Imagine being punched while performing as a living statue or chased by a mob of teenagers—sounds like a nightmare, right? But this was the reality for the Melbourne-based physical theatre group Born in a Taxi (BIAT) back in the 1990s. At a time when street dancing and non-verbal performances were often seen as 'pretty weird,' BIAT found themselves in the crosshairs of public misunderstanding, despite busking and music being widely accepted. And this is the part most people miss: their experiences weren’t just challenges—they were the foundation of a movement that would transform how we experience art in public spaces.
Fast forward to 2025, and co-artistic directors Penny Baron and Carolyn Hanna reflect on how far both society and their art form have come. 'Roving performance catches audiences unawares,' they explain. 'It creates a pause—a moment to feel moved, amused, surprised, delighted, or even outraged.' With over 30 years of global experience, BIAT has mastered the art of the unexpected, turning everyday spaces into stages for wonder. But here's where it gets controversial: does this spontaneity truly connect with audiences, or does it sometimes cross the line into intrusion? We’ll let you decide.
Next weekend, BIAT will bring their unique brand of chaos to WOMADelaide, the iconic music, art, and dance festival held at Botanic Park in Adelaide. Their performances promise to be nothing short of spectacular, featuring a traveling bed on wheels, a 'dazzle of zebras,' and three 'seriously stupid security guards' who redefine crowd control as an art form. Add to that high priestesses anointing audiences with 'rituals of the senses' and a troupe of fashionistas partying like there’s no tomorrow. 'We’ve brought a bigger team to showcase five distinct works,' BIAT says, 'all with an irresistible invitation to play.'
Botanic Park has been a playground for roving performances since WOMADelaide’s inception over 30 years ago. From Archibald Caramantran’s giant puppets to Luke Jerram’s illuminated Earth, the park has seen it all. BIAT describes roving performance as 'the glue that gels a festival together in the spirit of play.' It bridges the gaps between main-stage events, bringing the unexpected to weary parents, bored children, and even those waiting in food lines. 'The entertainment comes to the audience,' they emphasize, 'not the other way around.'
One of BIAT’s most memorable moments occurred at the Oerol Festival in the Netherlands. While improvising on a street lined with houses, a local resident walked into their performance space and entered their home. Undeterred, the troupe extended their act into the front yard, knocking on the person’s door. 'One of us was taken inside, the other pretended to be locked out,' they recall. 'We played in the front window while the crowd watched, and eventually, the owner threw us out the front door to laughter and applause.'
Meanwhile, Spanish street theatre group Osadía is set to challenge WOMADelaide audiences with their 'artistic hair sculpting.' Starting with their 'Style it or Crop it' concept at a Barcelona festival, Osadía invites participants to either have their hair sculpted into gravity-defying creations or completely cropped off. 'The response was extraordinary,' says Alejandro Rendon Pajon. 'Men and women stepped forward, willing to transform before a live audience. Mohawks rose, identities shifted—it was both aesthetic and psychological.' But here's the real question: Is this art, or is it exploitation of vulnerability? Let us know in the comments.
Pajon explains that the act becomes a shared ritual, where the volunteer experiences the thrill of visibility, and the audience witnesses the courage it takes to stand out. 'Long after the hairstyle returns to normal,' he says, 'many speak of it as a personal breakthrough—a reminder of what happens when you dare to be seen.' In today’s digital age, these moments transcend physical spaces, captured and shared via social media.
BIAT’s artistic directors warn that without roving performances, festivals risk losing their 'joy, mystery, and unpredictability.' When artists build events from subtle audience responses, they create magic—the sense that anything could happen just around the corner. WOMADelaide runs from March 6 to March 9 as part of the Adelaide Festival, which begins this Friday. Don’t miss it—and let us know: What’s your take on roving performances? Do they enhance festivals, or do they sometimes go too far?
