«the cut» begins after something has already ended.
the cut begins in the aftermath — in the remnants of shared histories and fabulated pasts, dance emerges as a point of contact, a relation.
At times generous, attentive and daring, the dancing plays with form, presence and feelings to explore the reciprocities inherent to the act of performing: watching and being seen, dancing with and dancing for. the cut becomes a necessary interruption in the texture of experience. It acts as an invitation to reconsider our engagement to dance and to one another.
The performance is made in the meeting. A space where dance is not an ornament, but a way to exist.
It starts with a cut.
