No longer do I understand this as a description of PETER. To remember, recollect aspects components and trajectories of the performance PETER. As PETER is the very thing which attempts to define and understand PETER therefore the word PETER bests informs PETER on PETER and PETER’s limits, paths, modes, ecologies, lives, content, placement and lalala’s as PETER the word can include all variations of inclusion and exclusion which may occur whilst PETER is, will be and has been. But more over PETER provides PETER with a framework by which to be consequent for PETER. Using the ongoing reformulating notion of PETER, PETER can break, challenge and destroy all illegitimate hierarchies of PETER. Removing anything which represses, exploits or excludes. In other words to create PETER as a process, practice, engagement, expression and understanding which is safe, caring, loving, nice, motivating, enjoyable, expressive, flexible and fun.
Is this it. Are they curtains. Is that a body. Am I ok here. Is this a swan song. Or just another song. Are those gasps utterances of voices not yet with a language. Guilty until proven innocent. Alive until pronounce dead. When are we found to be alive to exist. What is the voice of crisis as the plane plunges uncontrollably down, “Please remain seated”. What voices are they afraid of what exists at the edge of civilisation.
As the cultural apertures of the normative flicker and falter. A gap of possibility a kind word from an order not tainted with blood. Doubt is the life source of this ethical order. Uncanny these bodies speak.
- About Peter
PETER is a choreographer, a dance maker, a dance dance dance… maker, a dance, a dancer, a person, a bodies, a community, an activist, an anarchist, an artist, art, a child, a cleaner, a candidate, a biography, a list, a ex-, a non-ex-, a title, a name, a document, a history, a challenge, an author, a moment, a smart ass, an annoyance, a liar, not peter, alive, another, a promise, practice, problem, performance, place, position, parameter, predictable, pest, pretence, plan, pipe, pop, pfff…
Peter MILLS is a dancer, performer, choreographer, artist, activist, researcher, teacher and mentor. Peter has a MA in choreography from Dans och Cirkushögskolan, where he worked on choreography through documentation as an ethical practice, towards anti-authoritarian ideals. Whilst Peter continues to focus on research and experimental choreography, Peter works with supervising the BA and MA students at DOCH, Bodies of evidence with Sandra Noeth, the assimilation project with Robin Dingelmans, the Great Beyond with Emma Tolander, Sensescapes with Dalija Acin Thelander, Bad girls practices: un-writing dance, the body and the choir with Frédéric Gies, sit_catris with Pontus Petterson, Operation Infinity with Simon Vincenzi and PETER at Body Double, Display:festival Kungliga Operan, MARC and MDT on an exploration of alternative knowledges, politics and ideology within community and micro politics of the self, by a radical unproductising of expanded choreographic forms through and as, reformulation, caring, listening, inclusivity, interruption, mediation, emotional sharing and PETER the durational performative ethically demanding choreography of the self.
Choreographer/Performer: Peter Mills. Artistic collaborators: Chrisander Brun, Emin Durak. Co production: Dance4(UK), MDT(SE), XING(IT), Tour de dance(SE), Kunstvardo(NO/UK). Supported by Kulturrådet.