Graffiti Bodies XV premieres at Rich Mix on 14 March. Based on the work of artist Jean Michel Basquiat, it’s described as ‘performative graffiti’ consisting of ‘a sensory overload of movement and a cacophony of sound and visual noise’. Solo performer, Elaine Mitchener discussed the work, with original concept by Dam Van Huynh, and what the audience may experience at the performance, ahead of the world premiere.
The work is a collaboration between the choreographer and director Dam Van Huynh and his friend and collaborator of over fifteen years, the vocalist, dancer and composer Elaine Mitchener and has been commissioned by East London arts development organisation Certain Blacks for the 2026 Black Athena Festival. When this interview took place Elaine had just completed a week of rehearsals — her enthusiasm for the piece and for its inspiration was evident. ‘It’s been a good week and an intense one,’ she says, ‘Which is what I expect. I’m really excited about bringing it to the festival for Certain Blacks, and to see how people respond to the work.’
Does the title mean that there were fourteen earlier iterations? There weren’t, Elaine says, ‘But there is a Graffiti Bodies II, which Dam and I premiered in 2024 at the Fruitmarket Gallery in Edinburgh, where I was invited to curate the Deep Time Festival: “BasquiatCage8424”. As well as John Cage, who showed work there, Jean Michel Basquiat independently also exhibited at the gallery, in 1984.’
Dam wanted to make a piece in reference to Basquiat’s 1981 painting, La Hara, an artwork that addressed police brutality against marginalised and urban communities. ‘Sadly, it still goes on,’ says Elaine, ‘So it feels that it’s a piece that’s worth re-examining. Dam calls it “performative graffiti,” overlaying of textures, overlaying of sounds and sonic effects – a reference to the collage-like approach to Basquiat’s work. Anyone who experiences the work in March will really see all these very different depths and layers that will hopefully stimulate their senses.’
The phrase, ‘performative graffiti’, is not one I’d heard before but a possible reference that sprang to mind was Led Zeppelin’s Physical Graffiti. Elaine replies, ‘How I understand it, is as drawing on the energy of graffiti art. That’s the performance aspect of it, harnessing the energy to help us move through space and colour the space with my vocal sounds, the sounds that have been composed for the work — and the lighting is also a vital component of the piece. It’s multi-dimensional.’
The idea of a sensory overload of movement and a cacophony of sound and visual noise suggests it may be a challenging show for the audience, but Elaine is quick to explain the varied nature of the piece. ‘I can see why someone would think “Oh, this is just going to be really loud for fifty minutes”, but I like to consider that as something energising a space rather than being a threatening thing. There’s a lot of introspection, but also there’s a lot of dark and threatening things that don’t require a lot of sound. I don’t necessarily feel safer when there’s silence. Quite often we find it sinister. What can the audience expect? I think they’re going to be really tapped into their senses, aware of how their senses are being ignited. And there’s time within the show to reflect on what they’ve seen. I would say what we have worked on is really allowing time during the performance for reflection by those who are experiencing the work.’
Certain Blacks commissioned the work but gave Dam and Elaine creative freedom to develop it as they wished. ‘The festival director saw another piece Dam had made, “Moving Eastman”, which along with me involved the musical talents of Neil Charles on bass and effects, Xhosa Cole on sax and flute, and Jason Yarde on sax and effects. I believe Certain Blacks saw this piece and were very excited to have something new. Dam was interested in expanding on the idea of “graffiti bodies,” to keep exploring the cyclical nature of history, you know? And that thing of who’s controlling the narratives. The festival trusts its artists.’
Watching video of Elaine’s previous performances, it’s notable just how physically demanding her approach can be. ‘It’s an aspect of how I like to work,’ she explains, ‘When I’m doing pieces like Graffiti Bodies XV it is very physical. It’s a dance piece with me as a vocalist. I have to train for that with Dam, and I need to be on top of things physically and vocally. In terms of my vocal style, it utilises my classical and gospel training but also my experience as an experimental vocalist, free-improviser. I’m also very interested in text and language and how we understand it. I don’t like to be boxed and feel an affinity with great singers such as Jeanne Lee or Abbey Lincoln, whose work I admire enormously.’
Elaine is the sole performer in Graffiti Bodies XV: ‘There’s the creative team which includes a sound designer, composer and lighting person – Michael Picknett – but there’ll only be one person moving their body around the stage. It will be me. I hope anyone who comes to see it will be very open to what they will encounter. There will be lyrical moments, but there’ll also be moments which will be challenging.’
As for further performances after the Black Athena Festival premiere, ‘It would be great to present it elsewhere.’ Meanwhile, Elaine continues to develop her style: ‘I’m always exploring sounds and where they can lead me and what they allow, how they allow me to express myself in ways where words are just not enough.’
Graffiti Bodies XV has its premiere at Certain Blacks’ Black Athena Festival at Rich Mix in London, on Saturday 14 March at 7.30pm.