in a rather obtuse and incomplete manner
seven laconic endeavors

⌈in voluntary restraint⌈in interrupted review⌈in prolific undulation⌈in repeated acceleration⌈in undertow
⌈open mouth widening⌈in minimal vibration** vibration⌈in sucked tongue

by and with cc
sound Richard Chartier

I am thinking of barely noticeable movements at an acute angle, 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 dancing can ‘clear the room’*** and by that broaden and at the same time delimitate the view.

From an email correspondence with Silvia Bettiroli before meeting in Milan & Turin.
cc May 20 2026

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

**
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*.

by and with cc
sound Richard Chartier

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 invincible
in the narrow pit of your hand

from TUNG (2023)
cc 2020 (leading to a sleepwalk)

This dance was first ruminated for years and then, as soon as publicly performed, withdrawn from outer scrutiny.
To instead be dedicated to self-inflection over indefinite time, at a suitable distance from other contexts.

Resurfaced with slightly deviant motive as part of the TEN CALLS2026 project, she has turned into a new dance,
different yet still the same. With the new title TONGUE IN ANGLE.

The dancer 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 grasp 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 a 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 **, rigorous dance. In solitary, thread thin affection. 

by and with cc
sound Richard Chartier

TONGUE IN ANGLE allows Cristina to dance in confined spaces, whether physical, mental, or circumstantial. Despite which, or rather, thanx to, she confirms the dance as a self-sufficient, analogue-virtual, translucid critical action.Continuously repositioned, once again performed. Unplugged and simple. In all its complex multiplicity. 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, facing a spectatorship, the sharp-angled tongue broadens its perspective and makes herself obtuse.
Whereupon the dance dissects each one of her moves and de-composes (2) her traits.
Thanks to a choreography that knows how to unravel, without compromising her standing.
As if it were possible to slim down one’s own foundation and at the same time preserve its evidence.

This as she is. Sharp and penetrating, the dance re-covers herself.

The work deals with its tongue / language as it sub-enters / takes over (3) a spatiality (physical discursive) for her all too extended. Particular attention is paid to the configuration of a negative excavation, into which every gesture can be obtained. And to the decreasing angle-dependent pressure which drives every one of her movements increasingly toward a falsified inner self. Whereupon the dance relies on a constant shifting of minimal differences, through which she modulates her speed, direction, density, and intensity. Finally altering her substance. And linguistic reach.

Increasingly persistent. Ever so calm. The dance remains the same, already another.

Dancing cut into increasingly sharp strips. Entangling themselves to other things, images, spaces, conditions, and contexts.
Dancing in very short sequences, modulated endlessly, with interferences of different content and other alliances.
Chains of single links. Agitated (re-moved) choreography. That indicates new residues. In a cadence of repeated residues.
That relies on a prolonged recovery, through which she once again confirms her performance.
That confides in a prolonged re-covery, through which she will reaffirm her value.

As before, other than before (4).

The dancing turns into a bricolage of delimited measures, redistributed to different corners (spatial and discursive).
At various distances. In unstable moods.

Unrepentant, fundamentally polemical. 

This TONGUE is more pedantic, considerably less lustful than its spear-pointed twin sister. Equally determined, more industrious.
It is said to be obtuse not because her is dull, rather because her spreads into voluntary affirmation, without diluting herself.
Increasingly spear-pointed, ready to be spread (perceived). Without any claim to be appreciated.
There she is, 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 triangulation (5).

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.

(1) Incorrect translation of the Italian title LINGUA OTTUSA (wide-angle / blunt angle tongue / language)
(2) Insufficient translation of the Italian decompone, which can mean both dismantling and composting
(3) Insufficient translation of the Italian subentra, which stands for subversively interfering and stepping under
(4) Quote from Sonja Åkesson, also with reference to the critical discourse by Brain Massumi and several others
(5) See Slavoj Zizek, The Parallax View (2006)*