threshold 5
The voices remind me of something beyond what we can imagine to be.
I bow my head and I open my palms.
From that place of beyond what we can imagine to be, the dance enters back in with yet another texture of corporeality.
It has to come down, working on it, bring it down, bring it down.
Movements written before the moment of this dance become containers and vehicles to bring through the life juice of the dance.
That juice then breaks open again what has been written and finds another path to spill itself.
About to disappear in the sound.
threshold 4
Losing self in the sound while the dancing body catches itself from falling.
A thick blanket of sound comes in. It energizes the dance with a substance to move with.
threshold 2
The dancing body has entered a deeper density of motion, the texture of the movements is thicker. It has departed from the surface of the sound into more voluminous depths inside of the resonating space of the dancing body. There is less distance between the one who conducts the movement and the movement itself. I have entered deeper into the movement itself, the corporeality of the movement has come into a closer proximity with the corporeality of the sound. Through this less reflected and more experienced proximity, the dancing body invents movement articulations more freely. Breaking through the inner and outer contours my body has known before, to discover new dimensions of being in the corporeally articulated space. There is a contradictory tension between the beginning tiredness of the body and the lightness of the melody. I try to resolve it through a playful relation to the sounds that would make the dancing body forget its weight and density.
threshold 3
A short moment to take a breath, but the violin pulls the body into the dance.
How on earth to match this sweetness?
Trying to dig deeper without collapsing into it.
Two tracks to choose from, picking up what comes closer.
threshold 1
The dancing body takes leave from a one on one relation between the movement and the violin in parallel with the beginning of the first layering of the sound.
In the gaps where the motion is not streamlined with the sound, the dance breaks through a first layer of pre-defined movement, allowing the dancing body to invent movement from a sense of dual sonic awareness. As if another skin has entered the dance, another layer of movement potential. The movement meets the articulation of one of the two violin tracks somewhere along the way, spontaneously riding along the punctuated melody to take leave from it and to accompany it again. There is a distance between how I conduct the movement and the movement itself.