Win(d)ing Orchestra

This project is the residue of my humanity. A response to the socio-economic challenges faced by British Jamaicans, Win(d)ing Orchestra is both deeply personal and socially essential.  It emerges from the friction between my lived experience as a Jamaican immigrant and the rigid class structures of both Jamaica and Britain—structures that dictate access, autonomy, and belonging. The intersection of history and economic constraints has shaped my trajectory, forcing me to reconcile the tension between cultural legacy and systemic erasure. As a co-creator, I advocate for transparent authorship—recognising my entanglement with the subject while maintaining the distance necessary for professional integrity.

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From this foundation, Win(d)ing Orchestra has grown into more than a theatre production. It is a multi-platform initiative comprising a play, a book, and a documentary—each designed to confront systemic inequities. This work is not just about representation; it is about reclamation. It challenges who gets to document history and whose voices are heard. Writing this play has reshaped my understanding of creative entrepreneurship. Through Clarke Vision, I have learnt to embrace interdisciplinary practice as a strength rather than a limitation. Win(d)ing Orchestra embodies this approach, leveraging strategic partnerships and innovative funding models to build a sustainable cultural blueprint. I am writing this because I need to. Because the stories of British Jamaicans—our histories, our contributions, and our losses—cannot be footnotes in someone else’s narrative. They must be seen, heard, and understood on our own terms.

The message in Winding Orchestra (WO) moves me to my core as a Black woman of Jamaican parentage born in Britain. The current zeitgeist has implications for everyone. Since 2020, humanity's fears have been amplified. WO is as needed as the Caribbean house parties of the 1970s and as crucial as the Black Saturday schools operating throughout and into the 1990s. Jamaicans came to Britain’s shores in numbers, the culture bearers and custodians of the island's practices. My reason for being here is because of them. As I continue this journey as writer and co-creator of WO, Friday's “Fish and Chips” and Saturday's “Soup” remind me of living between two cultures: the Isles and the Islands. My mantra is “Wherever the movement takes me,” and WO is what happens now that I have arrived.

Over the past thirty years, I have built a portfolio career in multidisciplinary practice as a movement director, choreographer, researcher, educator, and sound (system) woman. I am passionate about challenging the assumption that dance created by Black people is unworthy of scholarly investigation. I am the founder and CEO of the think-tank Black Dance Research Company (BDRC), and I was commissioned in the debut of Laying the Ground, the story of Namron OBE in 2022.

​In my search for a company that prioritises diversity, community, and knowledge-sharing, I found a natural alignment with Win(d)ing Orchestra. Now being part of the company full-time after being their stage manager during R&D3, I am eager to leverage my past experiences and contributions to help further the growth of Win(d)ing Orchestra, ensuring its work remains both accessible and timeless.

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I am a versatile and innovative creative artist specialising in experimental and ritualistic theatre, with a focus on technical theatre, movement, and aesthetic-driven world-building. For me, the magic happens when I can create open, collaborative spaces where everyone’s ideas can evolve and shape the work together. Early on, I made it my mission to challenge norms and dive into projects that push boundaries and spark exploration.