The Most Together We've Ever Been ^{2 0 0 9}

The Most Together We've Ever Been fully resembles a childlike ford-da procedures. Even the stage design is of “repetitive” nature. Designed by Mauricio Ferlin, it is equipped with industrial objects and large props, seemingly static, determined, and fixed, but, in fact, in each new city, a new scenography collaborator adapts this initial concept to the location, through locally collected objects that form completely new scenic togetherness. Contrary to the choreographic impulse, performers try to halt the very structure of the beginning. They proclaim locality and its heterotopic values as central to the piece. Or, in Henderson’s own words: “I love this country. I believe I can do a lot for this country. I like music, song, and I love performing”. A political notion of their assertions, both, verbal and political, presume an ontological value. They almost function as (beginning as) command, arche, in Agamben’s sense of this word.