Saved events

Transpose BURN: Pit Party Digital Programme

Transpose Burn artists standing in the Barbican Conservatory surrounded by plants. From the left we have Kübra Uzun (they, them),  Kell w Farshéa (they, them), Mustafa Kınalı (aka Mustkika) (any pronouns), Akış Ka (they, them), Dani Dinger (any pronouns),CN Lester (they, them), Ifeoluwa (they, them) and i-Gemini (he, him)

We are so excited for you to join us for this year’s Transpose Pit Party, the final event in our spring season and a major part of our PRIDE celebrations this summer across the Barbican. We’re proud to welcome this year’s curator and director, Dani Dinger, a musician, performer and Activist of the Year nominee (Sexual Freedom Awards 2018). Dani’s line-up features six trailblazing artists from the trans community who are all deeply involved in creating opportunities to inspire change and support people underserved by our society. Their incredible acts range from spinning experimental club music styles to performing anarchist poetry, to subversive drag and breathtaking circus. We give an especially warm welcome to three special guest performers, invited to the UK from Turkey by London and Berlin-based curator and researcher Erkan Affan.

This is the fifth edition of the revelatory Transpose arts events at the Barbican, and we are delighted to continue our journey with artistic director CN Lester – academic, writer, musician, and LGBTQIA+ activist. Back in 2015, CN came to us to find a way to raise the profile of talented trans artists and hold safe spaces for their community to come together. Since then, Transpose at the Barbican has platformed over 20 trans and queer artists in The Pit. This year’s theme, BURN, highlights the situation trans communities face in the UK and all around the globe. In an increasingly polarised world, and amid a sharp rise in recorded hate crimes against trans people, these artists are challenging the status quo and fighting for their rights. We are proud to showcase their talent and voices.

We hope you enjoy the show.

Toni Racklin,
Barbican Head of Theatre & Dance



When I founded Transpose in 2011, the world was a very different place for trans artists across the UK: fewer options, fewer platforms, fewer possibility models more ignorance, more stonewalling, more discrimination. It is a wonderful thing to see how much the arts industries have changed, no matter how much more work there is to do. I wish I could say the same for the state of our national and international rights to equality, safety and freedom. It's hard to find the right words to express the danger we are in, or to give voice to possible solutions, except to say that we are nothing without solidarity, community and the imaginative, creative rage to survive, overcome and build better. That's what we have to offer you here tonight. I'm profoundly grateful to everyone who has made Transpose: BURN a reality including you. Thank you for joining us.

CN Lester, Artistic Director of Transpose

Key information

Running time: 2 hours, including an interval

Age guidance is 16+ and scenes will contain content including a blockhead act (during which a performer hammers a nail into their nasal cavity via the nostril), fire performance, sexually explicit content and nudity.

Due to members of the company having health conditions that make them extremely vulnerable to COVID, we request that everyone who is able to do so wears a mask during the performance, to keep them and each other as safe as possible.

All shows are relaxed and audio described with captioning and integrated BSL 
You can read more on our event page about what to expect at a Relaxed performance.

For more information about accessibility at the Barbican please visit our Accessibility page, or get in touch with us if you would like to discuss further before making a booking by contacting the Theatre team at [email protected]

Visual stories
You can request a venue visual story of the Pit Theatre on our accessible events page.

Post-show talk, Fri 16 Jun
Free to same-day ticket holders (BSL-interpreted and captioned)

A free short ‘zine will be available to audiences at the Pit Party, with a longer digital version to be published on the Barbican’s website after the event.


Presented by the Barbican

Supported by Arts Council England

SAHA – Supporting Contemporary Art from Turkey provided support for Akış Ka, MustKika, Kübra Uzun.

Images by Henri T.

Individual photos below (in order of appearance): Curator and Director Dani Dinger (any pronouns), Artistic Director CN Lester (they, them), Performer Kell w Farshéa (they, them), Performer Akış Ka (they, them), Performer Ifeoluwa (they, them), Performer i-Gemini (he, him), Performer Kübra Uzun (they, them), Performer Mustafa Kınalı (aka MustKika) (any pronouns).

Dani Dinger

Company and Creative Team


Performer Akış Ka (they, them)
Curator of artists from Turkey Erkan Affan (he, him)

Performer Ifeoluwa (they, them)
Performer i-Gemini (he, him)
External Access Consultant Jamie Hale (they, them)

Performer Kell w Farshéa (they, them)
Performer Kübra Uzun (they, them)
BSL Interpreter Max Marchewicz (they, them)
Welfare worker Mine Kaplangi (she, they)
Performer Mustafa Kınalı (aka MustKika) (any pronouns)

Creative team

Artistic Director CN Lester (they, them)
Curator and Director Dani Dinger (any pronouns)


About Transpose

CN Lester founded Transpose in 2011, and has spent the twelve years since promoting and platforming the talents of trans artists (and our friends) through this cross-genre showcase event. Transpose appeared at venues throughout London, including Tate Modern and Hackney Attic, before finding a home at the Barbican in 2016; past performers include Rebekah Ubuntu, Danielle Braithwaite-Shirley, Jamie Hale, Holden Madagame, Travis Alabanza, Alex Bork, Roz Kaveney, San Alland, Andra Simons, Bethany Black, and Juliet Jacques.

More recently, CN took on the role of Artistic Director, bringing in a brand-new curator and creative team for Transpose: JOY in 2022, and also for this latest Transpose: BURN.

CN Lester

In your own words

What one piece of advice would you give to a trans artist just starting out?

Akış Ka: If you get stuck in the boundaries and the cis normative order, remember that it is our struggle to get up again and keep going.

CN Lester: If they close the door in your face, sneak in round the back.

Dani Dinger: Find your people and venue. Build a community there and the opportunities will come!

Ifeoluwa: To experiment, be messy and to love hard.

i-Gemini: Be the positive wonderful trans representation that you needed as a child and the rest will follow.

Kell w Farshéa There are always more chances, don't give up trying.

Kübra Uzun: You have it, never give up!


What 3 words would you use to describe Transpose: BURN?

Akış Ka: Magnificence, gullüm (Let’s Have a KiKi), rage.

CN Lester: Filthy, gorgeous, enduring.

Dani: High-end filth.

Ifeoluwa: Unfiltered, grand, unexpected.

i-Gemini: Camp, wild, imperative.

Kell: Anarchy. Beauty. Truth.

Kübra: Glamorous, scandalous, tricksy.


Give us your trans arts manifesto in around 20 words.
Akış: Every trans existence should be visible, should be celebrated just like our struggle. That's why my art is storytelling, sometimes my own, sometimes my trans family's...

CN: There are as many types of trans art as there are trans artists.

Dani: Don't give them what they want, tell them!

Ifeoluwa: Don’t be afraid to tread new territory and never limit yourself. It’s better to be free than to restrict yourself and be unhappy.

i-Gemini: Trans people have always led the revolutions; it’s only natural that we burn up every stage.

Kell: Finding solidarity in each other’s struggles is how we find anarchy in everyday life. And thrive!

Kübra: Hi! I am here to write A TRANS HISTORY SUNG and you are welcome.

Kell w Farshéa

Kika’s Song Lyrics

O Bostanci* Give Me A Bostan, I Have a Patient

O bostanci (oh my) O bostanci give me a bostan (vegetable garden) I have a patient (oh my)
Not a patient; but a friend in Beyoğlu*
I have the intention to kill enemies (oh my) enemies (oh my)

wanders in the deserts of Basra, Baghdad
His label is hung around his neck

Galata* (oh my) Galata is full of smoke (oh my)
May my coy lover wakes up from sleep
May he wakes up (oh my) may he wakes up so he can rest on a rose pillow (oh my oh my)

wanders in the deserts of Basra, Baghdad
His label is hung around his neck

*Bostanci: During the Ottoman Empire, the name was given to the people in charge of the protection of the palace and the security of the city.

*Beyoğlu is a district on the European side of Istanbul in Turkey. It is separated from the historic peninsula of Constantinople by the Golden Horn, a natural harbour. In the past Beyoğlu was known as Pera, which means ‘beyond’ in Greek, as it encompassed the area surrounding the ancient coastal town of Galata. Galata faced Constantinople across the Golden Horn. Beyoğlu is a special place for many people, as it was a neighbourhood where lovers would often meet, inspiring numerous songs and poetry.

*Galata is the former name of the Karaköy neighbourhood in Istanbul, which is located at the northern shore of the Golden Horn. The famous Galata Tower was built by the Genoese in 1348 at the northernmost and highest point of the citadel. Galata is now a quarter within the district of Beyoğlu.

Akış Ka

Erkan Affan and Queer Art Projects present: Dramaqueer’s “Kırıta Kırıta” series

Introduction from Erkan Affan (Programmer of artists from Turkey taking part in Tranpose BURN: Pit Party): 
Nostalgia can, in itself, be a form of memorialisation that que(e)ries the notions of space and time. Dramaqueer Art Collective’s ‘Kırıta Kırıta’ series does just that, and it is a pleasure to share their work with both physical and digital audiences at the Barbican. 

Introduction from Queer Art Projects: 
Kırıta Kırıta (2021) is a project by the Dramaqueer Art Collective, curated by Serdar Soydan, consisting of 13 music videos, four of which we are presenting here at the Barbican.

The Dramaqueer Art Collective was founded in 2015 in Istanbul, Turkey, by a group of queers who aimed to focus on gender expression and body politics in art and popular culture. They commissioned, platformed, and supported queer artists through exhibitions, events, projects, and a yearly calendar featuring iconic photos of queer artists.

The 13 videos that comprise Kırıta Kırıta all feature songs in the form of “kanto” from the 1930s by Dramalı Hasan Hasguler, originally recorded by various women singers of that period. For this project, contemporary drag queens were commissioned to lip-sync and perform to each song, aiming to trace queer connections across different eras of the country. Kırıta Kırıta, meaning to sashay, to move in a feminine and seductive manner, represents both the essence of the dances to kanto music from the 1930s and the performance style of the drag queens.

In Turkish, the term "kanto" is used to describe a cheerful and lively song and dance performance. This form of entertainment experienced its peak of popularity between 1870 and 1910. The word "kanto" originates from the Italian word "cantare," meaning "to sing." The term started being used in the Ottoman Empire from 1850 onwards, when an Italian travelling theatre group incorporated dance and song programs into their performances in Istanbul. The term "kanto" allowed for a distinction to be made between this new form of song and the traditional Turkish Ottoman songs of the time.
In a kanto performance, women appeared on stage, dancing and singing, and they sang amusing, provocative, naively suggestive songs in an easy-to-understand language. A kanto show meant that in the Ottoman world of entertainment, women now came on stage not only in opera, operetta, and theatre but also in a new artistic genre of entertainment, wearing revealing costumes in public for the first time. Because of this, kanto singers mostly came from the Christian minorities, particularly Armenians and Greeks.

After the republic was established, embracing Western values, there was a shift away from traditional Ottoman music to such an extent that there was a ban on playing traditional music on the radio in the 1930s. This led to a kanto revival with its roots in Western music. Furthermore, kantos were no longer limited to stage performances but became more widespread through records produced in studios. The lyrics also began to include satirical takes on contemporary cultural trends. During curator Serdar Soydan's research on these songs, he came across allusions to both drag queen and drag king performances in the same nightclubs where these songs were heard, which became the starting point of the project Kırıta Kırıta.

The project is dedicated to the memory of the legendary drag queen Huysuz Virgin (The Grumpy Virgin), AKA Seyfi Dursunoglu, who was born in the 1930s and died in 2020. He was known for his biting satire and kanto singing. He became famous in the '70s through programs on the state television TRT but was banned from appearing on TV in 2007. In short, Kırıta Kırıta is a project that traces the connections between generations of queer and minority performers, censorship, and resistance through popular entertainment in a turbulent culture that has been sashaying between the East and the West for centuries.
So let's leave the last words to the curator of the project, Serdar Soydan, whose meticulous research unearthed these half-forgotten songs and their connections among generations of queer performers in Turkey:

"A bit of East and a bit of West, a lot of femininity, and the pinnacle of queer. Category is: 30s Dance Hall Opulence!"

Lyrics translated by Queer Art Projects

* Kırıta Kırıta yahut Queer Temaslar, Serdar Soydan, Argonotlar, October, 2020
* Piece on Huysuz Virgin on t-vine, July 2020:
* Istanbul Women Museum website, entry on kanto singers:



“I Wont Be Decieved” - Cake Mosq (they/them)
Onur Gokhan Gokcek AKA Cake Mosq is a performance artist and drag queen based in Istanbul. After a training in classical ballet in 2011, Onur moved on to drag shows that incorporate movement and singing at the famous cabaret Cahide in Istanbul. They became one of the founding members of Istanbul Queer Art Collective in 2012 and as such performed in galleries, public spaces and festivals, as well as creating durational performances to camera until 2015. They have acted in films and music videos, hit the runway in fashion shows and since 2021 host a monthly talk show on youtube called Buralarda Neler Donuyor Bi Bilsen (If Only You Knew What’s Happening Around Here) that has 23K subscribers. 

“Dark-Haired Girl” - Ceytengri (any pronouns)
Ceytengri, the first of their name, the glam trash queen of Istanbul and beyond, is combining performance with music, video and prose in search of immortality as an infamous stain on history. 

“Rumba da Rumba” - Jilet Sebahat (she/her, they/them):
Jilet Sebahat, who has been part of the queer struggle since the 2000s, also appears in an active role in the queer nightlife and art scene. Jilet loves playing songs that open your mind, as well as serving your heart. She has a collection of a wide range of music from 1920's rebetiko, to today's electronica, to disco-house music. In addition to stage performances, she/they continues her/their productions with her/their articles published in various magazines and newspapers. 

“Three to Five Doubles” - Florence Konstantina Delight (they/them)
Florence Konstantina Delight is an old-school commercial drag persona exploited by the bourgeois and contemporary art scene. Their existence is shackled by colonial gender normativity, which tempts the audience to question the exploitation.

Queer Art Projects is an artist led creative production company founded in 2017, that curates and produces art projects like exhibitions, performances, screenings, talks and workshops, commissioning new work from queer artists on cutting edge contemporary issues and bringing existing work together in contexts that underline their relevance and resonance. 

'Won’t Be Deceived' by Cake Mosq

'Dark Haired Girl' by Ceytengri

'Rumba Rumba' by Jilet Sebahat

'Three to Five Doubles' by Florence Konstantina Delight


Akış Ka (they, them)

Akış Ka is a character, perhaps a monster, who wanders between the walls of binary genders and even breaks those walls. She is an out-of-place and, thanks to you, timeless player. She started performing as a drag queen as a hobby in 2017. Over time, she transcended her drag persona and started her professional productions in 2020, which shaped her entire life. Before the pandemic, Akış Ka made her name through her drag performance at Dudakların Cengi (The Battle of the Lips) and Istanbul LGBTI+ Pride Parties, but during the pandemic, she started to diversify with other creative work. Her single ‘Sana Bir Sır Vereyim Mi?’ (‘Shall I Give You a Secret?’) was released in 2020 and she focused on works accessible to everyone. She started to produce video content on the Alt Cut YouTube channel in 2021. Since then, she has become a public figure who uses humour to draw attention to political issues. She narrated her struggle for trans existence with her performance HoşGeldin (Welcome) for the 90s on Stage exhibition at SALT in 2022. Her recent works focus on inspirational trans stories.

Erkan Affan (he, him) 
Curator of artists from Turkey
Erkan Affan is a curator, researcher and audio-visual artist based in London, UK. Experimenting with sound, text, and most recently, archival visual footage, Affan explores the notions of belonging, remembering and opposing in his works. Alongside Queer Art Projects and Lalu Esra Özban, he recently curated the LUBUNYA Dispatches takeover of the ICA, in which he platformed films and talks centring queer and trans artists from Turkey.

Ifeoluwa (they, them)

Ifeoluwa is the artist name for Yewande Adeniran. They are well known for heading up Intervention, the DJ and production workshop that travels the UK offering a welcoming space for women and marginalised people to come together and celebrate dance. As an academic, they’ve given lectures and talks on ‘The Black Avant Garde’; and ‘Temporal Dichotomies & Speculative Mythologies’ at the Berlin music and discourse festival CTM. As a selector, their choice in sound works much to the same progressive mindset, testing the limits of a dancefloor through a journey of twisted electronics and club styles pulled from across the globe. Outside of performing, they have released the Intervention compilation, with tracks from Loraine James, Lee Gamble, Kouslin, I. Jordan, and many more. They also release work on their own label, ipaadi records, including Robin Stewart’s (Giant Swan) solo release, Albatross, with future releases in the works. Aside from mixes for Discwoman, Hyponik, Boiler Room and Crack Magazine, and a monthly show on Refuge Worldwide and Rinse France, you can also see their byline as a writer in VICE, The Wire, Mixmag, Resident Advisor and gal-dem magazine.

i-Gemini (he, him)

i-Gemini, known as The Adversary, Destroyer of Kings, Angel of the Bottomless Pit, Great Beast that is called Dragon, Prince of This World, Father of Lies, Spawn of Satan and Lord of Darkness, is a trans artist based in London specialising in circus performance. Resident of Bar Wotever and named non-binary style icon, this powerhouse is here to set alight the stage!

Jamie Hale (they, them)
External Access Consultant
Jamie Hale is a writer, actor, and multidisciplinary creative. They are the Artistic Director of CRIPtic Arts and have curated and directed two showcases for CRIPtic Arts at the Barbican. They are also a widely regarded access consultant, thought leader and keynote speaker on diversity and disability, providing training and guidance to organisations across the artistic, cultural and educational sectors, with a special focus on embedding change to improve accessibility for organisations and events. 

Kell w Farshéa (they, them)

Kell w Farshéa has been active as an anarchist since 1980, aged 14; anti-racist, anti-fascist, vegan, bdsm and queer feminist anarchist for over 41 years (and counting). They were spokesperson and press officer for ACTUP London at the age of 23 (1989-92). They were a Co-founder of the London House (and UK existence) of the Sisters of Perpetual Indulgence (1990+); founded Countdown on Spanner/The Spanner Campaign (1992-1997), The SM Pride March (1992-2003), and created and served as an initial founding trustee of the Spanner Trust (1996). In 2019 they co-founded the history archive project ISMS (the Institute of SM Studies). They are a pansexual femdom whose bdsm pronoun is Ma'am.

They have written poems, short stories, essays and articles for a range of radical, queer, anarchist and bdsm journals, websites and zines. For five years they wrote a monthly column for trilingual Paris-based kink/queer magazine Projet X, and they currently write a regular column for Freedom (the oldest continually published anarchist newspaper in the world). Since 2020 their alter ego Auntie Kell has been administering love, solidarity, curries and cookies (v, gf). They are currently studying German and Italian at night school. They live in London with a companion cat.

Kübra Uzun (they, them)

Istanbul-based singer, songwriter, performance artist and DJ, Kübra Uzun is an LGBTQIA+ rights activist working in Turkey and also internationally in various platforms. They wrote, sang and produced the song ‘ALAN2020’ with Mx. Sür which became an anthem during Istanbul Pride in June 2020. In December 2020 Kübra Uzun performed A Trans History Sung, a digital monument directed by Onur Karaoglu in collaboration with Volksbühne Berlin digital season: Next Waves Theatre. They worked with Simon(e) van Saarloos to create the audio work Cruising Gezi Park for the exhibition Refresh Amsterdam at the Amsterdam Museum from 2020-2021. In January 2021 they recorded Koli Kanonu, from Mozart’s KV 560, and performed all four of the different voices and characters in the video directed by Efe Durmaz. In March 2022 they recorded Jülyet’s Habanera, originally Bizet’s ‘Habanera’ from Carmen, and again filmed the video directed by Efe Durmaz. In November 2022 they performed ‘Ah Bu Şarkıların Gözü Kör Olsun’ under the performance series Everything, Everything, Everything as part of the 90s on Stage exhibition at SALT Galata. Kübra Uzun is the coordinator of the online Through The Window Project, aiming to gather queer artists, thinkers and night workers from Turkey, The Netherlands, and beyond; and co-founder and co-curator of XSM Recordings, the revolutionary mothering project that expands and queers the boundaries of definitions, welcoming the opening of spaces and commune liberation as a record.

Max Marchewicz (they, them)
BSL Interpreter

Max Marchewicz s a disabled creative practitioner, BSL interpreter (specialising in performance), audio describer, access consultant and trainer. They studied theatre, dance and music from a young age and have a long professional history in access work. They have interpreted for numerous shows, and were one of two integrated performance interpreters in Graeae Theatre’s multi-award-winning 2022 production, The Paradis Files. They are qualified as a BSL/English interpreter, and also hold a diploma in Decrouxian Corporeal Mime.

Mine Kaplangi (she, they)
Welfare Worker
Mine Kaplangı is an independent curator and art mediator from Istanbul, now based in London, who is the co-founder of the curatorial collectives Collective Çukurcuma (2015) and KUTULU (2021). Together with Collective Cukurcuma, they have been curating public programmes of exhibitions and running their reading group events as an ongoing transdisciplinary project since 2016. Mine Kaplangi recently co-curated, the online gallery of Queer Art Projects, and is currently working as a project assistant at VSSL Studio on their ongoing FACET project.

Mustafa Kınalı (aka MustKika) (any pronouns)
MustKika (Kika) was born in Istanbul and graduated from Mimar Sinan Fine Arts University Textile Design, and has been a make-up artist since 2010. More recently, they started to concentrate on stage works by using their skills in make-up, textile and dance. During the pandemic, they created a series of erotic textile surface works. As a multi-skilled drag performer, Kika has been on stage in various platforms in Istanbul since 2018. In 2020, they appeared in the short film Free Fun which premiered at Human Rights Company DC, to which Kika was also invited as a speaker. Kika starred in the Pride special short film limbo for Nowness in 2022.

Dani Dinger (any pronouns)
Curator and Director
Dani Dinger has been squeezing through the gaps in their imaginative borders since realising their queer/trans identity over six years ago. This adventure has led them to work with many queer activist groups and changemakers, including the Gay Liberation Front, ACT UP London, and The Love Tank, and they are a founding member of the Queer Tours of London collective. More recently, Dani has been working in nightlife in welfare support, trying to realise the capacity for night-time spaces to model new, abolitionist ways of being. Dani has been theatre making since they were very small, and has performed, directed and production managed with Arcola Theatre, The Actor's Church, Camden People's Theatre, Union Chapel and The King's Head, among others. Dani rides a red bike and likes to tattoo their friends in quiet moments.

CN Lester (they, them)
Artistic Director

CN Lester is a multi-genre musician, author of the critically acclaimed book Trans Like Me, and founder and artistic director of arts event, Transpose. They made their fiction debut in the 2023 collection Furies, alongside Margaret Atwood, Emma Donoghue and Ali Smith.

CN Lester is a singer-songwriter, classical singer, deviser, and composer. They hold an interdisciplinary performance/research PhD on composer Barbara Strozzi; research interests include performance and composition, gender and music, and the history of gender and sexuality. They work internationally as a trans/queer/feminist educator, writer, speaker and activist. Music and words have featured in works at BBC Radio 3 and 4, The Arts Club, The Royal Exchange, Snape Maltings, Arcola Theatre, Royal Society of Literature, SBS, the Guardian, National Theatre Studio and Sydney Opera House. They’re currently working on their next album, Fellow Travellers, and fiction and non-fiction projects for both academic and popular presses.



Akış Ka would like to thank: İrem Aydın for text editing; Onur Calap for translating; Miray Görmüş for stage sketches, Selim Baklacı for costumes, and Robyn Herfellow.

CN Lester: heartfelt thanks to all Transpose people, past, present and future – and, in particular, Jamie, Sasha, and my mother and Nana.

Dani Dinger would like to thank: Fanny and Stella, Cyril coeur de Leon and William Brown.

Ifeoluwa would like to thank: Aina, Tiffany, Jordan, Taïga and Shana for their friendship and support.

i-Gemini would like to thank: my chosen family for constantly supporting me and making it known how much they love me and are proud of me. I could not have gotten here without you. I’d also like to thank Bar Wotever for always giving a home to trans performers and fostering new talent. Lysander Dove is truly the father to generations of queer and trans artists.

Kell w Farshéa would like to thank: Lucy Parsons, Leah Feld and Michael Jelley (1958-1994) because love never dies.

Kübra Uzun would like to thank: KUTULU_London for head pieces, and Selim Baklacı for costumes.

Mine Kaplangi would like to thank: Dani for the invitation and for making this happen; Eda Sancakdar for proofreading the translations; and thanks from all Turkish artists To Queer Art Projects for their support.

MustKika would like to thank: Ilkin Zeybek for Video Art; Caker Bacil for brainstorming sessions over my performances; Support and help with music: Murat ALUCLU and Alberto TETTA. Tugrul Bayindirli as musician/bağlama player (the bağlama or saz is a family of plucked string instruments, and are, long-necked lutes used in Ottoman classical music, Turkish folk music, Turkish Arabesque music and in Azerbaijani, Balkan, Kurdish and Armenian music); Mine for their constant help. Florence Konstantina Delight and Câker BACİL for support in idea development.

Kübra Uzun

For the Barbican

Barbican Centre Board 
Tom Sleigh 
Deputy Chair 
Sir William Anthony Bowater Russell 
Deputy Chair 
Tobi Ruth Adebekun 

Board Members 
Munsur Ali, Randall Anderson, Michael ‘Mikey J’ Asante, Stephen Bediako, Farmida Bi, Tijs Broeke, Zulum Elumogo, Charles Edward Lord, Wendy Mead, Mark Page, Alpa Raja, Jens Riegelsberger, Jane Roscoe, Despina Tsatsas, Irem Yerdelen 

Clerk to the Board 
Ben Dunleavy 

Barbican Centre Trust 
Farmida Bi CBE 
Vice Chair 
Robert Glick OBE 

Farmida Bi CBE, Tom Bloxham MBE, Stephanie Camu, Tony Chambers, Cas Donald, Robert Glick OBE, Tracey-Joy Harrison, David Kapur, Ann Kenrick, Kendall Langford, Sir William Anthony Bowater Russell, Tom Sleigh, Claire Spencer AM, Sian Westerman 

Chief Executive Officer 
Claire Spencer 
Artistic Director 
Will Gompertz 
Director of Operations and Buildings 
Jonathon Poyner 
Director of Development 
Natasha Harris 
Director of People, Inclusion and Culture 
Ali Mirza 
Head of Finance & Business Administration 
Sarah Wall 
Senior Executive Assistant to Claire Spencer and Will Gompertz 
Jo Daly 

Theatre Department 
Head of Theatre and Dance 
Toni Racklin 
Senior Production Manager 
Simon Bourne 
Liz Eddy, Jill Shelley, Fiona Stewart 
Assistant Producers 
Anna Dominian, Saxon Mudge, Mali Siloko 
Production Managers 
Jamie Maisey, Lee Tasker 
Technical Managers 
Steve Daly, Jane Dickerson, Nik Kennedy, Martin Morgan, Stevie Porter 
Stage Managers 
Lucinda Hamlin, Charlotte Oliver 
Technical Supervisors 
James Breedon, John Gilroy, Jamie Massey, Adam Parrott, Lawrence Sills, Chris Wilby 

PA to Head of Theatre 
David Green 
Production Administrator 
Caroline Hall 
Production Assistant
Michaela Harcegová
Eleanor Foster, Kendell Foster, Burcham Johnson, Bartek Kuta, Christian Lyons, Josh Massey, Matt Nelson 
Stage Door 
Julian Fox, aLbi Gravener 

Creative Collaboration and Learning 
Head of Creative Collaboration 
Karena Johnson 
Senior Producer 
Lauren Monaghan-Pisano 
Lauren Brown 
Assistant Producer 
Rikky Onefeli 

Marketing Department 
Acting Head of Marketing 
Ben Jefferies 
Marketing Manager 
Kyle Bradshaw 
Marketing Assistant 
Rebecca Moore 

Communications Department 
Head of Communications 
James Tringham 
Senior Communications Manager 
Ariane Oiticica 
Communications Manager 
Communications Assistant 
Sumayyah Sheikh 

Audience Experience 
Deputy Head of Audience Experience & Operations 
Sheree Miller 
Ticket Sales Managers 
Lucy Allen, Oliver Robinson, Ben Skinner, Jane Thomas 
Operations Managers 
Seán Carter, Richard Long, Rob Norris, Elizabeth Davies-Sadd, Samantha Teatheredge 
Operations Manager (Health & Safety) 
Mo Reideman 
Audience Event & Planning Manager 
Freda Pouflis 
Venue Managers 
Scott Davies, Tilly Devine, Gary Hunt, Nicola Lake, Tabitha Goble Assistant 
Venue Managers 
Suman Cheema, Giovana Lorensatto, Maria Pateli 
Crew Management 
Dave Magwood, Rob Magwood, James Towell 
Access and Licensing Manager 
Rebecca Oliver 
Security Operations Manager 
James Cocklin 

Mustafa Kınalı

With thanks from the Barbican

The Barbican sparks creative possibilities and transformation for artists, audiences and communities – to inspire, connect, and provoke debate. 

As a not-for-profit, we need to raise two thirds of our income through fundraising, ticket sales, and commercial activities. With the help of our generous supporters, we are able to share the work of some of the most inspiring and visionary artists and creatives, enabling the widest possible audience to experience the joy of the arts. 

There are many ways you can support the Barbican, including by making a donation, joining our programme as a sponsor, or becoming a Member. To find out more and join our community, please visit or contact [email protected] 

With thanks... 

The City of London Corporation, founder and principal funder 

Major Supporters 
Arts Council England 
Calouste Gulbenkian Foundation (UK Branch) 
SHM Foundation 
The Terra Foundation for American Art 

Leading Supporters 
Lonti Ebers 
Trevor Fenwick and Jane Hindley 
Marcus Margulies 

Programme Supporters 
Marie-Laure de Clermont-Tonnerre (Spirit Now London) 
Kristin Hjellegjerde Gallery 
Sayeh Ghanbari 
Elizabeth and J Jeffry Louis 
Pat and Pierre Maugüé 
The Clare McKeon Charitable Trust 
Hugh Monk 
Romilly Walton Masters Award 
The Rudge Shipley Charitable Trust 

Director’s Circle 
Anonymous (1) 
Farmida Bi 
Tom and Jo Bloxham MBE 
Philippe and Stephanie Camu 
Cas Donald 
Alex and Elena Gerko 
Trevor Fenwick and Jane Hindley 
Ruth and Stuart Lipton 
Tracey, Eloise and Max Mayerson 
John Murray 
Natrium Capital Limited 
Sian and Matthew Westerman 

Corporate Supporters 
Bank of America 
Bolt Burdon Kemp 
Google Arts & Culture 
Linklaters LLP 
Norton Rose Fulbright 
Osborne Clarke 
Pinsent Masons 
Slaughter and May 

Trusts & Grantmakers 
Art Fund 
Art Mentor Foundation Lucerne 
The Austin and Hope Pilkington Charitable Trust 
Bagri Foundation 
CHK Foundation 
Cockayne – Grants for the Arts 
John S Cohen Foundation 
Embassy of the Kingdom of the Netherlands 
Goethe-Institut London 
Helen Frankenthaler Foundation 
Italian Cultural Institute in London 
Korean Cultural Centre UK 
Kusuma Trust UK 
London Community Foundation 
Mactaggart Third Fund 
The Polonsky Foundation 
Rix-Thompson-Rothenberg Foundation 
Swiss Cultural Fund