A newly commissioned live performance taking place simultaneously between Bristol (UK), Kampala (Uganda) and Kigali (Rwanda) in summer 2017. Can You Hear Me Now is created and directed by Caroline Williams.

MAYK are partnering with Ubumuntu Festival in Kigali and Theatre Factory in Kampala to commission one artist in each country to work together to create a new live performance that explores the lived experience of young people in these very different cities. The commissioned work will use digital technology to link performance spaces and audiences.

Ubumuntu Festival is led by Hope Azeda, a major figure in contemporary Rwandan theatre, and is held annually following the last week of the 100 days commemoration of the 1994 genocide against the Tutsi. It is held at the outdoor amphitheater of the Kigali Genocide Memorial Centre and brings different artists from around the world to convene in Kigali Rwanda.

Theatre Factory is led by Philip Luswata and is one of Uganda's leading theatre and film producing companies.


Out of the Blue (Working Title) is a new Arts new Audiences (nAnA) grantee through the 'British Council’s East Africa Arts' programme.




The Killers is a binaural audio play set in a Little Chef Diner. The audio is recorded in a single live take around a binaural microphone that acts as the ears of the listener, sat at a table in the restaurant, eavesdropping on conversations, hearing in real time the countdown to an assassination.

The play can be downloaded and experienced on a road trip, taking time out from a journey to sit in a diner and encounter the work. The captured time of the play mapped onto the real time of the Little Chef.

The story is based on Ernest Hemingway's The Killers (1927) and is performed in a single take: two contract killers arrive at a diner 30 minutes before an assassination, counting down the time before the contract killing is carried out. It is told from the perspective of a detective who is working his way back through the case. The listener is sat in front of the detective recounting the story from the past, while it plays out around them in the present.  The killers order two early starter breakfasts and discuss methods of execution: a radio plays the same set of songs in the kitchen; inexplicable deliveries of novelty objects are made to the tables; a diner band tunes up in the corner; the half hour counts down.

The Killers speculates on how the vinyl booths, candy stripe awnings, coffee counters and cherry pie of the Little Chef carry approximations of American culture. These approximations were once a form of retro exotica in the heyday of Little Chef - the 1980s - full of the promise of choice and freedom. These promises have now been obscured and faded through the long, awkward and uncertain period of dissolving western capitalism that was, or so it seemed, sold through a simplified dream of optimism: the dream of the possibilities of self-interest - goodies and baddies - us and them. Little Chef retains an idea of this particular ‘American Dream’ refracted through 1950s nostalgia and a britishness that politely transforms the experience for its diners. It favours tea over coffee and an early starter breakfast over stacks of bacon and pancakes: approximations of an American Dream that perhaps never existed to begin with.


A Million Tiny Glitches

An electronic musical.


This is a world where death exists. Loss is hard. Grief is like a river. It's powerful and you can't hold it back.

This is the story of a woman who goes looking for her friend – a friend who has vanished inside a city of his own imagination. Both have lost someone they love and it's cracked the landscape of their lives. A Million Tiny Glitches is a weird and emotional dream quest through those fractures.

A Million Tiny Glitches has grown from our personal experiences of grief over the last few years – vivid and mysterious; you feel it in your heart and your gut. We believe songs can hold emotion very directly, so we thought we'd make a musical that goes deep and feels modern; that embraces sadness without being sombre. Something that's influenced by Björk and ANOHNI, Haruki Murakami and China Miéville. And yeah, there'll be a band.

We're on the look out for presenting and commissioning partners so, if you're a programmer interested in presenting or commissioning the work please contact Kate.



Ah-Be (in the direction of a rose) is a live performance action, to be undertaken by British-Iranian artist Sara Zaltash. 

Sara will walk from the source of the River Thames along the waterways of Europe and the Caucasus to Tehran, in order to deliver her one true love to her grandmother, broadcasting the sound of the journey continuously live online. Sara offers an open invitation for people to join her walking and listening as she treads a sacred path to her ancestors, in search of the meaning and matter of true love. Her pilgrimage offers a pseudo-archetypical romantic hook around which intersecting socio-political contexts can swirl. 

The project is kindly supported by British Council, Arts Council England, Schumacher Institute (UK), Live Art Development Agency (UK), Arts Admin (UK), Connexions Capital, Watershed (Bristol, UK), The Island (Bristol, UK), The Owl Barn Residency (Gloucestershire, UK), ]performance s p a c e [ (Folkstone, UK). Translocal Institute for Contemporary Art (Budapest, Hungary), Trafo Cultural Centre (Budapest, Hungary), BucharestAiR (Romania), Port Cetate Artist Residency (Cetate, Romania), Cultural Management Lab (Tbilisi, Georgia), Sasan Pirouz (Tehran, Iran). 

Read about the story so far in an interview with the artist by performing borders 


“Zaltash is electrifying... See her if you can.”
— The Guardian