Enorm ~~ The cavernous echo on  the walls of the valleys and mountain ranges ######### ee-nawrm.
Expansion~~ Cells interact with the cosmos inflating and measuring their combined conditions ######## ik-span-shuh n.

Crescendo~~ Gradually the activity reaches and for a effect a mighty pulse like movement from within the complex arrangement of parts. ######## krə-ˈshen-(ˌ)dō.
Ne plus ultra~~Wave crash refresh and star again building up towards to some never reaching end and constant coming in the darkness. ######### nā-ˌpləs-ˈəl-trə, ˌnē-.

Irreprehensible~~The persons sat together waiting verdict yet with non is sight as incite provides incite and time removes all vindication. ########## i.ʁe.pʁe.ɑ̃.sibl.

Are stories untold still stories? do we know where to go? do we know where we go? when voices are unheard do we exist? the cause and effect of a life! does it make patterns in the sand? When we do, do we do it for you, or do we do it for doing it all the same?
our community our space our time our placeThat unheard song that time to move on that moment in time that following of a line the repetition of a day the repetition of a generation a fault a mistake a success a willed expression, are we like a gain of sand functioning in the movement of it all and ultimately like the sea and its waves moving though time going some where but nowhere in particular.


choreography and dance by frederic gies, directed by andrea keiz, sound and light design by ruth waldeyer


This is apart of a series of Reformulation* writings of and around choreography, posting once a week starting August 2014. Kindness PETER


Ingenue ~ Video


The body is a stage informed by movement.

Lets define movement:-

move·ment  (mimagevimagemimagent)n.1.

a. The act or an instance of moving; a change in place or position.
(to quote a someone)
a change in place or position a step away from the other or and also towards the other, an exchange of of one position for another position.
Note practical task for read: from this position can you experience another position without changing to the other position in question, and then once in the other position can know the experience of the position you were in now in the other position, or would one have to return to the first position in order to absolutely know the conditions of the postilion.

The question being what are the echoes the experiences we remember of an experience is not apart of the position we now hold.

Are we still (not moving), never leaving our own position but also and always in, complete and absolute movement?

which also asks is doing better than not doing or do we loose out of the not doing by doing and thus also loosing out or the reversing always gaining?

nothing better nor worse… all the same all just another name for the same differences and unique monotony.

This plan of yours is my plan absurd and mistaken for our plan, to chance its all and make a change to nothing at all risking everything.

This is the perfrect place to lay down the acts of kindness, understand and helpfulness we playfully places as “please do not disturb” signs on our doors… CHANGING NOTHING AT ALL BUT EVERYTHING IN TURN.

Thank you
Dancers: Thom Yorke and Fukiko Takase
Director: Garth Jennings
Choreographer: Wayne McGregor
Production Company: STK Films
Producer: Helen Power
Director of Photography: Nick Wood
Editor: Dominic Leung @ Trim
Focus: Karl Hui
Gaffer: Paul Allen
Make up: Carol Hart


This is apart of a series of Reformulation* writings of and around choreography, posting once a week starting August 2014. Kindness PETER


Chandeller ~ Video


Child in mind, we are divine.

What I like is the majestic realism, canned with absurd constructed bullshit mixed and translated with in love and hope powerful will. Girls are alive, (all for tonight) we know the shape the form which comes forth and threads its impossible miracles, no the less there is a bless part in the heart without surety or even security, lying in plain sight. Real might may not be right but it is all ways in sight, as we say in my home town its going to happen anyway. We grow up alone confused and shelter hopefully we lack to common respect and decency of not knowing any more we know we should or should some how know yet our voices echo that of myth, at odds with the stories we tell ourselves. Manipulated a covered maybe what who isn’t, and why is the problem large when faced but the operative with our daily lives keeps a shadow on the reality that we don’t know and yet follow and reductive smoke screen. Bleeming, sketches from the fridge, the achievement of childlost adults, WE ARE NOT WRAPPED IN MISERY we are here, just not a sure and clear as we pretend to be. So these concrete walls the systems of our freedom bleek the reality that were scared alone and bound to bounce if given the chance to not have to be strong clear and here. To be distance confuse and moolandy. Chirst candy formed heart bleed sweet unadultrated turnturths. MISCAKE PARTIES FOR THE FUTURE onetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefreeonetwothreefree


* * * * * * * *
dancer Maddie Ziegler
choreographed by Ryan Heffington
directed by Sia and Daniel Askill

Thank you


This is apart of a series of Reformulation* writings of and around choreography, posting once a week starting August 2014. Kindness PETER


weightless ~ Video


It hurts, as mind trys to organise the world again and again, as twinkling lulling music, pretty design and talented dancers pass, yet all is entrapped weighted pressed against forcefully pinned down.

These bodies move away in awkward positions for a video gazed eye attached to and immobilise body. More and more the necessity to move lessens, movement is a choice a activity of pleasure and health but more pleasure. What are these bodies incarcerated by luxury, modernity, possibility, potentiality, depression.

I have been painfully grasping for free time vacation convenience freedom from labour and work, but stuck in bedrooms and living rooms emblems of hassleless life, I feel sick stuck and unsure of what I want.

What is needed?

What is wanted?

Are our dreams and aspirations solutions?

Thank you:
In bedroom Malin Stattin
In livingroom Tuva Lundkvist

Directed by Erika Janunger
Scenography Erika Janunger
Photography and lightDavid Grehn
Costume Johanna Adebäck
Hair and Makeup Klara Janunger
Editing Josefine Truedsson
Postproduction Gustaf Holmsten

Music/ Lyrics-
and Vocals Erika Janunger
Percussion Pontus Langendorf
Keyharp Erik Rydvall
Saxophones Nis Bäckvall
Produced by Henrik Svensson



This is apart of a series of Reformulation* writings of and around choreography, posting once a week starting August 2014. Kindness PETER


DANCEMIX Improvisations ~ VIDEO


“Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked””Your love is wicked”

And space for you is … given …
EMMA and MARTIN exposed
MDT exposed
Friends exposed
“i need you””i need you””i need you””i need you””i need you”
Persons… two… persons… perform


we perform  and hello this is a dance dance dance dance dance dance dance

Do you believe me this is real, my part role and play is dance

[Dance has a bad name. often considered as stupid brainless and useless only concerned with and connected to emotions, feelings enjoyment and all those stupid things which don’t have any part to play in important stuff stuff…]






“say you love me…”


“im scared”
breaking with ok
breaking with good

open for real
open for this
open for fragility
open for everyone
love thing

this is apart because it is…
this is not needing legitimization because the very necessity required for legitimization undermines and produces exploitation and exclusion,
THE TRADITION THE WHITE MALE is legitimized from birth and is not questioned
The right to unquestioned activity is the revolutionary fight.
AND the irony that emotion love kindness feeling being oneself dancing having fun is questioned when murder hate hurt abuses violence manipulation entrapped displacement deportation racism is not questions as it is apart of the way thing have to be for keep things in their controlled fucked up inequality THE STATUS QUO the legitimized.


let dance dance dance dance dance dance dance dance dance dance.

thank you EMMA for this amazing meeting with the situation and these things we have to deal with and for not compromising at all…

With much love, respect and kindness THANK YOU

FANTASTIC – “ain’t nobody thinking about the stars above”


DANCEMIX+Improvisations 2 HD from Emma Tolander on Vimeo.


This is apart of a series of Reformulation* writings of and around choreography, posting once a week starting August 2014. Kindness PETER





Creative practices are and were never about a product they are about the passing of creativity. The encounter which produces a third thing, not there before but which informs everything that will happen next. The Reflective Nebula devlops our understanding of the very passing of creativity with choreographic workshops and events. The participates enter into a challenging enviroment where objective imporantce, norms, hyarichies and inteligenct are at odds with the situation, shifting ones attention towards a constantly moving and flowing path of ones subjective interest. The artistic use of choreography in situation alters the rules by which we act. Ones indivual dance within the situation must negoitatie the unstable and unfamiliar terrian, as one enters into ethemeral communities, apearing and disapearing as the interests flux and flow. The question is when one feels and veiws the fluxation within our value and interest as communities are forge, what kind of community does one want and what does it mean to want in this complex, this ecology of passing interest, value and creativity?



Hello alla,
So here we are the final run up to the end of PETER. That’s PETER by PETER or EPIC,the last dance movement, PETER, or just the project i or should i say PETER has been working on for the past year and a half. Investigating multiple modes and forms of choreographing onto persons treating rehearsal like performance and performance like rehearsal audience like performance and performer like choreographer etc. It has been an intense yet exciting project which will come to a head with my final presentation of my MA and DOCH at MDT.
We start with a lighting show tomorrow Monday from 18.00 – not public but your more than welcome
Wednesday 16th APR 17.30-18.30

A INFORMAL CONCERT WITH PETER ELIZE ARVEFJORD*– ​ You are very welcome to join us​

SELF-HELP SUPPORT GROUP – ​ inspire by Dickie beau​
​, ​
​hope you can join​
Thursday 17th APR 17.00-22.00

Emma and PETER’s discussion game and cafe at MDT – Returning from earlier in the year at ÖFA’s place, ​All are welcome​

PETER A RELIGIOUS FESTIVAL​- a PETERIST performance, please come along
​ 18th ​APR 12.00-14.00

The repetition of PETER picnic -​no performance, just a picnic for anyone,​
Thursday 24th APR 18.00-

PETER by PETER -​ PETER begins, come and go as you wish stay as long as you like from Thursday until Saturday 18.00.​
Friday 25th APR at 18.00

PETER A LECTURE -​ during and within PETER a lecture on artist research, everyone is welcome.
and of course there are probably more things but who knows, everything advertised differently.
And then whilst this is happening my wonderful colleagues will also be showing there work every night23,24,25th of APR from 19.00 and all day the 26th from 14th until late for more info >>>  ​
It has been an exciting journey I hope you can join PETER.
All the best PETER
*yes back with facebook, or PETER has joined the NSA’s archive.​



Since arriving back from the summer I have embarked on a “EPIC” research into choreography. And “EPIC” as I have Simon Critchley’s questions of “how to life?” and “how to love?” resonating in PETERs head.

So to answer the call to life I choreographically answer with “Metachoreography”. A choreography spanning from now until the end, with a multiple of choreographic “Things” umbrellaed enveloped within.

I will link and list some of the material from the projects and things below but before PETER would like to share with you a short description of PETER’s research project presentation.

EPIC, the last dance movement.PETER
48hrs nonstop contemporary dance

18.00 the opening
13.00 the research presentation*
18.00 the workshop
16.00 the auction
18.00 the closing
*Invitation only

“EPIC, the last dance movement.PETER”, is a durational performance lasting 48hrs, on day one the performance starts as a solo on day two the performance invites others to join in a workshop/performance on day three everything is sold leaving the performance rendered unperformable.

When you enter the room you are greeted by chaos papers, white sheets, furniture, black bags, food, clothing, soil and more things covering the room, PETER wanders the landscape disappearing and appearing. As you wander the space you start to have the notion that this is not chaos at all but that everything has its reason even if you don’t know its logic.
As things change and move you realise that there is a sense to the madness
PETER is a fictional character Peter Mills created to performance the role of artist. PETER becomes the brand which extends the self into third person.
The piece began its life as research which was embodied as a piece entitled “20 minutes”. “EPIC, the last dance movement.PETER” starts from where “20 minutes” left off, with research into ethical practice as a way of survival within the spectacle of the theater.
video, images and texts on 20 minutes password simon
With “EPIC, the last dance movement.PETER” PETER’s research begins to look at the common, group mentality, duration and pre-post-capitalism with a focus on Self-help support groups, The Dancing Plague (or Dance Epidemic) of 1518 Strasbourg, slow violence and Simon Critchley’s Mystical Anarchism.
18.00 the opening
The 48hr performance will bring the notion of product closer to life, as audience members wander in and out with leisure of this world of ever changing and shifting landscape of disorganization. The observers lives become entangled with the ethical practices imposed upon them entering “EPIC, the last dance movement. PETER”.
13.00 the research presentation*
Because some individuals are invited to “EPIC, the last dance movement.PETER” as a research presentation their gaze causes them to see “EPIC, the last dance movement.PETER” as a research presentation. Things become research documentation and practice. “EPIC, the last dance movement.PETER” becomes research, past, present and future.
18.00 the workshop
The open invitation to the workshop shifts the observer interminably into the practitioner. But “EPIC, the last dance movement.PETER” continues parasitically hosting and leaking practitioners.
16.00 the auction
Until like the tick (Ixodoidea) catching is eggs inside the body of the mother providing food, security and warmth, the space and resources loss their necessity and become void of true value and are sold on, and clearing all debts with the nihilist markets of capitalism.
18.00 the closing
The space is voided, emptied, cleaned and returned to its original state. Removing all traces of “EPIC, the last dance movement.PETER”.  As if it had never happened. Nothing to grasp.

So here comes the list:

The Reformulation handbook, 2013. PETER and the Post-reformulation circle at dans ❤ Stockholm.

Archive of ongoing research and objects created by PETER

Rewritings by PETER of others stuff

This is stuff not by PETER or SIMON

See you around PETER



Photography: litó walkey
Photography: litó walkey
Photography: litó walkey
Photography: litó walkey
Photography: litó walkey
Photography: litó walkey

Some exciting times the last few weeks. Presented, was what has come to be called “20 minutes” the result of half a years artistic research (yes, I am buying into the academic terminology, I’m on a MA and I really feel it needs to be carefully handled not to fall into some evil academic trap, at this very important time whilst in Sweden especially DOCH is forming notion on artist research).

Half a years work and you have room full of work, back holes, problems, rubbish, death, loss and peter, peter clawing around in a unitard. I promise this is not a good description of “20 minutes” “20 minutes” itself is hardly a good description of 20 minutes.

So from scores with Frederic Gies to waves of motion which crash, smash and disrupt the ices bergs and ice sculptures with Rolf Hughes to sounds with Carl Michael von Hausswolff to codes objects losing identities in tornadoes with Norberto Llopis to shifting everything including everything including nothing with Lito Walkey and to reforming horse-jumping and criticising with Myriam van Imschoot.

(arr too many links)

Now PETER would like to have “20 minutes” as a invitation. Bring it on basement 30th of May at forum Stockholm, lets make this cosmos collaborative.

more sounds



For interest and curiosity.

I will be apart of Troupe Mabuse in Operation Infinity’s next presentation. Info

Some text

An extract from “The paradoxical waiting room puzzle book” by Peter.

Presentation or interest.

YouTube Doubler <<< Best Veiw

A time spent with method,practice,reformation,formation and a hell of a lot more.

Thank you Lito Walkey and all at the Practice Symposium

Here is have formed the experience into a practice of description and affirmation please look and comment the practice will only continue if we allow each other to use it. Click

Three Weeks into School.

Here is a short text about some of my feelings at the moment after a two weeks spent investigating hospitality with Sandra Noeth and Paz Rojo.

Thread: Choreographing Democracy

I will be collaboratively thinking with Benjamin Pohlig and Michiel Vandevelde. We have our Mission Statement live online please read. Soon texts and discussions will be published. Exciting stuff i hope you can have a read.

Classes with me in Stockholm November.

Ballet,Jazz,Creative practice,dance coaching Please see pdf

Next two years.

So the next two years i will be at DOCH on their MA in choreography course.

Time to think time to explore time to change time to contiue time for more.

I am looking for financial support with my work if anyone is interested or knows of any thing i should look into. It would be great to work and or share my journey with people so this is a plea for help.

Friendship is based upon debt i hope i can form some friendships though debt.

Callout from DOCH

New round of audition in the beginning of October. The deadline is September 5th. More.

No choice, don’t watch this.

No choice, don’t watch this. Will be at Zeitraumexit in Mannheim, Germany as apart of Frisch Eingetroffen a platform for young artists.


So many interesting things has come out of the time spent with everyone at Frisch Eingetroffen some of the key ideas to come from the week was two aspects of the piece;

  • Instruction.
  • Performed exploitation.

These are two aspects of no choice… which i would like now to separate and expand and explore individually.

  • For the instruction i would like them to find a life of their own to go further and push more.
  • The performed exploitation is a great mechanism but would benefit from simplicity and further exploration into the practical practise.


This site is for people to see my work as a choreographer, and leader of workshops. If you or any parties are interested in working with me on a project, performance , workshop or exhibition. Please contact me on

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