Undanced Dances


An invitation to a place for unnamed dances

The project An Invitation To A Space For Unnamed and Undanced Dances is both the coming together of myself, Mariana Camiloti and Charlotte Spencer in practice of performance and the beginning of a research project. As part of my recent TripHazard residency at TripSpace in London I became interested in creating a permissive and non- judgemental space and time to attend to a moving and dancing body, and through this practice discover new things and ask new questions about choreography and making. 

I consider our movement practice in this project as a kind of extended listening practice, a listening to what is, to what is unravelling as we move in and through the environment of our own bodies, as well as the environment of the shared space that our moving bodies together constitute. What does attending to the moving body suggest and ask in this very moment, this very day? Different desires, interests and urges co-existing and creating new atmospheres and environments as we listen to, and through the body – with permission to say yes to quiet, curious, tender, urgent, boring, viscous, nameless dancing. Dancing unnamed dances of no meaning and at the same time so full of meaning.

I began to find this space of coming together to dance more and more important – where else can these important and unimportant dances happen?

Interested in composition I also became curious to consider the already evolving choreography within this dwelling space.  The choreography of a shared space, of being together, of listening to individual and shared interests, of attending to dancing. Can this practice bring about a different reflection on what I can include in my notion of material and choreography? The choreography of vagueness, of when I don’t know. The choreography of the personal listening to a sensation when moving my arm being shared in public. The unrefined, and immediately refined, choreography of the joy to let my body move to a song with a beat. The instant choreography of my behaviour. Can we recognise it’s form and how it immediately resonates within a wider context and theatre of any moment in time? How can we study this and let it inform our choices and appetite in the creation of new work?

In this initial phase of evolving this practice I’ve often been proposing a time frame to work within, like a soft edge to our work space. I often bring in a varied range music and sounds, spoken poems, radio programmes, tunes and songs to be present in the room as well as including spending time in silence. I’ve been questioning my use of such variety of sound but realise I’m interested in a kind of permission I found in a lot of music, a permission to let that thing of whatever nature, quality or atmosphere be heard and given space to resonate in different ways. As part of our practice of coming together to dance this project of Undanced Dances is also evolving to a meeting place to talk and formulate questions about what we do, how and why.. 


This project had a first public sharing at TripSpace Projects in London as part of the TripHazard performance night on the 28th of May 2016.

With thanks to Mariana Camiloti, Charlotte Spencer and TripSpace projects


Photos from TripHazard performance night by Sam Coren

“So… a human being hanging out, dwelling or doing what needs to be done… is already a kind of dance…. where every gesture, every intervention, changes everything…” Extract from sound recording of part of the performance An invitation to a space for Unamed and Undanced Dances


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