In 2013 I asked, Luz Maria Solis Ramirez, an elder/mentor of mine, who is a curandera in Baja California, Mexico, what she considered the difference between ritual and performance. She looked at me, annoyed in this eye roll way that elders have when people ask ridiculous questions, and said, “Spectacle.” Performances, in her opinion, are about entertainment, vanity and being watched; rituals are about transformation. I said maybe she hasn't seen great performances. The good ones can be both. She said, “You mean yours?” I can't remember if I said yes. But, yes. For me, the doing of choreography is a practice in manifestation of the thing that is not yet here, the embodied trust that there is more than what is tangible here in this moment. A communal affect of certainty in a future that is incumbent but not yet knowable. That the action of being in a moment of unknown somatically engages, together, performer/convener and attendant/witness/initiate. This brings to mind Bojana Cvejic’s concept of “attending versus spectating” which she outlines in her text, Choreographing Problems. In contemporary choreography, as with ritual, those present engage in a collective embodiment of faith, in a moment of chosen togetherness. As I see it, at the core of choreography and of ritual, the intention is transformation. And this involves intuitive reaction and commitment to an experience of the present and a transformed future for performers/conveners and attendants.