Angela Blumberg

Artist Blog – Angela Blumberg


Initially, I created (a)Muse(ment) for a different purpose and when I was given the opportunity to choreograph a piece for musician and dancer with both performers expressing themselves through movement. Thinking of a movement vocabulary that could suit a non-dancer I was attracted to gestures that happen naturally when we interact with another person: small inclinations of the head, hand gestures to emphasize what we say, a particular extension or flexion of the chest expressing excitement or defeat.

The idea of creating a dialogue suggested itself and with it the idea of using a voice-over. Taking my partner’s profession into account, musician and composer, I started to write a dialogue based on misunderstandings and friction taking place at two levels: the usual misunderstandings of yet another complicated relationship; and the misunderstandings between two people with different backgrounds (composer versus dancer). The final and probably most important aspect of the dialogue was the use of language itself: its intonation, rhythmic patterns, and balancing abstraction versus narration or poetry versus content that the audience could follow.

After I had come up with the initial concept and created the first two scenes of (a)Muse(ment), I decided to do something completely different with the musician (this always happens to me: I create enough material for an evening program only to start again – why?) and forgot about (a)Muse(ment) for a few months.

In late September last year, when I was flipping through my dance video catalogue – I have an endless library of filmed rehearsals, half-finished works, movement research, and short scenes, I found (a)Muse(ment) and felt intrigued enough to revisit it. Over the course of several months I wrote, edited and recorded the dialogue many times and developed movements that correspond with the rhythm and content of the text. Below is the complete text in writing as well as a voice recording. Interestingly enough, already in the process of writing the text I perceived it as spoken word - a difference, which the audio sample tries to illustrate. The short video To Talk shows some early research stages of exploring gestures and dialogue through dance.

Video: To Talk



Scene 1 (0’00 – 2’08’’)

He says: Inversion.

Mm mm, no passing note, note to self: keep it simple. Inversions only.

Great, we gonna omit that last section and instead - transpose it.

Transposition of the inversion.

Yeah, lovely.

We gonna repeat that

we gonna repeat that


Augmentation – and then we just need something dramatic to finish.

Pa-di-da-da boom – boom.


Scene 2 (2’10’’ – 3’00’’) / Note: layered voice-over

She says: honey, I think it’s important to have a conversation

He says: I think it is important to have a conversation, honey

She repeats: honey, I think it’s important to have a conversation

He says: of course, honey



Scene 3 (3’01’’ – 4’35’’)

He says: it could be so easy

She tried.

And why not faster?

Why not? She was amused.

He says: everybody needs a muse. It’s a must. I must have a muse and you amuse me.

She tried.

He says: it could be so easy.

She wanted. He was a must. You are a must, she said. He was amused. She tried.

And why not faster? It could be so easy.

She says: we need to talk.

He says: really?


Scene 4 (4’36’’ – 5’19’’) / Note: layered voice-over

She says: wished, I wished.

He says: wished

She says: wished, I wished

Really? I wished.

He says: really?

She says: but you didn’t and never and I couldn’t

Oh oh oh



Scene 5 (5’20’’ – 9’30’’)

He says: where are you going? Escape is not a solution. He says: escape is not a solution.

She says: honey, it’s an inversion.

He says: believe me, escape is not a solution. I’m confused. What should I think? Laterally? Believe me, I’m confused. Escape is not a solution, believe me. She says it’s an inversion – I wished! Side-shifting of the inversion, I’m thinking laterally. I want to transpose all of this. I’m confuse. We all make minor mistakes, some make major mistakes, I’m confused. I wished, she’d stop. This lateral inversion is confusing. It augments my fears. No, we gonna omit that last sentence – I’m confused.  Music, we should be music.

She says: I’m amused.

He says: oh!

She says: and why not? Especially

He pauses.

She pauses.

He says: music. We should be music

She says: we should and who says we shouldn’t.

And why not? Especially. It’s a must. Especially.

And why not faster, why not?

It’s so easy, music.

She pauses.

He pauses.

She pauses. Especially, she whispers.

He whispers: it could be so easy.

She pauses.


He says.

She says.

He says: it could be so easy.

She tries.

He whispers: and why not faster? Why not?

Why not?

She says: stop, stop whispering, it’s not working. It’s not working.

It could be so easy.

And why not? Why not? I really want to talk.

Talk – stop – talk – stop – talk – stop!



Scene 6 (8’48’’ – 11’01’’)

It could be so easy

I wished

She tries, he tries.

He says: and why not faster

Why not? She was amused

He says: I remember

She says: oh please, please, why rewind?

I must have become memory

Oh please

Why did I become memory?

I try not to be amused

Rewind, you became nothing to grasp

You must know that I wished

I’m amused and I must say -

Oh please

You are nothing to grasp


You are everywhere where I’m not

Oh please

I must say, I try not to be amused.

Nothing to become

She says: I border on you with everybody

He says: nothing grasps me

She says: you became nothing to grasp

He says: really? You used to be everywhere

She pauses.

He pauses.






Please, you must know that I wished


That I wished.