By 1994, I had been teaching choreography for a lot of years. I'd realized, through the articulation and challenge to assumptions that teaching forces, that one of the things I take for granted is individuality of voice - It may require unearthing from received information and self censorship, but never  protection or cossetting. I think in fact, the opposite; self is a constraint from which there is no escape, that unique inner world never quits; trying to communicate that and in spite of that, is one of the impulses that leads to art. Many students I had had however, seemed to find the task of being  'true to oneself' a  never ending battle, causing agonies about overinfluence,  going  too close to someone else's work was as if too close to a flame....questions about how and why someone else proceed feel threatening. So I thought, let's have a test -you think you're in danger of losing yourself, try it...put your money where your mouth is, put your practice where your question is, wrassle with it - which I suppose is one of my ideas of the function of  making dances  in the first place."
Stealing, Influence and Identity by Susan Rethorst
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"There's nothing in the world like the feeling of being in the studio, working along and whamo, something starts to take off, to go wowowowow, juice up. But it doesn't happen right at the get go and it doesn't happen all the time and it doesn't happen from working yourself into a tizzy of wanting it, or from anything to do with how you feel or what you plan. It comes along when it comes along. In the meantime you have to be in there, trying a bit of this and a bit of that and staying with all those semi moments, all those ho hum kinda moments, trying something else and doing it over and maybe like this and working but also waiting. You have to keep yourself available, keep the work available."

Daliness by Susan Rethorst
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