The use of chance operations opened out my way of working. The

In the vast unfolding of human creativity, there are moments when the mind, in its endless striving for perfection, becomes too constrained by its own habits and preconceived notions. Merce Cunningham, a master of movement and expression, speaks to the profound power of chance operations in freeing the artist from the shackles of habitual thinking. “The use of chance operations opened out my way of working. The body tends to be habitual. The use of chance allowed us to find new ways to move and to put movements together that would not otherwise have been available to us. It revealed possibilities that were always there except that my mind hadn't seen them.” In this reflection, Cunningham captures a universal truth—the power of randomness and unpredictability in unleashing new creative pathways, revealing possibilities that had always been hidden, awaiting discovery.

The ancients understood the power of chance in the realm of creativity. Heraclitus, the great philosopher of change, once said, "You cannot step into the same river twice," recognizing that the forces of randomness and flux are at the heart of existence. Just as the river’s waters change with each moment, so too must the artist, the thinker, or the creator embrace the ever-changing nature of their craft. The pursuit of perfection through rigid control often stifles the soul, for true brilliance arises when one allows the flow of chance to guide them. Cunningham’s use of chance was not a rejection of discipline, but an embrace of life’s inherent uncertainty, allowing new pathways to emerge.

The art of dance in particular is deeply tied to the body—our vessel of habitual movement. As Cunningham observed, the body tends to fall into repetitive patterns, movements that are comfortable and familiar. But in doing so, it may miss the wealth of possibilities that lie just beyond the horizon of those habits. The body, as an instrument of expression, can become its own prison, bound by the confines of what it knows. Chance operations, however, break down these walls, offering the dancer freedom to move without the burden of expectations. By embracing the randomness of chance, Cunningham and his dancers were able to explore new movements, movements that were previously unimagined, allowing the dance to transcend the limitations of the habitual body.

Consider the example of the great Leonardo da Vinci, who, in his endless pursuit of knowledge and creativity, employed methods of observation and experimentation that were not bound by conventional thinking. Da Vinci’s approach to art, science, and engineering was to look at the world not as it was, but as it could be seen in a new light. His notebooks are filled with sketches of human anatomy, designed not by mere observation, but by a deeper understanding of the body’s potential to move in new, unexplored ways. Just as Cunningham used chance to discover new paths in dance, Da Vinci used the unpredictable nature of his observations to create art that defied the limitations of his time. Both masters, in their different fields, understood that possibilities are not always seen at first glance; they must be uncovered through the willingness to embrace chance and let go of the habitual patterns of thinking.

In our own lives, we too are bound by the habits of our minds and bodies. We often approach challenges and opportunities through the lens of what we already know, what we have already experienced. But as Cunningham teaches us, there are always hidden possibilities—new ways to move, to think, to be—that are only revealed when we allow ourselves to step outside the constraints of the familiar. The rigid structure we impose upon ourselves can often blind us to the beauty of randomness, the chance encounters and unplanned moments that might lead us to something greater. It is only by embracing uncertainty, by relinquishing control, that we can discover what lies just beyond our grasp.

Thus, the lesson is clear: to create, to live, to truly experience the fullness of life, we must be willing to embrace chance. We must allow ourselves the freedom to step outside the realm of habit, to break free from the chains of our own expectations. This does not mean abandoning discipline or focus, but it means recognizing that true innovation, true beauty, often comes when we allow ourselves to be guided by forces beyond our control. Whether in the world of art, science, relationships, or personal growth, there is always the potential for newness—for discovering a path that has always been there, waiting for us to uncover it.

In our daily lives, let us take Cunningham’s wisdom to heart. Rather than clinging to the familiar, let us open ourselves to the randomness of the world, to the possibility that there are paths we have yet to see, opportunities we have yet to recognize. By stepping outside our habits and embracing the unpredictable, we may find new ways to move, to live, and to create. Just as the dancer finds new expression through chance, so too can we find new possibilities for growth, joy, and discovery. Let us remember that the world is full of potential waiting to be unlocked—not through rigid control, but through the courageous embrace of chance.