Simpozij → Seminar sodobnih scenskih umetnosti


If the body I dance with and the body I work and walk with are one and the same, I must necessarily entertain the suspicion that all of my body’s movements are, to a greater or lesser extent, choreographed. This would be a concise statement of the social choreography thesis, as Andrew Hewitt develops it in a series of essays about early modern dance and body cultures in prewar U.S. and Germany*. I will borrow this thesis to inquire about figures and gestures, characters and ideologies entertained in the notion which explicitly forwards itself as contemporary choreography. Along the idea of aesthetic continuum of bodily articulation – where indeterminateness of medium meets the overdetermination of ‘everything’s choreography’ - a number of recent dance performances consider choreography as synonymous with the verb to ‘perform’. Identifying performing with learning movement as if it were prescripted, these works create figures, some of which delight in transparency and legibility, while others stumble in striving to be adequate. I’ll pursue here the question: how can choreography as demonstration of its own specific discipline give way to choreography utilized beyond its proper meaning as a gesture of emancipation?

*Andrew Hewitt, Social Choreography: Ideology as Performance in Dance and Everyday Movement, Duke University Press, Durham and London, 2005.

More about lecturer

Bojana Cvejić practices critical theory in writing, teaching, dramaturgy and performance in dance, theater and contemporary music. She has published essays in performing arts magazines Etcetera, Teorija koja Hoda, Maska, Frakcija, etc., and books, forthcoming Beyond Musical Work: Performative Practice of Music. With Jan Ritsema she has developped a theater performance practice in a number of performances since 1999. Cvejić has been active in teaching in a number of European educational programmes (e.g., P.A.R.T.S. in Brussels), as well as organizing independent platforms for theory and practice in performance: TkH Centar (= Walking Theory Center in Belgrade) and PAF (PerformingArtsForum in St. Erme, France).