Anticlockwise is a work-in-progress duet, in collaboration with Christiano Mere, exploring how two people from different cultural and movement backgrounds can stay in dialogue, without collapsing into sameness or conflict.

Witnessing the conflicts happening across the globe and in our hometowns, we noticed how often people refuse to listen to one another. When faced with difference, the instinct is to fight — and the conflicts can easily escalate into violence. We see Anticlockwise as a metaphor for when two cosmovisions meet but might not necessarily align: with the desire to reach a harmonised, circular, clockwise motion, while acknowledging the challenge of moving against that flow — the ‘anti-.’

Christiano and I immediately noticed how many differences we shared when we first began working together: in movement language, artistic training, cultural roots, and world perception. However, despite instant disagreements, we question how we can move on with the tension it brings. Rather than escalating into defensiveness or dominance, we are searching for alternative modes of negotiation — practising openness and curiosity through our respective movement practices: Capoeira and Contact Improvisation. 

With this intention, Anticlockwise takes form as a continuous, shifting dialogue that is held through structured improvisation. The work evolves from walking in circular trajectories, but in an anticlockwise motion, as a starting point of negotiation. We are keen on developing a shared movement language that draws from Capoeira and Contact Improvisation, characterised by circular motions, spirals, off-centre curves, weight sharing and floorwork.

So far, Anticlockwise has been presented as part of serval work-in-progress sharings, including:

• KWAM Open Performance Night — Longfield Hall, London — Jun 2025. 

• The Work Room Studio Showing — TWR Studio, Glasgow —Apr 2025. 

• The Adelaide Salon's 24-Hour Performance — Brighton & Hove — Dec 2024. 

• PROJEKT EUROPA's First Draft — New Diorama Theatre, London — Sep 2024. 

• Funding: Received support from the Royal Conservatoire of Scotland’s Make It Happen fund.