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Movements in Contemporary Dance I

MASKA,  Vol. XXVIII, No. 159–160 (Winter 2013)

 

The last double issue of Maska in 2013 is devoted almost entirely to dance. The current editorial board of Maska first raised the issue of the concerns of contemporary dance already in March 2012; almost exactly a year ago, this was followed by the first drafts for the present issue and finally by the decision that the contemporary dance issue should be addressed thoroughly and systematically. The long and highly inspiring discussions with editorial board members and friends Rok Vevar and Andreja Kopač gradually provided the focus for our contemplation, understanding and reading of dance through social contexts. We set an ambitious task of drawing the views of contemporary dance from different perspectives: historical, educational, infrastructural, performative, curatorial, production, theoretical, conceptual, interpretational… that are rhizomatically embedded within inter-genre and international transitions. The commission of articles and the intense work with authors produced so much material that I was forced to split it and expand it into two double issues.

 

The present issue is opened by two excellent contributions from the international conference “Electronic Literature and New Media Art” published in Maska under the umbrella title New Media Policies. The thematic supplement brings an article by Andreja Kopač about the problems of dance notation through time, an interview with Ingo Diehl, the project manager of the extensive and comprehensively designed education programme Tanzplan Deutschland (2005–2010), a study by Katja Legin about autonomous dance practices and studio-based creation of dance that do not necessarily result in actual productions or shows and that constitute a peculiar continuation of the American dance avant-gardes of the 1960s (Steve Paxton, Deborah Hay). In the Slovenian sphere, such exploration practices are nowadays intensely followed by artists such as Jurij Konjar, Mala Kline, Tomi Janežič and Gregor Kamnikar; their work, which cannot be properly classified in the applications for co-financing of cultural projects and programmes of municipalities, the state and the European Union, remains for the most part unreflected, poorly researched, undescribed and undocumented. Similar topics are addressed in the contributions by Stefan Apostolou-Hölscher and Danae Theodoridou. Both authors deal with possible alternatives to contemporary production conditions and processes that are generally dictated by neoliberal capital relations. Theoretical reflections about alternative art strategies, such as everybodystoolbox and Performing Arts Forum as well as the project Brouillon by French dancer and choreographer Boris Charmatz from Musée de la danse, affirm distinctively open, participatory models of production and curating. Our closing section Criticism Without Adjectives brings the reviews of two excellent books: A Choreographer’s Score by Belgian choreographer Anne Teresa De Keersmaeker and dance theoretician and musicologist Bojana Cvejić provides an in-depth account of four early choreographies of one of the most significant contemporary dance groups, Rosas, while the Parallel Slalom collection edited by Bojana Cvejić and Goran Sergej Pristaš brings a series of essays by very different authors, artists and theoreticians who have reflected on possible emancipatory strategies of dance through time on the basis of several eastern European experimental art practices.

 

As has been stressed, our broadly defined topic about the movements in contemporary dance will spill over into the next double issue of Maska to be published in three months. It will focus on a broad corpus of issues related to the historisation, archiving and interpretation of documents of the history of dance and reflect on the phenomenon of the festivalisation of production territories. I believe that the publication of some new information and some still unknown or newly rediscovered facts and documents from the history of contemporary dance in Slovenia will promote its further research, and possibly its artistic interpretations, too.

Amelia KraigherTranslated by Polona Glavan

Content

EDITORIAL

Amelia Kraigher: Movements in Contemporary Dance?

NEW MEDIA POLICIES

Beat Suter: ²BIG BROTHER REALLY IS WATCHING YOU!²

Saskia Isabella Maria Korsten: REVERSED REMEDIATION

MOVEMENTS IN CONTEMPORARY DANCE I

Andreja Kopač: FOLDING THE MOMENT – WRITING DANCE

Jedrt Jež Furlan: “IF YOU FIND ONE POLITICIAN AND CONVINCE HIM ABOUT THE IMPORTANCE OF DANCE FOR THE SOCIETY, YOU HAVE DONE A LOT.” Interview with Ingo Diehl

Stefan Apostolou-Hölscher: EXODUS AND PERFORMANCE ART

Katja Legin: AUTONOMOUS ARTISTIC PRACTICES AND RESEARCH

Danae Theodoridou: BROUILLON: SKETCHES OF MOVING WITH OTHERS

CRITICISM WITHOUT ADJECTIVES

Katja Čičigoj: HOW TO TAKE DANCE SERIOUSLY

Nika Arhar: CHOREOGRAPHY OF DISSONANT VOICES

Colophone

MASKA
Performing Arts Journal
Since 1920
vol. XXVIII, No. 159–160 (Winter 2013)
ISSN 1318-0509

Published by: Maska, Institute for Publishing, Production and Education | Metelkova 6, 1000 Ljubljana, Slovenia | Phone: +386 1 4313122 | Fax: +386 1 4313122 | E-mail: info@maska.si | www.maska.si | For the publisher: Janez Janša

Editor In-chief: Amelia Kraigher | Editor-in-chief assistant: Rok Vevar | Editorial Board: Pia Brezavšček, Katja Čičigoj, Zala Dobovšek, Ida Hiršenfelder, Janez Janša, Jedrt Jež Furlan, Simon Kardum, mag. Diana Koloini, mag. Andreja Kopač, dr. Bojana Kunst, dr. Aldo Milohnić, dr. Barbara Orel, Alja Predan, mag. Martina Ruhsam, Ana Schnabl, Miha Turšič | Contributing Editors: Nika Arhar, dr. Nenad Jelesijević, Nika Leskovšek | International Advisory Board: Thomas Irmer, Marija Karaklajić, Katarina Pejović, Marko Peljhan, Nataša Petrešin-Bachelez, Ixiar Rozas, André Schallenberg

Design and layout: Ajdin Bašić, Mitja Miklavčič | Slovene Language Editors: Tatjana Capuder, Mateja Dermelj, Amelia Kraigher, Gašper Malej, Melita Silič | English Language Editor: Eric Dean Scott | Print: Cicero | Copies: 400

Price of double issue (international): 10 € | Annual international subscription: Individual rate 47 € (distributed by Maska Ljubljana), Institutional rate 110 L, 154 $ (distributed by Intellect Ltd., UK) | Package and postage not included. | Secretary: Ana Ivanek | Subscription and distribution: ana.ivanek@maska.si | Account number: 02010-00165250861 | Maska is available in both print and electronic formats through Turpin Distribution: + 1 860 350 0031 (North America), +44 (0) 1767 604 951 (UK and ROW), custserv@turpin-distribution.com.

The journal is supported by the Slovenian Book Agency.

Events
— 21-01-2014 : Movements in Contemporary Dance I - round table
Kult3000, Metelkova 2b, Ljubljana
Maska & JSKD