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- Volume 32, Issue 183, 2017
Maska - Volume 32, Issue 183-184, 2017
Volume 32, Issue 183-184, 2017
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Archiving the contemporary art of dance in Serbia: Issues with institutionalization, or on betraying the ‘Independence’ of the local dance scene
Authors: Milica Ivić and Igor KorugaAbstractAfter models that have been used so far on the local dance scene, there is a hybrid area of research that stood out in the vast field of research – the question of the institutional status/position of contemporary dance as an art practice, or in an even broader sense – a world of art, whose core value and political position in relation to the local scene was explicitly described as independent from institutions of art and culture. Our research into this issue was based mainly in interviewing eight independent choreographers who have worked with local institutions of dance and drama, primarily through artistic collaborations with directors of institutional drama theatres; we also gathered information in informal talks with other stakeholders in the performing arts. By juxtaposing a theoretical model of institutionalization of each art practice against a hybrid area of research such as this one, this text provides a very brief overview of all these issues as well as the discoveries and dilemmas that we came across during our research.
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Meta-morphic punk
Authors: Rok Vevar and Jasmina ZaložnikAbstractThe article takes a renewed interest in the artistic practices of the 1980s in Slovenia, aiming to build bridges between individual actors of the 1980s alternative scene in Ljubljana and to account for certain actors, who have been up to now lacking in interpretations of this period, and related phenomena ought nevertheless to be included in this narrative. By analysing new cultural phenomena, the article shows that one of the crucial vectors is a revision of the conception, perception and use of the public. Punk, as a catalyst for new social, cultural and artistic phenomena, is here understood as an ideological rather than aesthetic position. The contribution thus analyses the spectrum of tactics and strategies that enabled a specific cultural interregnum to inhabit the dissolving context of late-Yugoslav socialism. The conceptual framework given here perverts the traditional theatrical dichotomy between performers and audience, as performance suddenly includes everyone: urban space is transformed into performative materiality and theatrical semiotics. Space understood in this way, in which a multiplication of bodies can be perceived, can be thought of as a space of a different type of politics and can be sensitivized anew. To actualize punk’s starting points within the horizon of a new policy, what is needed is a spectrum of differences, i.e. regimes of corporeality, with which choreographic and dance practices are manifested as a proactive partner in an opening up of the public.
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Searching for context – 1984
More LessAbstractAn overview of the pivotal personalities on the Zagreb dance scene as related to the programming of the first Dance Week Festival in 1984. These are the School of Rhythmics and Dance, Contemporary Dance Studio, Free Dance Chamber Company and Zagreb Dance Company. By making a note on the progress of these entities, aesthetic orientations and positions in the social environment and reviewing the performances, a dynamics of the scene of the period is delineated.
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Literary dance: A personal reflection about two dancers in Zagreb in the eighties
More LessAbstractA personal account of one segment of the Zagreb dance scene of the 1980s, on the example of a choreographic collaboration between Blaženka Kovač Carić and Snježana Abramović Milković, iconic dancers from the 1980s Zagreb dance scene, on the pieces Attic (1984) and Angel Hair (1986), produced by Zagreb Dance Company.
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