The project looks at Ibsen’s Peer Gynt as a courageous tactical manual of exploring and intentionally getting lost in the world. Looking at the world from some corner of Asia, Peer Gynt encourages us to travel, to restlessly seek and question, to uncover and un-map the seemingly mapped global world and politics. Peer Gynt calls for a different world map and this project seeks to delve into the call.

One day, Tantri comes to realise she will not have much more time with her bedridden twin brother Tantra, who is losing his senses one by one. Grappling with this reality, Tantri finds solace in the deepness and the darkness of night. Under a full moon, she dances, finding herself between reality and imagination, loss and hope. Tantri experiences a magical and emotional journey into womanhood that eclipses Tantra’s fading life. The Seen and Unseen (Sekala Niskala) is a new performance work, a cross-cultural collaboration between artists from Indonesia, Japan and Australia. Inspired by Indonesian filmmaker Kamila Andini’s film The Seen and Unseen, which has been described as “a truly singular film” (Cinema Scope) and “a haunting and hypnotic interpretation…rooted in Balinese arts and culture” (Variety). This dance-theatre production is a visual feast incorporating dance, live music and song, and features an electronic score, creating a blend of traditional Balinese dance movement with a contemporary approach to theatre. Driving this production is the Balinese philosophy of Sekala Niskala (“the seen and unseen”), a fundamentally dualist spiritual structure that describes what we cannot see as having equal value to what is seen in the world.

On 22 June 2017, the 16-year-old Junaid Khan was stabbed to death on a Mathura-bound train by a mob that allegedly mocked his skullcap and called him a beef-eater. Responding to the growing number of cases of mob lynching triggered by hate-driven communal politics in India, this work studies the actions that constitute prayer. In examining four movements — bowing, kneeling, lowering the forehead to the floor, and bringing one's palms together — 'the extremities of a surface are lines' poses questions of deference and resistance. How does the body perform its beliefs? What is the physicality of deference? What notions of space and time are embedded in the act of praying? Can deference, when performed outside its usual contexts, and repeated ceaselessly, transform into an act of resistance? How do shape, topography, orientation and horizontality inform our understanding as performers of belief? The soundscape features Junaid’s mother Saira’s testimony about her son’s death, looped and transformed into a haunting call against hate and oppression. In doing so, it references the politics of Steve Reich's 'Come Out' (1966), which loops four seconds of testimony from a wrongfully detained man in Harlem, as a potent reminder of the injustices the civil rights movement sought to address. This work stemmed out of engagements with the #NotInMyName campaign. It was briefly titled Bodies of Dissent and then presented as a work-in-progress with the title 'Pray' as part of 'Long Nights of Resistance'. The work was subsequently called 'Geometries of Faith', and then 'Geometries of Belief'. It is now titled 'the extremities of a surface are lines', in resonance with the Euclidean sense of geometry its choreographic treatment has invoked. The changing titles have had much to do with the subject of faith and belief. They cannot be defined with absolute conviction and can only ever be performed as an embodied proposition, subject to the conditions of a given time and space.