Preoccupations

What does practice mean in the absence of work and traditional ways in which we materialise our dance, i.e, classes, workshops, residencies, work. Daily conditioning of our bodies, improvising to house music, meditation, walks, chats, observation when space has contracted to the floor of our rooms, chair in the kitchen, sofa in the lobby. Room dancing and thinking has enlarged the possibilities of this body even though space asks me to reassess my limits. 

What would decolonised dance look like? Do our ideas around reading space and time also need to change to plan a re-configuration of new dances.

Phrase-less dances and long improvisations that allow expansion and contraction of space and attention and take a leap of imagination. What modes of being surface when we watch dance and allow for that dance to be witnessed over a period of time. The solo in the solo dancing in an i-sol-ated landscape, creating and producing geographies of imagination that build new connections and ways of nurturing growth.

How do I nurture a desire to dance and is dance the heart of the matter? What is the theater of dance, the music of dance, the maths of this dance – many dances, not one, not a singular dance. It contains my history. Not the form of it. The dance of it – my education, my interests, my family history, my preoccupations.

Labour. Intellect vs manual labour. To do and to understand. To understand and to do. The physical commitment, the immersion, the suspension of belief, to value the never exhausting power that lies in the moving body. To rejoice in the sweat, the warmth, the poetry.