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IN DEVELOPMENT:

TREE TOURS / QUEER(Y)ING THE SITUATION / SKY GAZE / SENSORY STUDIES / MEANING-NOTHINGNESS

TREE TOURS 

Tree Tours is a participatory live-art project using the form of a guided tour. Audiences will be taken on a group walk to learn about, listen to and connect with local trees.

 

This project honours trees while addressing complex questions around the Climate Crisis. Through embodied research, consultations and care, Tree Tour engenders the natural choreography between humans and trees. 

Tree Tour undertook an initial development in 2023, supported by the City of Melbourne.
A second development will be undertaken in 2025, working towards presentation in 2026

REFERENCE IMAGES:
Previous group explorations by Caitlin with human-tree choreography & connection

Within a workshop as part of "The Green Bee", run with Rebecca Jensen for Dancehouse

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Methods and Timeline: Tree Tour, Development 2
 

Project Duration

This development will take place over three weeks, full-time, across April – May 2025.

 

Project Location

Research, development, and documentation will be carried out in public green spaces across the City of Melbourne as well as at my studio in Boyd Community Hub, Southbank.

 

Week One – Refining Artistic Materials & Audience Engagement + Consultations

  • Further develop choreographic and participatory methods

    • Test and refine movement-based approaches for audience interaction with trees.

    • Develop accessible and flexible prompts that allow for varied levels of participation.

    • Ensure methods work within a ‘group tour’ setting while allowing for personal engagement.

    • Refine ways for audiences to experience the trees through movement, perception, and embodied listening.

    • Develop ways to guide participants into exploratory, self-directed interactions while ensuring a coherent experience.

  • Brainstorm and test ideas for a tour script and dramaturgy

    • Workshop ideas for how to structure the work for audiences, the order of exercises and how choreographic/embodied elements might be integrated with walking between tour stops and the tour script/facilitation.

  • Plan for consultations

    • Prepare artistic materials and conceptual information about Tree Tour to share

    • Research people I’m meeting with and write questions to ask them.

  • Consult with Indigenous cultural knowledge holders

    • Meet with Boon Wurrung Elder Aunty Caroline Briggs (confirmed).

    • Meet with Wurundjeri Woi Wurrung Elder (tbc).

    • Discuss cultural sensitivities, site-specific storytelling, and Indigenous knowledge systems related to trees.

  • Expand research into accessibility and inclusive participation

    • Consult with Arts Access Victoria on neurodivergent, d/Deaf and disabled audience experiences.

    • Refine strategies for ensuring the work is welcoming, safe, and adaptable to different needs.

 

 

Week Two – Further Consultation & Artistic Finalisation

  • Deepen research into CoM urban ecology & cultural landscape

    • Revisit City of Melbourne’s resources: Exceptional Tree Register, Nature in the City Strategy, Urban Forest Strategy, and Urban Forest Visual.

    • Expand understanding of urban trees’ conservation, history, and role in climate adaptation.

  • Consult with conservationists & ecologists

    • Conduct expert interviews, including with City of Melbourne staff and Royal Botanic Gardens specialists.

    • Gather insights into the ecological and environmental aspects of the selected trees.

    • Incorporate scientific perspectives into the tour’s dramaturgy and audience experience.

  • Integrate learnings through from consultations/research to finalise artistic materials

    • Weave knowledge and perspectives into the script draft and finalise it

    • Re-appraise and redevelop materials from week 1, given new perspectives gained

    • Weave choreographic/embodied materials together with script to form a draft for the work

  • Refine tree selection and tour mapping

    • Reassess trees previously identified in the first development, ensuring selections support a strong dramaturgical arc.

    • Consider audience experience, pacing, accessibility, and ecological/cultural significance.

 

 

Week Three – Documentation & Preparation for Future Presentation

  • Finalise the show

    • Plot out script/embodied exercises with the tour route to finalise the show.

  • Capture high-quality documentation for future applications

    • Take photographs and video recordings of key research processes and movement explorations.

    • Record excerpts of choreographic exercises, audience participation strategies, and interactions with trees.

    • Develop written documentation summarizing methodologies and key insights.

  • Begin to prepare materials for final presentation (Melbourne 2026) & regional touring

    • Assess the adaptability of the work for different tree sites within City of Melbourne.

    • Begin considering modifications required for regional touring settings.

    • Compile a support package for presenters, including artistic rationale, access considerations, and audience engagement strategies.

DANCING WITH DEBORAH HAY

A solo initially co-created with Deborah Hay over a two week period, followed by 9 months of near-daily solo practice. The work is governed by Hay’s existing choreographic and performance frameworks, as well as a text-based score I wrote through her strictly dictated process.

Continuing from this starting point, I am exploring parallels between Hay’s work and Queer Theory. Her practice of performance produces non-normative modes of perceiving and behaving that teeter around the slippery edge of recognisability. Through estrangements of performative conventions, I’m investigating ways for this solo to have the effect of queer-ing a situation or space it is presented within.

Highlighting and transmorphing a setting, bringing the event of the performance itself into slippages of familiarity and estrangement. Encouraging audiences to queery to the point of things becoming ‘queered’.

REFERENCE IMAGES:

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SKY GAZE 

IN COLLABORATION WITH THOMAS SCHMOCKER

A participatory choreographic work that will take audiences on an outdoor adventure to explore their relationship with the sky.

 

Interactive sculptures will be set-up outdoors for audiences to engage with including aeolian (wind-activated) instruments, a sky-viewing cube (made of perspex with varied distorting filters) and tall acoustic structures that enable audiences to listen to sounds of the wind from above. 

 

Participants will receive a backpack that contains objects such as binoculars, filtered sunglasses and pin-hole cameras, which enable them to view the sky in different ways. The backpack will also include an orientation map providing directions to the sculptures and prompt-cards that offer suggestions for interacting with the sculptures and sky viewing objects. 

 

Audiences will be met inside a hosting art institution and guided outside to embark on a sensory and embodied journey to explore what can gained through the act of sky gazing. Perhaps we can each learn or affirm something about our personal relationship with 'nature' and our place on this earth...?

 

The sky is…

liminal, queer and a site of potentiality.

 

The sky belongs to…

everyone and no one; everything and nothing.

 

The sky contains…

gases, particles, animals, objects, weather, events,

information, portals, fantasies and projections.

 

The sky connects us to…

spirituality, science, myth, metaphor, past, present, future;

through space-time and beyond, into the infinite.

 

The sky makes us feel…

interconnected, in awe, the sublime, fearful, existential,

hopeful, small, in-perspective, expansive and embedded. 


 

Across cultures and millennia, humans have been gazing into the sky… 
 

We want to know what sky gazing can afford in today's age of Climate Emergency.

 

REFERENCE IMAGES:

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SENSORY STUDIES

A participatory live art work that takes audiences on an interactive journey

to investigate how their own unique perceptive processes operate. 

Cross your eyes… now the singular becomes plural

Place a finger in your ear… now the world sounds different

Block your nose… and your experience of taste will change

These are simple examples of how our perceptions are inconsistent-

being contingent upon one’s perceptual processes and infrastructure. 

We all have a habitual way of perceiving the world. A default mode for organising our senses, which produces a frame of reference through which we determine how things are ‘meant’ to appear. But what happens if we alter our senses and seek renewed experiences of familiar things?

On a one-on-one basis, participants are guided through simple exercises to become attuned to sensation. They are then invited to be blindfolded and are exposed to multiple sensory stimuli- ie they smell, touch, taste and feel things (see supporting images for reference). These include scented oils, light from a torch, textured materials, cooling/warming materials and textural sounds made with DIY instruments. The experience is designed so that these sensory stimuli interact with each other in ways where the introduction of one stimuli can affect the perception of another (for example the introduction of a scent affecting the taste of an edible stimuli). 

The design of this work has been informed by Perceptive Science. In particular, work on perceptual illusions and how sensory modalities interact with each other (for example, that the brain cannot completely differentiate between taste and smell as there are shared neural pathways). 

New and uncanny sensory experiences can demonstrate that our perceptions are subjective, relational and malleable. Experiential inquiry into how our senses work can thus enable us to see, think and believe in a way that is more fluid, diverse and queer- allowing each of us access to perceptions and perspectives that exist beyond our usual reach.

By determining how we see the world, our modes of perception become the building blocks for our understandings, memories and beliefs. Therefore, expanding our range of sensory experience is not only of artistic or philosophical interest, but also political.

IN-PROCESS PRESENTATION:

MEANING - NOTHINGNESS

A solo using the format of a performance-lecture to explore processes of bodily and verbal meaning making.

Development supported by: INSISTER SPACE (Sweden) and Weld Theatre (Sweden)

IN-PROCESS SHOWING:

Meaning Nothingness Relationship Diagram
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