In the past a typical performance situation consisted of a proscenium stage, performers on the stage and audience seated somewhere in the front. In today's technological age, audiences are prone to watching performance on their smart devices. This live-disconnect between the audience and performer/performance has affected the industry on multiple levels. The live connection between the performer and the audience was previously a primary motivator to enhance the continuation of the art but this is not the case now. Since 1970 when performers such as Trisha Brown (Rosenberg, 2017) began to move performance into the public space, the idea of the typical proscenium stage lost its dominance and highlighted the need for investigation into alternative means of reaching audiences. One of the ways we (as performing artists) are acknowledging this void in practice pedagogy is studying how site performance engages with different environments, practices and social/cultural systems. In August 2017, Nadra Assaf and Amr Selim along with Al-Sarab Dance Company performed a series of site-specific performances in Lebanon. Investigation of the outcome through use of improvisation as methodology (McLeod, 2010), the lived experience, study of videos of the performance and analysis of interviews (individual and group) is the focus of this paper.