Thus, increasing audience involvement and possible participation further removing the distinction between the audience and stage. The removal of this distinction also affects the dancers authorship. With audience involvement and the environmental factors it becomes less of a solo performance and more of a collaboration. Some of these collaborators are conscious of being involved but, due to the sensitivity of the microphones, passersby become unknowingly part of the show by either their footsteps, their car, even a clearing of a throat. The final real change that occurred in the electronic tutus before they evolved into another form completely was the inclusion of the radio receivers. These receivers were powered by solar panels, going back towards Maubrey's original ideas, and these receivers picked up radio waves by the way that the dancers positioned their bodies in sunlight. These solar panels were attached to the dancer's head and arms. The difference between this edition of the solar powered tutu and the first rendition of it is that by using radio waves, the dancer could pick up actual radio stations and white noise. Thus, the environment is not the only collaborator with the dancer but instead, the light itself, when partnered with radio waves, becomes a dance partner that the dancer has to react to and work with. These audio ballerinas break through the barriers between music and dance, performance and audience, and technology and tradition. A perfect example of mixing technology and tradition can be seen in the next evolution of sound clothes, the audio geisha. Created in 1997, the audio geishas include light sensors on the kimono and the dancers hands, movement sensors, a small portable guitar amplifier, microphones, infrared sensors, and radio receivers. The geishas created music similarly to the audio ballerinas but, they also used traditional instruments often associated with their dances. Another additional detail is that the audio ballerinas were also incorporated in the performance. In all, Maubrey's sound tutus and geishas seek to redefine the relationship between the auditory, visual, and performative arts with the use of developing technology in order to break down barriers. History of Exhibitions and Performances Maubrey has exhibited several times a year since 1985 in mostly the Western world. Awards Honorary Mention in the 1991 Prix Ars Electronicia. European Award for Street Theatre/Holzminden in 1995. Grand Prix International Video Danse in 2002. Palmarès du 35e Concours Internationaux de Musique et d’Art Sonore