Throughout the process of creating 60, Amos tried to answer different questions regarding time. Some are more and some are less practical, some are text and some are video answers. They are spread over different parts of the project, here is a selection.

Here you can find the opening song of the performance called The Fear, as well as the poem that it’s based on and that appears in 60.

____01: What time is it?

Not sure…somewhere around 9 pm.

____02: You say 60 explores the concept of time. If you’re that busy with time, don’t you become more aware of it in your daily life? (Shouldn’t you know what time it is?)

Ha, I guess so…but there really are two sides to it. Our research goes as much into the subjective sense of time, as it goes into the time keeping aspect of our daily life. So in a way I’m more aware of it and at the same time more lost in it.

____03: So what’s your fascination with time about?

__09: The title of the piece suggests that you’re also interested in systems of time-keeping though, not just in the subjective sensation of time. Is that so?

Definitely! I find it fascinating that humans created such a rigid system for counting something that is otherwise so fleeting and complex. There’s something scary about how this social system has taken over almost every aspect of our lives and how it has sharpened our already anxiety-filled relationship to time. On the other hand there is something beautiful in how universally we accept this system, it is one of the few man-made constructs we all share and agree on. I feel that questioning these systems individually and collectively can teach us a lot about ourselves.

____12: 60 is for the most part quite a stripped-down ‘pure dance’ piece, how did the text find its way into the work?

The poem that is used in 60 was originally written as lyrics for one of my band’s songs. I decided to use it because it reflects on psychological and emotional cycles that we all create in our lives; patterns of hope, desire, pleasure, reward, fear, loss, and hope again. All of these things are intimately linked to our perception of time and to our biological rhythms.

______19: Are you a punctual person?


______29: Practically, where did 60 start?

In 2017 I was working with Yvan on a piece for Ballet de Marseille and ICK Amsterdam. The task was to make a piece of seven minutes, and this restriction made us curious about the fragmentation of time. We decided to make a 1-minute choreography that was very detailed and complex and repeated it seven times in different constellations and groupings. The result was perplexing, something really interesting happened between movement, time and memory. Since then we’ve been traveling deeper down the rabbit-hole, further exploring time through various smaller projects and short pieces such as 30 and Seconds. 60 is the final result of this long process. When Emio and Pieter (directors of ICK Amsterdam) invited us to collaborate again it was like coming full circle, connecting back to where it all started.

____30: How do dance and time relate to each other in your experience?

To start with, movement and time do not exist without each other. Our sensation and awareness of time is intrinsically connected to gravity and to motion. We all experience time physically through our entire bodies- the time and effort it takes to get from A to B, aging, the tingling of anticipation and hope… Like time, watching dance is an embodied experience. Watching the articulated dancer body can allow us to experience time and space in unique and new ways. In 60 we really try to zoom in on this process and guide the audience’s embodied encounter.

____37: So if all we need is dance, what is the choreography for?

Indeed, choreography and dance are intimately connected but they are certainly not the same thing. One can choreograph without dance (even without human bodies!) and one certainly doesn’t need choreography in order to dance. What the choreography gives us in this context is a map, a set of restrictions and rules to play with and bend. Science tells us that time is not linear or universal; it’s fluctuating, subjective and local… it’s not so much a path as it is a landscape. In much the same way, the choreography can be understood as a bridge between physical and mental landscapes. It collaborates with the dancers to create a tangible space-time for the audience’s mind to meander through.

____41: You yourself are also a musician, what inspired you in making the music score for this piece?

Hmm… for me the process of making music and choreography is so intertwined that it’s hard to separate the two. The starting point for the sound composition of 60 was the Art Of The Fuge by JS Bach. Bach has this refined balance between mathematical precision and emotional depth, so his music really resonates with the objective/subjective dichotomy that the experience of time presents. More specifically, the fuge has a cyclical pattern that feels like it’s repeating itself with no clear beginning or end, while at the same time it’s constantly tumbling forward. One could almost say it’s a metaphor for the entire piece. From that starting point I picked apart some basic elements and composed new sections around them. The soundtrack in 60 has a life of it’s own, it travels alongside the choreography rather than following it or describing it.