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Dancing plagues, or choreomania, an emergent cultural phenomenon in the Middle Ages, gave historians a lot of insight into the culture of Early Modern Europe (the beginnings of the capitalist restructuring of society), including changing perceptions about madness, disease, culture, and prejudice. The uncontrollable dancing marks the end of the community’s ability to self or co-regulate and avoid crisis. Choreomania represented a breakdown of individuals, and by extension, society. Topics touched on include bodily autonomy, relational values, mental health, and In its various iterations, The Centre that Cannot Hold brings together dancers and performers to examine how choreomania can serve as a lens for understanding contemporary cognitive capitalism. The work interrogates the ways in which systems regulate, control, and normalize relationality—often reducing relationships to binary, commodified, and serialized interactions. The performance unfolds as a series of theatrical, performative, and dance-based vignettes, where participants give somatic expression to emotions and states often deemed excessive, mad, or unseemly—those which ‘should not be seen or watched.’ The piece was not only a performance, but also a means to explore group intimacy and holding space for one another, especially through emotions which are hard to digest. Through doing so, we explore our intimacy to others, to society, and to ourselves, and the vulnerability and openness that could principally guide our relations not only to other humans, but animals, objects, and the earth. Rather than viewing choreomania as a historical pathology or a symptom of collapse, the performance reframes it as a world-building methodology—one that fosters connection, intimacy, and transformation through openness, embodied experience, and reassociation. Moreover, it frames somatic work and performance as practices of transformation and reassociation. Credits: Copyright and Sound by Astrid Sonne, song title: 'Stuck in Pause'