Shorts

Choreographies should aim to align people to the best in human nature, rather than the worst.

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The choreographic question, isn’t a personal one, but rather, it is a structural, systemic one. Choreography, is the study of social structures and human made systems.

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Choreography making shouldn’t be coming from a place of - these people will do whatever I tell them to do, but more from a place of - what system can I put in place, that will be the best for the prosperity and well being of everyone involved, while pushing and challenging them to the maximum.

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The artistic value of the choreographic thing, is closely linked to the quality of the human system it allows for.

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The purpose of a choreographic thing, is what it DOES.

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The reason you cannot USE dancers to tell your story in the same way you can with words, objects, sounds or colors, is because dancers have their own stories to tell.

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Choreographies should be accretion focused systems.

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Politics are downstream of culture, which is downstream of art. When art comments on politics, it misunderstands is position in the food-chain of civilization.

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Choreography forces the makers to determine the balance they’re comfortable with, regrading the following question:

To what extent, the process is determined by the maker’s decisions, and on the other hand, how much of the choreographer’s decisions, are actually determined by the process itself.

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Choreography is the recognition and study of emergent patterns.

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Choreography is a reactor. Human action is its fuel. The goal is to reach the most energy-efficient system possible.

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To learn choreography-making, is to learn what not to do, what not to say, when not to interfere, when to stay out of dancer’s way while carefully looking.

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Choreographies brake mostly at the seams.

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Everything is about everything else, as long as it’s clear.

The concept in which one makes a thing about whatever other specific thing, is somewhat anti-art.

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Naturally emergent consensus within a groups of dancers, is one of the most powerful choreographic tools.

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Choreography is governed by the immutable laws of nature and the physical reality of the universe. The makers opinions and ideas, can’t change that fundamental truth.

They can only try and ignore it (impossible), or accept, study and align with it.

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Choreography is a truth machine, regardless of the choreographer’s intentions. Human action, in a choreographic context, is a X-ray of the civilisation, culture, society and artists it is the product of.

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Choreographing, is LOOKING.

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Choreographies need to be stubborn on their vision, yet flexible on their content.

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Choreographies don't mind changes and changing, only people do.

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Using choreography for (one person's) story telling, is like using the entire world's electrical grid for powering one lamp. Choreographies are grid like entities, enabling the storing, channelling and sharing of free flowing human energy.

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choreography can't become what it needs to be, by remaining what it is.

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choreographic work, as well as all of its components, must remain a permanent draft. Being a living thing, carried out by living beings, and happening through real time, it can never be a 'finished' entity.

Nothing which is finished, is alive.

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Meaning can't be deliberately created or brought about. The only thing choreography can do, is the creation of conditions, which allow for the emergence of meanings.

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Man made systems and processes, are inherently related to questions of ethics and morality. Choreographies in that sense, can be viewed as visualisations of ethical and moral inquiries and stand points.

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Being a choreographer is a mix between developing an ideal governance model for people, while managing and leading a specific group of individuals with the aim of pushing it to its highest potential.

It’s like trying to write a constitution for a new utopic republic, while coaching a football team.

Most areas overlap, some don’t.

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If you want to know what a specific choreography is about, look at what it does, not at what it claims it is.

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If a choreography is well engineered, It will exert itself on the dancers operating within it. It will bring to bear the multitude of outcomes it was designed to allow for and produce. The choreographic thing is the source, the operating system, not the outcome.

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Bad ideas spread through force, coercion, corruption, manipulation, violence and indifference. Good ideas, spread naturally. Good ideas though, as they are often disruptive to the existing power structure, will be violently fought against by anyone who has what to lose as a result of their adoption.

Artistic ideas are no different.

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I don't set out to make work which is ABOUT something. I want to make work that IS a thing.