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East Dance Academy (Part 1: Parallel Slalom, Part 2: Forensics and Fugue for the Folder, Part 3: Practice Makes the Master 09)

SHIFT DATE       25.6    SHIFT TIME      17:00 - 20:00    SHIFT VENUE      Zagreb Youth Theater REHEARSAL ROOM

SHIFT DATE (2) 25.6    SHIFT TIME (2) 21:30 - 00:30    SHIFT VENUE (2) Zagreb Youth Theater STUDIO 2

SHIFT DATE (3) 25.6    SHIFT TIME (3) 23:00 - 00:30    SHIFT VENUE (3) Zagreb Youth Theater MIŠKO POLANEC     NOTE performance



SHIFT CURATOR BOJANA CVEJIĆ and GORAN SERGEJ PRISTAŠ


SHIFT PARTICIPANTS Part 1 (RIC ALLSOPP, BOJANA CVEJIĆ, IVANA IVKOVIĆ, JANEZ JANŠA, BOJANA KUNST, TOMISLAV MEDAK, PETAR MILAT, ALDO MILOHNIĆ, GORAN SERGEJ PRISTAŠ, ANA VUJANOVIĆ), Part 2 (MARJANA KRAJAČ, IVA KORENČIĆ, MARKO KOSTANIĆ, DALIBOR DAVIDOVIĆ), Part 3 (SANJA IVEKOVIĆ, SONJA PREGRAD)

SHIFT ABSTRACT

A Glossary of Poetics is a project of East Dance Academy conceived in search for new and old terms by which artistic practices, mainly in the performing arts, but also in a broader scope of cultural production in the countries of former Yugoslavia since 1960s, determine and articulate themselves. These concepts and notions stem from a specific dynamics between theory and practice in this cultural space: they act as problem-markers and creative tools that are an integral part of artistic experimentation rather than critical terms of its interpretation.

East Dance Academy is part of the “What To Affirm? What To Perform?” project, a cooperation between Allianz Kulturstiftung, Center for Drama Art Zagreb, Centrul Nacional al Dansului Bucuresti, Maska Ljubljana and Tanzquartier Wien (www.allianz-kulturstiftung.de)

Part 1: Parallel slalom

«Parallel slalom» is the logic behind these concepts: a swift ride down the slope, zigzagging between flags and poles, each of them endowed with at least two notions designating practices, procedures, problems and phenomena. The aim is to show how the discourse of the performing arts can be fed by an autonomous conceptual imagination created by art itself, rather than by negative criticism of contemporary artistic practices representing and being parasitic of theory.

Part 2: Forensics and Fugue for the Folder

by Marjana Krajač

The 7th Music Biennale Zagreb, an International Festival of Contemporary Music, featured a happening entitled Carrousel II, presented at Zagreb’s Trešnjevka sports hall at 20:30 on May 17 1973. The program brought together the Zagreb Radio-Television Symphony Orchestra, the Yugoslav Army Wind Orchestra, the Zagreb Radio-Television Dance Orchestra, the Zagreb New Tendencies Ensemble (ACEZANTEZ), the J. A. Riedl Group from Munich, the Zagreb Radio-Television Choir, the Vatroslav Lisinski Music School children’s choir, the Coral vocal ensemble from Belgrade and the Chamber Free Dance Ensemble (KASP). Unconventional for its time, attempting to keep abreast of the latest trends, Carrousel II provoked diverse comments as an open form whose potential risk of proliferation gave rise to various reflections on its “accomplishments” and “failure”.

Starting out from unfinished structures, open issues and empty spaces, Forensics and Fugue for the Folder attempts to reconstruct the holes in consistency and perception while offering a new amalgamation of given information, parallelly constructing archives, remarks and reactions.

Part 3: Practice Makes the Master 09

by Sanja Iveković

Practice Makes the Master 09 is a re-enactment of the performance entitled Ǜbung macht den Meister, which was first enacted in 1982 at the gallery space of Künstlerhaus Bethanien in Berlin. As stated in its very title, the performance deals with the deeply rooted conviction that repetition is the right way for a performer to reach the desired perfection and to achieve the master status. The very content of the performance and the choice of a different person to perform it reflects my intention of radically questioning these categories, or even mocking them. On the other hand, today, when the image of prisoners from Abu Ghraib is still “fresh” in our minds, this performance gains additional significance and becomes painfully topical.

Performed by: Sonja Pregrad.

The format we envisage for this presentation is an oral essay, thinking out loud with art material (e.g. video excerpts) and testing these propositions in discussion. Each notion/concept will be elaborated and visually documented in two or more small-scale case-studies. The notions have been strategically selected in response to the theme of the PSi conference: what happens when we affirm certain terms that have a clearly negative or pejorative connotation or usage?

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