It doesn’t matter what you do, it’s HOW you do it that makes it valuable art.
The dancers you choose to work with, are the ones best placed to evaluate the quality of the work you make.
The highest form of technique one can expect from dancers, is acute mindfulness, clear presence and an extreme attentiveness to both intentions and actions.
All the rest, is a byproduct.
Not every dancer should be a choreographer, but every dancer has to be able to choreograph.
Every choreography should contain clear traces of Beauty, rhythm, authority and truth.
The most accurate guidance one can find during the choreographic process, stems from the unfolding choreography itself.
Making things personal, is the gateway to choreographic efficiency.
Choreography isn’t a thing to be made, it’s a space to be opened. choreographing is the art of opening new creative spaces. Whenever a choreographer actually makes the choreogrpghy, she or he is no more than a sort of elaborate, yet self centered creative dancer.
To dance well, is to reach a certain level of being un self-aware, in order to immerse oneself fully within the unfolding present moment.
You respect the audience only as much as you respect the work.
Expirience, simply means the ability to jump over the wrong answers, in order to get quicker to the right ones.
The most common gateway for makers with no clarity of content or vision, is to ridicule everything. The art form, their performers and the audience.
It has nothing to do with humor though, humor is the result of clear content and vision, while the choice to ridicule everything, is a way to mask the lack of both.
Leave dancers in a better state than the one you found them in initially. On all levels. And all aspects.
Skill is great. Having good reasons to use it though, is better.
A choreography can create two distinctly different environments, one which heightens the senses of whomever gets in contact with it, or a second that numbs them.
The first allows everyone to make up their own minds about what they think and feel. The second, wishes to control and manipulate everyone who comes in contact with it (wether they are part of it or the audience) into feeling and thinking whatever the maker wants them to.
You can’t learn choreography, you have to know it.
A choreographic work should be smarter than whomever made and performs it. If you fully ‘get’ it, it’s not well made.
Choreography, is about constantly coming up with new ways to ask the same questions.
Verbal language (being the first form of information technology of some sort), is a limitation of thought by definition.
Human thought and experience, are way more complex and vast than whatever word based language, can propose as means of processing and expressing them.
In this electronic age, where human experience is constantly being translated into the form of information, moving us towards a technological extension of consciousness, choreography can offer an alternative. It can reverse this course of action.
While the unity of the modern world becomes increasingly a technological rather than a social affair, choreographic practice and thinking, I would suggest, remains as vast and as complex as thought and human experience are, and therefore, provides a valuable means of insight into the real direction of our own collective purposes.
The urge to plan creeps up on the artistic process.
Driven by fear and insecurity, planning pulls the creative process away from its inherent nature - a real time observation, studying, processing of and reaction to that same process.
The choreographic process can be summed up in one question - What might be the right thing to do next?.
Not what I want, what I planed, what I want to say or show, what was my vision, how I'd like it to look or feel or be.
Just the simple question of what might be the next best move. At every single moment of the process, and regardless of my own opinion about the whole.
The choreographic process moves forward through the endless number of times we answer that one question.