Yearbook of the Independent Performing Arts Scene in Serbia - TkH

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As I return to my arguments from the previous chapter, the question ofassumed ‘colonization’ of Eastern Europe through dance gets additionalspotlight. I would nevertheless assume that this is not a question of colonizationperceived as an aggression from the outside, but of inner transformationof Eastern societies, adopting a neo-liberal capitalist social structureas already developed in the West. Their transformation annihilates thedistinction between the (socialist) East and (capitalist) West – although neitherex-East nor ex-West is still ready to fully accept it. So, when I recentlysaid 12 that what we had in Serbia at the moment was Western contemporarydance, Dalija Aćin asked: “How, when am I (perceived as) an Easternchoreographer?” She made her point. So did I. 13Proof-read by Irena Šentevska12 Tanzquartier Wien, May 31, 2007.13 My discussion tackled only the historical background of the local contemporarydance scene, which sustains Western dance history, but not the local/Eastern. We continued with a debate on what the actual outcomes of the localdance history that might be called contemporary Eastern dance would be like –new slets, parades, amateur dance? Perhaps… But there lies another problem:these practices have never laid claims to contemporaneity. Thence, a chapter ina discourse on contemporary dance in the former East should address the issueof claims to ‘contemporaneity’.r a s [41]t e r
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Page 2 and 3: Belgrade, january 2009.
Page 4 and 5: Yearbook of the Independent Perform
Page 6: project directory[44/45][46/47][48/
Page 9 and 10: changed when compared to the situat
Page 11 and 12: powerful institutional resources, a
Page 13 and 14: supporting fresh and emerging criti
Page 15 and 16: In alternative terms one could addr
Page 17 and 18: ary “forest artists” neverthele
Page 19 and 20: The impact of the Bitef Festival, a
Page 21 and 22: about is total absence of public th
Page 23 and 24: What was common to Yugoslav retro-a
Page 25 and 26: and tactics of behavior and work wi
Page 27 and 28: Kolekcija 18 (2008), when he attemp
Page 29 and 30: tion and heteronormativization in t
Page 31 and 32: gies in live performances. Example
Page 33 and 34: × ana vujanovićNot Quite-Not Righ
Page 35 and 36: art, body art and happenings of the
Page 37 and 38: at the level of critical re-thinkin
Page 39 and 40: aspect: “Fostering Creativity”,
Page 41: now!” activity, and nearly anonym
Page 45 and 46: In/Visible Cityphotography: Đorđe
Page 47 and 48: BLANKSPACE (Međuprostor)photograph
Page 49 and 50: CURVE FOR GAUSSphotography: www.haj
Page 51 and 52: knotphotography: Lidija Antonovićm
Page 53 and 54: photography: The Worstmudra theatre
Page 55 and 56: photography: Villa and Zapata in Pr
Page 57 and 58: AUDITION FOR PARADISEphotography: I
Page 59 and 60: ONE PIECE OF ADVICE - ONE BEERphoto
Page 61 and 62: TOUCHING - BREATHING - WALKINGphoto
Page 63 and 64: photography: Stanislav MilojkovićS
Page 65 and 66: photography: Srđan VeljovićtkhWAL
Page 67: I CAN NOT LEAVE, BECAUSE...photogra

Yearbook of the Independent Performing Arts Scene in Serbia - TkH

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