“Katma brims over with raw, euphoric authenticity that is infectious and culturally rich” – ★★★★ Sydney Morning Herald.
Click here to access the below specs in Spanish – (Traducción al español)
You’re at the Club – Invited to be simply in the moment, without expectation.
With no seats, the audience is part of the action, fully surrounded by the movement. Katma is directed by Azzam Mohamed (Sculptured Riddims, Sydney Festival 2024) and is co-created, choreographed and performed by seven dancers performing a dynamic fusion of street and club dance styles: breaking, hip-hop, krump, waacking, locking, house and Afro dances.
“Katma” is a slang term from Sudan meaning “suffocation” or “no room for breathing” — a word that describes the intensity of hard partying. This immersive performance brings that frenetic energy to the dancefloor, pulling inspiration from both Sudan and Australia’s party scenes, as well as legendary gatherings like The Loft in New York.
In acknowledging the origins of these art forms, the Katma creatives extend their gratitude to the communities who birthed them — the African diaspora, the Black and Latino communities and the LGBTQIA+ underground. Katma is a celebration of dance and culture, paying homage to the pioneers who shaped these styles and the vibrant traditions of African heritage.
Surrender to it to feel it.
VIDEO
For a full copy of the archive, please contact Jacqueline Hornjik jacqueline@pyt.com.au
PRESENTATION
2025 Sydney Festival (World Premiere)
CREATIVE TEAM
Concept + Lead Artist + Choreographer Azzam Mohamed
Composer Jack Prest
Mentor Charemaine Seet
Dramaturg Matt Prest
Lighting Designer Andre Vanderwert
Designer Adelash Parsons
Design Mentor Gary Deirmendjian
Production Manager Elyse Drenth
Stage Manager Cindy Cavero
Assistant Stage Manager Olivia Xegas
Sound Operating Artist George Sheridan
Collaborator + Dancer Isabella Solisa
Collaborator + Dancer Geny Navuzi
Collaborator + Dancer Angelica Osuji
Collaborator + Dancer Naethiel Lumbera
Collaborator + Dancer Molonai Makalio
Collaborator + Dancer Robin Chen
Collaborators Lydia Kivela, Jackson Garcia, Jamie Kha, El Moro, Jackie L Barros, Laura White, Adam Warburton, Doug Elkins
Special Thanks to Intimate Spectacle (Harley Stumm), Katy Green Loughrey, Claire Hicks, Neda Taha, Cynthia Florek, Critical Path, ReadyMade Works and Dance Makers Collective for their support and contribution
Creative Producer PYT Fairfield, Gabriela Green Olea
KATMA was commissioned through the Major Festivals Initiative Seed Funding: Sydney Festival and Brisbane Festival, Pre-Production Funding: Sydney Festival, Adelaide Festival and Luminato Festival, Toronto.
KATMA has been supported by Creative Australia and the NSW Government through Create NSW. KATMA has received in-kind venue sponsorship from The Art Gallery of NSW.
This project was featured through the International Society for the Performing Arts’ Pitch New Works program, an international platform for sharing and discovering new performing arts projects.
Read more about our team below.
Azzam Mohamed – Concept + Lead Artist + Choreographer (He/Him)
Azzam Mohamed (Shazam) is a dancer, performer, and educator from Sudan. In 2019, he and his crew Riddim Nation were invited by choreographer Nick Power to develop and perform Two Crews (Sydney and Adelaide Festivals, 2020) with Paris crew Lady Rocks. He has co-created and premiered works – Katma (PYT, Sydney Festival 2025), The Risk of Hyperbole (Phoenix Gallery, 2021), and Echo Mapping (Art Gallery of NSW 2024, North Australian Festival of the Arts 2025) – and often collaborates with composer Jack Prest. In 2022, he performed in the Monumental program at the Art Gallery of NSW.
Robin Chen – Collaborator + Dancer (He/Him)
Robin Chen is a versatile dancer with a focus on house music, culture, dance and experience in breaking. He has an authentic upbringing in street styles learned locally and internationally with over a decade of experience invested and with learning from key figures. For the last two years, he has dedicated enormous effort to learning the nuances of club culture, past, present and future-hoping to bridge the gap between the younger generation’s experience of a club-made dance-culture with their realistic experience of learning in other contexts and expanding into new forms of expression such as performances like KATMA.
Angelica Osuji – Collaborator + Dancer (She/Her)
Angelica Osuji (Chika) is a Sydney-based artist and creative visionary. Born in Brazil and raised there and in New Zealand, her work is rooted in the Black experience, history, and culture. As dance chose her, she chose music. Drawing lifelong inspiration from 90s hip-hop, R&B, Michael Jackson, Brazilian Funk, and the African Diaspora, she naturally turned to DJing in 2019. This next step spread joy, art, love, fun, and worship. She has since performed at Afrojam, Redrattler, Can You Afro?, a Burna Boy pre-party, Stage of Origins, and more, and hasn’t looked back since.
Geny Navuzi – Collaborator + Dancer (She/Her)
Genifer Navuzi is a Belgium dancer, performer, and educator from Congo. Her 15 years dance journey is built on a lifelong Afro-foundation rooted in traditional Ndombolo. She blends this with other influences from Reggae-Dancehall, Hip Hop, and House. She has taught across Europe in Belgium, Italy, France, and more, constantly studying movement to improve and share her passion. In Sydney, she has facilitated an Afro community for seven years. Geny is co-founder of Belgium’s Afrokultur festival, promoting African culture, and Sydney’s “CanYouAfro?” workshops. She has choreographed for artists like Omah Lay and recently toured with Sampa The Great.
Molonai Makalio – Collaborator + Dancer (He/Him)
Molonai Makalio is a founding member of Riddim Nation, a collective bringing the social aspect of dance culture to the Sydney dance scene since 2015. They practice all styles in street dance culture (Popping, Locking to Waacking, Breaking to Afro fusion, Hip-hop freestyle & House/Club dance), and bring elements of traditional culture into their dance practice. With Riddim Nation, Nai has taken part in exchanges, battles and cyphers as well sharing styles through clubs and parties.
Naethiel Lumbera – Collaborator + Dancer (He/Him)
Naethiel Lumbera, known as Tango, is a passionate breakdancer of 14 years. His journey across various styles has honed his movement and musicality, forging a versatile, adaptive skillset. Deeply inspired by Bruce Lee, Tango embodies the philosophy of being “like water”—fluid and powerful in execution. He champions self-expression, discipline, and profound audience connection through dance. This dedication is evident in his dynamic, captivating performances, where precise execution meets emotional depth, leaving a lasting impression.
Isabella Solisa – Collaborator + Dancer (She/Her)
Isabella Solisa, known as “Ms. Kandy Divine,” is a dance visionary with eight years of teaching expertise. Specialising in Waacking, a form deeply rooted in LA’s LGBTQ+ scene, she instructs at universities and studios, including regular classes at Studio IX in Sydney. A featured performer at the Sydney Art Festival, Kandy also showcases dynamic choreography in music videos. Committed to her craft, she fosters creativity and dynamism within a vibrant community, aiming to inspire the next generation of dancers and dreamers through her unwavering dedication to the art.
Jack Prest – Composer (He/Him)
Jack Prest is an interdisciplinary artist, composer, and sound engineer. His practice, focused on experimental electronic music, traverses ambient, hip-hop, musique concrète, and club beats. Treating the studio as his main instrument, he prioritises pushing sonic boundaries over genre. His work is supported by institutions like the Art Gallery of NSW and CreateNSW. He has composed scores for performances at Sadler’s Wells and Sydney Opera House. As a senior engineer at Studios 301, he is a leading figure in Australia’s independent music scene, with credits for Godtet, Stones Throw, and Sampa The Great.
Charemaine Seet – Mentor (She/Her)
Charemaine Seet is a dance artist straddling post-modern dance and street dance practice. She has been a principal dancer in companies in London and New York and has collaborated with choreographer Doug Elkins since 1996. In 2025, she performed at the Public Theater in New York City for DANCENOW’s final evening at Joe’s Pub. Charemaine has mentored emerging dance artists such as Azzam Mohamed and has recently lectured at the Juilliard School in New York City and Wesleyan University. Charemaine is currently leading workshop series at the Sydney Opera House in dance and architecture and choreography.
Matt Prest – Dramaturg (He/Him)
Matthew Prest is a performance maker, producer and teacher, living and working on Bidjigal land in Sydney, working across theatre, live art and online contexts. He approaches theatre as an event in which audiences encounter and experience performance in ways that are unique to the live medium. As well as black box theatre spaces, he has made work in an underground carpark, the top floor of a skyscraper, a tent in an abandoned lot, a shopping mall, a taxi, a hotel room and in online contexts. Recently, he has been researching liveness and authenticity in the digital age through projects that bleed across live, online, and real-world contexts.
Adelash Parsons – Designer (She/Her)
Adelash Parsons is a multifaceted sculptor of textile art and costume designer, who’s works include fashion photography, theatre, film, television and music videos. She has exhibited as a soloist and has been in numerous group exhibitions around Sydney. She has won the Environmental Art and Design Prize with the Northern Beaches Council for her category in Wearable art in 2023. Playing with fibres of all types as a child and having a family all within Theatre and Art’s in Australia has made her the artist she is today she maintains this upbringing throughout every project.
Andre Vanderwert – Lighting Designer (He/Him)
Specialising in leveraging technology to create and operate lighting/visual systems, André Vanderwert has extensive experience in the performance, art, music and events industry. Taking the intersection of design, new media, and technology as the grounds for artistic experimentation, Vanderwert’s work emphasises the importance, and generative power, of collaboration. Through the delivery of bold, minimal designs his innovative approach centres light and sculptural objects to enhance performance, purpose and practice.
Elyse Drenth – Production Manager (They/Them)
Elyse is a skilled technician and production manager from Western Sydney. They began their career working on concerts and large-scale productions across Sydney before moving into corporate events as an in-house technician at the Four Seasons Hotel. Elyse later shifted to theatre, serving as Production and Technical Manager for Casula Powerhouse Arts Centre and later PYT Fairfield. They have managed major events including the National Awards for Women in Construction, VIVID, and the Mardi Gras Gala 2026. Elyse also works freelance as a lighting designer and technician on theatre projects, including PYT’s The Hen House, Pickled, and various other projects.
Gabriela Green Olea – Creative Producer (She/Her)
Gabriela Green Olea is a Western Sydney-based dance artist and creative producer. Of Chilean-refugee heritage, her work explores cross-cultural identity and art as activism. As a producer at PYT Fairfield since 2021, she champions culturally diverse, emerging artists and inclusive environments. Her producing portfolio includes major works like Dorr-eDari (Sydney Opera House), Pioneers (Art & About), The Hen House (regional NSW tour), and KATMA (Sydney Festival). Her own creative practice includes cross-cultural, collaborative, participatory projects such as ‘Mystery Call’ with the MindsEye Collective in Sydney and Teatro Sur in Chile, reflecting her commitment to pushing artistic and social boundaries.
ABOUT PYT FAIRFIELD
PYT Fairfield envisions a world where anyone from anywhere can dare to make art and place it on stages worldwide.
PYT Fairfield is Western Sydney’s only professional theatre company dedicated to championing young and emerging artists. We create transformative work that reflects Australia’s cultural diversity, pushing artistic boundaries and amplifying working-class, bilingual, and culturally diverse voices
Director Jacqueline Hornjik
Artistic Alliance
Creative Producer, Programing and New Work Gabriela Green Olea
Creative Producer, Youth and Emerging Bina Bhattacharya
Creative Producer, Community and Engagement Daisy Montalvo
Finance and Operations Manager Holly Morrison
Marketing Associate / Associate Producer Neda Taha
General Information:
Duration 50 minutes – no interval
Audience Capacity 150 + depending on venue
Imagery
All imagery/ photography within this document is copyrighted to PYT Fairfield and is not to be used without permission.
Photography by Anna Kucera.
Social Media by Eliam Royalness – Imprint Creatives.
| Stage Requirements | KATMA is adaptable to unusual, unique and large theatre spaces (where seating banks are removed). The idea of the work is to animate and unlock the potential of place. KATMA suits underground, industrial, unused spaces that Presenters are keen to activate. KATMA is a responsive work. KATMA will guide the audience to move and dance alongside the performers throughout the show. The work has the potential to open into a club night. Our recommended ideal performance space for a 150 audience is: 19 metres (wide) by 18metres (deep) to accommodate audience and performers as they move through the space. Recommended grid height: 4.5m |
| Preparing the theatre prior to Bump In | The Presenter is required to complete a pre-rig prior to the Bump In commencing. The pre-rig will include: Hanging and installing all venue supplied lighting equipment including cabling, patching, colour and ensuring all equipment is in good working order Installing all venue supplied sound equipment including cabling, patching and ensuring all equipment is in good working order Installation of acoustic wall to cover any glass windows Installation of the Production Desks into the auditorium Install of acoustic curtains to at least 2 walls Note the Lighting Designer will need access for the pre rig, as the placing of the lighting beams needs to be exact to the design. |
| Risk Assessment | PYT Fairfield has Risk Assessment documentation available upon request. |
| Freight | When touring within Australia, Katma travels with 6 costume suitcases in addition to personal luggage. Please advise us of any difficulties associated while entering your loading area. |
| Production Schedule | Please see the separate venue specific production schedule for details of the Bump In, Season, Bump Out and crew requirements. At a minimum, at least one pre-rig day is required before our arrival and we will need one day to load in and tech before the opening show. |
| Venue Show Crew | (required for the duration of the season) 1 x Assistant Stage Manager 1 x LX Board Operator 1 x Technician on Duty (or 2 if venue required) 1 x Sound Technician |
| Warm up Class | A space suitable for warm up is required for the duration of our Bump In and Season. If you do not have a rehearsal space available or on site, please advise us ASAP so that we can make suitable alternate arrangements. Rehearsal room should be a minimum of 5m x 6m and have a sound system available. After the opening night performance, on all subsequent performance days the company need access to the stage up to four hours prior to each performance for notes and preshow checks. Notes can be done in work light and venue crew are not required, as per venue policy. |
| Laundry access | On performance only day(s) we will need access to the laundry during the day and for up to 1.5 hours after the completion of the show, dependant on wash cycles. |
| Technical Equipment | |
| Special Effects | 2 x Unique hazers – Smoke isolation clearance will need to be given 1.5 hours prior to each show and for all rehearsal periods to allow for pre-show fill. Smoke isolation should remain in place at the completion of the show in accordance with venue policies to allow time for the smoke to dissipate. |
| Lighting | The Presenter will be required to provide the following lighting equipment: 4 x Ayrton Perseo 30 x Clay Paky Sharpie 8 x Martin Mac Aura 1 x Elation DTW Blinder 700 20 x ETC Source 4 70Deg 2 x Look Solutions Unique 2.0 ETC Eos Console A minimum of 5 universes of control A lighting plan will be provided 4 weeks prior to Bump In commencing. The show will be called by PYT SM, and the venue technician will deploy all LX cues. All lighting fixtures outlined in the lighting plan are to be provided by the Presenter. The venue will be provided with a lighting plan, channel hook-up and instrument schedule four weeks prior to the bump-in. Please see the lighting plan for the details of the lamp list. Venue Requirements include: All lighting to be rigged, patched and tested and flashed prior to the Company’s arrival at the theatre, unless otherwise scheduled in consultation with PYT Fairfield production manager and LX Designer. Approx. 20x distribution circuits (10amp- 2.4KW) Stage work light and appropriate back stage blues/desk lamps (Blues and scene change lx will be spec’d prior to Bump In). |
| Sound | The Presenter will be required to provide the following sound equipment: Speaker System: FOH: 4 x d&b Bi6 Subwoofers 12 x d&b Y10p Artist Monitor: 5 x d&B Y10p All necessary matched d&b amplifiers to drive the speaker system. All necessary brackets to mount the artist monitor system from the in-house grid. This speaker array is designed for 20mx20m Black Box theatre. Larger or different configurations may require a different installation. Installation requires a minimum two walls of the space to be acoustically treated either with in-house treatment or hired acoustic curtains. The speakers can be swapped out for comparable modern hi-end PA speakers (Meyer, L-Acoustics) suitable for floor standing and point source operation, with similar dispersion angle and output capacity. Speaker placement: FOH: Speakers split into four floor standing stacks (1 x Sub and 3 x top boxes) in each corner of the performance space facing in. Placed just inside the beam of the corner Sharpy in the lighting grid. Speakers are stacked vertically: two top boxes on the sub and a third top box on top of those. A horizontal stacked line array is not suitable as the height is required for good dispersion to the standing audience. The speaker stacks require ratchet straps (preferably black) or friction pads to stop from moving during the performance due to the low end vibration. Speakers set for horizontal dispersion. Artist Monitor: Speakers flown on the overhead grid as point source. Placed in a cross shape where suitable to accommodate the lighting rig. Speakers to be flown pointing straight down for maximum dispersion angle. Playback System: Playback system is provided by the sound designer who is also the operator. The playback is manipulated live in response to the dancers, which means a clear sightline and reasonable soundline from the operation position to the stage is necessary. Main Laptop – Stereo Line Level Playback. Will require a stereo high quality DI if the venue mixer can’t take line level directly. Backup Laptop – Stereo Line Level Playback. Will require a high quality stereo DI if the venue mixer can’t take line level directly. Output to FOH as two seperate 2.2 systems. Although the speakers are set in a quadrophic layout the playback is stereo. The artist monitor system can be run in mono. Any modern hi-end digital console that can provide graphic EQ and accommodate the IO needs of the show is suitable. e.g. A Yamaha CL1 was used for the premiere season. Channel I/O: INPUT 1 – Main Laptop Playback L (Graphic EQ on insert) 2 – Main Laptop Playback R (Graphic EQ on insert) 3 – Backup Laptop Playback L (Graphic EQ on insert) 4 – Backup Laptop Playback R (Graphic EQ on insert) OUTPUT 1 – Left Top Boxes 2 – Right Top Boxes 3 – Left Subwoofers 4 – Right Subwoofers 5 – Artist Monitor Output (Mono) All elements of the system must be tested, tuned and in working order prior to Bump In day. The Katma soundtrack is often loud with stereo effects and will utilize the system to its capacity, especially with regards to subwoofers. Please remove any unnecessary items from around the subs and check the venue for any items that rattle (such as aircon vents, unused lighting fixtures, etc.) Independent control of All FOH and Stage sends. Paging mics and comms will be required at Production Desk for rehearsals and available for on stage notes. |
| Dance Floor Cleaning equipment | Presenter to provide towels, brooms, buckets and hot water, scissor broom. N.B: Baby powder is used as part of this performance and cleaning equipment will be required at the conclusion of every show. |
| Staging | The presenter will be required to provide a minimum of two walls of the space to be acoustically treated either with in-house treatment or hired acoustic curtains. |
| Headset/ Talkback Communication | The use of wireless radio communication system with minimum 6 packs (PYT Production Manager, LX x 2, Sound and SM, ASM) Stage management paging to dressing rooms and all other backstage areas from prompt corner. Audio program/show relay to dressing rooms. |
| Production Desks | Production desk in auditorium for bump-in and lighting plot with lighting control desk, signal cable (2 universes of DMX or direct ethernet) and 2-3 desk lamps. As well as suitable talkback headsets for communication. Production desk in auditorium for bump-in and rehearsal with audio desk, signal cable and 2-3 desk lamps. As well as suitable talkback headsets for communication. NB: it is preferable that these desks be on wheels if possible. |
| Laundry | 1 x industrial washing machines 1 x industrial dryers 1 x ironing board and Iron 1 x steam wand 1 x wardrobe racks or hanging areas for drying |
| Backstage | 2 x full length mirrors 2 x wide brooms and collection tray 1 x Mop and Mop bucket to clean venue floor (No cleaning products to have been used on mops or in mop buckets) Water cooler backstage or bottled water to be provided. |
| Dressing room facilities | We require 2 x lockable dressing rooms (4-5 people in each). All dressing rooms must be cleaned prior to PYT’s arrival and will need to be cleaned after each performance. All dressing rooms must be equipped with toilets, sinks, hot & cold running water and showers, 1 x sturdy wardrobe racks, 1 x large props tables, 6 x Mirrors for makeup. A prayer room is encouraged. |
| Production Office facilities | We will require a production office with access to high-speed Wi-Fi Internet connection for 1-2 users. |
| Green Room | We will require the use of a Green Room, with the following basic facilities: filtered water station, kettle or boiling water unit, sink and dishwashing facilities, microwave (for heat packs), and fridge with a freezer (for ice packs). Tea and coffee, milk varieties, fruit selection, biscuits, a selection of healthy snacks with high protein, halal and vegan options. |
| Consumables | Johnsons baby powder (paraben free) for break dancing Tiger Balm or deep heat Voltaren cream Ice packs Electrolyte powder Sports Tapes |
| Venue Access | Venue to inform touring company of access procedures for all company members. I.E Passes, codes, keys. |
Please note:
– Venue will need to provide Smoke/Haze MSDS on request.
– PYT Fairfield will provide a light hanging plot and sound plot 4 weeks before Bump In commences.
– Please see the plans, hanging plot, and risk assessment documents for further safety and structural details on these elements.
– Unless otherwise specified, PYT will not be touring any equipment, and all Lighting and Sound equipment outlined in this document will need to be supplied by the Presenter.
