Transdisciplinary research project by Bojana Cvejić, Marta Popivoda and Ana Vujanović
In the frame of TkH [Walking Theory] residency How To Do Things By Theory at Les Laboratoires d’Aubervilliers (2010-2012), we started a research about Performance and the Public. The main focus of Cvejić’s and Vujanović’s theoretical part of research are the concepts of “social choreography” and “social drama”, while Popivoda focuses on mass performances of ideology in former, socialist Yugoslavia.
Presentation of the research Performance and the Public at the symposium “Broken Performances: Time and (In)Completion”, March 21-23, 2013, Zagreb:
PDF available here.
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.