Venet­ian blinds. Red car­pet. The approx­i­mate­ly 12’ x 12’ wood­en struc­ture is built into the small par­lor, occu­py­ing the entire room from wall to wall. The are­na is a square, orthog­o­nal­ly and diag­o­nal­ly divid­ed into 16 equal sec­tions, equipped with small tri­an­gu­lar table tops in the out­er cor­ners and the cen­tral inter­sec­tion, mak­ing the slots dis­crete­ly pen­tag­o­nal. There are Venet­ian blinds hang­ing above the thresh­old lead­ing into the room. At the back of the room, is a bay-win­dow fac­ing the street. In the tight, trape­zoidal space between the lim­it of the struc­ture and the win­dow, there is a music sta­tion with a turntable, amp, speak­ers and vinyl records, where the dee­jay-con­duc­tor is installed. 

The blinds are raised and the 16 par­tic­i­pants crawl on all fours across the red car­pet and sur­face in an avail­able sub­di­vi­sion of the struc­ture. There are 16 slots, 1 for each body, and place-selec­tion is spon­ta­neous and instinc­tive.
In 3 con­sec­u­tive rota­tions, the dee­jay-con­duc­tor plays tra­di­tion­al snake charm­ing music while the par­tic­i­pants con­vene in spe­cif­ic com­bi­na­tions, alter­nat­ing posi­tions and rela­tion­ships. The par­tic­i­pants remain in their indi­vid­ual slots dur­ing all three dances, but shift posi­tions with­in their slot to meet with a dif­fer­ent neigh­bor (or group of neigh­bors) for each dance, exhaust­ing all pos­si­ble con­ti­gu­i­ties by the end of the work. 

1st dance: 4 groups of 4: each group gath­ers around the cen­ter out­er sta­tion. The dee­jay-con­duc­tor instructs the groups to inter­act social­ly in a nat­ur­al and uncon­strained man­ner dur­ing a 5‑minute of seg­ment of unin­ter­rupt­ed music. 

A 1‑minute inter­val while par­tic­i­pants shift posi­tions for the next dance. 

2nd dance: 4 groups of 2: one in each of the out­er cor­ners of the main square and one group of 8, all gath­ered around the cen­ter of the main square. The dee­jay-con­duc­tor instructs the groups to inter­act social­ly in a nat­ur­al and uncon­strained man­ner dur­ing a 5‑minute of seg­ment of unin­ter­rupt­ed music. 

A 1‑minute inter­val while par­tic­i­pants shift posi­tions for the next dance 

3rd dance: 4 groups of 4: each group gath­ered at the diag­o­nal inter­sec­tion of each quar­ter. The dee­jay-con­duc­tor instructs the groups to inter­act social­ly in a nat­ur­al and uncon­strained man­ner dur­ing a 5‑minute of seg­ment of unin­ter­rupt­ed music. 

The work is com­plet­ed and par­tic­i­pants are free to exit the structure.