Sonay Sevgum: Exploring performance art

As a 20-year-old queer Cypriot, I never thought I would end up studying performance art in the UK, let alone at the Norwich University of Arts. But here I am, three years into my BA (Hons) Acting degree, and I can confidently say that my time here has been a transformative experience.

Growing up in Cyprus, I was always drawn to the arts, but I never thought I could make a career out of it. My family’s expectations were for me to pursue a more traditional career, but I knew that was not where my passion lay. So, when I stumbled upon the Norwich University of Arts’ BA Acting course, I knew it was an opportunity I couldn’t pass up.

The course’s ethos revolves around experimentation, encouraging us to challenge ourselves and our art constantly. The faculty members are incredibly supportive and help us to realise our artistic visions while also pushing us outside of our comfort zones. I have been fortunate enough to work with some of the most talented artists in the field, both as mentors and peers.

My exploration of performance art has allowed me to delve into my identity as a queer Cypriot in ways that I never thought possible. Through performance, I have been able to examine the nuances of my culture, its customs and traditions, and how they interact with my queer identity. It has been a process of self-discovery, of unlearning harmful societal norms and prejudices, and of embracing my authentic self.

My final project

As I enter my final year at university, I am preparing for my final project, a performance at Norwich Theatre Stage Two. This is a live performance piece inspired by the Greek tragedy, Oresteia. The piece explores the complex mother-daughter relationship, and the idea of matricide. It has been a challenging process, delving into the depths of these themes, but I believe it is important to confront these taboo subjects and explore their nuances.

The piece is deeply personal, drawing from my own experiences with my mother, and how our relationship has shaped me. I have always felt a sense of obligation towards her, despite the harm she has caused me, and this piece is my way of grappling with those conflicting emotions.

The performance takes place in a small, intimate theater space. The set is minimal, with just me as the performer and a doll ‘my dead mother’s body’ as the only prop. I am dressed in all white, with my hair in long braids and a red line down my neck. The piece begins with me walking across the stage dragging the body, singing a lullaby in my mother tongue. This lullaby is a song that my mother used to sing to me when I was a child. The song is haunting, a reminder of the love and care that my mother once showed me, but also of the pain and trauma that she inflicted. As I reach the end of the room I pause with the beginning of a realisation that I just did kill my mother.

The second part of the piece is of me exploring the stages of grief in movement and voice; first within the denial, then mourning and then acceptance. I am vulnerable at this moment, laying bare my emotions and fears. This is a moment of catharsis, both for me as a performer and for the audience as witnesses.

“My exploration of performance art has allowed me to delve into my identity in ways that I never thought possible. Through performance, I have been able to examine the nuances of my culture, its customs and traditions, and how they interact with my queer identity.”

This performance piece has been a journey of self-discovery and healing for me. It has allowed me to confront the complexities of the mother-daughter relationship, and to explore the nuances of matricide. It has been a deeply personal experience, drawing from my own life and emotions, but I believe that it is through this vulnerability and honesty that art truly resonates with people.

As I look toward the future, I am excited to continue exploring performance art and to see where my journey takes me.

Photography: Ruby A Williams

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