Choreographers’ Note (s)

Mutual Agreement started with an overwhelming feeling of unlimited space and time. I remember the feeling of being lost in possibilities, dreams and ideas -a solo show, a whole gallery space available for us to do anything. How do you deal with anything?

In time, that haunting anything was filled with fantasies, games, jokes, memories, possibilities and impossibilities, images, sounds and quriosities. Suddenly, we weren’t scared anymore. And when we looked back, we saw a reflection of us; of our own little world; of life as we see it.

How did we deal with anything? We used dance to turn it into everything.

Having patience and trusting the work to reveal itself is the greatest gift Mutual Agreement has given us.

 

On choreographing a dress

by Eva O.

„Letting her speak through my body and bringing life to the world through her eyes demanded of me to let go of all my desires and expectations for my own dance. -how brilliant is that!“ Σofia

Choreographing a solo for Sofia was scary, but I kept thinking that if She trusts me, I must trust myself. The dress-dance is my way of playing with the dancer-choreographer relationship and the question of what does it mean to be a mover?

Bring your attention to your skin level. Be aware of the feelings of your clothes touching your skin. What areas are covered and how do they feel different of the skin that is bare? Perhaps it is the exposure to air that distincts these feelings. Let these thoughts lead you to find an internal gaze. You can see the people, the space, but your focus in within your body, your dance.

Think of your dress. Its colour. Its shape. What can the fabric do? Imagine it folding, wrapping, flying.. How does the garment catch air? How does it land on the floor? Think of how it could move?

What would happen when you move?

As you start the choreography of your legs, you become the facilitator of the dress dance. „It looks more interesting, than it feels you said“. But it’s not about you just yet.

Your feet come out from hiding. The music starts and more choreography unfolds. The dress dance starts gradually blending with your dance. Your eyes shift from the slightly internal gaze, to more external. Are you the mover or are you being moved?

Your hands embellish the dress dance.

The sequence is letting movement to you back, to the hips, to shoulders.

As the set choreography ends, come back to what you imagined at the beginning, about your dress and the fabric. Starting from the legs again, let the dress take you for a journey. This time it’s free. Are you the mover or are you being moved?

 

 

On details

By Σofia

There’s a great deal of intimacy, I think, in a dance of only details. There is an urgency, an importance fallen upon the tiniest of movement because if you miss the tiny, you miss a whole world. Shape and form take another dimension.

In details there is a new universe of possibilities to be discovered.

How do you tap? Which tap makes for a turn? How small is tiny? How big  is small? Where does it fall? How do I breathe? Where do I look? How big do my pupils get?

She said to me in despair: “There’s too many body parts!”. She’s right. And the closer you look, the more you discover.