Ekata Theatre is an international theatre company based in London and Helsinki. Most recently seen in London with physical theatre piece On Mother’s Day, in November they’ll be back at the Cockpit Theatre with Unbelonger, as part of Voila! Europe Festival.
“Unbelonger is about the feeling of not belonging or not fitting in, being pushed out or pushed to the margin,” explains Ekata’s artistic director Erika Eva. “We’re creating our own world, where it’s not nationality or looks that set the protagonist apart, but a headscarf – and what I want to say with that is how artificial sometimes the borders are. She has a very close relationship with her scarf, which we’re bringing to life through object puppetry, and that’s the best relationship she has throughout her life; she doesn’t really fit into any groups, but she has that one bond. But also she realises that that’s the thing that sets her apart, and what I’d like to explore is that the one thing that sets us apart might be very integral to our identity, whether we end up loving or hating it.”
Devised by the company, a shorter work in progress version of the show was first performed at last year’s Voila! festival, and returns this year with a new cast and a broader perspective. “Last year we had the protagonist and her relationship to the scarf and we were looking at her in a school environment,” says Erika. “But now I want to make it a bit larger so we’re looking at different points of her life, because there’s a lot of discrimination and bullying in school but as we know it often continues after that.
“I’m saddened by the rising nationalism in many countries – in Britain, in Finland where I come from, in Europe and around the world. Our politicians are advocating that kind of message where we’re starting to divide people artificially, like the ban in the USA – there have been people living in the USA for a long time and suddenly they’re banned from living there.”
Erika established Ekata Theatre after graduating from East 15 last year, and Unbelonger was the company’s first production. “I’ve had a super year!” she says. “I’ve done five plays in two different countries, so it’s been a hectic year, which now comes full circle with Unbelonger coming back to London. I’ve learnt tons and I’ve got lots of really good experience, and I now know what I want to do, and the style that I’m going for has become a bit more clear.
“Ekata means unity in Sanskrit. Our idea is to do physical theatre that transcends national and linguistic barriers, and more and more we want to encourage cross-national work. Representation is a very big thing for us, we want to tell stories with diverse representation and I believe physical theatre is something that really unites, because it’s universal.”
That universality is reflected in Unbelonger’s diverse cast of four, who speak different languages as part of the show. “I’m a linguist so I love languages, I love playing with them,” says Erika. “I love the fact that you can understand sometimes even though you don’t speak the language, and that’s amazing, it intrigues me. Emotions and our physicality are universal, and that draws me to physical theatre because it can tell a story without a need for actual words.”
Another very important part of Unbelonger is the live music, from Ekata’s composer in residence Xavier Velastín, who hacks gaming controllers and motion-capture devices to control the sound design with his body. “Xavier is incredible,” says Erika. “Last year he created the music for Unbelonger with us, so as we were devising he was reacting to the actors and composing the music live. And this time we’re going to add a layer, because it’s at the Cockpit so we’re going to give him the lower gantry.”
The third member of the Ekata team is writer in residence – and Erika’s sister – Saaramaria Kuittinen, who wrote the company’s previous production, On Mother’s Day, based on seven years of correspondence with people on death row in the USA through a UK-based organisation, Human Writes. “The response to On Mother’s Day was really good, and we’re looking forward to hopefully bringing it back to other places. It is a very marginal theme and not very many people think that it’s an issue or know it’s an issue. The best feedback we got was that Human Writes got new volunteers through it, and that was one of the main goals – to raise awareness and to tell that story.”
With just two weeks until Unbelonger opens at the Cockpit, Erika and the team are excited to share it with new London audiences. “I think it’s going to be a magical play with object puppetry, some acrobatics and live music – and I don’t think people should miss out on that,” she says. “More than anything, what I want the audience to go away with is knowing what not belonging feels like; whether it’s something they can relate to or something that’s new, that feeling should come through – that’s what’s most important.”