I choreograph with no ideology. I'm only interested it what is actually happening. Inserting ideology into the choreographic process, pushes it away from the actual. it's an escape route from the concreteness of the choreographic event which is taking place.
Same thing goes for principles, ideals, believes.
To find out, to discover, to experience, to come upon that extraordinary state when a choreography becomes it's revealing self, one must completely set aside every form of believes, prejudices, conclusions and definite opinions, which prevent clear seeing and listening. Whereas, if I look and listen, without approving or not, but with a certain quality of attention, then perhaps I'll manage to understand the thing which takes place, and work from there.
But you can not observe with a conditioned eye. In order to understand the choreographic process, in order to examine the questions it holds, you have to look at it with a free, unconditioned eye.
To make choreography, one must understand it, and in order to understand it, one must be free to look only at what is happening. When this takes place, the whole sense of struggle to make the work this or that, disappears.
It becomes what it is. It is what it is.
"when you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out. (Philip Guston)