Hit The Ground Workshops: ‘How Do We Live Now?’


In this new and extended workshop programme participants will explore and engage with this question: ‘How Do We Live Now?’. A question that will move through present self-exploration all the way to embodying futuristic ideas for a more just society and everything in between.

Each session will be facilitated and supported by artistic leader Lateisha Davine Lovelace-Hanson. As a socially engaged theatre-maker, poet/playwright, workshop practitioner and grassroots community organiser she will bring her unique ‘HIT THE GROUND’ approach to the fore – inviting participants to play, move, speak, listen, sing, draw, write and build objects. Working through associated themes and exercises related to our interconnection as human beings. E.g What can we learn from Trees? Roots: What grounds you to the moment? Trunk: What do you connect with? Branches: What are you reaching towards? Blossoms: What do you create/free?

Uniting creative tools, collective spirit and social justice frameworks to leave participants with an enhanced sense of connection, self awareness and liberated purpose.

Workshops will be facilitated towards creating an inclusive, anti-oppressive, safe-space. Every session will start with grounding exercises to establish the various needs of the group/ space in relation to your individual journey. For collective growth to happen, we must create mutual recognition across lines of race, gender, sexuality, religion, disability, class and other socially constructed identifiers and privileges. For marginalised people to be respectively centred and platformed. Any behaviours deemed oppressive will not be tolerated.

All levels of skill/ experience are welcome; everyone is encouraged to come with themselves into the space. The desire to stretch and expand sense of self is the only skill needed where we will journey into/ through/ beyond what this all means at various levels.

It is time to come together, to Speak into the Silence, Move like we Matter and Connect like Community. So Let’s have some fun, get sweaty and make a party!

Up for the journey?

Register your space now. Link HERE. Tickets are on a sliding scale basis: £7 / £11 / £15 depending on income. Please think carefully about what you can afford, noting that the programme is independently run with no external financial support. If the ticket category you require is sold out please contact directly. A small number of spaces will be held on the door, however advanced booking is encouraged to avoid disappointment.

If you’re unable to afford a ticket from the options above and would still like to attend, there are a limited number of pay-what-you-can / free volunteer tickets. Please contact Lateisha directly hitthegroundtheatre@gmail.com to discuss.


Each workshop will work as ‘drop – in” as well as a course building towards creative/ collective outcomes. This is to make it as open as possible, as well as giving value and commitment to the full process.

11th August 2018 11-2pm (workshop 1)

25th August 2018 11-2pm (workshop 2)


22nd September 2018 11-2pm (workshop 4)

6th October 2018 11-2pm (workshop 4)

20th October 2018 11-2 (workshop 5)

Location: Platform, Southwark, 1 Joan Street, SE1 8BS

Unfortunately the space is not wheelchair accessible. If you have other accessibility question please contact hitthegroundtheatre@gmail.com

Yourself! Come willing to share your energy into a group process. Listening! To one another, yourself and the space. Curiosity! The desire to meet new people, explore question and learn. Water and Snacks!


Eventbrite page


Hit The Ground is a creative collective space founded in 2013 by Lateisha Davine Lovelace-Hanson and Kes Gill-Martin. Hit The Ground began as a performance making vehicle – and has now evolved into a collective theatre project and producing space towards social awareness and social justice.
Between 2013- 2014 with residencies at Free Word Centre, Lyric Hammersmith and the Barbican, Hit The Ground’s collective of multi-disciplinary artists including actors, musicians and videographers made collaborative work that asked what it means to Grow – personally, politically, socially and environmentally. Researching and developing through Lateisha’s play-text ‘A Tree’, exploring these themes through creative exercise and human body, through theatre as art form and institution. Through this, Hit The Ground grew into something bigger– a way of working that is all encompassing, non-hierarchical and invites participants and the spaces to be activated.
From 2015 onwards Lateisha and Kes of Hit The Ground have partnered with collaborators such as; Cardboard Citizens – designing a new workshop programme for people with experience of homelessness to playfully engage with collective empowerment and solidarity, ANTIUNIVERSITY NOW & Belarus Free Theatre – creating a new model of post-show discussion to create dialogue addressing the effects and conditions of psychosis within state institutions and Actors For Human Rights/ Ice and Fire – to produce and direct an event about the UK asylum system.

Lateisha Davine Lovelace-Hanson is a London Artist of Jamaican heritage working in Theatre, Poetry and Workshop/Gathering spaces. She is a member of Arts Council England supported Artistic Directors Leadership Programme, a two-year training programme for innovative leaders of colour across the UK. She’s been awarded the Jerwood Performing Arts Micro-Bursary for a new Afro-futurist Live Art work about the relationship between colonialism and climate change.
She is a Community Facilitator; currently working with the Yard Theatre’s young artist’s to direct a radical new work by 12-16 y/o. She has also worked with The Advocacy Academy as well as Talawa theatre company to bring anti-racist froum theatre techniques to the NHS. She is founder of grassroots community creative sharing night WRD PRTY and was also a committee member for DIY Space For London – a cooperatively-run social centre in Peckham to promote the ideas of mutual aid.
As an Actor she is working on the ‘Wonder Project’ by Shrinking Space at Kew Wakehurst – project “to become more mindful of the intricate relationships within nature” through interactive installations. Highlights of her poetic career include Green Man Festival, Roundhouse Slam Finalist, Hammer & Tongue Team Slam Finalist, Apples and Snakes poet/blogger/podcaster. She is a member of the prestigious Soho Theatre Writers Lab, and along with support from Spread The Word she is writing her second play ‘S/he B/reathes’; an Afro-futuristic super powered queer labyrinth set in a polluted colonised world…


– a message for Brian (poem)

I cant believe it’s been a whole year. I whole year since your body breathed it’s last breath and your energy transcended, transferred and transformed into the the Universal. Reunited with All That is, and All That will be.The Everything.

I like how every morning, when I get up and go into the front garden bit, to write in my ‘thankful book’ and start the morning with conscious breathing – I look up – to the sky – to bare witness to the shapely clouds, the confident sun, the brazen blue/grey/black/ purple bareness of what we too simply just call ‘the sky’, the welcome of birds going about themselves, doing what They Need To Do and not giving two fucks if I stare deeply at them – I like how i look up – and sometimes – I look *for* you – or, actually, it feels like you look *for* me. It’s like that.

It’s like

That Looking, that search, that attention, that detail – can never leave this Earth because it is what connects us to Earth. We are Earth. You are there, in Earth.

There have been occasions over the last year, situations that if i think “I wish so much you were here, with me, sharing and enjoying this” that is a little personal sign to me that whatever it is that I am doing in that moment, that occasion, that situation, It is the Right Thing, it is important – important in the Real Human sense – that it Matters. That, it has been written, in the Land. In what makes us – towards the Freedom, the Unforgetting and the Knowledge. See, you still give me great advice! It’s just a different way of listening to it, a closer way.

I just wanted you to know, that it’s Okay…
Your space – I will hold forever – in your light I can always, rise.

– a message for Brian.

By Lateisha Davine Lovelace-Hanson

Artistic Directors Leadership Programme

Okay – I got lots of news :). After months of news release lock down I am happy to announce that My Face is an official face of Artistic Leadership – you heard it hear first people – people of colour are a coming to reclaim theatre and take up OUR space.

It’s time for change and justice – and I personally will be agitating, disrupting and releasing (from my soul informed anti-racist self) to Liberate this problematic white as f*ck art form from Whiteness so that we, as human people, can engage with Theatre (as art-form, ritual, industry, political social construction and cultural sector) in a genuine and Authentic way: as part of This Struggle From White Supremacy.

It’s actually great to be in a real position to effect this change on a structural level – the journey to this point has been f*cking everything it needed to be: ridiculous/great/oppressive/assimilation/tokenistic/radical/ black – from Being an advocate as part ACE youth council 10 years ago, to being a jobbing actor in a world of micro-aggression and unconscious bias (my last job finished on Sunday was literally traumatic where I literally was cast a working class girl who works for a rich white upper elite family on their veg farm and steals from them aka this could be slave days for real. The racialised imagination is so very strong in ‘improvised/ interactive’ theatre. FYI – I changed my character obviously, but I was set up to be dominated. and my voice was continually silenced. Even with one ally in the room it was an extremely difficult space to navigate) to making my own bold and beautiful work as Hit The Ground and being shat on my the lyric and Barbican because their tiny imaginations couldn’t stretch to a decolonial perspective to finding great joy and liberation in WRD PRTY, my workshop facilitation work, protest and poetry to Black Cultural Archives to just accepting I am who I goddam am.

So It’s like a full circle for those who know me. I hope I do you all proud over the next 2 years as an ofeeshal leeeda – I hope to use my voice well – I hope to not burn out again – I hope to get us closer to the Freedom, to the Forgotten, To the Future.

Peace x


problematic casting call sighting…

Iv’e decided in the past few weeks to actively use my facebook and website for sharing of things that I believe need space for thought and/or action. So – if I may, I want to share this PROBLEMATIC CASTING CALL! and my thoughts in response to it…. please feel free to comment if anything I say is offkey, as I am open to folk who spot a decolonial hole in my thinking/wording. So in the facing of a fear, of putting my views out there that ultimately come from a vulnerable place inside me, I believe it is important for me to share my thoughts on this casting call I saw earlier today…


“We believe that, now more than ever, there is a need to represent narratives around Islam in a positive light, and that conversion should be seen not as a threat but as an opportunity to build connections. Through our show, we aim to offer support to converts and their families, and to contribute to creating a more tolerant society”

a) yes there is a need in our Islamophobic society which is built on racist white supremacist colonial foundations to represent narratives around Islam as human. And to question the norms of religion and faith built on Eurocentric Christianity (which continues to ignore it’s African inception and origin).But, my friend – these narratives MUST, must be representations made by MUSLIMS!

b) the implication of the terms ‘positive light’ have a counter effect of revealing (reinforcing) the thinking that Islam is synonymous with a ‘negative light’ which mandates the violence we see. This language also goes towards the prejudiced ‘good Muslim/ bad Muslim’ narrative. I truly believe there must be a better way of phrasing this… ohmydays I see this word ‘threat’ now ?!?!

c) build connections with what? and why? I’m still waiting for the rest of the sentence, instead I just see a big ‘ole full stop. Literally. Which goes towards reinforcing the toxic idea that people who identify as Muslim must build a ‘connection’ with: whiteness and white folk. Because whiteness is always the unsaid. I’m sure it would read different if this connection talked about was with another marginalised and discriminated against peoples…

d) offer support for WHITE converts and their WHITE families. I understand we all need support in any life choice/calling we transition into that may be initially seen by our families as ‘not we do’ as ‘suchandsuchpeople’. But converting to Islam isn’t some kind of trauma. Why not offer solidarity? And if this is what you meant – then be fucking clear and understand how the word ‘support’ can mean a whole heap a tings..

e) tolerant is one of the most violent words in our English language. I do not want to live in a ‘tolerant’ society. I want to live in a liberated, free, just, conscious, kind and equal society where we no longer have the classifications aggressively imposed on human lives that set the frameworks of Otherness, which creates the foundations for ‘tolerance’ to even be a *thing*. Tolerance is what white people have been doing – where assimilation is what folk who aren’t white have been Expected to do.-
and it nuh wok suh!

baaahh. thank you, but no. not today. . lets learn, lets rise, lets, lets do better by our tomorrows.

peace, love and openess
Lateisha xxx

A ‘Saturn return-27 year old – what actually is it that i’m trying to do – peacefully awakened/ mindful – f*ck value systems’ cross roads….

okay beautiful people, haven’t really posted a message like this, but y’know, i’m gonna allow them algorithms to do some corporate capitalist magic and see who can help me out on this:

I’m considering my options of how to best continue on this path of decolonial thinking, action and being…
I need to work out where and how best to ‘place’/ make a home for my artistry aka myWHOLEself in the world..aka in/making beautiful challenging spaces that work and thrive sustainably without relying on the institutionalised hierarchy of ‘programmed opportunities/residencies’ that mirror and perpetuate the structural BS i’m ultimately aiming to destroy. (I’ve simply had enough of this shit with my theatre company, acting and poetry stuff)

y’know for me, it’s about spaces by/with/for/inside human beings where there is INVESTMENT in holistic/real commitments to HOPE, LOVE, LIBERATION, and therefore there is holistic/real DISINVESTMENT from the oppressive Bullshit of: Whiteness (in ALL of it’s many, many freaking forms)/ patriarchy/ hetero gender normativity/ absolute boredom/ ‘arts admin’ aka the bureaucratic oppression of creativity funnelled as immovable ‘policy making’ and coded prejudice/ meat eating (a neo-colonial and climate fucker: end this eating the flesh of tortured animals who have been ‘bred’ on the stolen grains >stolen land > stolen labours > stolen Lives of our cousins in the global south), having to justify/explain/justify ‘my practice’ to folk – quickly realising ‘wow my shiii is simply not fo yo, and the people who it is for, you see as ‘Other’! / laminated – plastic – beige walls , etc etc, etc

So why am i saying all this?
Working with this energy is work: beautiful, nurturing and healing. But my goodness, let’s be honest, this is work. All the best, most cosmically realigning and true things are – hmmm and I realise I am deliberately not wanting to use the term ‘value’ here… because of it’s capitalist connotations, and the conscious fact behind the words ‘capitalist connotations’ are horrific white supremacist ‘value’ systems: invented, constructed and brutally developed by white folk to colonise and enslave the Lives of my African fore Mothers&Fathers. As well as my Antillean/Arawak and Asian fore Mothers&Fathers. Lawd a mercy even (uncomfortable truth of the slaver-rapist lives) my European fore Mothers&Fathers (predominantly fore Fathers, let’s not joke).

So what does this mean though, fo real?
It is ultimately because of the fact I do not want to sell my souls (i believe we inhabit many a soul, the soul lives all the people we are born from, of all the people we share our present lives with as friends/lovers etc, our future childrens etc) to this VALUE SYSTEM that I am now here at a ‘saturn return-27 year old – what actually is it that i’m doing? – peacefully awakened and mindful’ Cross Roads….

And, to keep the loving fire burnin’ sometimes you gotta hold your own decisions or ideas of yourself into account, (infact it’s good to do this all the time innit… and be flexible) and not be afraid to ….


So, this has lead me to thinking about various things… and by writing this here… I actually see even more clearly what I gotta do next… . Allowing the realisation, that I’ve actually made a start on the ‘next’. By putting this here like this, in words, it’s helped to frame the thinking from ‘what do I do? what do I do next’ to *Here. Towards. the Next*

Aaah I feel, like that’s a kind of ‘value’ that recognises itself as interconnected self-determination…. So I must equally honour this personal knowledge as a specific result/process of The Struggle, as well as a trajectory point into the next phase of said Struggle.

But if any of you lovely people have any words you want to share in response, support, solidarity, sign-posting, challenging thoughts, ideas- then please do drop a comment. It’s good to know where we are at isn’t it.

 Thanks you for reading this…for taking time and space within and beyond bloggyness to journey with me.
Peace xxx