 Music in the closet, a hip-hop closet, Weakness, all swale, the earst-wale. My name's Joanna Dudley and I'm from Australia. So I studied music from a very young age and very rigorously. So I studied early music like baroque music, renaissance music and contemporary music. I was a flute player and then I became more and more involved with dances. I just enjoyed working with them more and started to sing. So I was always singing as a child and so I found that using my voice was the best way to be involved in a more theatrical context. And I've been working with William Cantridge for eight years I think. I actually met him through a composer who's worked with him for 20 years I think called Philip Miller who's one of his closest collaborators and Philip saw me perform in a piece very different where I was actually singing backwards and for a piece William was doing where he was working with Philip it was all to do with time, the Western concept of time and how that's been placed as a structure in sort of in colonial times on other cultures and he thought it was interesting to work with the singer like myself where I like to mess things up I like to sing things backwards or tear language apart put it together again in a different way so that's when we started to collaborate. It was interesting because we just finished doing an opera together and then he gave me a libretto that was maybe that thick and said can you do something with this? And there was a big exhibition of his work that was going to be in Germany in Berlin and I think he didn't want to be the person to have to explain his artwork and he'd prefer rather than to have too many guides to have someone who can explain his artwork in a way that he would prefer which makes a lot of sense what I'm saying but on the face of things when you first hear it it doesn't make sense at all but then after a while it's like ah you actually gain a deeper understanding I think I hope of his artwork so he gave me a libretto and I started improvising with this and then we composed that a little bit more and created a new piece based on his paintings and his films and yeah so it was all about also about his techniques so we I'm talking about his techniques that he'd use in the studio we're looking at diaries that he's written in the studio notes he's written for himself that's all in there so it's actually quite a personal it's personal information that we're using as well as just historical information about his work often we're talking about the history of him making a piece the the technical or the techniques he uses to make that work and then sometimes yeah as I said before sometimes it's the personal stories behind pieces that people might not see immediately like his own personal stories where it's their childhood memories or memories of his parents this all historical references this all comes in so it's the the whole being of an art piece that the history of its making the history of him as a person it's all material that we work with and um yeah then he I often I would go through an exhibition and explain certain pieces in when well I'm here it will be in front of a film so I'll be giving like a lecture of films that he's made and every time I do this I'm always looking about looking at the exhibition that's on right now where it is the museum where it's being held and all of this information I use in the piece as well so it becomes sort of created for this space and for this exhibition so things change all the time