a talk about the unconventional relation between the choreoghrapher and the space
From the perspective of artistic methodologies and procedures developed by Slovene dance makers, both choreographers and dancers (especially women artists), Slovene contemporary performing arts of the last two decades lack documentation of any kind. This is also the reason why this project tackles documentation and reflection in the area of contemporary dance art in a different way. Our aim is to move reflection of contemporary dance closer to notation of choreographic practices and procedures, which puts the notation to an important position within a dance discourse. Notation of the choreography will thus attempt to record precisely those moments of a dance language that are by definition disappearing at the time of their occurrence. This is also why notation of dance can never entirely escape the particularity of its own form, and because of this it is really important that a clear theoretical focus of notation is established beforehand.
Methodologies of notating contemporary dance is a multiannual project of documenting the work of choreographers of Slovene contemporary dance art. Carried out as public events hosted always by a choreographer and a dramaturge, the project focuses on recording methodologies of Slovene women choreographers of contemporary dance. Public discussions are planned to include on each occasion:
a) selected artist (dancer or choreographer)
b) critic or theoretician who will shed light on the author’s opus from a selected perspective.
Individual discussions will be realised in two parts: after a presentation of the author’s work (opus), the author herself will speak about her own methodological principle. The goal of the discussions is always the same; namely, to initiate a systematic reflection and documentation of the methodology of contemporary dance in the Slovene space, with an aim to facilitate accessibility of information about contemporary dance to expert and wider audiences.
Documenting the languages of women choreographers working since the 1980s as a record of overlooked voices will thus not be limited only to generations but will record individual practices and procedures in two different time periods that will be presented through dramaturgical discussions, which will crucially connect two processes: notation of choreographic procedures and dance dramaturgy.
The process will be expanded to include also forms of self-recording and articulation of the work of women artists who are active in the space of Slovene contemporary performing art.
Project coordinator: Andreja Kopač
Organisation: Maja Delak, Dare Pejić, Nina Janež
Technical support and documentation: Luka Prinčič
photography: Nada Žgank
About Breathing Thought Let’s begin with the most difficult questions: what is butoh? – For me, this is not the most difficult question. On the contrary, it is the simplest. Butoh is butoh. - From a talk with Tanja Zgonc Butoh is an art form that has its origins in Japan in the 1950s. It was part of a very radical postwar movement that resisted traditional values in art as well as in society as a whole, attempting to break down some deeply seated cultural taboos. During the ...
emergence of potentiality and new worlds through dreaming, tuning in, contemplation, and accepting experience
a coexistence of dichotomies as orientation points and their expressions in the collective and individual body
discussion about the practices, methods, and approaches that Katja has been developing since her MA studies and which she explored in her book /Dualisms: A Performer Prepares/, within collaborations and in No!training Lab
expressivity as the collage surface
a talk about continuous research /of presence/
methodologies of notating corporeal repositories
discussion among the participants of previous discussions on the methodologies