I think the thing that we agreed to so many years ago, actually, was that the music didn't have to support the dance nor the dance illustrate the music, but they could be two things going on at the same time.
Dancing has a continuity of its own that need not be dependent upon either the rise or fall of sound or the pitch and cry of words. Its force of feeling lies in the physical image, fleeting or static.
I don't like teaching, because it's so repetitive - especially the beginning of class, which is always more or less the same and has to be carefully done. It's tedious. But I know it's necessary for dancers to keep working on technique.
You can get fixed ideas, and it can get restrictive. So, I try to put myself in a precarious position.
It is upon the length and breadth and span of a body sustained in muscular action that dance invokes its image.
The use of chance operations opened out my way of working. The body tends to be habitual. The use of chance allowed us to find new ways to move and to put movements together that would not otherwise have been available to us. It revealed possibilities that were always there except that my mind hadn't seen them.