob.com/p/pt_6752597072586122484719_0_4aa7577dcdf790e7ba6a5c59b01dd885.jpg?o=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&h=ee57f2b2898d312c88c33f91d0c5babd)
