n this performance, Jeremiah Day tries to bring forward three story lines in different ways. It is a slideshow, a speechand music with the stories of people he knows mixed withthe knowledge that he has gleaned here and there. In thiswork, the point of departure is not the news, but followingt he focus on the hinge or intersection between individual scale, Day improvises anecdotes of a small-town co-worker who’d been in the first Iraq War, a war-resister who fled theUS army, and a young woman who wants to join the army. Key fragments - the path of the beaches that he worked onwith the soldier, the movement of the helicopters carryingthe war-resister - become the basis for physical gestures along with more explicitly dance elements

For this performance and since 2005, Day has collaboratedperiodically with the musician Bart de Kroon, a singer songwriter, who also has degrees in Genocide Studies and Psychology, and who accompanies the performancewith a full dramaturgical understanding of the subject matter. His improvisational style is as a supportive dueter, like the rhythm guitarist to the soloist, periodically jumping into the foreground, and periodically falling silent as themusic offers a live non-verbal structure. The iconic element of the electric guitar also serves to insist that the frame of reference of the performance is equally happening and the tradition of the bar.