Voiteck – creates plays where the scenes could be put in any order and depending on the order it changes the meaning
The power of ambiguity
Chief from tribe where past is in front as you can see it and future behind as you don’t know what’s there
If it hits cerebrally first he hasn’t done his job, he looks to hit the gut first
“More wisdom in your body than in your deepest philosophy”
In the west we separate ourselves from nature – ancient tribes consider we rather than us and them
Sometimes idea works in your head but your body tells you the truth about whether it works or not – it’s about the journey
The tension and chaos between kutak and contemporary dance. Everything he creates involves a conflict
History from male perspective “his”story
Starting point is returning to the child body, play
Works with practicing dancers before working with ENB
Talks about creative process in marital language. He is in the engagement status with an idea before fully committing
Started making abstract work then realised nothing he creates was abstract, he was always trying to say something
Questioning and retelling of stories from his mother wanting to question things around him
Body was a language of communicating before speech
He dances to communicate, if he can’t he sings it, if he can’t he speaks it.
Fears words, doesn’t trust words, reads people’s body language, always observing people
He uses memories as an access to emotion and asks that of his dancers. We should trust what we feel over what we see. He doesn’t want people to see he wants people to feel
More shocked by beauty than something created to shock.
A generation of I which used to be we and technology has cut the umbilical chord of technology
The importance of listening in creative process
A difference between embodied knowledge and information
Questioning self, letting go of ego at moments where necessary
The importance of trust to make mistakes, generosity of trust
Confident to be in a place of unknown – important to be there to allow discovery
All improvised, comes with ideas, a formless hunch and moves with it. Most things happen by accident, creates space to make accidents, uses dancers as authors of movement
Sees a classical training as a gift, wants to find freedom within a form, bending the boundaries rather than breaking
OSJ Wells Fine Art 