Friday, 2 October 2009


Telephone Dance was chosen as a title because the telephone is the medium through which a dance is transferred. Not too creative. It is unlike normal choreographies, where the dancer and choreographer are in the same space and the choreographer is able to see the dance they facilitate. In this instance the choreographer cannot see what they are initiating. The emphasis is on the language with which movement is transferred and not the representation of it. The dance may or may not exist physically. But it does exist as a conversation. The relationship of performer and choreographer is prioritised over representation. This is choreography re-configured. It is a choreography whose backbone is more akin to cold calling than stage performance. A choreography can be called upon any time any where. This employs a whole new set of logics. Normally a choreographer offers a 'dance' that can be watched. Here a choreography is offered, but the viewer must first initiate it's execution and then secondly choose to execute it. That is if they want it to be 'embodied.' They can always just listen to the choreography. You can choose to listen to choreography when it is being performed in front of you, if you turn your head or close your eyes. But in Telephone Dance you don't even have to close your eyes. A dance that skips the dance business altogether. More tele-communication than Dance House. The name Vodafone comes from voice data fone, chosen by the company to "reflect the provision of voice and data services over mobile phones".