Stepping onto the stage at Bold Bradford was both nerve-wracking and exhilarating. It had been almost two years since Besharam, and I hadn’t performed in front of a live audience in a long time. Sharing The Wrath of Khandan – The Shame Strikes Back, a deeply personal piece drawn from my lived experience, felt like a huge moment. Would the audience connect with it? Would they find the humour? Would the emotional beats land? As I began performing, I could feel the energy in the room, and I knew I was exactly where I needed to be.
@BoldBradford is a fantastic space for artists to test new work, take creative risks, and receive live written feedback from the audience. It’s a rare and valuable opportunity to gauge how a piece resonates in real time. Reading through the audience’s thoughts afterwards was both reassuring and exciting. Many found the show funny while also recognising the depth of its themes, which is exactly the balance I wanted to strike. There were also insightful suggestions—some people felt it was like an agony aunt meets comedy, while others thought an outside director could help shape it further. However, what some may not have fully understood is that this was a scratch piece developed in just three days with Jenn Wilson (Irregular Arts). The show is ambitious, weaving together tea, time travel, music, and a computer voice—it’s a reflection of the kind of work I want to create and the space I want to take up as a queer person of colour.
One of the most unexpected and powerful pieces of feedback came from someone who identified as a white Catholic. They told me that my section on growing up in a religious household deeply resonated with them. That reaffirmed something I often find in my work—while it is rooted in my own specific experience, it carries a universality that reaches people from different backgrounds.
The experience of performing in front of a Bradford audience was both intense and rewarding. It took me a few days to fully process everything, as I needed to let the feedback settle before engaging with it from a clearer perspective. Having a space that caters to artists’ access needs would help regulate those emotions, but ultimately, it felt incredible to own my work and tell a Bradford story to a Bradford audience—one they could see themselves in.
A key part of @BoldBradford is the feedback debriefing day, facilitated by Andrew Wilson and Ella Tighe. This space allowed us to work through the feedback together, filtering what resonated and identifying what could be developed further. It was invaluable to be surrounded by other artists, all navigating their creative journeys, supporting each other in refining our work.
For anyone considering performing at @BoldBradford—go for it! It’s a brilliant opportunity, and Andrew and Ella genuinely want the artists they work with to succeed. My advice would be to be clear about the kind of feedback you want. Unless you specifically need input on staging or lighting, focus on the story and themes. Remember, this isn’t about presenting a fully polished show; it’s about testing, refining, and taking your work to the next stage. Whether you’re working on music, storytelling, or dance, @BoldBradford is an incredible platform to showcase talent and highlight the cultural richness of the city. It has certainly given me the drive to push The Wrath of Khandan – The Shame Strikes Back further, and with our Arts Council bid in, I hope this is just the beginning of its journey.
If you’d like to learn more about Bold Bradford and stay updated on future events, follow them on Instagram and other social media platforms at @BoldBradford. Their work in supporting emerging and established artists is invaluable, and they continue to create opportunities for bold, boundary-pushing storytelling in Bradford.
Dhamaka Arts 