Fresh Rigor

19 Oct

Make short and concise pieces. Write short and concise blog entries. Your responsibility as a choreographer or performance maker is to produce fresh rigor, visual pleasure or stunning whatever it now might be. First of all, a critic, dance writer, programmer or parent that writes, or in any other way utilizes such terms should be put under a stone and forgotten. Second any choreographer that aspires to anything of the like and doesn’t react to such terms by instantly terminating his or her career should equally be put under a stone and forgotten. Make short and concise pieces is the worst advice one can give, the most horrible condition that can be given. Short and concise pieces are approximately as rotten as the Bush administration, operating through pure and simple fear. We will save you from the evil other, but until that moment the assault can happen every second. You just have to do one thing, pass over all power to an interim non-democratic governance and it will be super duper. No it won’t, cuz state of exception has transformed into business as usual. What once, for good or bad, could be thought of as an energy booster, an intensifier that carried the potentiality of self-destruction, that could crush a flourishing structure has now become the cleaning man upholding fear as mode of maintenance.

Even if every single dance created were complete shit, critics would write about its qualities, invent reasons to desire half-ass composition, even come up with some argument for why Trisha Brown still is valid to present in a festival. The critic has only one job, to secure his job and produce enough mucho fiction for somebody to pay him or her. You are no different, what you fear is the obliteration of your job, and don’t come about here and mention calling. Even if we hadn’t already renounced passion, calling and enthusiasm you never had any, you are just doing a job. And that’s on the other hand your lucky day, since you are doing a job you know it matters how you do it. However, in this situation life and labor has so nothing to do with each other, only if we detach our work as dancers, choreographers or artists can we make up for all those years of an assumed prolongation between the body and expression.
Remember to say no to Jackson Pollock, he is the romantic leftover that brought the body back into painting when those modernist dudes were almost done with it. And then Basquiat – Help me, and now it’s not just the male body but also an outsider and slightly whimsical one – – (that movie, so should have been done, Julian Schnabel not entirely sure).

We should celebrate improvisation, of any kind and looks as long as it breaks with any connection between body and ambition, contemplation of the immensity of human nature and artifice. Only if dance and choreography breaks with the body can it claim the body.

Make short and concise pieces is not an option as the production will insist on coherence, we can not turn to creation for advice, we can not call upon the creator to terminate visual pleasure. As we know only the mediocre archeologist worships things brought out of the body of the earth: the fetish functioning as the evidence of an established relationship to, a type of transcendence. The real archeologist worships the earth in and of itself, he or she doesn’t look for arguments or excavation but organizes contingencies that in themselves operate as gnosis, a kind of immanence.

Use decay as building material, as architectural mess, only destruction will bring to end shameless expressions such as fresh rigor.


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