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Un-Kahi (Unspoken)

A compelling non-verbal piece of theatre about domestic violence, early parenting and the experience of a newly-arrived woman

Availability:

Women & Theatre would welcome the opportunity to revive Un Kahi (Unspoken),. Owing to the work and investment needed in remounting the production however, it would necessitate at least a 4-week tour period and the commitment of strategic commissioning partners rather than just individual bookers. We have no current plans to remount the production, but welcome registrations of interest at info@womenandtheatre.co.uk

Introduction

Un-Kahi is an innovative piece of non-verbal theatre that explores sensitive or ‘unspoken’ issues, telling a story that happens nowhere and yet everywhere. It follows a young mother struggling to keep her head above water in a country that is not her own. Suffering post-natal depression and domestic abuse, just when she feels she is going under she finds the courage to break the silence and speak out.

Un Kahi transcends spoken language to tell the story through a rich mixture of visual theatre, film, symbolism, music, movement, human sounds and gestures. It is also relevant to people of different backgrounds, presenting universal themes and experiences which resonate across cultures.

“This is a true example of the phrase ‘silence is golden’. A wonderful performance…universal great message.” Audience member, mac

The play was developed through extensive research amongst various communities in Birmingham and Walsall with a range of health professionals, new mothers and domestic violence support groups. It was then performed back to these groups in community venues as well as to theatre audiences at mac, Birmingham and The Peepul Centre, Leicester.

Un-Kahi is an entertaining and thought provoking piece of theatre as well as a unique resource for health and community professionals in delivering key information to new mothers and sign-posting to support systems.

History

Un-Kahi was originally developed in partnership with Sampad South Asian Arts. Women & Theatre had been developing the use of bilingual theatre over several years, mainly using English and South Asian languages. However, there were inevitably communities whose languages were not represented. It became clear that it would be wonderful to create a piece of theatre that wasn’t reliant on spoken language which everyone could understand. In 2005, Sampad approached us with a proposal to work in partnership to create a new piece of theatre. They had been faced with similar language issues in the past and so moving forward together with this idea, opened the door to making the dream a reality.

From the outset both W&T and Sampad were keen to create a piece that was not only understood by people of different backgrounds but universally relevant. Motherhood was an immediate starting point. We were also keen to examine the unspoken elements of motherhood and relationships in general and recognise that there is considerable commonality in what is taboo in different communities. The combined experience of both organisations in working with women across the West Midlands in a range of contexts, revealed that there was still a gap in addressing post natal depression and domestic violence.

In keeping with Women & Theatre’s tried & tested methods, the starting point for the piece was in depth research. Janice Connolly carried out most of the field research in Birmingham and Walsall with a range of health professionals and women in waiting rooms, community centres, at mother & baby groups, and domestic violence support groups. The research took place with a wide-cross section of women and threw up a number of common experiences which were reflected in Un Kahi. Janice and Piali Ray, Director of Sampad, worked together to engage with the research and current media stories. Both Directors identified specific dynamics common across a range of cultures that could feed into the story. Even seemingly culturally specific prejudices such as attitudes towards the birth of a girl, were common across a range of cultures. Given the artistic challenge of working without words, Janice and Piali watched silent movies from around the world, as part of this research phase. This provided a framework and artistic language with which to devise a drama without dialogue.

The rehearsal process, led by Terina Talbot, was an exciting & challenging one involving a new way of working for all concerned – with music & film and no dialogue. We also worked with highly experienced arts practitioners at every stage to ensure high production values. The set, music and film were also vital contributors to the telling of our story without words. The film helped the audience to understand the mother through communicating her internal world. Mamoru Iriguchi’s claustrophobic set and use of sepia also helped express the characters’ feelings and situation.

Un-Kahi premiered at mac in November 2006 and subsequently toured to health and community centres over 4 weeks, taking the magic of quality theatre with high production values out into the community to connect with new audiences. Central to the play’s impact were the facilitated post-show discussions, led by the cast with community interpreters where needed. These allowed further exploration of the play’s themes, stimulating discussion and providing a safe and supported platform for women to discuss sensitive issues and share their experiences. Professionals present at all performances provided further support and information with specific reference to post natal depression and domestic violence. Discussions were facilitated by the cast with assistance from community interpreters as needed.

The development of Un-Kahi was funded by Arts Council West Midlands and Birmingham City Council through Urban Fusion.

Notes

Un Kahi was a piece of work I felt proud to be part of. Someone said to me, just the other day that they had never seen anything similar, either before or since – She meant that as a compliment! What we were actually discussing was theatre without words – which is not mime or dance or ‘physical theatre’. Un Kahi was a story, a rich piece of theatre – not unlike a silent movie – that had approximately three words in it. It was powerful
This was a challenge for all of us – writer, actor, director. The script was unusual to look at, the actors learned sequences rather than lines, the director concentrated on creating clear pictures that would mean something to an audience.

We enjoyed this project and I think in the end met the challenge!
Terina Talbot, W&T Associate Director

Outcome

Press

“Unusual and rewarding experiment…a very stylish piece of work” Terry Grimley, Birmingham Post

“In the space of just one hour, Un-Kahi manages to capture a passion, depth and intensity…that stays with you, even days after the performance… The best ideas are the simple ones and this was a perfect example of that in theatrical terms” Dawinder Bansal,BBC.co.uk

Booker comments

It was a safe method to talk about these issues and identify the needs of the women present. It gave women a platform to speak about personal issues in a safe environment.

Watching the play, some of the women were able to identify themselves with some of the characters.
Dudley Beacon & Castle PCT

I felt quite nervous initially about the content of the play. Now feeling we ought to be more ‘upfront’ in the discussion of domestic violence issues.
Sure Start Balsall Heath

Audience comments

Thank you for setting a scene for people to relate and respond to. So many men and women live in denial. Your piece provides an opportunity for others to reflect on. Hearing or reading the news does not always have an impact on individuals you have provided an avenue for feeling, inspiration and hope.

“Brilliant and powerful. Such issues exist within all communities but are suffered in silence by victims. It is about time the message of intolerance (of domestic violence) is brought to the forefront”

“Very moving play. Makes you see it is not a certain culture’s issue but an issue for everyone and anyone”

“Brilliant piece, the set is fantastic, loved the use of props and space. Heart and tear-jerking…I’m a fan!”

“Brilliant performance! Actions speak louder than words!”

“Honest, hard-hitting play with great actors/actresses”

“Extremely powerful…enabled everyone to stand in the shoes of all the characters and experience their feelings”

“It was a great play and a help for those suffering from domestic violence. You showed them that there is a way out. Great stuff”

“I related a lot to the play. We have all had the experience in one way or another. Very powerful. Hard to hold the tears back”

Production Credits

Writer: Janice Connolly
Director: Terina Talbot
Choreography: Piali Ray
Designer: Mamoru Iriguchi
Lighting Designer & Stage Manager: Frances Rice
Composer/Film Editor: Michael Aduwali
Film-maker: Sarah Miah
Set Builder: Andy Martin
Costume Maker: Kay Wilton
Producers: Jess Williams, Thrisha Haldar, Hannah Brewer & Kat Bailey

Original Cast :
Mamta Anand: Mother
Bronwyn Lim: Midwife, Mother-in-Law, Daughter, Health Professional
Matthew Brown: Doctor, Husband

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