When approached as networks, what choreographies are is an amalgamation of all the different, subjective points of view and experiences of the dancers inhabiting them (a.i. the nodes within said networks).
That is the reason why choreography isn’t about ‘making’, or ‘creating’. What networks do, is facilitate the flow and consequent interaction of information/action generated by separate, subjective agents. Creation then, in the context of a network, happens as a result of that and therefore cannot be a premeditated, subjective act.
In that sense, the choreographic process is actually a learning tool. It allows for the observation and study of different layers of reality and since studying or learning has to do with the presence of something which is separate from the learner, or observer, it has to remain outside of their control since the only valid questions to explore when learning, are the ones the answers to are yet unknown (The next level of course, is realizing that the observer and the observed are one, but for the sake of the argument, it’s helpful to see them as separate entities).
This is why choreographies that are engineered as networks, put the maker at a position of facilitator, only having access to and responsible for determining the base conditions of the network, rather than the content generated and flowing through it. It is also the only manner to actually ‘work’ with dancers, rather than ‘use’ them.
Using choreography as a platform for sharing one subjective bit of content, would be like using the entire internet for posting one photo by one person one time. It would be like using the entire English language for writing just one poem by one person one time. It would be like using the entire financial system for making one transaction between two people one time, which points to a profound misunderstanding of what choreography as a practice can be.
This mindset assumes that one person can have an objective understating of all things, while the only form of understanding that exist is the result of a multitude of overlapping, subjective experiences that when allowed to interact through an unbiased and un corruptible network like system, can point to a possible objective truth.
The distinct power choreography has as an art form, is linked to its network like properties. The more this becomes visible, understood and integrated, by both makers and dancers, the more it will unleash the full potential of this wonderful art form.
