Who Is Rosie Kay?
Rosie Kay is one of Britain’s most daring and accomplished choreographers. Over three decades at the cutting edge of contemporary dance, she has tackled everything from conspiracy theories and soldiering to gender and identity. But in 2021, she stepped down from her own company after questioning gender-identity dogma, a move that sparked controversy but also led to new beginnings. Since then, she has co-founded Freedom in the Arts (FITA), supporting creatives under ideological pressure.
We wanted to trace the full arc of Rosie’s story, not just the headlines but the roots of her artistic vision, the rupture that followed, and what she’s learned since. In a time when many artists feel uncertain about what they can say or create, her experience raises pressing questions about fear, freedom, and the future of British culture. We began at the beginning:
1. Rosie, what first drew you to the dance world?
According to my family, I danced before I could walk! I never thought of it as a career - just something I loved. But over time, it became clear how deeply connected I was to it, and that passion grew into a profession. I’ve now spent 30 years dancing and creating, and I feel lucky to have built a life around it.
2. You’re also known for political and interdisciplinary work. How did that shift happen?
I never went entirely classical. I found contemporary dance early, and it gave me the freedom to express emotions, ideas, and politics. Martha Graham especially inspired me - she used the body to tell powerful stories. That influence led me to use performance not just as art, but as a way to engage with the audience on real issues.
3. Your 2021 resignation from your own company due to your gender-critical views was a turning point. How did that experience shape your perspective on the arts today?
I was already interested in belief systems - religion, cults, brainwashing- so when I began researching gender ideology, the speed at which debate was shut down alarmed me. In the arts, we’re meant to question and converse, but suddenly saying “women are biological” was too taboo.
What I said was ruled lawful by the Supreme Court. But the personal cost was enormous. I was bullied, shamed, and lost my name and career. I had to start over. What’s worse is how artists now self-censor. They’re afraid. That’s not healthy for creativity or society.
4. Would you have done anything differently in hindsight?
The backlash felt inevitable. This ideology doesn’t allow for disagreement or nuance. But if I’d change anything, it would be who I trusted. I was too open with people who weren’t genuinely supportive. That experience taught me to be more careful.
5. Burnout and fear are common themes among artists. Have you felt it?
Absolutely. When you’re attacked for saying something truthful, you begin to question your sanity. That’s what this ideology does. One of the first things I tell FITA artists is: “You’re not mad. You’re not alone.” That validation matters.
6. What led you to co-found Freedom in the Arts (FITA) in 2023?
Denise and I were both going through nightmares—court cases, cancellations, both of us had spotless records before all that. When we spoke at the House of Lords, the audience was shocked. Afterward, we said: “We have to act.” FITA became our way to support others facing the same ideological bullying that had driven so many great artists out.
7. How has FITA changed your outlook?
Through FITA, I now speak with artists across various disciplines, including poets, composers, and playwrights. I’ve also connected with people in Brazil, the United States, and the Czech Republic. It has made me realise that the core values of public institutions—impartiality and balance—must be restored. Political art is fine, but when institutions push only one message, that’s not art. It’s propaganda.
8. What has surprised you in the response to FITA?
I’ve met inspiring artists who were cancelled for honest opinions, often the most creative and original minds. That shocked me. On the flip side, I’ve seen others weaponize ideology to bully and silence peers, usually for personal gain. The real tragedy is that we’re losing incredible talents and ideas that artists are too afraid to even think of in their subconscious.
9. FITA’s ‘Afraid to Speak Freely’ report says 84% of artists feel silenced. What’s driving this fear?
It’s a culture of ideological policing. Artists are pressured to adopt the “correct” views on gender, race, and Israel-Palestine. These are complex, deeply personal topics. But today, there’s only one “right” answer, and questioning it gets you punished. It feels like mass hypnosis - people are loyal to belief systems they never chose. Challenge it, and you’re instantly threatened or silenced.
10. You’ve created work about conspiracy theories (MK ULTRA), war (5 SOLDIERS), and gender (Absolute Solo II). What role does risk play in your creative process—and in dance more broadly?
Dance is uniquely powerful. It communicates without words, sparking emotion and thought. But to make meaningful work, artists need freedom. Right now, gatekeepers restrict access based on ideology. That stifles innovation. Audiences are ready for more. They want to feel and think. We need the space to create honestly.
11. You’ve taken legal steps, founded FITA, and stayed active in dance. What’s next?
We’re deep in rehearsals for Thing of Beauty, premiering in May in Southampton. It’s a double bill, featuring Fantasia, a joyful piece for three women dancing to music by Vivaldi, Beethoven, and Bach. At the same time, FITA is launching The Unseen, highlighting works that were never brought to the stage due to censorship. We’re making space for those lost voices.
12. How does your company, K2CO, reflect your values now?
In our studio, we go deep into memory, belief systems, and creativity - and we leave censorship at the door. We don’t judge each other’s art. That freedom is powerful. Dancers report feeling a sense of relief, joy, and liberation. We’re there to create, not to police one another.
13. What does meaningful reform look like for the UK arts sector?
We need politically neutral institutions that protect expression and foster genuine diversity of thought. Public institutions are meant to serve everyone. When they’re captured by ideology, they stop doing that. If they can’t be reformed, we’ll build new ones rooted in tradition, excellence, and openness.
14. If you could make one immediate change to British arts institutions, what would it be?
Return to talent. Focus on the best ideas and art, not ticking boxes. Great art comes from excellence, not ideology.
After the Interview
Rosie Kay’s journey speaks to the resilience of artists committed to honesty, curiosity, and meaningful connection. In a time when many feel uncertain about what can be said or created, her work - both on stage and through FITA - offers a reminder of the quiet strength found in staying true to one’s voice. As the arts continue to evolve, she hopes for a future shaped by openness, respect, and the belief that creativity flourishes best when everyone has room to speak and grow.
