On Loving in Advance

Now, what about the dance, the traditional dances, or the dances that - any kind of tradition, it could be the tradition of ballet, it could be some African tradition -that means it is referring to a repertory and it is referring to a certain public. And these people love you in advance sort of, because it's a tradition, so you are loved in advance. Let's say. So of course, then this issue of, of taking a distance from that love, of dismantling that love is not the same. The contemporary artist may be faced with that issue, but the one who is involved with tradition dance, traditional dance, is dealing with it differently. He has to accept the love and propose even more, to be loved more, so his excellence is to go beyond what's expected of him already, but to show more of it in a better light, but he's still counting on that love already. That's there, because he represents, he's identified as such. So, we have really different perspective here, are we not? If you want to dismantle the love then you are in for another kind of violence. If you want to count on that love that is already established - maybe throughout centuries, through the institution or all sorts of things - then the violence is on you in a different way, as Anis was explaining yesterday when we were talking about the monkeys. There is always a violence, but it may be expressed and dealt with in a different manner. And we have to be able to recognize those differences. Because from then we will have a different form of artistic endeavor.

Su-Feh: Because often I feel (that) love itself is violence. It's violence done to, it's violence on, our body. It's a burden: there's the burden of love, you know. Violence - in a sense that it's one of the pressures on our bodies, on existence - it's one of the things that we live and grapple with.

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