The isolated voices of Scotland’s East Neuk of Fife were brought to life on King Creosote and Jon Hopkins’ beautiful 2012 folk album Diamond Mine, while seafaring traditions were majestically explored through archival footage in Penny Woolcock’s documentary From The Land To The Sea Beyond.

Another addition to this strain of social history-inspired art is Ours Was The Fen Country, which exists somewhere between documentary, theatre and dance but has the same ethereal, soulful appeal.

It aims to get to the heart of the isolated, flat expanse of Norfolk through interviews with folk who describe living 20-to-a-house, eel-trapping and the existential threat of the geographically curious low-lying Fenlands.

Ambiguous, swirling soundscapes provide a loose guide to sparing dance sequences.

As one commentator describes the erosion of the peat in the Fens, the four performers are in danger of being wisped away by the Siberian winds blowing over the Wash. Another is caught up in writhing mechanical mojo amid talk of agriculture and soil like black gold.

The accented voices are often cheery, with chasing and pogoing dancers revelling in a kind of pre-industrial innocence.

But underlying it all is a darkness and struggle for survival, with old traditions dying out and the Fens under threat from flooding, erosion and modernity.