Image: Livia Kojo Alour, poet and performer. Photo by Yannick Lalardy.

Poet, musician and theatre maker, Livia Kojo Alour, is back on the road this autumn touring her deeply personal debut solo show Black Sheep. Blending physical theatre, spoken word and song, Black Sheep is the story of a queer Black woman finding love, overcoming institutional racism and leaning into radical vulnerability.

Writer Natalia Knowlton spoke with her about her journey to autobiographical theatre, poetry writing and learning to prioritise mental health as a working multidisciplinary artist.

Natalia Knowlton: You’ve developed a fascinating career as a renowned sword swallower, circus performer and burlesque artist. What inspired you to make autobiographical theatre?
Livia Kojo Alour: Thank you. At the height of my circus career I realised I was missing out on a very important part, my voice. My bookers only cared about what my body was able to do: swallowing swords, walking on burning glass or doing the splits. No one ever asked for my opinion and when I tried to be more vocal within the creation process it wasn’t welcome. I had a dedicated role in most productions: the diva, the pain-proof Black woman. I embraced it until it became a prison. Quickly realizing that there was no space for my own narrative in these shows, I started thinking about how I could build my own platform. My TEDX talk in 2017 was a pivotal moment, I could suddenly use my voice to talk about topics that are important to me. This was the moment I realised I wanted my own show.
Creating an autobiographical piece felt natural after being silenced for so long; I wanted to speak about all the things that I have lived through to inspire others or connect with people who feel the same. In the future Imay look to use other narratives, but for now, this feels right.

Natalia: When I read the press release for your award-winning solo show, Black Sheep, I was drawn to the phrase ‘radical vulnerability’. What does that term mean to you and how did it help you develop the show?

Livia: In my poetry collection as well as in my show I speak very openly about themes like racism and the difficulties of finding love as a Black queer woman. I often question if and how Black people are possibly part of the problem and look for solutions at the same time. For me ‘radical vulnerability’ means to be willing to lean into uncomfortable realisations, sit with them and actively work towards change while taking care of my mental health and practicing unapologetic self-love.

Image: Livia Kojo Alour, poet and performer. Photo by Yannick Lalardy.

Natalia: You’re touring Black Sheep this autumn after a successful run at the Edinburgh Fringe 2022. How do you take care of your mental health whilst consistently performing a show that is deeply personal?

Livia: Mental health is a big subject at the moment. I’m not ashamed to say I burned myself out during Fringe, it was a gamble as I self-produced my show. I won the accolades but came back broken, forcing me to make big changes. Now I have a team and I try not to be online as much anymore. I’m dedicating a lot of time to reading books by fellow queer Black writers and going to their events. Spending time with people who are Black like me, or Black and queer, is a beautiful important way to recharge.

Natalia: Congratulations on writing Rising of the Black Sheep, your debut poetry collection. You’ve said that it is an extension of Black Sheep, what does the poetry collection explore that the theatre show doesn’t?

Livia: The theatre show explores political theatre through an entertainment lens. I’m telling my story with live music and movement, offering the audience a collective experience. They walk away with a memory. Through written word, the poetry collection touches deeper on each subject: identity, racism, activism, love and spirituality. The reader takes the book home to experience it in their personal space, on their own terms. They can re-read it and take all the time they need to delve into the material.

Natalia: There seems to be this pressure amongst artists in the UK to go to a reputable drama/art school and specialise in one discipline. You’re the opposite of that! How did you master you craft when you’ve got multiple interests?

Livia: In the late 90s I got rejected from every drama school I applied to in Germany and Holland. One school principal called me to their office to tell me to stop applying because they “could not see me developing into a strong performer” (her exact words). After that I gave up on the dream of higher education in the arts. I think if I had gotten into a school it would’ve been easier or at least quicker for me to become a writer. However, I doubt I would’ve become a sword swallower. I had to improvise, try everything possible. Not having a school guiding me made space for life to do its magical thing. I argue that self-made artists are the most creative and eccentric because of what we had to go through to be seen.

Natalia: Who are your top three favourite artists and how do they inspire you?

Livia: I don't have favourites per se. Honestly the whole concept of having or being a favourite to someone is appalling to me.

My list of artists that inspire me is very long as I’m constantly adding to it, but here are three:
Guillermo Gómez-Peña, Mexican/Chicano artist, writer, activist and educator based in San Francisco. I am always in awe on how he combines spoken word and performance in such radical unapologetic way. We worked together many times and he’s regularly mentoring me.

Cecile Mclorin Salvant is one of my favourite contemporary Jazz singers. She has this crystal-clear voice, unlike a lot of other singers in this field plus there are a lot of musical theatre reference in her songs. She brings it round to be a refreshing type of Jazz that I haven’t heard anywhere else.

Anthony Joseph, a Trinidadian writer, academic, musician and jazz poet. He’s got this specific musicality when performing his words, it’s very special and inspiring to me. It’s captivating and combined with the music of his band wraps itself around you, like swallows you up and let’s you forget where or who you are. His live shows are a great experience.

Image: Livia Kojo Alour, poet and performer. 

Natalia: During the 2020 lockdowns you learned to sing, produced a film and created several online shows whilst writing Rising of the Black Sheep. What kept you motivated, especially during such a difficult time?

Livia: Touring for a decade before had totally drained me. I slept an average of 10 nights a year in my own bed and had totally stopped creating new work. I was exhausted. When you achieve turning your hobby into a full-time job, and don’t take creative breaks, it eventually reduces itself to just work. When lockdown happened, my creativity came back. I’d wake up ready to do whatever came to mind and time was on my side again. There is nothing I like more than getting lost in my work without pressure. In a strange way lockdown was a beautiful time full of inspiration for me.

Natalia: As an arts activist, you’re passionate about supporting queer performers of colour. What’s your advice for emerging artists?

Livia: Learn how to be kind and not too hard on yourself. Creating work can be a cruel process here we get re-triggered by our unprocessed trauma. Send out your work and expect rejections, treat them as stepping stones. Always be prepared to walk through a backdoor if the front door is closed for you.

There is a quote by Alexander McQueen I find very interesting: “I didn't care about what people thought of me and I didn't care what I thought of myself.”

Free yourself from yourself, from that conditioned voice in your head constantly saying negative things. You can think what you want about yourself, just don't care about it. Just carry on and do the work. Amazingly, I am still learning too.

Livia Kojo Alour is currently touring her award-winning debut solo show, Black Sheep, and taking her upcoming poetry collection on a book tour. Click here for details on tour dates.
Order a copy of Livia Kojo Alour’s poetry collection: Rising of the Black Sheep.
Find out more: liviakojoalour.art