I am writing to you regarding the Croatian part of the Spider project and the situation we unexpectedly encountered while preparing our part of the project.
We have planned to work in two sessions: 1. Session was a 3 day period at the end of November and the 2. five days period supposed to happen this week.
In the first period we discussed the concept, were searching for the songs we wanted to work with and started to make sketches of the material. In the second period we supposed to develop the dance materials and start to work with a text that I created on the basis of the first period.
It supposed to be a duet on 5 songs representing female rock songwriters and developed further ideas like the ones mentioned bellow:
– To understand the very act of dance, the understand the performance of dance, its strategies and to relate to and create something new out of it ( another event)
– unity in speech and unification in retelling her/his history
– dance history
– to invent your future, create a new identity
But, yesterday on the first meeting of our 2 period we came to know that Ana is 6 weeks pregnant! Even though, we are rather happy for that news, it is changing our production completely. Since Ana has to take care of her pregnancy (by doctor’s commands); she is unable to be a part of the Spider production any more!
It is putting us in a rather tricky situation, because we have to deliver some materials for the final creation and at same time from these materials create our own project which is a coproduction between de facto and Contemporary Dance Studio. Not to mention that we already bought the tickets for Ana for the work in Bruxelles.
Last two days we were searching for possible replacements for Ana within our dance community and were trying to figure out other possibilities.
What we encountered with is the fact that other dancers from our community, we would like to imagine working on this project, are all already occupied. It is impossible to find a good replacement in such a short notice. Than we thought of collaborating with someone from the Spider team or some other dancers from Bruxelles or abroad. The problem with this solution is that after the Spider project we have to develop further and present Boys don’t cry project as a performance in its own and we do not have financial means for working further with someone outside of Croatia.
The only possible solution that we came with is that from the Croatian part only Sasa and Petra are working as a part of the artistic team of Spider and that we can offer Love will tear us apart and some parts of it that we going to develop separately in the next three days as autonomous materials. After the final creation we are going to develop Boys don’t cry as an autonomous project later in the year.
I know that it is rather unexpected news and we would like you to react urgently on the artistic and production side of this change, because we have a dance studio to rehearse only in the next three days.
Sorry for this new situation and we would appreciate your understanding and quick reactions.
Petra, Ana, Stefica and Sasa
….. jer mi možeš molim te poslati class description i mali cv i to. trebam slati na La Jette. traže za najavu.
For you to know, with Matej we’ve been deciding to call the final project: Spider / Just a Position
It’s a provisional title, we needed one. The com’ is done for the Subsistances. Sorry for not having consulting every one. It was an emergency. But we will speak about that as soon as we meet in Brussels.
Thank you for the help, ideas, and tralala…
For those who are interested in what we wrote, i’ll do a translation in the week.
after a lot of struggling i’m finally approaching the final dot…
Petra thanks for what you wrote. For the visual, actually, what would be great is to have an easier visual for Subsistances to put in their brochure. I truly like the 3 propositions you made, but if it could be, how to say, more simple? I don’t know…
For the title we decide it later, together.
Crazy David Bowie, thanks for this inspiration Leja.
Keep you posted people.
People, Subsistance are asking for monday the all communication for the performance in march. I feel in a terrible hurry. We need:
-a note of intention
-an approximative duration (that we can avoid maybe)
What I can do is: trying to make a short note of intention (I’m going to re-read everything we have on the blog and make a sort of synthesis, You will have to trust me on that, cause I’m not gonna be able to make translations in this short timing) What would be great is that you tell me what I should insist on. Every suggestions are welcome.
What you could do: If we could find a visual (Petra are you up to produce something in this lap of time?)
I apologize to be so dry, but we need to be fast. We are going to work on that this week-end. I take notes today, and I start tomorrow. I keep you posted and updated.
See you friends
hey every body
can you please send the name of the person and description of the class for the following three weeks in January of teaching at La Jette. It should be done as soon as possible. They are working on their schedule.
what I will try to explain is first my inspiration or the motor of our duet with Leja and then how I see that in the larger structure of final creation.
I just finished to read Baudrillard Passwords. Very interesting reading, but what I like the most is that there is a sense of utopia, a strong idea of universe as the opposition of what the system that we are in right now is offering us. I have a strong believe that avant-garde is dead, that the avant-gardistic is just a re-make of well build empire, or simply entertainment full of tricks, gags etc. I do like circus, I have to say, what I mean more here is, idea that would effect our perception. And again you could oppose me with saying that extraordinary physical capabilities are areal. It is true, but the set is very clear: I am going to see circus! More to say, if we could really look at the thing from another point of view. I believe that the way we are taught to look at the things came to the exhaustion and that the system of value is repeating in its core.
So I took it on individual level: national determination, gender, occupation.
What duet will try to do is to present a system of mentioned symbols, a repetition of chapters within rhythmical proposition. At the end every thing is about rhythm, flow of things, right?! And within that, the rhythm is the on that dictates focus. So my goal is, to create the structure, where moving progresses to its stop. So how do I shut down the movements. And while progressing to its stop my interest is in how our focus shift from surface to a deeper level. What would be deeper level is part of our duet research, so I will keep this discussion for studio. And even more by repeating that same structure, that same travel to the stop, can we deepen it context even more, or even can, we change the picture of the outcome? I am hitting on pre-mentioned determinations: national determination, gender, occupation. So for instance if in the first round we are dancing with shoes ( they need to be Moma ) which makes clear noise, what changes if I simply put them off? Or contact material that consist from pushing and pulling on the floor how does it sound if we do it naked? And at the end by letting the layers of cloths away ( even onion makes us cry )I am also striping to the skin to the body, in on going attempt- stoping the movement! I also find this idea of on-going attempt to stop the movement utopian, simply because we can not stop the movement. And very important, I need to see clear reason why body takes certain shapes, certain physicality. Stepping over something, coming close, being pushed- pulled, ……which was all done in the 70’s by Trisha, but you know dancing is my occupation!!!
Now for the over-all structure I believe that the symbol of Bazar is a key. I will quote B wards:
Somewhere there is a “reminder”( he is talking about the relation and exchange between objects ) which the subject can not lay hold of, which he believes he can overcome by profusion, by accumulation, and which in the end merely puts more and more obstacles in the way of relating.
I see the symbol of Bazar just as the system that we live in those days: full of offers which are becoming obstacles. Yet when we decide to go to Bazar it can happen that we have a very clear idea of what we are buying, taking, stealing, looking at, and that idea itself becomes our path. And what is the path that we are putting on? Further more I have a very strong believe, that the edges between our duets should stay sharp, bazar with concrete offers, and that the path should be our goal!
” As I went to Bazar I was passing by hookers, cars, funny art forms, etc., which attract my intention just for a second and which reminded me on all the possibilities that I have. But the Apple (hahahah) that I found had all the colors that I seen before.”
Are we talking about reduction???????? De-accumulation? Re-deconstruction? Re-utopia?
Should we speak about the title of this thing we are doing? Actually, I was thinking how should we name it, I mean define it?
– Performance ? moving installation? or dancing installation? action(s) of authors? or authors action(s)?
Sliding on the tittle :
– co/stellation… com-stellation… constellation…
– the time we are performing, for instance 20h-20H30-22h30…
– Mess Mass
Puree, mash potatoes and minestrone?
Any ideas friends?
Dear Friends, we are working right now in Lyon on our duet that we called … comme étant de l’émiettement. We had some thoughts about what we are doing and we wanted to share them with you. There is no immediate link with what we’ll do together, but we never know. I made a clumsy translation, hope you’ll understand something.
For…comme étant de l’émiettement (… as the fragmentation), we cover what we believe to be the deepest in our work: this « what-are-we-doing-here » and this « I-am-here-now ». Reacting to the idea, concept or representation, we initiate a vocable, an availability of the body to our desire. We work to develop a gesture (see as a unit) without pretext or pretexting the body. A gesture, as a verbal fulgurance, would be that we had never pronounced or that we always wanted to pronounce. In absolute, we do not want to say anything, no state, no denouncing. We prefer, as Bartelby (Melville), positioning ourselves in this speech: I would Prefer not to; that is, through a moderate but stubborn refusal, we found resistance, in that it contains subversive. By extension, as the child and the first man, we broach the memory to access to bipedalism. This stand characterizing the need to survive ( to increase subsistence). And hence our desire or detachment to create dance material, we seek on the side of sensation, to proof the meaning, not a given meaning but a meaning that would make sense to us, intimately. We survey what would be absurd for us, indefinite, what would be silent. We plunged into an epic of the unspeakable.
In metaphor, we rediscover the night, this time of the imbalance, the decline and the clamor but also the whisper, the comfort and the touch. The gesture, body movement, base of a revelation that the hidden soul beneath the skin arises from the act. Act of desperation, act of dismissal, act of perceiving, so to speak acts of the murmur.