The Politics of Performance // Warsaw, 2011

full title: Jan Ritsema, Ana Vujanović, and participants of the dramaturgical workshop Politicality of contemporary performance medium: dramaturgical and anti-dramaturgical principles and procedures: "The Politics of Performance", performance-presentation powered by Générique tool from Everybodys Toolbox

Institute of Music and Dance / The Museum of Modern Art
March 26-3o, 2011, Warsaw

Performative turn. The Politics of Performance. (english) from Muzeum Sztuki Nowoczesnej on Vimeo.

Escenas discursivas (2011-2012)

Research on critical discourses on the contemporary performing arts scene in Madrid, by Marta Popivoda and Ana Vujanović

The research on critical discourses on the contemporary performing arts scene in Madrid is organized within Matadero – El Ranchito, Madrid, and in collaboration with Artea.
Co-authors: Ana Vujanović, Marta Popivoda

 

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“We are not the experts on cultural mapping who come to Madrid to ‘investigate’ its performing arts scene, nor we approach it as an exotic tribe. We define ourselves as ‘aliens’ to the scene, who are theoretically-politically laden. Thus, with our theoretical-artistic research we could hopefully give a challenging insight into the scene, being outside its circles, clans, and doxa. On the other hand, we see this research as a tool to re-think our own context and scene, as well as the concepts with which we operate.

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How to do things by theory (2010-2012/13)

Platform for performing theoretical activism, by Ana Vujanovic and TkH at Les laboratoires d’Aubervilliers

The long-term research project is organized within Les laboratoires d’Aubervilliers (Paris).
Authors and researchers: editorial collective of TkH, in collaboration with external collaborators.

The research project is conceived as a long-term initiative, the goal of which is to empower contemporary performing arts scene towards critical (self-)reflection, self-organization and alternative ways of knowledge production and sharing. It operates by connecting actors of the local (Paris) and international scene, which are testing their openness, curiosity and ability to transform themselves on the basis of common goals and objectives.

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Not Quite-Not Right Eastern Western Dance Scene

Ana Vujanović (2007-2011)

In order to write about the current situation of contemporary dance in Serbia, I could begin with the conceptualization and contextualization of its synchronic relations with the neighboring scenes, then also with other European or Western ones. As contemporary dance is a new phenomenon in Serbia, there are two problematic theses that I would like to put forward as starting points. Firstly, as there is no local contemporary dance history, there is no need to follow the diachronic traces of the present situation; and secondly, what is currently considered and practiced as contemporary dance in Serbia is contemporary Western dance. Hence, my task here is to clarify the influences, uses, transfers, translations, and appropriations of Western dance paradigms to this context that is not-quite-Western but not-right-Eastern either. Thus my starting point is plain and clear, though harsh. And yet, is it sufficient? I wouldn’t think so. But then, what can we do?

I will now try to examine my theses, in the hope that some new problems might eventually emerge. I will adopt a theoretical-political approach, maintaining that making problems forces us to rethink our common beliefs and habits. Consequently, this essay does not entertain a positivist-scientific approach.[1]

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