productive choreographies live in rest, exist as durational walks (following path or felt-path), recite accumulative repetitive movements, exist as sharing body knowledge through collective experience, hold space for dialogue, can be picking up the phone, can protest, and more openly can be improvisational or responsive via choreographic research.

productive choreographies are tied to place. for me, it is between body, mineral, waste and water. with these materials bound to place we acknowledge the traces of histories—the stories held and speculated by all participating in this world. to quote de Certeau, “[s]tories about places are makeshift things. they are composed with the world’s debris.” [12] the materiality of waste lives in our minds, our bodies, and in the scores of our own narratives developed through us moving-through space and the places that have held us.

productive choreographies make time to consider the account where our bodies and waste intersect and inquire what amount of change is possible through practice and performance. to return to my description of the other as not to bare otherness or oddity to a dance partner, but to broaden the possibilities of who / what one can dance-with: what does it mean to perform in partnership with waste? and thus, what phenomenological stories are formed?

returning to de Certeau speaking of the structure of place-based stories, I see this notion also being tied to my own questions: “things extra and other (details and excesses coming from elsewhere) insert themselves into the accepted framework, the imposed order. one thus has the very relationship between spatial practices and the constructed order. the surface of this order is everywhere punched and torn open by ellipses, drifts, and leaks of meaning: it is a sieve-order.” [13]