This text finds the intimate affinity between dance and philosophy in the concept of problem and invites the reader to perceive dance and philosophy as a form of ballistics: the art of throwing. On one hand, this text is an invitation to look at dance not necessarily as an artistic practice but rather as an affirmative force that manifests itself as an expression of the power to turn any domain into a dance floor. On the other hand, this text also understands philosophy as an invitation to dance a problem, or, in other words, philosophy is a practice of choreographing the trajectories of problems.
The term mischief , invites to think power not from the perspective of domination but rather as a capacity or ability to stimulate movement and change generating confusion, messing up, letting the chaos to enter, changing the order of things… It is rather a game of stimulation than a game of domination. Mischief´s intentions is not to be dangerous within a domain of influence and to control through, causing things not to move much. Instead, mischief invites to travel through a dangerous domain; it invites the projection of transversal trajectories across a domain of power. The power of mischief is the power to traverse power. Mischief avoids the temptation of wanting to appear dangerous, it operates more like a secret agent, it does not seek to dominate but rather to traverse a domain putting things upside down, allowing chaos to enter. The intentions of a mischievous agent are not to dominate others by imposing a domain of control, but rather to stimulate the others into movement. The power of a mischievous agent is to turn any domain into a dance floor and to turn any domination into an invitation to dance. But an invitation to dance can harmfully affect you. The mischievous agent is malicious per se and implies a playful understanding of violence, an endurable version of violence and evil intentions.
The child at play is the maximum expression of mischievous power: the capacity to change the order of things. Children are powerful because they can turn any domain into a dance floor, a playground for mischievous dances. Mischievous dances are dances without an invitation (uninvited dances and choreographies of infiltration), dances that don´t impose a domain but rather they traverse the domain: they move across, pass through and throw problems inside the domain involving the others in difficulties and causing embarrasment. The task of a mischievous choreography is no longer to organize domains of influence but rather to choreograph an infiltration, to get access into a domain projecting transversal trajectories, throwing problems across the domain of power in order to stimulate movement and change the order of things. In this light, power is not for domination but is instead for movement generation. The power of an invitation to dance is to set into motion, and is also power to invite one to dance. It is necessary to understand that being mischievously dangerous is not about imposing violence or establishing a domain of influence where power takes care to keep things immobile. On the contary, mischievous power invites things to move, projects movement across the domain, generates chaos and confussion, and invites change to happen. The intentions of dangerous power is to dominate, to ask for submission, while mischievous power does not ask for submission but rather invites to dance, invites to play: the domain turns into a dance floor.