When researching methods of performance and stagings, configuration of space (physical or
metaphysical) was of primary significance. I began to explore how an audience may situate themselves in context to or within works, realising that the performer can be the catalyst. Taking this idea forward, I began to plan Panj Din . Process developed around research into cultural difference, informed by institutions (after performing in SoA*) place and location, where some processes evolve from individual acts or acts performed by an individual, others are collaborative and rely on audience participation or the audience activating the site. Panj Din originally began as five days of performances within the school itself which all sought to occupy space and critique the institutional setting. Limitations of time and space lead me to adopt a fluid, adaptable approach which then allowed for a body of work that situated itself in new locations. As the works developed responding to these limitations, they became individual pieces in their own right. Furthermore, the work now only consists of four pieces and therefore lacks its cohesion- the original context, as well as its title Panj Din; which directly translates from Punjabi to English as five days.