‘BEIMA Collective. Bridging Radical Empathy.’ by Patrycja Wojciechowska, 3rd April 2026 (Interview with other members of BEIMA)
‘Again, even the non-human is still gendered as the monstrous feminine. We played quite a lot with monstrosity recently, like spitting out seeds on the stage and stuff like that. So I think it’s quite a fun way to access the ideas of othering, and a way to show how ridiculous they are, is to take them to the extreme. Almost to a different level.’
Photography: Tim Hand
‘Queer Butoh Festival: Still Life‘ by Jen George, 18th July 2025 (Review of ‘Fruit of My Woman’ at Queer Butoh Festival 2025):
‘“Fruit of My Woman” by Oxford-based Alice Baldock gives similarly intimate access. Sitting with her legs straddled and bent, spine exposed, Baldock presents as a sturdy, thoughtful triangle. In a violent hugging motion, she grabs at the flesh of her back, leaving reddish prints behind. The audience receives Baldock’s uncomfortable fingerprinted signature as a visual metaphor for what the program describes as the “suffocating pressures of ‘straight time’—to get married, to have children, etc.” Ultimately, Baldock bites open a pomegranate, sullying her dress with chunks of the fertile fruit.’
‘From Rupture to Ritual in “Of Mirrors and Shadows”/”Flesh to Ashes”‘ by Elspeth Chan, 1st September 2025 (Review of London Butoh Dance Company in ‘Of Mirrors and Shadows’, Chisendale Dance Space, August 2025):
‘Dense with symbolism and mythic resonance, Of Mirrors and Shadows immerses audiences in intense erotic and existential depths.’
Iris 