October 15th – November 1st, 2018
If this were a Kondenz we really wanted, there would be everything – to learn, watch, shake, research, present, hear, touch, listen… and so on… this Kondenz, almost ‘like Kondenz’ is a festival of noncompliance and not giving up, this is a preview of a dance programme we would put in a nice, comfortable, open dance centre if we had one.
Toward Open Factor Models for Dance Analysis, book presentation
Dance, unlike other performing arts, does not have a long tradition of recording and theorising, so there is still an ongoing search for ways to articulate different dance practices. Badiou (Badiou, 2005) considers dance from a philosopher’s context, as there are many examples of using artistic practices to demonstrate the basis of a system. Authors are frequently involved with a certain, separate aspect of dance practices, like Fisher & Shay (Fisher & Shay, 2009) who write about masculinity or Kruschkova (Kruschkova, 2001) about performativity in dance. Another approach can be a search for multidimensional matrixes which do not promote a single dimension as a central one. The approach I propose is an open model based on extracting several points (discursive terms) without a hierarchical order, but all points’ relations are discussed and theorised. The development of this matrix and its potentials for specific dance practise analysis will be shown through specific dance pieces (some of the dance quotes will be performed live). Therefore this approach advocates for a direction in forming a matrix which starts with dance, not necessarily with a theoretical construct. Natascha Schmelz, Jana Milenković and Jovana Rakić will perform dance quotes.
– – –
SPECIES, short documentary film (2018, 13’43’’)
Species is a short documentary and experimental film about three contemporary dance performers based in Belgrade and the choreographer working with them on a performance titled Species, which premiered in Belgrade in 2015. The film is focused on their struggle as performers in the city which doesn’t have place for dance, their connection with the audience when they are on the stage and the connection between them. ☒ Director: Aleksandar Bubalo; performers: Tamara Pjević, Jana Milenković, Natascha Schmelz; choreographer: Jovana Rakić; producer: Nenad Meršnik; assistant director: Brana Stefanović; camera and editing: Aleksandar Bubalo; camera assistant: Miloš Jakšić, Mane Jezdović; sound design: Mlađan Matavulj
– – –
An Untimely Book, book presentation
Critical Practice (Made in Yu)
An Untimely Book is a collection of critical texts by young authors who participated in a mentoring program for young dance critics and theoreticians – Critical Practice (Made in Yugoslavia) during 2016/2017. The texts were produced through the research participants were conducting during this program, but also within the framework of their professional engagement, artistic or theoretical work and on the basis of incentives that came from their own cultural backgrounds. Since the idea of the programme is to encourage writing about contemporary dance and performing arts from different positions, this book offers texts written from the discourse of art theory, dance criticism, cultural policy or artistic research, all gathered around the central topic – the crisis.
The introductory text explains the notion of a crisis in the context of the Critical Practice programme itself and the manner in which this topic came through the process of joint work, exchange and consideration of the specific area of the Balkans where the programme mostly took place.
There are also reviews of dance and theatre projects (e.g. Future Read in Concrete and Stone by Bojan Djordjev, Ristić Complex by Oliver Frljić or works of choreographer Kat Valastur), as well as the reflections on working conditions in the field of dance (dialogue between Nina Gojić and Nassia Fourtouni) and results of meetings addressing cultural policies for dance (Dance vs. Circumstances in Berlin and Nomad Dance Advocates in Belgrade); There is an interview with the actors of the dance scene (Biljana Tanurovska Kjulavkovski from Skopje), as well as texts of an artist relying on text and producing text in his choreography (Ellen Söderhult). ☐ Critical Practice (Made in Yu) is a mentoring programme for young people from Europe writing about contemporary dance. It was initiated by Station Service for contemporary dance from Belgrade, Lokomotiva from Skopje and Nomad Dance Academy network in cooperation with mentor and theoretician Ana Vujanovioć in 2014. More about the programme can be found at http://criticalpractice-madeinyu.info/about/
– – –
What Are We Doing When We Realize That the Idea is Not the Thing? workshop
How can we cultivate attention to our ever-shifting divergent desires, impulses, memories and perceptions? What is the practice that can help sharpen that attention and what is the frame that can hold that attention? How can our questions and doubts become proposals for doing? How does thought and feeling come to form and action? How does our fundamental desire for communication misalign with meaning-making? How can we accept not-knowing and the not-yet as generative states of being/doing? How can we open to a field of willingness and empathy? How can our bodies become a radical and imperative force for potential, for the unnamable? How can we focus on being/doing rather making/producing? Based primarily on the practice I call nonstopping, we will actionize these and other questions through and while moving, talking, writing and witnessing.
– – –
No Time to Fly, book presentation
Serbian translation of No Time to Fly will be presented through a talk with Jeanine Durning, choreographer and collaborator of Deborah Hay. The book is actually a score Deborah Hay wrote for a solo dance performance performer in 2010 in St. Marc’s Church-in-the-Bowery in New York. She presents a synthesis of the artistic credo of this important contemporary dance figure which marked the most exciting years of experimental dance from the ’60s to today. The book is written as a guide-book of notes for dance makers who translate their thoughts into movement and to to their bodies, and is a continuation of the specific thought practice of Deborah Hay who writes and articulates her thoughts while creating movement.
– – –
Still to Come. A Feminist Pornscape, performance
Rahel Barra, Ida Daniel, Ana Dubljević, Frida Laux i Zrinka Užbinec
“STILL TO COME, a feminist pornscape” is the result of an artistic collaboration and an experiment with embodying and embedding reformulations, a proposition for the audience of a collective and live choreographic experience. The five participating artists share a common interest in questions about the production and reception of images: what is a female perspective and why does the world needs such a thing? Who can have a feminine perspective? What art comes from the position of the feminine gaze? Why do we need this art? The piece disrupts the trained gaze and opens possibilities of gazing without a constrained direction of attention. This gap aims to allow for a gaze that desires otherwise. Movement, text and objects are working with a non-frontal audience placing and a care for the minor gesture. “Tantra” dramaturgy creates a multi layered choreography of attention, making space for inflection and indulgence.☒
Concept and choreography: Rahel Barra, Ida Daniel, Ana Dubljević, Frida Laux, Zrinka Užbinec | Performance: Rahel Barra, Ida Daniel, Ana Dubljević, Zrinka Užbinec | Lights and scenography: Carina Premer | Costumes: Silvio Vujičić | Cover photo, photo and video documentation: Julia Novacek | Production: Marijana Cvetković ☒ support: Künstlerhaus Mousonturm and MA Choreography and Performance Justus-Liebig-Universität Gießen, in the frame of Hessische Theaterakademie. coproduced by: Station Service for contemporary dance with Departures and Arrivals, with the support of Creative Europe Programme, the International Coproduction Fund of the Goethe-Institute and Goethe Institute Belgrade and the Ministry of Culture and Information of the Republic of Serbia
– – –
Dance Museum, dance installation
An installation for kids age 4-6, inspired by the history of dance and choreography. Representing a museum, the installation consists of different rooms, each one offering a different approach to dance. Children can have a very specific way of encountering dance and choreography and have a possiblity to create, observe of talk about dance, individually or in a group. Besides its educational character, both the installation and the dancers communicate with children in a different way than classic dramatic or dance performances because the children get an opportunity to enter and fully research the spaces created by all the artists involved in the Dance Museum. The installation was produced in the frame of Generator, a platform for development of dance theater for children in the Balkans and has so far enjoyed positive reactions of kids, kindergarten teachers and parents in the whole region.☐ The project is one of ten winners of Centrifuga 2018 call in the frame of Superste.net programme and is supported by the Ministry of Culture and Information.
Concept: Kliment Poposki, Elena Risteska, Viktorija Ilioska; mentor: Dalija Aćin Thelander; development, adaptation, performance: Jovana Rakić, Marko Milić, Milica Pisić, Milena Todorović; tech support and light design: Boris Butorac, Prvi vojvođanski cyber teatar; production: Station Service for contemporary dance.
– – –
Body-Mind Centering, workshop (BMC)
Body-Mind Centering® (BMC) is an innovative approach to movement reeducation which explores the relationship between movement and mind. Based on the embodiment of anatomical, psychological and developmental movement principles, BMC is an approach to experiencing our living anatomy, a method of movement analysis, and body based knowledge.
Lisa is one of the leading innovators of the integration of Yoga and Body-Mind Centering® and has been actively engaged in the training, teaching and development of this form over 35 years. She is currently the Program & Education Director of the BMC & Yoga Immersion Series: Foundations In Embodied Anatomy, and was Program Coordinator and Developer with Bonnie Bainbridge Cohen for the BMC Yoga Programs in Amherst, MA from 1999-2005. She leads workshops and advanced training programs internationally at studios throughout the United States, Europe, China and South America. She has been a featured teacher at Yoga Journal Conferences, Omega Institute, and Kripalu Center.
To Feel or Not to Feel, performance
Dimitrije Kokanov, Marko Grabež, Maja Kalafatić
Project To Feel or Not To Feel deals with the field of research in the communication process between the dramaturg (and performing arts theorist), performer (actor and musician) and the choreographerin the field of post-director theatre practice as a possible borderline in the transformation from theatre to performance art, and the transit in the field of performance art practice as a part of questioning collective authorship. The performance looks into the emotionality of an actor’s dramatic performance opposed to a methodological (emotional memory) emotional (in)activity of the performer in a post-dramatic performance practice where the boundary between representational and performative is blurred. To Feel or Not To Feel does not radicalise the stage expression of an (individual) performing arts practice, but rather requestions the normativity behind the performative identity within the local performing arts scene. ☒ Concept: Dimitrije Kokanov, Marko Grabež, Maja Kalafatić; text and dramaturgy: Dimitrije Kokanov; music and performance: Marko Grabež; choreography: Maja Kalafatić; proof reading: Dijana Marojević; photography: Jelena Janković
– – –
Ecliptic is a dance piece about death, transformation and those parts of ourselves we need to let go of so we can adapt to society and environment. The idea for Ecliptic came from a need to speak about personal, psychological and physical transformations that follow this “adaptation” process. Some changes cannot be escaped but what I find important is to be aware of them. Going through my transformation, I invite the audience to follow me and maybe go through their transformative process and become aware of it. I try to evoke the feeling I had in a performance exercise when I felt close to death. This event, the feeling and the array of mental conditions following it, reminds me of psychiatrist Elisabeth Kübler-Ross’s five stages of grief. This is a piece about accepting death, the final and the partial one which happens only to certain parts of us. Ecliptic is not only a dance and artistic research. It is also a psychology, philosophy and social research. ☑
– – –
Charles Slender White
(dis)integration is a modular contemporary dance about the Romani Diaspora, racial ambiguity, code-switching, and assimilation. The work addresses persistent stereotypes of ‘Gypsies’, unpacks Slender-White’s experience as a fourth generation Romani-American, and was instigated by Michelle Obama’s casual use of the ethnic slur, ‘gypped’, during the 2014 Working Families Summit.
– – –
Falling Through Space, workshop
Charles Slender White
This workshop consists of three main components: 1.) Learning a basic conceptual structure of space – The Cube – derived from the 9-point technique as developed by Anouk van Dijk, Amanda Miller, and William Forsthye; 2.) Improvisation within The Cube to play with possibilities for moving the body intentionally and legibly through space; 3.) A Countertechnique master class focused on utilizing falling momentum, through space, as the motor for movement. Together, these components will give participants the opportunity to get sweaty, have fun, expand their range of movement, decrease their fear of taking risks, and clearly relate their movements to the space around them. Falling Through Space is available to all movers, and will feature a ridiculous playlist of 90s pop music.
– – –
Embodied Storytelling, workshop
Charles Slender White
The Embodied Storytelling Workshop brings together youth of diverse ethnic backgrounds. In the workshop, the youth write short stories about a particular memory or aspect of their identity, and then use that story as primary source material to generate a phrase of movement (an embodied story). Participants then share their embodied stories with each other, and participate in a facilitated discussion about what was done, what was seen, and what was experienced.
curatorial concept: Station / Marijana Cvetković, Mirjana Dragosavljević, Ana Dubljević, Ksenija Đurović, Igor Koruga, Marko Milić, Dušan Murić, Jovana Rakić; graphic design: Katarina Popović; support: GPS/Global Practice Sharing program of Movement Research with funding from the Trust for Mutual Understanding; Goethe Institute International, DNA network (Departures and Arrivals) co-financed by the Creative Europe programme of the EU; Life Long Burning network co-financed by the Culture programme of the EU; U.S. Embassy in Belgrade; Superste; Magacin in Kraljevića Marka, Nomad Dance Academy, Ministry of Culture and Information, City of Belgrade