in a rather obtuse incomplete manner
seven laconic movements

⌈in voluntary restraint⌈in interrupted momentum⌈in prolific undulation⌈in repeated acceleration⌈in undertow
⌈open mouth widening⌈in trashumanized** vibration⌈with inward sucked tongue

dance cc
sound Asher Tuil

I am thinking of barely noticeable moves in acute angles, in short-lived series, occasionally interrupted by unjustified behaviors.
Perhaps even a skimmed reading. In conversation with an extension of meanings towards the wide-angled.
That said, it all seems very pretentious. It shouldn’t be. My intention is to be very specific in the restrained.
So that the dance can ‘clear the room’*** and by that delimit and at the same time widen our ‘sight’.

May 20, cc in email correspondence with Silvia Bettiroli before a possible meeting in Milan.

*
The work relies on a reading of TUNG, a collection of writing from a decade of cc / ccap dancing.
The title TUNG, and of this TUNGA, alludes to the fact that the book, like this dance, is in fact ‘heavy’ (Swedish: TUNG).
But also, a precise and prolific manifestation of a ‘tongue’ (Swedish: TUNGA) that is light, untethered, dispersed, and highly plastic.
Always in motion. Impossible to catch, easy to ‘browse.’

**
Among many other relevant references, see “Trasumanar e organizzar,” a collection of poems by Pier Paolo Pasolini that explores the tension between transcendence (the irrational and the mystical) and political action (organization and revolution). Published in 1971, it marks a radical departure in his poetic style.

***
To paraphrase La mente sgombra by Giorgio Agamben (2023).

A solitary dance which, like her Swedish title, handfallen, remains perplexed while falling into one hand.
Literally, into the palm of her left hand*.

dance cc
sound Richard Chartier

A work ruminated over for years that, as soon as publicly performed, withdrew from outer scrutiny.
To instead dedicate itself to a self-inflection, over indefinite time, at a suitable distance from its context.

Resurfaced with renewed purpose as part of the TEN CALLS 2026 project.
Immediately turned into a new dance, undone yet still the same. With the slightly new name TONGUE IN ANGLE.

*
from TUNG (2023)

gone

when falling, you stretch out your hand
and catch the falling onto the bottom of the fall
in the groundless abyss the helpless is falling into there is no flatness to counter the falling by

yet the startled perplexed finds immediate mitigation to the crash in the hand itself
in the pit the hand bends itself into as to
comprehend that which otherwise would rush out of sight

the perplexed that is falling into the pit of her hand is a quiet image
not the least inappropriate, rather a resourceful one
one that is ready, ready to catch the sight of the groundlessness
as it falls into the pitfall of her hand

this lefthanded dance claims to be falling into the smallest
nooks of language, where the speechless turns into many more invincibles
in the narrow pit of your hand

cc 2020 (leading to a sleepwalk)

TONGUE IN ANGLE moves into a corner where she allows herself to dance void of a pretext. Other than being ultra-specific. And to remain ‘still’, even when spinning. As if she were made of a highly ‘reactive’ material, unstable at its core, flammable in every of her measures. Thanks to a choreography that, like dancing, knows how to ‘move’ without having to change ‘position.’

Quick as a weasel, still in one place. Dancing recognizes her restraint.

 Particular attention is paid to the convex pit of palm of one hand, where the dance can gather her most elegant ‘fall’.
And to the acute-angled ‘pressure,’ which constraint her range of action, to then launch her into the power of centrifugal force.

Language in spin. Twisted tongue. That falls into the palm of a hand. Where it leaps forth with impunity.

This is an ‘wide open dance,’ based on a ‘restricted dia-logics.’ Written in small print, upon a fairly ‘cleared out room.’* A dance made of singular components repeated with no restraint. Recorded in short paragraphs, collected in longer chains. Interspersed with less concrete, slightly nostalgic actions. A ‘soft’**, yet rigorous dance. In solitary, thread thin affection.

dance cc
sound Richard Chartier

TONGUE IN ANGLE allows Cristina to dance in confined spaces, whether physical, mental, or circumstantial.
Where she confirms the dance as a self-sufficient, analogue-virtual critical activity. Repositioned and once again performed In all its complex
multiplicity and yet direct simplicity. Two steps away from everyday life. Void of spectacle, for no one to consume.

*
To paraphrase La mente sgombra by Giorgio Agamben (2023)

**
Insufficient translation of the Italian ’morbido’, which means soft, but can also indicate a feeling, attention or attraction that is so exaggerated and obsessive that it seems unnatural or (perverted) ’sick’.

Placed in an expanded space, in front of a spectator, the sharp-angled tongue turns ‘obtuse’. Whereupon the dance dissects each one of her moves and de-composes herself. Thanks to a choreography that knows how to unravel, without compromising her ‘position’. As if it were possible to strip away one’s own foundation and at the same time preserve its evidence.

Sharp and wedging, the dance ‘re-covers’ herself. 

The work deals with the alterations language must endure, as she sub-enters / takes over a space (physical as much as discursive) for her too expanded. Particular attention is paid to the configuration of a negative ‘pit’ into which every gesture can converge. And to the external ‘pressure’ that pushes every of her movement ever further toward a tangible but falsified interior. Where the dance relies on the constant shifting of minimal differences. Whereby she modulates in speed, direction, density and intensity. Finally, also altering her substance.

Ever more insistent. Ever so calm. The dance remains the same, yet other.

 Dancing cut into increasingly sharp strips. Entangling themselves to other things, images, spaces, conditions, and contexts. Dancing in very short sentences, indefinitely modulated, with interferences of various content and other alliances. Chains of single links. In a loss of new residues. That confides in a prolonged recovery, through which she will reaffirm her value.

As before, other than before*.

TONGUE becomes a bricolage of ‘limited approaches’, replaced in different corners (spatial and discursive).
At different distances. In fluctuating mood.

Unrepentant, fundamentally polemical. With a great desire to express herself, ready to divert her actions.

This TONGUE is more pedantic, considerably less lustful than its pointed twin sister. Equally determined, almost more industrious. It is said to be wide-angled not because she is dull, rather because she spreads into voluntary affirmation, with no demands on appreciation. There she stands, open like an open book, to be leafed through by a squinting gaze.

Space and language already sliding between multiple perspectives. Gaze and tongue finally in parallactic view**.

FISH EYED TONGUE dances in whatever spaces, with good or bad reputation, familiar or foreign. Knowing that every circumstance must be handled with care. At best with a gentle gesture, free from cynicism or other territorial claims.

*
Citation from Sonja Åkesson,  also a multiple reference to the discourse of Brain Massumi, e many others with him.

**
See Slavoj Žižek, The Parallax View