Thanks to the team at Chloé Nelkin Consulting, I was given the tremendous opportunity to interview Tilly Lee-Kronick and Jonny Leitch of Head over Wheels, a company of disabled and non disabled artists fusing aerial work with circus! Their newest venture, Anchored in Air is currently touring the country as part of Without Walls 2024.
Before they headed out on tour, Tilly & Jonny spoke to me about the development of the piece and their hopes to expand circus vocabulary, how important it is that disabled creatives know their worth, the value of looking after your bodies, and how the industry and its audiences can help push forward those vital conversations around accessibility…
Congratulations on Head Over Wheel's latest venture, Anchored in Air featuring in Without Walls this year – can you tell me a bit about the piece and how are rehearsals going so far?
Tilly: "The piece is an outdoor circus show using a custom-built set, which we climb on, and do aerial choreography. The show is really exploring our senses of self, identity and how we mould into the structures that are created for us. The rehearsals have been going really well, we've been all over the place! Newbury, London Bristol and Eastleigh. We have an amazing team of artists, creative access consultants, production and writers! This show is now touring, and the audiences have been amazing."
As a disabled person myself, thankyou for expanding my horizons into exploring circus/aerial work and what's possible in terms of representation in this art form and more broadly across the industry. How do you approach that process as creatives, being part of new work whilst championing greater accessibility for disabled artists; is it daunting as well as exciting?
Tilly: "As an inclusive duo myself and Jonny always approach creating new aerial work by posing the question of what is possible with our two bodies. We're not trying to recreate or train "tricks", we're looking to expand the circus vocabulary by embracing the individuality of everyone's bodies. "
Jonny: "I feel it is really important to always be aware of the disabled and non-disabled gaze - this helps us avoid stereotypes and push against societal norms whilst also trying to create accessible work that has accessibility as an art form rather than a subject matter.
It's daunting but has led us to so many exciting breakthroughs and helped us find deeper meanings in the show."
I imagine a piece like Anchored in Air can change a lot "in the room" once the artists start getting to grips with the mechanics of the equipment and the movement, what's that like – has it changed a lot from the original idea?
Tilly: "The piece and choreography has really changed and developed over the last couple of years. We love creating set with scaffolding, as its incredibly accessible. We can shift the heights and distances of bars, so it works for us specifically. It's really exciting to be able to continue to develop our movement practice with the equipment. As our movement has developed so has the themes and context of the show!"
Jonny: "it is always fun when you start exploring new equipment as you have to come at it with an open mind. It becomes a conversation, a back and forth between yourself and the equipment as you try and learn how you both affect each other."
Do you have a favourite moment or "trick" within the piece that you're really excited for audiences to experience?
Tilly: "My favourite moment of the piece is watching Jonny climb the tower- I find it the most exhilarating in terms of pace- music, and story!"
Jonny: "My favourite moment is when Phoebe shouts "Now!" as they jump from the tower whilst counterweighted forcing Tilly up, like she's flying through the air. A moment of pure joy for me."
Performing in any capacity takes a tremendous amount of stamina, skill and precision, I imagine ten fold in circus! How important is it to look after yourselves physically and mentally when working on a piece like this, and what does that look like for you?
Tilly: "It's incredibly important to listen to our bodies and really rest when we can. As circus performers we often have a full gung-ho mentality and often repeat tricks and sections many many times! While this is important for safety, as an accessible company we're trying to create working environments where rest is facilitated, and we really plan our days around the energy and needs of the people in the room."
What's the advice you'd give to other disabled artists/ creatives wanting to break into the industry, and potentially think circus isn't for them? Leading on from that, what advice would you give to those in the industry who want to champion a more equitable landscape for accessibility and representation but don't know where to start?
Jonny: "Disabled people are amazing at problem solving as we do it every single day to navigate this inaccessible world. These skills have been essential to me building an accessible career and finding my own movement. My advice is to find yours on stage, take your time when exploring and don't put yourself in a box of "how things should be done".
Also, you deserve to be in an accessible world with open-minded people that support that. For the industry, listen to disabled people, know that they are the experts of themselves and invite disabled people to spaces as their authentic selves. We normalise most spaces not being accessible to us but if you are open to conversation, listening and working together to make your space accessible for artists you employ, you can be a part of change in the industry."
Change is slow in this industry, and we've talked about artists and organisations, but what's the biggest action your audiences (both disabled and otherwise) can take if they want to be a part of helping influence that positive change towards better accessibility?
Tilly: "I think the biggest step is for audiences to just keep going and supporting work that is representing disabled artists and challenging expectations. The more work people see the more informed they will become around accessibility because for so many it's just not something they have to encounter in daily life."
Jonny: "I agree with Tilly here. Audiences can be braver in conversations surrounding disability, if we don't talk about it, we don't learn. It shouldn't just be disabled people calling out shows that are inaccessible, crip up or are ableist."
You're taking Anchored In Air to Brighton Festival, Certain Blacks Festival and Just So Festival during the run - what are some of the joys and challenges of touring a piece like this?
Tilly: "The joys of touring this piece is getting to share it with so many different people. We made this piece to tour outside so that we can reach a more diverse audience as theatres have so many barriers. The challenge is working in the weather conditions of the UK as we all know this can be very changeable!"
Jonny: "Funnily enough, finding the nearest disabled loo."
Has working on Anchored in Air taught you anything about yourself or your creative process that you'll take with you in life and/or future projects?
Tilly: "As this is our first production as a company we are constantly learning, and really excited to keep developing how we make shows. I think my biggest take away is that things take time, I often want to get things set and sorted quickly but I learnt to take more time to let ideas breathe; something I think I could take into my everyday life as well!"
You can have one sentence, or three words: convince me to come see the show!
Jonny: "Graceful poetic connection."
Tilly: "Beautiful, funny- FLYING WHEELCHAIR!"
Anchored in Air's final tour date is Certain Black's Festival on 20th and 21st of July
Certain Blacks - Without Walls
To keep up with all Head over Wheels are up to, visit:
Head Over Wheels (@head_over_wheels_aerial) • Instagram photos and videos
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