
Christchurch
Ōtautahi
13 - 15 March
Content Notes
Some events include performances with coarse language and nudity.
Accesibility
Cloisters studio is accessible by wheelchair and lift. For more details about parking and wayfinding go here: https://www.artscentre.org.nz/visit/accessibility/
If you are blind or have low vision this event is especially made with sound at the forefront – so we think it would be a great experience without the visual elements – guide dogs are welcome! We are also happy to provide further individual support to make the experience more accessible and comfortable – (This could include live audio description from one of our volunteers) or let us know what you need and we will do what we can!
If you are deaf or hard of hearing this event is based around sound however it’s performance art! Usually the scenes created are visually intriguing and we are happy to provide text descriptions and we are also happy to provide further individual support to make the experience more accessible and comfortable – let us know what you need and we will do what we can!
AND this is not a “theatre” – you can come and go as you wish during all the performances.
In the ticket section there is a question about accessibility please note here if you need access to any of these services (we will organise accessibilities needs as they arise – so please let us know, so we can arrange in advance otherwise we cannot guarantee the services)
Oh and companions can come for free!
Volunteer
VOLUNTEER = GET FREE TICKETS TO ALL OUR EVENTS
Low on funds? Or want to learn more about performance art or putting on events? Or just want to be helpful! Why not volunteer?
We always need a helping hand and are happy to do an exchange. Email us at performanceartweekaotearoa@gmail.com saying you want to volunteer and we will get you involved!
In March 2026, PAWA and TINY join forces to bring artists on an INTERxCHANGE between Ōtautahi and Tāmaki Makaurau in a series of performative experiments called ELECTRIC BODIES.
With the provocations of sound as body and body as sound, the artists are invited to experiment with the intersections between sound and body as a driving force. When sound is not the outcome, but the instigator of an action, in what ways can sound provoke new patterns of embodiment, attention, or resistance?
Powerful, magnetic, dynamic, rousing, voltaic, CHAOTIC, CONSUMING, CALLING YOU.
All events will take place at Cloisters Studio, The Art Centre Christchurch.
(2 worcester blvd, Christchurch City Centre) https://www.artscentre.org.nz/visit/getting-here/
All events in Ōtautahi are koha (donation-pay as you feel) but please give generously within your means, so we can cover our base line costs (recommendation if you have a full time job is $30).
Fri, 13 Mar, 7pm – 9pm
Electric Bodies FRIDAY Performance NIGHT
Violin Mantis by Sarah Elsworth and Anita Clark
Welcome to the science-fiction room; A violin mantis sways, gesture becomes data, a biological catalogue is composed on the fly. This performance is not observed so much as entered. Fresh from recent collaborations in India, interdisciplinary artists Sarah Elsworth and Anita Clark open a speculative sensory laboratory of sound, movement and image.
Soft Mouths | The language of fffflowers by Antonia Barnett-McIntosh
We were kinda talking about this the other day, like-, where it’s like-, resist the subject, push the composition. A solo performance-installation, ‘Soft Mouths | The language of fffflowers’ draws lines between sound art, handcrafts, and experimental theatre. Engaging habits of speech—of conversation, of composition—poiesis and transit, pronunciation and drift, the performance sounds out new and tricky ways of hearing, in a manner of speaking, of relating to deep and careful listening. Playfully combining rigour and whimsy, ‘Soft Mouths’ employs chit-chat, musings, overheard snippets, field recordings, found sounds, and makeshift instruments. onya, on your way, even if you tripped over the chair or something and you d-, oh damn it I’ve got-, gotta (yeah, yeah) push the chair back. you lose something else. that’s gonna-, yeah you have to think about something else. that’s gonna send some stuff out.
Cataclysmic Catalyst by Alan Schacher
Chasing the sound that came before me, sound that penetrates and emanates, responding before hearing.
A gushing silence, the impossibility of moving to and within a cacophony.
In 2006 I performed a rehearsed solo improvisation to a difficult soundtrack created for me by Rik Rue, titled Twisted Mantras and (some) Misguided Words.
A friend later told me that another friend had commented “what an insult”. I always wondered what that meant.
Sat, 14 Mar, 7pm – 9pm
Electric Bodies SATURDAY Performance NIGHT
UNTIMELY: Threshold (Durational) by Ivan Lupi
Through sustained improvisation the work layers gestures, sounds and objects from different traditions into a single body, creating deliberate collisions that refuse easy harmony. Investigating the perpetual translation occurring in culturally displaced bodies, the work explores identity as an act of continuous improvisation rather than fixed inheritance. What emerges when we stop seeking resolution and instead inhabit the friction, the strangeness, the endless negotiation of belonging nowhere completely?
O Que Estamos Fazendo | What We Are Doing by Josiah Morgan & Dominic Hamilton in collaboration with Dispendio Grupo (BR)
Tērā by Rachel Ruckstuhl-Mann
An improvised performance by Rachel Ruckstuhl-Mann in collaboration with the catchment of Ōtākaro.
Tērā. There you are. Here we are. This is a listening, a play, a song of found bits and organs in-motion- in-love, as being. This place is a body. My body is an estuary, a terrain. Tērā. There. Now. Then. Koia.
Surprise!
Adhoc live collective performance by (some) artists
Sun, 15 Mar, 10am – 12pm
Sunday Workshop - Catchment Listening with Rachel Ruckstuhl-Mann
Rachel Ruckstuhl-Mann — Catchment Listening (Workshop)
Rachel will offer a physical training practice towards performance, guided by the catchment of Ōtākaro.
This workshop will involve working with objects, moving in dynamic and challenging ways, improvisation, partner work and voice work. It will include small amounts of sharing/witnessing, so come prepared to move, play, and be seen.
Drawing from somatic movement, contact improvisation, and regenerative practice. This offering is suitable for people curious about embodiment, performance, and movement in dialogue with place—whether you come with formal training or nothing more than a willingness to engage, you are welcome!
Rachel Ruckstuhl-Mann is a movement artist, choreographer, and researcher rooted in somatic practices, Māori worldviews, and performance art. She works across performance creation, teaching, contact improvisation, and site-responsive work, exploring how bodies, place and cultural narratives intersect in movement. Her performance work engages with whakapapa, ecology, myth, and sensation.
Sun, 15 Mar, 1pm – 3pm
Sunday Workshop - Sound Walk with Antonia Barnett-McIntosh
A big part of my compositional and collaborative composition process is to devise moments of tension, surprise, and humour to create communal experiences whereby spectators are welcomed as participants in a compositional process. This implies that listening in itself is active: audience members are not mere recipients of music as finished form, but drawn into a piece’s compositional questions where listening and spectating can be viewed as a form of composition.
This workshop is an invitation to create, compose, and experience a sound walk as a group. We’ll start by making some sound experiments (absolutely no musical experience necessary!), testing ideas, thinking about everyday items and objects as musical instruments, considering the musicality of everyday speech, then participate in some deep listening exercises, before venturing out into the streets for a sound walk (or ride or roll).
Antonia Barnett-McIntosh (Kāi Tahu) is a composer-performer, sound artist, editor, and curator. She collaborates in cross arts spaces, gently tapping on the borders between speech/music, performance/rehearsal, composition/writing, and juxtaposing the formalities of presentation with the aesthetics of failure. She has collaborated extensively with musicians, dancers, visual artists, poets, theatre and filmmakers.