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In Cut the Sky five climate refugees roam around following a catastrophe. Who will sing the rain? The Australian company Marrugeku, led by the powerful ladies Rachael Swain and Dalisa Pigram, tells the story from the Kimberley, an area in Western Australia that is 14 times the size of Belgium, which is threatened by the polluting extraction of shale gas.

The production brings together various perspectives: artists from the local Yawuru community, from Nookanbah where historic protests were made by Aboriginals against oil drilling, but also from India, Burkina Faso and Belgium (choreographer Serge-Aimé Koulibaly and dramaturge Hildegard De Vuyst).

In five chapters, past, present and future are spun together. The questions are not insignificant: the preservation of cultural identity or quick profit? Several fault lines intersect Cut the Sky: between local and global, between personal-anecdotal and broadly epic, between tradition and globalization. Between place as compass and time as bulldozer