Everybody, whether they are conscious of it or not- takes part in the choreography of the street. Automatically walking in the right tracks, doing the right actions at the right moments in the right spaces. Everybody knows their own roles and recognizes the roles that others play. If people cannot cope they will be recognized as : tramp, alcoholic, tourist etc.

> In Choreography of the Street I train a group of people to take part in the already exsisting choreography in such a way that it (the group and the unprepared partaker) form a new choreography. The new choreography blurrs exsisting categories of normal versus deviant behaviour; it cannot be recognized as theatre (another categorie); it works as both an image from a distance and as an experience for the unprepared partakers.

Choreography of the Street is an ongoing project.
1999/2000 Several cities in the world:
Brighton festival May 1999


Train Brighton 1999

Amsterdam Sloterdijk station April 2000:
3 choreographies, 50 participants/ live video installation on 15 screens.

Taichi clock Choreography
> Choreography from abstract movement. Parts of the dynamic chen style taichi are used as the basic form for postures, actions, gestures and tics out of daily life. The choreography was executed by a group which is trained by Oscar Munoz for the past ten years.


Apple Choreography
> every fifteen minutes the same sequences return; here 'appel' where an apple and a rice cookie are brought into the mouth to eat alternatingly.

Apple Choreography
>Typical reaction from the audience: observing without showing it, meanwhile trying to fit it into categorising system.


Newspaper extract: Trouw 13 April 2000
>'Passangers at the Amsterdam Sloterdijk Station who let pass one or more trains, and who hang around observingly instead, will discover how carefree but disciplined casually the choreography of the street of Lino Hellings'


Newspaper Choreography
> 8 people spread over the stationhall crumple up newspapers in 5 elegant movements. Children love to do it too !

This project is financed by the Fonds van de Podiumkunsten and the Prins Bernhard Fund also made with the assistance of Dutch Railways - Nederlandse Spoorwegen