(Slo)
Avtonomija plesu
Maska – časopis za scenske umetnosti,
št. 183–184 (poletje–jesen 2016/2017)
Posebna tematska številka Maske Avtonomija plesu: Študije primerov sodobnoplesnih praks nekdanjega jugoslovanskega prostora, je izšla v sodelovanju z Nomad Dance Insitutom (NDI), raziskovalnim programom balkanske plesne mreže Nomad Dance Academy (NDA), ki deluje od 2013 in vključuje 28 aktivnih udeležencev. V želji po »ustvariti lasten sodobnoplesni arhiv tam, kjer le-tega ni« ta številka Maske vsebuje poglobljen re-kontekstualiziran vpogled v stanje držav nekdanje Jugoslavije. Kljub različnim izhodiščem arhiviranja in zgodovinjenja ter načinom in slogom pisanja je vsem prispevkom skupno to, da vsebujejo historični in kontekstualni zapis procesa, kako se je sodobni ples dejansko »osvobajal« bodisi iz polja gledališča, baleta, institucije ali širše družbe ter postajal samosvoja umetniška zvrst, a bil hkrati ves čas sestavni del širših družbenih gibanj in sprememb, ki so jih prinesla 60., 80. ali 90. leta prejšnjega stoletja. Obsežni članki (kot pionirska dela) tako razkrivajo kontekste Makedonije (Slavčo Dimitrov & Biljana Tanurovska Kjulavkovski), Srbije (Milica Ivić & Igor Koruga), Slovenije (Rok Vevar & Jasmina Založnik) in Hrvaške (Ivana Ivković, Iva Nerina Sibila, Katja Šimunić).
Pisec uvodnika Rok Vevar je ob tem zapisal: »Menim, da je aktualno delo balkanske mreže NDA in projekta NDI – vključno z arhiviranjem koreografskih praks na Balkanu ali nemara še posebej z njim /…/ – izraziti dedič skupnega jugoslovanskega umetniškega, kulturnega, družbenega in političnega prostora in da je proces identitet in razlik možnost za različne oblike nadaljevanja tega navdihujočega kulturnega konteksta z drugimi sredstvi in možnostmi. Naše delo v kontekstu postjugoslovanske in postsocialistične izkušnje želi biti inter- in translokalno, pri čemer vidimo potencialnost v ponovnem premisleku nekaterih demoniziranih konceptov SFRJ, med katere spadata na primer samoupravljanje in v neki drugačni obliki tudi kulturni unitarizem. V politično, družbeno, kulturno in umetniško erodiranih kontekstih republik nekdanje Jugoslavije, potem ko so se v postsocialističnem obdobju z odprtimi rokami predale neoliberalni ideologiji, to vidim kot produktivno in celo subverzivno dejanje.«
izv. ur.: Andreja Kopač
Avtonomija plesu
Maska – časopis za scenske umetnosti,
št. 183–184 (poletje–jesen 2016/2017)
Posebna tematska številka Maske Avtonomija plesu: Študije primerov sodobnoplesnih praks nekdanjega jugoslovanskega prostora, je izšla v sodelovanju z Nomad Dance Insitutom (NDI), raziskovalnim programom balkanske plesne mreže Nomad Dance Academy (NDA), ki deluje od 2013 in vključuje 28 aktivnih udeležencev. V želji po »ustvariti lasten sodobnoplesni arhiv tam, kjer le-tega ni« ta številka Maske vsebuje poglobljen re-kontekstualiziran vpogled v stanje držav nekdanje Jugoslavije. Kljub različnim izhodiščem arhiviranja in zgodovinjenja ter načinom in slogom pisanja je vsem prispevkom skupno to, da vsebujejo historični in kontekstualni zapis procesa, kako se je sodobni ples dejansko »osvobajal« bodisi iz polja gledališča, baleta, institucije ali širše družbe ter postajal samosvoja umetniška zvrst, a bil hkrati ves čas sestavni del širših družbenih gibanj in sprememb, ki so jih prinesla 60., 80. ali 90. leta prejšnjega stoletja. Obsežni članki (kot pionirska dela) tako razkrivajo kontekste Makedonije (Slavčo Dimitrov & Biljana Tanurovska Kjulavkovski), Srbije (Milica Ivić & Igor Koruga), Slovenije (Rok Vevar & Jasmina Založnik) in Hrvaške (Ivana Ivković, Iva Nerina Sibila, Katja Šimunić).
Pisec uvodnika Rok Vevar je ob tem zapisal: »Menim, da je aktualno delo balkanske mreže NDA in projekta NDI – vključno z arhiviranjem koreografskih praks na Balkanu ali nemara še posebej z njim /…/ – izraziti dedič skupnega jugoslovanskega umetniškega, kulturnega, družbenega in političnega prostora in da je proces identitet in razlik možnost za različne oblike nadaljevanja tega navdihujočega kulturnega konteksta z drugimi sredstvi in možnostmi. Naše delo v kontekstu postjugoslovanske in postsocialistične izkušnje želi biti inter- in translokalno, pri čemer vidimo potencialnost v ponovnem premisleku nekaterih demoniziranih konceptov SFRJ, med katere spadata na primer samoupravljanje in v neki drugačni obliki tudi kulturni unitarizem. V politično, družbeno, kulturno in umetniško erodiranih kontekstih republik nekdanje Jugoslavije, potem ko so se v postsocialističnem obdobju z odprtimi rokami predale neoliberalni ideologiji, to vidim kot produktivno in celo subverzivno dejanje.«
izv. ur.: Andreja Kopač
(En)
Autonomy to Dance
Maska - Performing Arts Journal,
nos. 181–182 (Summer – Autumn 2016/2017)
Special thematic issue of Maska Autonomy to dance: Case studies of contemporary practices in the former Yugoslavian was published in cooperation with the Nomad Dance Institute (NDI), the research program of the balkan dance network Nomad Dance Academy (NDA), which has been operating since 2013 and includes 28 active participants. In the desire to "create our own contemporary archive where it doesn't exist yet," the Maska issue contains an in-depth re-contextualized insight into the state of the countries of the former Yugoslavia. In spite of the different starting points of archiving and historiography, and the ways and style of writing, it is common to all the contributions to include the historical and contextual record of the process, how contemporary dance was actually "liberated" either from the field of theater, ballet, institution or society, and became a unique artistic genre, but in the same time, an integral part of the broader social movements and changes brought by the sixties, eighties or nineties of the previous century. Extensive articles (as pioneering works) reveal the contexts of Macedonia (Slavcho Dimitrov & Biljana Tanurovska Kjulavkovski), Serbia (Milica Ivic & Igor Koruga), Slovenia (Rok Vevar & Jasmina Zaloznik) and Croatia (Ivana Ivkovic, Iva Nerina Sibila, Katja Simunic ).
As stated Rok Vevar in the editorial: »In my opinion, the current work of the Balkan dance network’s NDA and of the NDI project – including the archiving of choreographic practices in the Balkans, and perhaps especially with it, where we would by no means want to exclude the Bulgarian group, as systemic differences discernible when comparing different historical contexts are always illuminating for us as well as for them – is to bear witness to the heritage of the common Yugoslav art, cultural, social and political space and to emphasize that the process of identities and differences can be turned into manifold opportunities for continuing this inspiring cultural context through other means and possibilities. In the context of post-Yugoslav and post-socialist experience, our work aims to be developed inter and trans-locally, with a great potential to provide a reflection and a re-examination of certain demonized concepts associated with the former Socialist Yugoslavia, including, for example, self-management and cultural unitarism. In the politically, socially, culturally and artistically eroded contexts of the former Yugoslavia republics, which have completely surrendered to the neoliberal ideology in the post-socialist period, I see this as a productive and even subversive gesture.«
Executive editor Andreja Kopač
Autonomy to Dance
Maska - Performing Arts Journal,
nos. 181–182 (Summer – Autumn 2016/2017)
Special thematic issue of Maska Autonomy to dance: Case studies of contemporary practices in the former Yugoslavian was published in cooperation with the Nomad Dance Institute (NDI), the research program of the balkan dance network Nomad Dance Academy (NDA), which has been operating since 2013 and includes 28 active participants. In the desire to "create our own contemporary archive where it doesn't exist yet," the Maska issue contains an in-depth re-contextualized insight into the state of the countries of the former Yugoslavia. In spite of the different starting points of archiving and historiography, and the ways and style of writing, it is common to all the contributions to include the historical and contextual record of the process, how contemporary dance was actually "liberated" either from the field of theater, ballet, institution or society, and became a unique artistic genre, but in the same time, an integral part of the broader social movements and changes brought by the sixties, eighties or nineties of the previous century. Extensive articles (as pioneering works) reveal the contexts of Macedonia (Slavcho Dimitrov & Biljana Tanurovska Kjulavkovski), Serbia (Milica Ivic & Igor Koruga), Slovenia (Rok Vevar & Jasmina Zaloznik) and Croatia (Ivana Ivkovic, Iva Nerina Sibila, Katja Simunic ).
As stated Rok Vevar in the editorial: »In my opinion, the current work of the Balkan dance network’s NDA and of the NDI project – including the archiving of choreographic practices in the Balkans, and perhaps especially with it, where we would by no means want to exclude the Bulgarian group, as systemic differences discernible when comparing different historical contexts are always illuminating for us as well as for them – is to bear witness to the heritage of the common Yugoslav art, cultural, social and political space and to emphasize that the process of identities and differences can be turned into manifold opportunities for continuing this inspiring cultural context through other means and possibilities. In the context of post-Yugoslav and post-socialist experience, our work aims to be developed inter and trans-locally, with a great potential to provide a reflection and a re-examination of certain demonized concepts associated with the former Socialist Yugoslavia, including, for example, self-management and cultural unitarism. In the politically, socially, culturally and artistically eroded contexts of the former Yugoslavia republics, which have completely surrendered to the neoliberal ideology in the post-socialist period, I see this as a productive and even subversive gesture.«
Executive editor Andreja Kopač