In 2006, the honky-tonks in Nashville were crowded with military from the surrounding army bases, batchelorette parties, musicians and regulars. In those honky-tonks I saw a convergence of social dancing - two step, line dancing, square dancing - with ‘bar swaying’. The footwork for this piece uses those forms for the lower body. The upper body adds modern dance concepts of fall / release and momentum.

The pathos of the piece is a nod to those servicemen, bartenders and other regulars I met in my year in Tennessee. There is a correlation of speed in the footwork with the idea that moving targets are harder to hit and therefore it is safer to keep moving. The speed correlates with not only physical safety, but mental safety in distraction at the honky-tonk.