GABRIELLA, a performance for the dead of night.

Den Kosmiska Havsträdgårdspassagen
PETER, undead Living Documents
PETER, DANCE DANCE HISTORY
PETER, the plague
PETER, raum
PETER, 1987-2017
PETER, in labour for consideration
PETER, (6mins)
PETER, Fuck you!
PETER,(20mins)
LYN, A performance for the dead of night
RACHEL, A performance for the dead of night
GABRIELLA, A performance for the dead of night
The great beyond project,
PETER,(Bearly there)
PETER, (Reflective Nebular)
PETER, (48 hours)
CV

GABRIELLA, a performance for the dead of night.

GABRIELLA, A performance for the dead of night, Stockholm(SE) 2015

GABRIELLA, a performance for the dead of night, is a 45minute solo performed by Gabriella Ax Tripsiani, starting at 5.30am outside Zinkensdamms T-bana. Gabriella and Peter explore being in the world when the world sleeps, through walking, exploring, moving, touching, listening, meditating, embodying and existing.

During the solo performance you are guided and walk in silence through the streets. Stopping to spend time with and encounter the city at night through a short performance in the dark.

In 2016 we will to have a performance every month, check here and facebook for information.

Peter Mills, artist PETER is exploring how we exist in the world, using reformulation Peter devises alternative form through which to understand the body’s, a person’s activities and place in the world. Peter met Gabriella Ax Tripsiani first when they were performing a energetic, fierce, momentous performances within the fabulous Francine Agbodjalou’s “the foxy dance dance” show, then again when the pair danced in Paloma Madrid initiated collective performance which rattled the establishment at Doch university. Gabriella and Peter next met at Stockholms’ Anarchist book fair when they started to engage in conversations about creation, performance and anti-capitalist solidarity. This project now has allow them to further this conversation and make actual some of the ground they wish to venture together. Both are excited to share and give the gift of this experience they explore.

GABRIELLA, a performance for the dead of night is the first in part in a series of solos. Gabriella Ax Tripsiani, Rachel Tess, Lyn Bentschik, and PETER are all apart of the series of solos for the dead of night, exploring existence in different places and parts of the city. We hope you can attend and follow our journeys.

The project is nonfunded and has no production house, an Indy project made for and by artists. We only perform when we have a large enough group to join and we ask for donations to support the project, process and artists.

Performance/choreography: Gabriella Ax Tripsiani
Concept: Peter Mills

RACHEL, a performance for the dead of night.

Choreography:
5.30am Dec 28th 2015, 1210 NW 10th Avenue – The Pinnacle Pavilion Facebook event
Final image

RACHEL, a performance for the dead of night, is a 45-minute solo performed by Rachel Tess starting at 5.30am outside at 1200 NW Naito Pkwy #650, Portland, OR 97209. Rachel and Peter explore being in the world when the world sleeps, through walking, exploring, moving, touching, listening, meditating, embodying and existing.

During the solo performance you will be guided in silence to walk through the city. Stopping to spend time with and encounter the ‘earlier’ through a short performance in the dark.

This is a non-funded project, and so we ask for a donation of $8.

You must let us know if you are coming.
Message us at Rachel Victoria Tess or rtess@rachelvtess.org

please note:
The performance and walk will be outside for up to one hour. Please bring appropriate attire and umbrellas.

Peter Mills, the artist PETER, is exploring how we exist in the world. Using reformulation Peter devises an alternative form through which to understand the body’s/a person’s activities and place in the world. I met Rachel at the University of Dance in Stockholm, immediately entering into critical debate and a lasting friendship and artistic partnership.

Rachel Tess is an American choreographer and performer living and working in Sweden. She is the director of Milvus Artistic Research Center in Kivik and Rachel Tess Dance in Portland, Oregon. She received a BFA in 2004 from The Juilliard School in New York City. While attending Juilliard, Tess received a Princess Grace Award (2002), performed as a member of the Lar Lubovitch Dance Company, and was presented with the Martha Hill Dance Award by the faculty.

Tess has been a member of Les Grands Ballets Canadiens de Montreal, Gothenburg Opera Ballet, and held a permanent position with the Cullberg Ballet in Stockholm. She has premiered her choreographic works in Stockholm, Montreal, New York City, Costa Rica, and Portland, Oregon. She was part of Dance Magazine’s 25 to Watch in 2010 for her work as co-‐ director of Rumpus Room Dance in Portland, Oregon.

In 2013, Tess received her masters in choreography from the New Performative Practices Masters program at DOCH. She won and completed a Princess Grace Foundation Works in Progress Residency at the Baryshnikov Arts Center in New York City with her ongoing project Souvenir in 2013. She is a member of ÖSKG since September 2013. Her work Souvenir was exhibited as part of the Dance Me exhibition at Wanås Konst in 2014. She was presented by the Lower Manhattan Culture Council, (in collaboration with Princess Grace Foundation USA and Baryshnikov Arts Center) in 2014 and 2015. She is also engaged in the ongoing project These are Bodies, These are Motions, This is the Place with choreographer/performer Benoît Lachambre, which premiered at Wanås Konst in 2014 and New York City in the River to River Festival hosted by LMCC).

Peter Mills is a choreographer, dancer, performer, artist, activist, researcher, teacher and mentor. Peter has a masters in choreography from Dans och Cirkushögskolan, where he worked on choreography through documentation as an ethical practice, towards anti-authoritarian ideals.

Now Peter focuses on research and experimental choreography. Peter works with the assimilation project with Robin Dingelmans, the Great Beyond with Emma Tolander,Sensescapes with Dalija Acin Thelander, Bad girls practices: un-writing dance, the body and the choir with Frédéric Gies, sit_catris with Pontus Petterson, Operation Infinity with Simon Vincenzi, supervising BA and MA students at DOCH, Bodies of evidence with Sandra Noeth and PETER at Body Double(TU), Display:festival Kungliga Operan, MDT and MARC(SE) on an exploration of alternative knowledges, politics and ideology within community and micro-politics of the self, by a radical un-productizing of expanded choreographic forms through and as, reformulation, caring, listening, inclusivity, interruption, mediation, emotional sharing and PETER the durational performative ethically demanding choreography of the self.

RACHEL, a performance for the dead of night is the first in part in a series of solos. Rachel Tess, Gabriella Ax Tripsiani, Lyn Bentschik, and PETER are a part of the series of solos for the dead of night, exploring existence in different places and parts of cities. We hope you can attend and follow our journeys.

Performance/choreography: Rachel Tess
Concept: Peter Mills

LYN, a performance for the dead of night.

6.30am Feb 16th, 2016 Gamla Stans Tunnelbana. Facebook event
site image

LYN, a performance for the dead of night, is a 45-minute solo performed by Lyn Bentschik starting at 6.30am outside at Gamla Stans Tunnelbana. Lyn and Peter explore being in the world when the world sleeps during the early hours and move to feel the world wake.

During the solo performance you will walk silently through the cobbled paths, roads and passages of Gamla Stan. Following each other in a line as you are guided, and taken into and through the darkness, using walking as a movement to explore the inescapable and potentiality of the situation we find ourselves, falling from gravity, off balance and catching ourselves controlled and subject to the momentum of history, time and hidden directions of love interest and longing, together we navigated the heart of our situation, in the heart of Stockholm.

This is a non-funded project, and so we ask for a donation of 80kr.

You must let us know if you are coming.
Message us at Peter Mills or peterapeterpeter@gmail.com

please note:
The performance walk will be outside for up to one hour. Please bring appropriate attire.

Peter Mills, the artist PETER, is exploring how we exist in the world. Using reformulation Peter devises an alternative form through which to understand the body’s/a person’s activities and place in the world. I have known Lyn for three years, when she approached me with interest in my practices, work, performances and future. We talked and met over a year, and tried to understand our situations in the world. After conversations about what we can do politically, socially and personally we wanted to work directly with our audience and take our conversation to the street.

Lyn is a dancer, ledsagare and long-sleeper originally from Switzerland. Starting out with Oriental Dance and 5 Rhythms she went to Copenhagen after her high school graduation to attend Copenhagen Contemporary Dance School, followed by the three year dance education at DOCH in Sweden. She is fascinated by the intelligence and communication between bodies and developed „The Balancing Practise“ during her last year in the BA to dig deeper in this interest. She performed with pieces by Becky Hilton, Emanuel Gat, Jefta van Dinther, Christian Duarte and Runa Norrheim and approached PETER for a collaboration after her graduation. Besides that she is interested in the depth of life and enjoys simplicity as a tool to dig deeper with an ever-online and very associative brain.

LYN, a performance for the dead of night is the third part in a series of solos. Lyn Bentschik, Rachel Tess, Gabriella Ax Tripsiani and PETER are a part of the series of solos for the dead of night, exploring existence in different places and parts of cities. We hope you can attend and follow our journeys.

Performance/choreography: Lyn Bentschik
Concept: Peter Mills

Animal Performances (for Animals) ~ video

Whilst reading please listen to >>>

I believe today we are temporarily preexsposed to the conditions of animate, so and and again lesser to animation.

performances for animals and videos for?

The audience is dead long live the undying.

A friend tells me I don’t want to do performance for the public any more. I agreed. But what does that mean.?

The choreography uses representation but does the representation function for the performances to create pleasing behavior for the cat/animal or in fact does the representation function for the cats as representative.
I was once told art is always representation.
And my question to the notion has been then what is everything else?!

ever so qualitative.

Is concern and care the mark of a hand like human? or just an instrument in a scene change

how exciting my reaction to the reaction of the animal, i cant help feel like im being told to spectat the spectator. to spectat myself?

What is the plurality of the title performances, are there more than one and there many a art object a representation. Is it possible for multiple as the conduct and codes of human speculation and not the same as animals. leaving the performance unable to be framed, apart from the saddening i feel with two giggles and the video ending.

Absurdity.

I would like to place this pleasant friend Absurdity along side work, job, profession etc.
Work seams to act like a justifier of function. My work is my function. In life society the general progression of human history. each day and job is a little part of this greater than oneself’s value.
But this does leave the unemployed and the constant legitimatizing and conservation of certain jobs/work and work in general. Sadly linking work to ones personal worth and importance. And causing illegitimate, unnecessary and harmful activities to be enforce encouraged in the name of ones own worth and importance.
It is ever so more obvious with the increase of technology that function in the terms of paid labor is replaces by cost effective and more efficient methods needing less person power.
And with which i would not try and save the dying jobs of the future by creating more knowingly of unknowingly unnecessary/nonfunctional jobs. and begin to understand function outside of these systems or even better to value other activity than that classified as work. and in doing so value persons outside of the work ideology.
But the art worker or at least art itself which i believe does not have to lie within the realm of work (see my text on amateurism). Art provides the investigation, the understanding and space for value outside of function.

A bliss a love an encounter a message a means a future for and with absurdity.

Thank you Krõõt Juurak beautiful wonderful hopeful amazing WOW.

Thank you Krõõt Juurak and Alex Bailey beautiful wonderful hopeful amazing WOW.

//player.vimeo.com/video/96734542

Animal Performances (for Animals) by Krõõt Juurak and Alex Bailey from Krõõt Juurak. Krõõt Juurak and Alex Bailey perform for a cat in Zürich, Stromereien Performance Festival.

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week ever Sunday If you have comments you can leave then on my facebookwww.facebook.com/thepersoncalledpeter or my wordpress stillpeter.wordpress.com . Kindness and Sweetness PETER

*http://reformulationhandbook2013.tumblr.com/

SHAME ~ video

SHAME IS PUNCTUATED BY SILENCE.

WE WILL WRITE A HISTORY OF FORM IN DANCE. THE CATALYSTS OF MOVEMENT.

FROM BODY TO ABILITY FROM EXPRESSIVE TO SENSIBILITY FROM SOCIAL TO REPRESENTATIVE FROM GETTING IT RIGHT TO IMAGINARY TO THE DISPLACEMENT OF AUTHOR.

SHAME IS A HOME YET THE WALK OF SHAME IS MOST OFTEN INDEFINITELY NOT AT HOME. THE WALK OF SHAME REQUIRES A CERTAIN FULFILLMENT OUT OF NORMATIVE FUNCTION. SHAME PRECEDES THE INEVITABLE TRUTH A TRUTH TO COME, LETS CALL IT FRANK.

THE SHAME GLAND HOW EVER EXISTS INSIDE THE RIGHT SIDE OF THE FACE CONNECTING WITH THE CHECK BONE. IT IS SHAPED LIKE A MUTATUS MOTHER CLOUD (ALTOCUMULUS CIRROCUMULOMUTATUS). IT IS A VISCOUS PALE YELLOW SPECKLED WITH BLUEY RED NODES WHICH BARE FAINT STREAKS OF LIGHTING BLUE. WHILST PASSING THROUGH ARE THE FLUIDS OF REMORSE AND HOPE, FACILITATING THE LUBRICATION OF LOVE AND EMPATHY.
MEN MORSE AND QUEENS DIE FEELING PREY PASS OK TELE.

THE DECLARATION OF COMPASSION 1983. – WE HERE ARE KIND CAPTIVATED PARTICIPANTS PRONE THE BLIGHT YET FREE FROM CERTAINTY. MESSENGERS ARE FULL PART IN LULLED HEART, SO TO GIVE FORTH A WORD OF HAPPINESS “DESTROY”, THAT WHICH SERVICES NO MORE, THAT WHICH IT’S ARGUMENT IS ILLEGITIMATE. ACTIVE IN THE QUESTION AND DAMMING IN THE FACE OF ILLEGITIMACY. MOVEMENT SURPASSES AND ACTIVITY GIVES SPACE BUT SUBMISSION ACTS HARMS AND DISPLACES. MAKE SPACE AND DESTROY

THANKS

by Frédéric Gies and Andrea Keiz

Shame the 5th video of ALBUM (Praticable)

And this week an extra:

McDONALDS THE REFUGE OF THE PRECARIOUS.

This place we come to hate because of its murders, capitalist, unethical ways provides a space late at night, a glowing light of warmth where status is no threat and its mindless ambition becomes a prison we can rely on, it walls are security even for the most insecure.

As McDonalds has been reduced to its simplest function to make profit. To such a degree there can no longer be any empathy for its name. It services and functions in our continuation to screwing over one another. Everything is built to continue even when it is being attacked. An endless supply of worker await to replace the ones that disappear or break, their value placed perfectly balanced between absolute despair and insecure. The managers, CEO’s and shareholders are many arm lengths away without ever having to feel the consequence of their actions or activity, as well as the out sourced and distanced resources, animals caged in unknown lands. Or we could look at the building a furniture itself removable and plastic easy to clean and replace. And the customer provided with low prices, unbeatable hours and stores on every high street. All they need do is wait and business continues as usual 24/7.

McDonalds are reduced to an empty emblem of passing capital, no reason, no value and no importance. Creating a space which means no exclusion. The fact “no one cares” it provides a space for the uncared for. The sad, the lonely, the stupid, the different, the drunk, the sick, the ill, the homeless, the paperless, the beggars, the alcoholics, the drug users, the hopeless, the ugly, the bad, the unprofessional, the unemployed, the overemployed, the unsociable, the old, the young, the slow, the fast, the …

But im not really interested in Mcdonals i’m interested in what it reflects. The places these people can’t go. The complex prison we pass though in and out of, notice and ignore. The places where not everyone is welcome.

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week ever sSunday If you have comments you can leave then on my facebookwww.facebook.com/thepersoncalledpeter or my wordpress stillpeter.wordpress.com . Kindness and Sweetness PETER

*http://reformulationhandbook2013.tumblr.com/

Dance your PhD ~ video

A conversation caught my eye because I myself am an advocate of amateurism and against professionalism. For me the professionalisation acts as a form of domination which is unhelpful but with that being said I believe there is benefits from being experienced in a field as long as it is not dominating it.

So i decided to challenge and take on my own argument and write some reviews of the videos as a way to critically view the pieces from my perspective as a choreographer.

Reviewing the videos within a frame of reviewing, rewriting, retexting, reusing, dance videos which i have been doing every Sunday for the past few months at http://peterpeteringout.tumblr.com.

I’m writing this before starting watching or writing about the videos, and hope that the outcome gives an impression of how these videos could be seen not only as dance and choreography but as great additions to dance and choreography.

ok first video (the one is question the winner of 2014)

Plant-soil feedbacks after severe tornado damage: Dance Your PhD 2014. ~ video

When I first think of operating together in a space I believe that every little event plays a part, that we our relations values communities and actions are a composite of all that leads to that place.

Effect and effected, one of the striking things is the type of people and the presumptions I apply. o dreadlocks o on a trapeze o shes a biologist. But does this effect?! The same as; the order of things or the framing or the music?! I know I think about it but whether there is a clear effect I don’t know.

I would rather think it like every part is apart of a melting pot and as things add combine they inform and continue to inform without one thing being more or less the thing which constitutes the generalised tone or feeling but that the generalised tone or feeling is not one thing but many. many simple things, basic things.

Brown
shake
life
reflects
moves
shifts
feels
change
chance
undo redo reorder
thrive
breath
feel
together
importance

Like a list with all their associations and combinations a seaming complex general feeling from a multiple of basic components.

Brown – royal snake la, shake – make distill cake, life – real can feel gives kiss, reflects – tech, moves – choice do’s and does, shifts – lives again rain, feels – peel, change – chance happenhance, chance – relative mass, undo redo reorder – renew true accord, thrive – ties my eyes, breath – fears, feel – be real, together – never and forever, importance – question.

Mine and find lives parts happy and as part.

//player.vimeo.com/video/107412178

Plant-soil feedbacks after severe tornado damage: Dance Your PhD 2014 from atinytornado on Vimeo.

So back, that was interesting perhaps because i have put this within this context i describe more and tried to make sense. I will do another, winner of the audience choice.

Multiple Robots – Dancing Tango ~ video

Collide Collide Collide Collide

Be
come together
become

What are we without mistakes.

tango music hits bangs bumps and meets me.

desperation rides through me like an unstoppable urge for action.

I feel the absence the loneliness of never meeting never understand
or those near misses the close encounters the brushes with touch combination and becoming one, the glides of 1 in the binary series of on off on off 1 0 1 0 1 0

0 holds on maintain and gains as the hope the promise of 1 alludes the most romantic of individuals.

Love

//player.vimeo.com/video/103019777

Multiple Robots – Dancing Tango from Venanzio Cichella on Vimeo.

I really enjoyed that one.

ok one last video. It is where “dance your phd” started when some students asked there teacher if they could make a dance about Protein synthesis.

Protein synthesis: an epic on the cellular level ~ video

Form and value disrupts and narrates, the shifting in value attention and play does not provide another over lord. nah places use inbetween within places unseen. ghostly apparitions and miracle begin. Mine is a third not of this erk part in part formed and important but less of both and both of each with space inbetween. To arise and fall to follow and prey. faith in faithless causes bring forth a story unsordid to be experienced a felt and left if with unhelpful. Mind in adventure a heavenly plodding and time in play. messy give mind and fine and find holding tight around guess at unknown bounds.

bliss with a kiss.

woo woo woo peptide bond.

clipping clipping clipping inside

Released in its glee.

I have to say i advocate “dance your PhD” because i truly believe dance and choreography have so so so much to offer, to everyone. It inspires me to see such inventive and exciting information put in these eloquent gestures majestic, exciting, adventurous and promising ways. Promising of a place where hierarchy and power is not used for domination but for adventure, love, compassion and everyone.

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*http://reformulationhandbook2013.tumblr.com/

Hangover ~ Video

HEART BROKEN IN TWO:-

Sleeping on train »»>
Making a sandwich …….
Moving cardboard ||||||
Happy heart, playing in the park !!!!!!!
Together }}}}}}}}}
lying on back watching the stars ]]]]
Thinking about the next game of thrones =====
Smiling ,««<
Crying “”“”“”“”“”
open

REAL BAKEDBEANS DON’T COME FROM A TIN THEY COME FROM THE HEART.

########HANGOVER BY CSS MARKS A PASSING OF TIME BY DEMONSTRATING A OUT OF TIME PLACE&&&&&&&&&&&&&I FEEL I KNOW LESS ABOUT WHAT I WANT AND WHAT IM DOING APART FROM THAT I AM DOING, THERE SEAMS TO BE A LACK OF VALUE IN THINGS WHICH BREAK WITH THE EVERYDAY*****************THE LOVELY LINE BETWEEN THE TWO PLAY AN IMPORTANT ROLE BUT DONT HAVE A ABSOLUTE ANSWER^^^^^^^^^^^^BUT A CLEAR QUESTION@@@@@@@WHAT WILL WE DO WHEN WE ARE ALL UNEMPLOYED?~~~~~~~~~~~~~~~~~HANGOVER FROM LIFE AS WE KNOW IT+++++++++++++++++WHATS NEXT“““““““““`UFL_________PARTY PIZZA PRANCING PLANKING PLOPPING PEERING

WHATEVVER THANK YOU CSS

Lovefoxxx
Luiza Sá
Ana Rezende
Carolina Parra

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*http://reformulationhandbook2013.tumblr.com/

Chair (1974) ~ Video

I’m here watching Chair in Kungsholmen Library 26th of October 2014 at 12.00 after a morning of cleaning because of sliver worms in the hallway. Missing something well here we are.

Repetition is a tool so familiar yet still miss understood. What do we mean when we say something repeats. The dance was repeated six times or was it six version of the show shown at different time. The film has been played 337 times, repeated 337 times but not seen the same 337 times as that would need for conditions of the viewer to be the same. But yes if repetition can be isolated from its context like the tree falling in the woods its repeats.

But where is the repeat starting and finishing. Repeat a day. Repeat the passing through the hallway. Repeat a fall. Repeat the movement and reverse and repeat again or but yet we see it. We understand process.

The long repetitions are hard to understand as singular things, they pass like history passes. But the small looped movement in see understood and becomes apart of a language it is understand as a thing and a single, like the ticking of the clock it is understood.

When we stand in front of a painting it is done complete ready for consumption ready to be used applied to the viewers options ideas and life. But the performance continues one must wait before passing judgment before using it as it is not whole complete. This incompleteness is one of my difficulties with dance its hard to watch. Yet other performative long duration art pieces are not in the same way. And here i proposal it has to do with what is demonstrated with these two different types of repetitions. Where performance art would most often be the long repetition and paintings etc the short.

The chair is perhaps one of the shortest repetition of a art object. It is unquestionably finished, as in it is a chair and even when questioned, played with we still managing to hold onto is completeness.

Where as these bodies they are not they are difficult hard to pin down, We think we know but really we don’t know, even when still, standing, holding a single form, they allude conclusion.

It’s a circus in there.

Thank you

Work by David Gordon
Performed by David Gordon and Valda Setterfield
Recorded in performance on September 30, 1978

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*http://reformulationhandbook2013.tumblr.com/

Luxuriant: Within The Reign of Anticipation ~ Video

Revolving (reevolving). YOUARE IN THIS WITH NO POSSIBLITY OF ECSAPE. Dead end or place of all. flicker skip jolt stutter blurred mingle cringe reemed roar raw reawe. Around all sound, no noise, This is a dependency. These faces partake watch on, bare witness see seen in curiosity dark marks leave title room for hopeful perverted interpretations, yet in the night the majestic happenings and movements the awe of this part in this place next to this abyss of awe for all. No know known knowledge parted impart like our whole inverted function Mine in my mind leaps in flinch moves in me no problem open in resources free for all in place of this case squirmed redeem nonsense reduced here welcoming homely comfort A REAL UTOPIA a pre-post-capitalist dream.

Under stones, behind walls, within the cracks, hidden by shadows lies the promise which exists in plane sight. A call for value redistribution.

Beauty

Beautiful

Fantastic
Brilliant
Marvellous

Perfect

Luxuriant: Within The Reign of Anticipation

THANK YOU

Simon Vincenzi
Troupe Mabuse

LUXURIANT has been presented in 2010 at Istituto Svizzero di Roma and Crisalide Festival, Italy.

Also see

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week ever sunday. If you have comments you can leave then on my facebookwww.facebook.com/thepersoncalledpeter or my wordpress stillpeter.wordpress.com . Kindness and Sweetness PETER

*http://reformulationhandbook2013.tumblr.com/

suck it up-art ~ video

Real for real an ar art arcarchist arc athartic athe athletic asthetic esthetic.

Rooms are made for tookacan carna feeling lamam filling med charma kiss blish tis lisp in fact royal to coiled toon full floomy. Real peel. Zeesty feel. Take cation place ton fone lilly traction. micky sound anitthesee for misy.

Tack for pillard.

Freefreeze. havent tin sound ongo in. Like a town toy for treal not alone hopes still near, lessening mig fear. ALSOLUTE CLEAR WE HAVE ALREADY HERE TOGETHEFRIEND NEXT SOME PODY.

Coats on.

Doesnt surely matter whats what wot its mine its our alone or with thee. CARE meeig lare

popcopsloppmopnujopp (bang)

MEOWWACULÖSS

The next par+ty must buuuu luvv tin coonrown alown loud…

BUT 1 QuEStion why ComedY__!! Tis real… no joke

(((////&&&%¤##””!!!??___——————CUT—————++4394”###¤&#”!!½!½===)=))=)((E#ER

WOWTHANKYOU – Elise Sjöberg Ellen Söderhult Ellen Söderhult Elise Sjöberg

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This is apart of a series of Reformulation* writings of and around choreography, posting once a week ever sunday. If you have comments you can leave then on my facebook http://www.facebook.com/thepersoncalledpeter or my wordpress stillpeter.wordpress.com . Kindness and Sweetness PETER

*http://reformulationhandbook2013.tumblr.com/