FORMS THAT HAVE ARRIVED, AND BEFORE THEIR ARRIVAL –

1. Does every movement need to be “valid” in order to be performed?

2. How do we validate movements?

3. Do movements not “arrive” until they can be expressed in a geometrical form and performed over and over again?

4. Are movements that cannot be repeated consistently less complete than movements that can be repeated consistently? If so, why?

5. If we say that some of the most important aspects of performance art are presence in the moment, shared experience and the impossibility of repeating each experience, how much do we really value movements that cannot be predictably re-executed?

6. How much, if anything, do we need to do in order to earn a good review?

7. If changing dance steps to a more geometric form makes the artist feel more comfortable and confident in their work, will pushing towards less repeatable movement be a difficult task? In the process of setting a dance, do we lose the way back to being organic?

8. Is it actually “easier” to fit dance material into “forms” that people are familiar with and can more easily understand, than to maintain the unruly, messy, indescribable qualities of movements?

9. Is it easier to think with the rational brain than to come up with “crazy ideas,” and sometimes ideas that don’t fit?

10. Do we dare not defend our own art?

BODY TYPES AND DANCE PERFORMANCE –

11. How important are beautiful and lean bodies for a dance performance?

12. What role do the dancers’ body shapes play in a dance performance? Do they serve as spectacles or instruments? Or are the dancers simply themselves on the stage?

13. Are dancemakers obligated to make pieces that are pleasant to the eyes?

14. If it is most dancemakers’ tendency to show the beauty and strength of the body, and the command of technique, how possible is it, really, to stage bodies from the “common public”?

15. Why is it that the audience is generally more drawn toward perfect bodies than normal bodies?

16. As dance artists, do we perpetuate unhealthy expectations toward the body when we put perfect bodies onstage?

ART AND ITS SOCIAL RELEVANCE –

17. Does social darkness in contemporary performance art play the same role as crime headlines in the news?

18. Why are works of art created out of pain often considered great, and those that are created out of a desire to heal and cure considered to be less “artful”? Or are they ultimately the same thing?

19. Why is playful imagination often assigned a lower value than revealing social darkness, since artists work for art and not police stations?

20. Are we obligated to create art that is socially relevant, assuming we know the definition of “social relevance”?

21. Do art pieces that reveal social darkness naturally draw more attention because the audience can more easily relate to such subject matter?

Ripen S. Ghosh is a nom de plume.

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