The premise of engagement for Und’jonga kum begins from the understanding that the corporeal structures of theatre hold the artist as a reactive character. “These characters succeed or fail in what they try to do, but they succeed or fail against the background of the real world so that their successes are always some form of adjusting to the real world. Their failures are always a matter of being defeated by the real world. The artist is stuck to only talk about either madness or slavery—those people who adjust to the world and therefore are slaves to it, or those people who are defeated by the world and are therefore mad because they shouldn’t have tried in the first place.’’ (Delany, 2020). Und’jonga Kum proposes an alternative character for the artist. A Condemned character. This character is one that “knows that what it is that is supposed to be repaired is irreparable. It can’t be repaired. The only thing we can do is tear this shit down completely and build some-thing new” (Harvey & Moten, 2013).