Fri 08 June – Body & Music (‘Loci’ and ‘myths & visions’)

An evening of dance and music where I will be joined by dancer and choreographer Joëlle Pappas, musician and composer Bruno Guastalla and composer Sarah Westwood to bring you pieces inspired by puppetry, myths, visions, and cable cars.

I am so happy to open the evening a new trio piece especially devised for this show, with dear Joëlle and Bruno. I will also be performing my myths & visions (this can be your last chance to see this beloved beloved solo piano + dance show in central Oxford. Do come!)

More details of the programme are below, including Joëlle and Bruno’s beautiful duo, and Sarah’s enchanting solo.

This show is promoted by CARU | Contemporary Arts ReSearch Unit and OCM, with support by SARU.

7pm (doors, 7:30 performance)


The Warehouse
14A Osney Lane

Tickets £10 at Eventbrite



‘Tout organisme est une mélodie qui se chante elle-même.’ (Maurice Merleau-Ponty)

Working together on this piece, the ‘places’ of the title are not set positions: we inhabit the same space for a while, a space which is resonant and elastic.

Piano: Késia Decoté

Dancer and Choreographer: Joëlle Pappas

Music and Soundscape: Bruno Guastalla

Cable Veins 2016

piano + electronics

Composer and performer: Sarah Westwood

Cable Veins was conceived after two moments: 1) watching a dancer/non-pianist playing across a piano before one of our rehearsals at Centre national de la danse, and 2) whilst taking a cable car ride. What struck me in both instances was the amount of movement seen verses the sounds heard; both the dancer and the whirring cogs of the machine making sound yet producing a more intricate movement. This was a quality I wanted to investigate, to create a ‘pianistic cog’ gesture, which in turn would create the sound. All in a meditative state.


Dancer and Choreographer: Joëlle Pappas

Music and Soundscape: Bruno Guastalla

Dramaturgy adviser: Miranda Laurence

Traits explores the attitudes and behaviour of a complex character fervently looking for a sense of coherent identity. It draws inspiration from puppetry traditions from around the world. This piece was commissioned by Dancin’Oxford and the Pegasus Theatre for Moving With The Times, 2018.

Myths and Visions

Part I: Myths

Henry Cowell – The voice of Lir, for piano [tone clusters] (1920)

Aeolian Harp, for piano strings (1923)

The Banshee, for piano strings (1925)

John Cage – Bacchanale, for prepared piano (1940)

Part II: Visions

Sara Carvalho – inside silence, for prepared piano and toy piano (2012)

Marisa Rezende – Miragem [Mirage], for piano and mallets (2009)

John Cage – A flower, for voice and closed piano (1950)

Performer: Késia Decoté

Movement director: Joëlle Pappas

Myths and Visions was originally conceived as part of Késia Decoté’s doctoral research at Oxford Brookes University. It combines piano performance with dance, offering an alternate experience of a classical music recital.

Késia Decoté takes bold risks both with her choice of repertoire and by challenging the conventions of piano performance, and she emerges triumphant.’

– Colin May, music writer (Nightshift, Oxford Times)

BODY & MUSIC poster


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