This transcript is from an interview that was first published on 26th of January 2019. This transcript has been edited slightly to help with clarity, the audio of this episode and more information can be found here.
In this interview we discuss Amrita’s practice and where dancing originated, we discuss the role of dance in society and how to have difficult conversations, alongside a range of other topics.
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The interview started by asking where did dance start…
Amrita Hepi: First off, I was the very regular child dancing and enjoyed dancing in the living room and had a very encouraging mother. I also had a little bit of, I guess, exposure to traditional dance through Maori dancing, but also going to Corroboree, engaging in those practices. And then there was also one of my mother's friends from around town was a contact improvisation teacher. So she done a lot of work with Steve Paxton in New York. And she started teaching a class for four year olds, which I think about that now teaching a contact improvisation class for four year olds. And I'm like; I don't know if I could do that. That'd be really hard. So I started doing that with her and I loved it. And then this all of these things led into, I guess, pursuing dance in school. And the first dance work that I made was called the Emu Lizard Spirit, Michael Jackson. And so it was kind of a culmination as a five year old, me, taking all of these dances from Corroboree and from Kapa Haka, and then a little bit of contact, and then Michael Jackson, because I knew that I liked him and making this dance in - I think my mother still has the video. But it was, I guess, in that way, it's almost like a perfect combination for the later part of my practice, which is I wanted to be a backup dancer. And so I really just, I love film clips, and we'd moved to the Northern Beaches. I was born in Townsville, and I just, it was a great exposure to other black and brown bodies.
And so I started watching those video clips. And then I would also go to the community center in town. And I would look into the window and watch people dancing in there. And then I would kind of walk away and try and imitate it. So they were doing ballet, and they were doing different, a jazz, contemporary, and so I'd watch and then run and then try and do the thing. And then the teacher would come out and be like, why don’t you join in? And I was like, ‘No, I don't want to join in.’ And then she found my mum in town. And she was like, your daughter comes and dances at the community center. And mums is like, ‘is this true?’ And I was like, ‘no.’ And then she ended up enrolling me in dance and it was great. And so that was about - I don't know, and then just kind of took off from there. And my first job was as a teacher's aide. And so that gave me some money and some independence. But it also went to pay for my fees. I was a bit scared to ask mom to do dance because I thought that it would be expensive, and it was, so my teacher really helped in that regard, Mrs Ariana, and then I just kept dancing through high school. I liked everything about it. I liked the practice of it. I liked finding the song. I liked the fact that when I was making up dances with my friends, that there was like, a sense of something that I knew how to do. Yeah, I liked the costumes. I liked the escapism of it, I liked everything about it, but then it kind of changed. I started I remember kind of developing in my body a bit more we're at about the age of like, you know, that shift between like, 15 to or even actually as young as like 12 and things really start to shift and things really start to change in your body. And I just remember also to that kind of thing where everyone was like, ‘well, what do you want to do?’ And I was like, ‘I want to be a dancer’, and everyone was like, ‘what else?’ And I was like, ‘that's it.’ And so then I stopped and kind of finished high school and stopped dancing for a little while and then started working in a community dance school again at around about the age of 19 and then was like I don't want to study whatever I'm studying university I want to do this. I was working at this great day school in Surrey Hills that did a lot of world dance styles and styles that you know, you talk to a lot of teenagers. When you talk to a lot of people and they're like, ‘Oh, yeah, I've done everything I've done like jazz, tap, ballet, hip hop, I’ve even done Bollywood - I've done everything.’ And so it was like, great to be exposed to styles, like Argentinian tango, and like the differences between —Kahiko from Samoa and Hawaiian hula and then all these dances from the Pacific and to be able to have access to teachers like that and be able to have discussions with people like that all over the word teaching different cultural dance styles.
And I think it made me realize, I mean, I'd kept up practice in terms of engaging with my community and dancing going in and going to different cultural dance practices that I'd never really had considered a part of dance. And so then I was like, fuck this, I'm going to go and study at university and study a nice job. And that's kind of the pathway into my dancing.
Andrew: Does that really interesting point where you talk about, you know, people are taught jazz, tap ballet, you know, contemporary, and you come out and a lot of people kind of talk about having that tool kit, but as you said, excluded so many other ways of moving and using a body and telling story.
Amrita Hepi: Yeah, it's one of the reasons why I've gotten a job if I'm honest.
Andrew: Yeah. And what way -
Amrita Hepi: not like one of the soul reasons, but I think in terms of making dances or being in a tasking situation, it's helped to not always speak exactly the same language as everybody, you know, it's helped if, if languages is information and information is greater understanding, then it means that I was speaking, you know, English, but it was also speaking Te Reo And I was also speaking different, I guess, different First Nations languages through the Pacific. And so that was - that’s nice because it's just more information to be able to share.
Andrew: Yeah, I recently interviewed Thomas Bradley, and he was talking about finding Butoh and actually have that change the way he's considered what he's been taught. And I use the word body baggage in the interview, but kind have that sense of like, re-learning that there's other ways of inhabiting a body and moving and dancing and how that can facilitate his practice in you know, in the types of companies and spaces that he's working in now.
Amrita Hepi: Totally, in ways that are more sustainable, I feel, especially knowing Thomas a little bit, you know, the strain to like, the strain to continue to find, I guess, a pleasure in it, but also to, to be able to take care of yourself, but also to move a little bit slower and to keep I guess, it's like to sustain your own self interest in the craft.
Andrew: So where you've kind of landed in your kind of practice, which is so diverse, and I'm sure we'll get to a lot of that how would you describe it - your dance practice and what you do and what you interrogate and what you're interested in?
Amrita Hepi: As a dancer, I'm interested in finding at the moment, in finding dualities between objects, persons, place, but also to in projections. So when I say projections I mean how it is that we're viewing different bodies and how we it is that when a body comes on to stage how we might see it and our different you know, different already always listening when it comes to viewing a person, but also to then the dualities of how it is that we present something and how then it is appearing in the theatre. So the functions of a theatre and the social functions that that entails.
And so I'm also interested in the maker, in I guess, the dilemma of authenticity. But when I say that, I mean, like, what's real, and what's really real, and how do we negotiate what the realest of the real is, and how do we tell stories? And I guess also to power, so these are the things that I like to look at in my practice at the moment as a dancer. I think that my physical process and my way of moving it's very influenced by training at Maidstone and then also to, I can ignore you know, going to my small coastal towns dance school I think it's also influenced by Horton technique, which was done at Alvin Ailey every day where I also studied. But then also to like, I guess, meeting people and being able to have access as a young person to go to places like the Judson Church and to see performances like that, I didn't realize how much of an influence saying someone like Deborah Hay’s was, or Julianne Long when I was going to Macquarie University. And so these applied, I guess, the physical imprints also to watching people at the event who growing up, but I think, well, I feel like she's quite a influence on - I don't want to speak on her behalf. But she's quite influenced by Torres Strait Islander dancing for me, it was more the influence of different answers from the Pacific. So yeah, that would be a kind of a small snapshot of my practice right now, at the moment what I mean.
Andrew: And some of your work, I mean, we're talking before we started recording about a sense of hierarchy in dance and certain dance practices, I guess, get an audience and others that kind of seen as more to the sides or to the margins. And some of your work kind of has really bridged that gap in helping people access their movement, their body and to talk free movement or just to even feel back in their body. Can you talk about some of that work because I think that's really fascinating?
Amrita Hepi: So I came back from studying in New York, I was really broke. And a friend of mine who owned a nightclub in Sydney called, Good God. And actually, it was Adam Lewis who was doing the bookings at the time. And he suggested, oh, you know, on a Wednesday night, we've got a spot free and maybe you could teach a dance class and I was like, that sounds dumb. Why would I want to teach dance classes in a nightclub and not teach in a dance studio? And then I realized I was like, No, I sound really dumb. Why wouldn't I want to teach a dance class in a nightclub? And so we decided to do a Beyoncé dance class in Good God, and then we sold out really quickly so it's sold out I think we sold like 50 tickets in the space of a few hours. And then we sold another 50 and another 50. And it was, so it was like, 150. And I was like, I don't know if I can even do this. And so then I did it. And I was like, wow, people really want to dance. And they really like dancing, it was funny. So my site - because there was like, the premise or like, people knew what they were signing themselves up for. They were like, okay, yep, be on, say, I've seen her. I know how she moves. And then it was funny, because I also did the door at the dance classes. And people will be like, I can't dance, I really can’t. It's a la la, la, la, la, la, la, la la. Like the millions of excuses that people - adults continue to tell themselves as they walk in, and even if they've done dance as a child, or they'll say, I used to do just as a child, and they don't do it anymore. And so I was like, Fuck, there's a really rad conversation. And this, the idea of, of what it is that people and I know that a lot of contemporary art is looked at. So just partners in general, like, what people consider to be dance? So how they can move their body and, and what dance is and who's doing it and who's allowed to do it, and what part of the body is being looked at and how, how we might talk. And so it ended up kind of almost - I also realize you could talk to people about anything in the dance class. So I could do an embellishment of country, I could talk about protests, I could talk about political ideas, I could talk about Beyoncé, could talk about the intersections of Beyoncé with politics, it was, it was like a really, it was a really wrapped space to have a discussion while continuing to move. And so yeah, that's kind of where those conversations started around, I guess, dance and other people finding their ways of dancing. And I guess pop culture was a huge thing to just tool, because it was my entire marketing thing. So it was like, you know, you could say, we're gonna learn Justin Bieber’s Sorry. And then you could also talk about contemporary dance and the fact that I was doing a show at Next Wave and people would come and people would, from this experience of being in the nightclub with them be more interested in coming to see a dance show coming to see other things that I was doing. And I remember then to like, remember this one I won't say her name on here, but I remember someone saying to me, you know, she was a couple of people that were kind of in contemporary practice. And this is, you know, five years ago, or six or seven, they were like, you know, you just don't want to get known as the person that teaches, you know, Beyoncé dance classes, or it's just not real dancing, you don't do real dancing and dah. And it was like, that was also a funny conversation. Because I was like, what, what’s team dancing? So I was having these conversations about dancing with people that were coming to my class, then having a conversation with other people that were in dance whilst I was working and making, you know, contemporary dance performance work, who were like, Oh, I can't believe you, it's so generous of you to do those classes for people I wonder how it would fair for your practice though? And it's like, been one of the best things that I could have done for my practice, because what's the point if you're only talking to the same people over and over again. And so that was that and this led into other projects, or other ways of approaching teaching dance, but teaching other ways of even myself thinking about how I was making that, so not that I was necessarily always using vehicles with pop culture, but it may be thinking about how I was being watched or how I was watching other people, it definitely gave me an interest in video and wanting to construct choreography for video. And I think this was subconsciously something that I've been interested in since I was probably about 13 years old, which is then transferred into my practice now, but I think having such a public facing practice in that way meant that I got to talk to different people and different audiences that yeah, that weren't the norm necessarily.
Andrew: because when you put on a piece of music, kids will automatically start dancing like young kids, they kind of like start moving a body and we kind of -
Amrita Hepi: Yeah, yeah, if they like it, otherwise, they will also tell you, I don't like it. I’d be working with kids.
Andrew: But there is that sense of like, it's the desire to move becomes so real. As we get older, we kind of place always pressure on, you know, what is the appropriate ways of moving or what's not appropriate ways of moving within space and without the people and so to get to that point, where people say they can’t dance. And I've said that, like so many times as well. Like, I can do a certain type of dance, but it's, you know, it's not what other people would consider like dance.
Amrita Hepi: Or is it how are you being watchable or unwatchable or, you know, these kinds of things?
Andrew: Well, I yeah, I mean, when I dance, people think generally I'm on some sort of substance and possibly not, it's just that I'm actually like, let loose and people like, Whoa, and it's like, we'll just take the piss like, you just, and it makes me really think of your TED Talk, which was mostly to be a good dancer.
Amrita Hepi: I didn't choose this title. I would have titled it, maybe like, talking dance from like Sydney nightclubs to Andrew Wrestles’ Podcast. I don't know if the title worked.
Andrew: But it was, I mean, essentially, what you were talking about was connecting with your body and like, kind of letting go a bit.
Amrita Hepi: Yeah. Which I feel like, you know, dance, especially the dances that are the Lord of the dance, is that I encounter, they get up every day, they're like, you know, we're in the studio, and they given a task, and then they go away, and they make this thing and then they get up every day. And then they show the task and then they're improvising or the - and I mean, I know that it's part of the conditioning of doing something. And I know that it's not always necessarily brave, because this is what they are trained to do. But it is a different type of like, I guess it's not like sharing a rapport. Like, it's, I guess it's like, it's another way of just getting it out there. And I was like, if people maybe could take this function of working through things, or working through the task at hand, and just getting up and presenting, it would maybe make things a little bit easier. But I guess there's a few working processes -
Andrew: Pre-talk about your work, A Call to Dance and how that works with people. And obviously, what you're working on at the moment.
Amrita Hepi: So A Call to Dance came out of, I guess, A Call to Dance came from me thinking about, I guess the commodification of dance. And it was almost like a little bit of like, thinking about, I guess, cultural boundaries and dance. So who can dance, what you know, for men’s, women's businesses, but also to, I had a lot of people saying to me, like, I wish I could do a dance about that, like, that would be so nice. If I have a good you know, like, it's just, I can't do that, I can't, that's just not my, like, cultural barrier. I wish I had a cultural heritage like this, that that gave me something to dance about. I'm just not, I just caught, I'm just, I'm just like, Okay, and then. So that's kind of where A Call to Dance came from. And then I was looking at processes around the acknowledgement of country and how we, I guess, talk about place or story and dance. But then also to like thinking about people that have certain styles in dance and also to have a talk about dance with people about how people perceive that dance is made. So I guess it was like on one part, it's the idea around demystifying some things in dance. And then on the other part, it was like talking to people about an experience or a story or something that might be important to them at that point in time. So it's usually one on one session in a private space. And we'll have a conversation about this; I have a few questions that I usually lead with but then we'll go into others. I made the work and then premiered it, at Yirramboi and that it will be in London at Origins Festival, but also to Hanover, and then Nelson festival in New Zealand. And I think that's it for this year. And then I'm also at Art Center Melbourne, and then P.I.C.A in May as well. And the difference this time as I'm doing it, is that I'm doing it with eight to 17 year olds. And so that is a conversation because I've noticed with some of the adults that I've done it with, sometimes it turns into a therapy session, sometimes it will turn into you know, and it's really talking, we really get into a lot of talking around like, you know, why would anybody make up a dance like dad's it’s stupid, or I don't feel good dancing. And I'm like, I'm not here to change your mind on it. But I do have to perform it at the end. So we should maybe make something even if it is that the takeaway on your movement is dead, stupid. So how would you be a dancer? But I'm sorry, at the end of the every day, I do a short performance of the archive movements that I'm given. And then at the end of the residency, I put all of those movements together and I create a dance, it's given back to the place that it was made it and so it always looks very different. And it's always a lot of conversation. But you're doing it without you. They really have a - I mean, the most interesting thing is the pre conditioning that a lot of them from dance school have, and then they're like - they want to do, they're already constructing things around like, what looks good, or what's impressive, or how - what dance is. But then there's also the flip side of kids that never done that who are just like, ‘okay, this is what we're doing.’ We're listening to the Little Mermaid because that's what's important to me. And I need you to sit down and I'm going to dance and when I point, then you dance, and then I'll dance and then you dance. And like that sounds like a great choreographic score. So, okay, shall I press play? And then there's also interesting conversations to have, I had one kid who was - I said, ‘tell me about your friends, about your community.’ And he was like, ‘I don't have any friends.’ And I was like, ‘What about your people that you do dance with?’ he was like, ‘No, I don't have any friends either. So I thought to be able to do a dance so that when I make friends that we could maybe do it together.’ that's like a nine year old. And then other dances, other times that I've done it. And I've done that with socially; I did it with a group of indigenous girls. And I was like, ‘what's important to you?’ Every one of them speaks about responsibility. They were like, super responsible of what culture has, like I'm what's culture? And they were like, ‘everything, like, you know, language, dance, like culture. And I was like, ‘Okay, and what are you going to contribute to culture? And they said, ‘looking after it and stuff.’ And so there's always also to this thing, what kids feel responsible for, and then also to adults feel responsible for. It brings up lots of conversations. And then it's interesting to see it in a dance. I sometimes don't know what's more interesting, the different array of dances or the content sessions people having around dance.
Andrew: And because that one on one conversation, or some kind of - a lot of research interviews, where you kind of delving into building to dance is kind of, I guess, the conversation is somewhat more public, where some of these conversations have been around, you know, sexual health, or HIV, or things like that, and kind of holding a space or drug use, and you're holding space and having incredibly intimate conversations where people feel completely anonymous. Being anonymous can tell you everything, and there's something so amazing about those moments that can never be taken out of that space.
Amrita Hepi: Yeah, even if I have, even if I'm performing with them, and then still just remain like a conversation, that I had with the person maybe it's not the most compelling performance say, but there is something about - I think there's something to be said about the ability to have a conversation and move with someone, and the fact that it might only be 50 people. But like, maybe the quality of it is something that's important as well. I mean, I've never had anybody leave the session and be like, ‘Oh, I regretted that. I thought was a waste of my time.’ That's never happened. And maybe that's going to happen in the future. But it's also to like, people a lot of the time; we're coming to this. So we did it in a train station, it's always in a private space. I think that makes more sense. It wouldn’t, it wouldn't work if you're doing it in a very public space, and people will come in and be like, I'm not performing it like that last person did, just so you know - and I was like, that's fine. They always end up performing it, I’ve never had one question that's come out and be like, I'm not doing it. They're like, Oh, oh, it's just like, the thing about, you know, my mother and how she treated me and then put this in here about that, I wrote that, it's a really, it's a really beautiful. And I think, actually to with the final dance, there's usually - because sometimes in there we will watch video clips, and sometimes in the room people will share different parts of the conversation that they want to have set out loud, or they'll want something projected. And so it kind of then makes a little map of - in the mise-en-scène, then kind of adds to what maybe what the conversation was about, the stuff is just very private. And that's okay, too. And dance is kind of private, you know, even when you, know what is happening there. It's funny when we're talking about like expressions, right? We're like, okay, so you were like, expressing this thing. And that's not what I was thinking. But, you know…
Andrew: In the way other people read it?
Amrita Hepi: Yeah, a read is just a read really; sometimes the read can be totally off. Sometimes it read is right of what's coming out. But it might help you to what's kind of happening internally in the conversation.
Andrew: Your work also includes writing activism and these other spaces and using other tools to have, I guess, important and difficult conversations. How do they inform, how do they, I guess, how does dancing form those practices? And how do you know those practices feedback into your dance?
Amrita Hepi: I think that writing is always - I mean, it's not something that I'm trying to do in terms of pros, but bit more to be like, direct about what I'm trying to talk about, which then helps. It can sometimes help to expand on something or sometimes has helped me to look at where is that I want to go physically, in terms of activism. I mean, I think that I got the role being an activist that was kind of, ‘you're an activist?’ And I was like, ‘I don't think so. I think I'm an advocate.’ And I think they're like, ‘no, no, you're organizing a dance classes, and the dance classes are the way to organize the campaign.’ I kind of was like, ‘what's the role like, what's the role of an activist then?’ like, you have to be, like,’ what's my campaign?, well, if we think about, you know, the facts, and I was like, ‘I’m making money from those dance classes but I really enjoy doing them, is that termed activism? And there were like, because people are coming, it's helping you to campaign around the body and around shame - which your campaign is also to acknowledge First Nations people. And so I mean, I feel sometimes I’m easy on the word activism, but I definitely think that I can be an advocate and what I'm doing if I'm, you know, using my platform, but yeah, I think the other bits of the work, they all just feed into whatever it is that I need to do with the time whatever needs to be done. So whether that's - it's usually about the, I guess what I would rather make - than necessarily the medium and while the medium, you always learn like the body-centered, it sometimes can expand out into other things. It's funny, though, people have a real issue with that, too. It's like a real issue that people want to dance and want to be dancers that's such a funny conversation, I think it goes back to our conversation about hegemony….
Andrew: People like a category to make sense of the world.
Amrita Hepi: But I think that there's always like, if there's an overriding thing in the work. Like, for example, when I watch someone like Dalisa Pigram dance, I can asee the Yawuru dancing in her body. I can see us in her dancing with other choreographers from Europe, and I, and it makes sense it's like, it honors all these different parts. Well, honoring her and I guess story. And it's not necessarily about her heritage, but you could just see the physical practice in it. But actually, you can also just see, it's totally her. It's like the same when I see people like maybe like, even Stephanie Lake, Lillian, I can see Lucy [Guerin] so clearly in there, and I can see her transmission. But I can also see here, it's so clear - it's clear them too. And it is funny, that kind of mode of transmission, and sometimes the transmission will come out in the performance and other times it's in film. It’s the way that things are passed on and through and then what rises in a big kind of mash that then intrinsically becomes about that person.
Andrew: I guess, activism, advocate space, one of the things that I've been grappling with at the moment, is I'm writing a program of work for Manchester International Festival, and it's about how do we have difficult conversations? Is that how do we have those hard conversations? And it seems in this day and age, that so many conversations around value or politics become so divisive, very quickly, and it's very hard to find any sense of middle ground from either end of the spectrum.
Amrita Hepi: That's is really good.
Andrew: Yeah. And so how can we have those difficult conversations, I guess? And what's your view on kind of bridging that gap and finding that space where we can have a conversation?
Amrita Hepi: Yeah but thinking, I also think that it's like it's having a disagreement or of being clear on what you're disagreeing on. I also think it's - I feel like I'm going to go into something that's kind of cliché, but it's continuing to have the conversation on either side, it's keeping the light like the dialogue happening, how can we have critical conversations, sometimes it's like disengaging or going through the back door in order to have the conversation which sometimes I feel like I do that. I’m not talking from my own experience, but I definitely have had times when I've been talking about rallies and protests, or, you know, it goes in country and I've had people roll their eyes and then I've had to ask them why, to explain why they did that. It's been to make an example of somebody, to have a conversation with people, you know, and that's been a tool, it's not a tool that I use all the time, because I'm not a fucking Martyr. But I think that's a way of having a conversation.
I think that sometimes it's also really difficult to have a critical conversation, because sometimes you go into it, denying the fact that you might be emotional about something. And as soon as you get emotional, it's like; he can't talk about it anymore. But I think that we can't deny those - its maybe leaving space for the fact that our critical conversations will also be emotional.
And yeah, I think dance is one of the great ways that we can have those conversations, because, I mean, especially in - maybe it's in, like, the unknowing of things or like the interpretation. Maybe I would - I might be reading here, but it's like there’s something about sharing something with somebody, or about teaching somebody something that allows space for a conversation that you might normally have, you know, about sharing a skill with somebody, or sharing learning something from somebody that might allow the space to have a really critical conversation with somebody.
Andrew: That kind of space to provide that platform as well, where you can present a set of ideas without it becoming - creates a space for having some of those conversations or for encountering different ideas and different perspectives in a way that doesn't feel confrontational, that doesn't directly attack your values and then maybe things shift in that way -
Amrita Hepi: Yeah, I mean, I also think that like, in our spaces, you know, sometimes there's a tendency to think we are the belly button of our universe, we can think that is the belly button of the universe, and that the conversations should revolve around that. But, um, I think we're, we're also conscious, trying to be more conscious of that, too.
Andrew: I was wondering, what are you working on at the moment? And what's 2019 got in store?
Amrita Hepi: Well, that's all - it's all very new, actually it's new and old. So I premiered - I'm part of a dance company called Marrugeku Dance Company, so we premiered Le Dernier Appel [The Last Cry] at Carriage Works last year, which then went to tour to New Caledonia, which is I guess, a conversation, a dance theatre work choreographed by Serge Aimé Coulibaly and Rachel Swain and Dalisa Pigram, which is I guess broadly about the impossibilities and possibilities of colonization or decolonization. But more maybe on a micro level, it took the referendum that was happening in New Caledonia as a point of departure, so far reaching as to whether to separate from the colonizer or from France. They voted no in the end, but it was very tight. So that election happened last year. Do that work will be touring through - that'll do Dance Massive. We recently retired from a European tour in December from France and Brussels, with a lot of stuff in Bruges. And then we will also go to I think Switzerland and Germany and a few other European places and then also to touring There's some exciting stuff was another project that I can't talk about that's happening at the end of the year in Sydney and that'll be cool. I'm premiering a new work that was commissioned by the Art Gallery of New South Wales called, The Tender, which will premiere at the end of March in New South Wales Art Gallery as part of The National. I’m really excited about that, I’m here with great performers and then wanting to make a new work. I’ve been thinking a lot about brand groups and the fact that there's a shopping center cooperation guru and the story of burning the guru and shopping centers and then working on the passing, potentially working on a musical with Belvoir and Sydney Theatre Company doing some choreography that will be about teenage fandom, which will be great and wanting to also - to really be interested in choreographing gestures in hollow holograms. Non-holographic paper for a show coming up later in the year.
Andrew: Yeah, not much really for the whole year…
Amrita Hepi: I'm getting married, too! Yeah, it is a big year pic. I’m excited, I am looking forward to - I'm looking forward to the fact that I'm being sustainable with works I have made or projects that I've been in, that I get to do them again and get to re-perform them and really, I feel like that's such a - that's so amazing to be able to make something and to be able to make it - for it to be able to tour again and again, especially with something like A Call to Dance, which really changes so drastically depending on the place. So, I'm really grateful to be able to be sustainable in that way with my practice as a maker and also to be able to dance for others. That's so nice as well.