Untitled is a choice

There was a time before Tahni knew how to make dances, when she made dances. With time, she learned how to make “good” dances. In Untitled is a choice, Tahni examines her own ideals around “good” dance making and the role an audience plays in determining “good”. What kind of expectations does the assumed contract of audience and performer produce, and why does a “good” dance rely so heavily on meeting those expectations? Sprouting from the lineage of the Judson era by bringing aesthetic politics to the stage, yet firmly planted in modern-day capitalism through the exploitation of seduction, expectations, and expression, Untitled is a choice gets to the heart of the matter of what we want from a dance and why we want it. It does not pretend to know the answer to these questions but allows the audience to answer these questions for themselves.