Kretanja Movements DANCE MAGAZINE 26 Sadržajl Contents

ČASOPIS ZA PLESNU UMJETNOST Kretanja Movements DANCE MAGAZINE 26 sadržajl contents:

03 43 Katja Šimunić Iva Nerina Sibila uvodnik Dodiri s arhivskim: odsutnost i ﬁ kcije 06 editorial 49 In Touch with Archive: Absence and Fictions

09 57 Ivana Slunjski Maja Đurinović Onkraj arhiva: poetika istraživanja imaginarnih Istraživanje povijesti hrvatskog plesa, Crtice iz objekata plesa arheološke prakse 15 Beyond Archives: Poetics of Exploring Imaginary 65 Exploring the History of Croatian Dance, Sketches Objects of Dance from Archaeological Practice 73 21 Nada Dogan Katja Šimunić Kontinuitet individualiziranih tijela Hrabra efemernost plesne umjetnosti 75 Continuity of Individualised Bodies 27 Courageous Ephemeralness of Dance Art 85 35 Sonja Pregrad Pavle Heidler Radna knjiga: predmetnost tijela i pokreta Što je u kostimu: neostvarivi projekt 87 Workbook: Objecthood of Body and Movement arhiviranja plesa 39 What’s in a Costume – the Impossible Project of 104 Archiving Dance Suradnici / Contributors uvodnik:

roblematiziranje posebnih načina memoriranja i aktivnih oblika transmisije pogodnih za suvremena plesna djela kao i proširenu koreografsku praksu Ppodjednako je naglašeno kod stvaratelja plesne umjetnosti kao i onih koji ju reflektiraju i istražuju. Brojni stručni skupovi i stručna literatura koji tematizi- raju arhiviranje plesne umjetnosti odnosno plesno-umjetničke aktivacije arhive, posebice posljednjih desetak godina, nude inovativne polifonične analize, opcije i modele kako na teorijskome planu tako i na metodološkome, institucionalnom i pravnom. Suglasje je uspostavljeno s obzirom na to da tradicionalne baštinske i arhivističke institucije (čak i kad bi iskazivale temeljito zanimanje za plesnu umjetnost, a što je posve rijetko) u svojem striktnom i hijerarhiziranom organizacijskom obliku odjeljaka specijaliziranih na one bibliotečne, fotografske, filmske, digitalne itd. nisu pogodne za memoriranje plesa. Digitalizacija se može pak favorizirati kao agens koji čini građu raznoliko dostupnom, ali se umnožavaju i dvojbe u pogledu isključivo takva arhiviranja, spomenimo tek pitanje ne/adekvatnosti stješnjava- nja pokreta u datoteku ili pitanje objektivnosti podataka kao i prava na njihovo objavljivanje ako je riječ o privatnim inicijativama kakve su, primjerice, umjetnički vođene arhive, kakvih je na internetu sve veći broj. Prevalentno suglasje postignuto je i u tome da se dokumenti i arhive ne pro- mišljaju samo kao tragovi/izvori koji čuvaju memoriju nego kao oni koji omogu- ćavaju reaktualiziranje plesnih djela izazivajući nova tumačenja, koja opet zazivaju nova tumačenja itd. Nasuprot muzejskoj petrifikaciji i hijerarhizaciji naglašava se dijalektika pasivne građe i aktivna istraživanja, transmisije i kreacije. Preuzimajući 2009. vodstvo Nacionalnim plesnim centrom u Rennesu i pre- imenovavši ga u Muzej plesa, Boris Charmatz eksplicirao je kako je ta hibridna institucija nastala „protuprirodnim ukrižavanjem muzeja kao mjesta konzervacije, plesa kao umjetnosti pokreta i plesnoga centra kao mjesta produkcije i rezidencije. Muzej plesa paradoks je koji vuče svoju dinamiku iz vlastitih kontradikcija: ekspe- rimentalni prostor za razmišljanje, prakticiranje i proširivanje granica fenomena kojega zovemo plesom; operacija koja se aktualizira svakom svojom manifestaci- jom.” Muzej plesa Borisa Charmatza istodobno je subvertirao i afirmirao pojam muzeja čineći ga uzbudljivim i živim, kreativnim i efemernim te svakako postavio golem izazov raznolikim muzejskim i arhivskim institucijama. U tom smislu smo, s jedne strane, zamolili Pavla Heidlera, propulzivna suvre- menoplesnog umjetnika koji trenutačno radi i živi u Stockholmu, da analizira koncept i postav prvoga svjetskog muzeja plesa otvorena 1952. u tome gradu. Pavle Heidler u dvostrukoj je perspektivi osjetio i promislio Muzej plesa u Stockholmu i koncept njegova postava da pokret bude izložen i reificiran: kao plesač koji je u Muzeju izvodio ples i kao profesionalno involvirani zainteresirani opservator. uvodnik:

S druge strane, u ovome broju Kretanja izlažemo dva segmenta privatnih arhiva. Jedan je onaj naše likovne urednice, dizajnerice Nade Dogan u kojem ona izabire nekolicinu fotografija koje je snimala u različitim razdobljima i prostorima Škole za suvremeni ples Ane Maletić u Zagrebu bilježeći jedan od postulata škole: njegovanje individualnih korporealiteta. Drugi je segment, drugi izložak, ulomak Radne knjige Sonje Pregrad, među- narodno potvrđene umjetnice koja ples promišlja/stvara u iznimno zanimljivim i neuobičajenim suradnjama s drugim umjetnicima te neprekidnom beskompromi- snom propitivanju vlastita plesnog iskaza. Radna knjiga Sonje Pregrad, arhivski je artefakt o procesu stvaranja plesnoga djela naslova Karnevalski šator hrđa na večernjem povjetarcu i oprimjeruje bilježenje kao proširenu koreografsku praksu. Tekst plesne kritičarke i plesne teoretičarke Ivane Slunjski zalaže se za na- puštanje arhivističkoga nasljeđa koje počiva na politici isključivanja izvedbenih praksa, koje za sobom ne ostavljaju materijalni trag, i koje stoga nužno proizvodi i reproducira hegemonijski princip jednostrana tumačenja minulih događanja. Logici tradicionalnoga arhivskog mišljenja suprotstavlja istraživačke modele koji ustraju na višerazinskom potkrepljivanju konteksta plesnih događanja i stalnom angažiranom propitivanju i reinterpretiranju zabilježenih i konstruiranih sadržaja. Iva Nerina Sibila, plesna umjetnica, edukatorica i plesna kritičarka, dodiruje arhivske artefakte pokrenutim (movere), odnosno emotivnim (emovere), duboko osobnim pristupom. Posiže za dijelovima svoje osobne, ali i naslijeđene obiteljske plesne ostavštine i uvlači nas u opčinjujući svijet koegzistencije altdeutsch atmosfere zagrebačkih stanova i socijalističke realnosti, posvećenosti plesu u pismu nepoznatom destinatoru, haljine koja se zagubila, ali se i dalje pojavljuje u posve osjetilnom prisuću. Iva Nerina Sibila tankoćutno rastvara intimnu unu- trašnjost ne/mogućega plesnog sjećanja. Plesna kritičarka i plesna povjesničarka Maja Đurinović evocira nastanak svoje privatne arhive koja se počinje uspostavljati posve intuitivno još u djetinjstvu kada kao djevojčica sakuplja materijalne dokaze o odgledanim plesnim predstavama i druge sitnice vezane uz plesnu umjetnost. Postupak se kontinuirano nastavlja preobražavajući se u strast, napokon i profesiju rezultirajući pokretanjem prve plesne biblioteke, monografijama hrvatskih plesnih umjetnica, tekstovima u ča- sopisima i na simpozijima kao i koncipiranjem plesnih odjeljaka na velikim izlož- benim projektima. Usredotočena na povijest plesne umjetnosti u Hrvatskoj Maja Đurinović, iskusivši nedostatak institucije koja bi takva straživanja omogućavala i plesnu umjetnost pamtila, vjeruje da će se institucionalni prostor arhive plesa u dogledno vrijeme u nas ostvariti. Autorica ovog uvodnika piše o plesnim praksama neoarhiviranja koje vita- lističkim pristupom eksplodiraju performativni i istraživački potencijal povijesne građe i o poetici nearhiviranja koja je stvaralački skeptična prema muzejsko-ar- hivskoj građi u ma kojem obliku, smatrajući da je bitno konstitutivni kontekst u kojem je plesna izvedba nastajala i postojala nepovratno izgubljen. Srodne po- stupke neoarhiviranju, ali i nearhiviranju autorica pronalazi u izvedbama Sandre Banić Naumovski i Selme Banich, Matije Ferlina te Barbare Matijević u sklopu Konstrukcije perspektive 2016, projekta kojim se u raznim oblicima izvedbenih interakcija provjeravala dekada Sodaberg koreografskog laboratorija i plesne umjetničke prakse Marjane Krajač. Kretanja 26 nastoje biti aktivni dio polimorfne i polisemične, nomadske i otvorene arhive, dinamična dijaloga i nepredvidiva pokreta.

Katja Šimunić

4 _ Kretanja 26 editorial: . In the photo: Nastasja Štefanić, Tamara Curić, Ivana Pavlović. Photo: Roko Crnić. > Disappearances < Multimedijalna koliba and Zrinka Šimičić Mihanović,

Movements 26 _ 5

editorial:

xamining special methods of memorising and ously subverted and validated the notion of museum, active forms of transmission suitable for contem- making it exciting and alive, creative and ephemeral, Eporary dance works, as well as expanded choreo- and it definitely created a great challenge to different graphic practice, is equally present with both the makers museum and archive institutions. Bearing this in mind, of dance art and those who reflect and analyse it. A num- we asked, on one hand, the Stockholm-based propulsive ber of symposiums and papers have focused on archiving contemporary dance artist Pavle Heidler to analyse the dance art, more accurately, dance/artistic activations of concept and set-up of the first global dance museum, archives in the past dozen years have provided innovative opened in 1952 in this very city. Through a dual lens, polyphonic analyses, options and models both in the the- Pavle Heidler expressed his feelings and reflections on oretical domain and in the methodological, institutional the Stockholm Dance Museum and the concept of its and legal fields. Agreement has been established on the set-up to expose and reify movement: as a dancer who matter that traditional heritage and archive institutions performed dance in the Museum and as a professionally (even when they express a fundamental interest in dance involved interested observer. art, which is quite rare), in their strict and hierarchized On the other hand, this issue of Movements exhib- organisational structure of departments specialising in it two segments from private archives. One belongs to libraries, photography, cinema, digital forms etc., are not our art editor, designer Nada Dogan, and presents a suitable for documenting dance. Digitisation could be selection of photographs she made at different periods favoured as an agent which makes the materials diversely and locations across Ana Maletić Contemporary Dance available, however dilemmas pertaining to such archiving School in Zagreb, registering one of the school’s essen- exclusively appear increasingly: to name only the issue tial hypotheses: fostering individual corporealities. The of non/adequacy of compressing movement into a file other segment, the other exhibit, is an excerpt from or the matter of data objectivity, as well as copyright, in Workbook (Radna knjiga) by Sonja Pregrad, an interna- case of private initiatives, such as artist-driven archives, tionally acclaimed artist who contemplates/creates dance an ever more frequent online occurrence. in extremely interesting and unexpected collaborations Prevalent accordance has also been established regard- with other artists and neverendingly challenges her own ing the issue of documents and archives examined not dance expression. Workbook by Sonja Pregrad is an archi- only as traces/sources safekeeping memory, but also val artefact about the process of making the dance work as those that enable a reactualisation of dance works, The Carnival Tent Rusts on the Evening Breeze (Karnevalski sparking new interpretations, which in turn propel new šator hrđa na večernjem povjetarcu) which exemplifies interpretations etc. Opposite museum petrification and record-making as expanded dance practice. hierarchization is an accentuated dialectic of passive mate- Dance critic and dance theoretician Ivana Slunjski’s rial and active research, of transmission and creation. essay advocates for the abandonment of archival herit- When taking over the management of the Nation- age based on the politics of exclusion of performative al Dance Centre in Rennes and renaming it to Dance practices that do not leave a tangible trace and which, Museum, Boris Charmatz expressly said that this hybrid henceforth, inevitably produce and reproduce a hegem- institution was made by “unnaturally cross-breeding a onic principle of one-sided interpretation of past events. museum as a place of conservation, dance as the art of The logic of traditional archival considerations is juxta- movement and a dance centre as a point of production posed by research models that persevere in providing and residence. A museum of dance is a paradox whose multi-layered grounds to dance events and constant dynamics originates from contradictions of its own: the engaged questioning and reinterpretation of registered experimental space of thinking, practicing and expanding and constructed content. the boundaries of this phenomenon we call dance; the Iva Nerina Sibila, a dance artist, educator and dance operation actualised with its each and every manifesta- critic, focuses on archival artefacts through a moved (mov- tion.” Boris Charmatz’s Dance Museum has simultane- ere), i.e. emotional (emovere), deeply personal approach.

6 _ Kretanja 26 editorial:

She resorts to parts of her personal and inherited family dance-related heirloom and immerses us deep into the captivating world of coexistence between the altdeutsch atmosphere of Zagreb flats and socialist reality, of dedica- tion to dance in a letter to an unknown addressee, a dress that has been lost but nevertheless reappears in a fully sensual presence. Iva Nerina Sibila delicately dissolves the intimate inside of im/possible dance memory. Dance critic and dance historian Maja Đurinović evokes the making of her private archives which started to gain intuitive shapes back in her childhood, when she collected material evidence of seen dance performances and other dance-related memorabilia. The procedure continued, turning into a passion and, consequently, into a profession, resulting in the launch of the first dance edition, monographs of Croatian dance artists, articles in magazines and at symposiums, as well as designing dance sections within the scope of large exhibition projects. Focused on the history of dance art in Croatia, Maja Đurinović, having experienced a lack of an institution that would make such research more possible and memorise dance art, believes that an institutional space dedicated to archiving dance might soon become a reality in our country. The author of this editorial writes about dance practices of neo-archiving whose vitalist approach explodes performative and research potential of historical material and about the poetics of neo-archiving, which is creatively sceptical of museum/archive material in any possible form, believing that the constitutive context in which a dance performance was made and existed is irreversibly lost. The author finds similar approaches to neo-archiving and non-archiving in performances of Sandra Banić Naumovski and Selma Banich, Matija Ferlin as well as Barbara Matijević in the project Constructing Perspective 2016 (Konstrukcija perspektive 2016), which through different forms of performative interactions checked the decade of Sodaberg choreographic laboratory and Marjana Krajač’s dance art practice. Movements 26 is trying to be an active part of a pol- ymorphous, polysemic, nomadic and open archive, of a dynamic dialogue and unpredictable movement.

Katja Šimunić

English translation: Ivana Ostojčić

Movements 26 _ 7 Ivana Slunjski: Onkraj arhiva . > Glečer < Stranica partiture skladateljice Ane Horvat za predstavu Ivana Slunjski: Onkraj arhiva

IVANA SLUNJSKI Onkraj arhiva: poetika istraživanja imaginarnih objekata plesa

ad je posrijedi arhiviranje plesne umjetnosti, čitava i postaju nestajanjem većega dijela cjeline koju su tvorili, s plejada teoretičara i tumača i (plesne) izvedbe i arhiva vremenom jača i odvjetak koji ontološko izjednačavanje izved- Kne/mogućnost pohranjivanja plesnoga čina gotovo be s nestajanjem potiskuje tezom da se izvedba neprestano neizostavno promišlja na liniji binarizama, suprotstavljajući transformira u nešto drugo, također ostavljajući za sobom nematerijalnost izvedbe materijalnosti arhiva, njezinu ne- tragove ili ostatke, ali ih „ostavlja drukčije”. stalnost njegovoj stalnosti, nepouzdanost sjećanja pouz- U utjecajnoj studiji „Performance Remains” najprije danosti dokumenta, nepovratnost trenutka beskonačnosti objavljenoj 2001. u časopisu Performance Research3, a de- vječnoga. Slijedimo li odvjetak koji konstituiranje izvedbe, set godina poslije u revidiranoj inačici kao poglavlje istoimene odnosno događanja određena trenutačnom i neposredo- knjige, Rebecca Schneider obrazlaže da zagovaranje izvedbe vanom razmjenom unutar „autentične zajednice” definira kao nestajanja pogoduje imperijalističkoj logici arhiva. Ako se njezinim nestajanjem (od osamdesetih godina 20. stoljeća i ne može sačuvati njezin konstitutivni dio, može li u tom slu- Richarda Schechnera nadalje), ili vokabularom Peggy Phelan čaju izvedba propitivati arhivsko mišljenje4? Jasno, ne može. „postajanjem kroz nestajanje”, medij plesne izvedbe odmah Isključujući iz domene sve što bi moglo ugroziti njegovo odr- je depriviran logikom arhiva. Jer se u arhiv pohranjuje „ono žanje i reproduciranje postojeće logike, a sam pritom izvodeći što je prepoznato kao konstitutivni ostatak, koji je mogao „instituciju nestajanja, s ostacima predmeta kao pokazateljima biti dokumentiran ili je postao dokumentom”1, dok izvedba nestajanja i izvedbom određenom da nestane”5 i nasuprot nema dokumenta s obzirom na to da je ontološki neraskidiva s tome potrebu za očuvanjem, arhiv u tradicionalnome obliku trenutkom pa ne može ni ostaviti materijalni trag. Oslanjajući prisvaja isključivo pravo na prošlost, ozakonjujući jednu mo- se na uvide poststrukturalizma da je nestajanje svojstveno i guću inačicu prošlosti kao jedino vjerodostojnu povijest. A svim materijalnim dokumentima2 te da oni kao ostaci upravo povijest koja se izvodi na temelju materijalnih ostataka, prem-

1 Schneider, Rebecca, „In the meantime: performance remains”, 3 „Performance Remains”, Performance Research, br. 2, god. 6, Performing Remains. Art and War in Times of Theatrical Reenactement, 2001, str. 100–108. Routledge, London i New York, 2011, 87–110, str. 98. 4 Schneider, 2011, str. 99. 2 Usp. Schneider, 2011, str. 102. 5 Schneider, 2011, str.104.

Movements 26 _ 9 Ivana Slunjski: Onkraj arhiva

da pohranjenih kao ovjereni dokument prošloga i premda se menom bliži kontekst. Stoga je svaka rekonstrukcija proš- ta povijest nastoji prikazati kao kontinuirana i pravocrtna, loga događaja nova konstrukcija, novo tumačenje ili nova zapravo je povijest diskontinuiteta. Osim što dokumentiranu invencija6, a izvedba povijesti koja se ne želi prikazati kao građu obvijaju velike praznine nedokumentirana vremena i izvedba, kao konstrukt, nego kao rekonstrukcija stvarnih događanja, dokument prošloga ili sačuvani materijalni ostatak događaja, zapravo je „kanonski glavni narativ” koji „vodi do ne govori ništa ili govori veoma malo o kontekstu iz kojega sadašnjega trenutka i onemogućuje opažanje alternativnih je taj materijalni artefakt istrgnut. Prikupljena arhivska građa povijesti, protusjećanja ili praksa otpora”7. tako privilegira ono što je pohranjeno nad drugim nesaču- Pohranjeni su objekti sami po sebi podložni fikcionalizi- vanim materijalnim i nematerijalnim artefaktima, kulturom i ranju jer smisao upravo dobivaju narativnim povezivanjem, općenito življenjem unutar nekog promatranog vremenskog bilo da se tumač oslanja na sjećanje ili je posrijedi naknadna odsječka, određujući i ograničavajući vrstu pitanja i načine konstrukcija prema sačuvanim dokumentima. Uvjeravajući pristupa i pohranjenoj građi i razmatranome događanju, time nas u jedinu istinu, pohranjeni objekti uvijek već unapri- i iščitavanju i konstruiranju konteksta. Potom, nije svejedno jed iznevjeravaju prošlost, s obzirom na to da umjetnič- je li pohranjeni artefakt slučajno sačuvan ili ga je netko nako djelovanje nije određeno samo time što je uključeno, mjerno sačuvao za budućnost. Ako je namjerno ostavljen, nego jednako i onime što je isključeno iz nekoga izbora. uvijek bi trebalo biti aktualno pitanje tko ga je sačuvao, iz Artikulirati povijest na temelju pohranjenih dokumenata kojih razloga i s kojom svrhom. Od velike bi važnosti trebalo jednako je stoga nepouzdano kao i oslanjati se na sjećanje biti i tko izvodi konstrukciju na temelju artefakata do kojih ili na prakse prijenosa s tijela na tijelo. U tome smislu arhiv je došao, kojim i kakvim znanjima i uvidima raspolaže, i čija doista prokazuje, kako ističe Rebecca Schneider osvrćući se povijest pritom izvodi. A to se nerijetko, osobito u malim se na Derridaova razmatranja u knjizi Archive Fever8, svoj društvima kakvo je hrvatsko, u kojem i ne postoji šira svijest o patrijarhalni princip, koji istodobno podupire i patriline- bilježenju i pohranjivanju nematerijalnih ostataka izvedbene arnost i paricid9. Obratimo li pozornost na to da je riječ građe, osobito plesne, redovito previđa. arhiv u korijenu povezana s riječju arhont, onime koji je na čelu države, arhiv se tada razotkriva kao mjesto onoga koji Fikcionalizacija narativa se „smatra da posjeduje pravo stvaranja ili predstavljanja ećina dosad objavljenih interpretacija dijelova povi- zakona”.10 Tumač pohranjene građe, što je u našoj situaciji jesti hrvatskoga plesa izvodila se prema podacima zbog nepostojanja pravoga arhiva, u kojem bi informaci- V iščitanim iz obično nevelike, sačuvane prateće do- je ipak bile dostupne svima zainteresiranima, često onaj kumentacije o pojedinim događanjima, najčešće nađene u privatnim spremištima i privatnim arhivama, jer pravi arhiv 6 Osvrnuvši se na inscenaciju Susanne Linke (1988) nastalu pre- plesa, ni tradicionalni koji bi sustavno obrađivao i pohranjivao ma koreografiji Affectos Humanos Dore Hoyer (1962), Mark Franko prateću građu plesnih izvedaba, ni alternativni, suvremeniji predlaže razlikovanje rekonstrukcije i reinvencije kao dva načina odnosa prema povijesnoj izvedbenoj građi. Prema Franku reinven- modeli koji bi eventualno drukčijim pristupima bilježili ne- cija je raščlanjivanje nekoga djela prema početnim izvorima (npr. materijalne tragove plesa, ne postoji. Pritom se mnogo toga koreografski zapis) i ne teži proizvesti repliku negdašnjega rada. do čega se došlo nekritički uzelo kao relevantni podatak, bez „Pomak s rekonstrukcije prema reinvenciji također je pomak pre- opsežna, višerazinskog propitivanja konteksta – metodologija ma koreografiji koja aktivno promišlja povijesne izvore.” Franko, „Repeatability, Reconstruction and Beyond”, Theatre Journal, The istraživanja često je nejasna ili nedostatna, sadržaj iznesen Johns Hopkins University Press, br. 1, god. 41, 1989, 56–74, str. 60. anegdotalno, nije provjerena relevantnost navođenih izvora, 7 Mitchell, W. J. T., Picture Theory, Chicago, University of izvori nisu uvijek ispravno navedeni, citati su mjestimice ne- Chicago, 1994, str. 87. Cit. prema Garoian, Charles R., „Performing potpisani i kad je izvor poznat, sadržaj je kad god je to mogu- the Museum”, Studies in Art Education, br. 3, god. 42, National Art Education Association, 2001, 234–248, str. 237. će izdašno popraćen fotografskim prilozima iako fotografije 8 Derrida, Jacques, Archive Fever: A Freudian Impression, Chicago, zbog karakteristika fotografskoga medija ne mogu uhvatiti University of Chicago Press, 1995. ni esenciju plesne izvedbe ni ono što bi se moglo označiti 9 Vidi Schneider, 2011, str. 76–78. Derrida se oslanja na Freudovo kao njezin „konstitutivni ostatak”. Relacije među sačuvanim tumačenje kulture koja počinje sa zločinom, odnosno ocoubojstvom (primordijalni otac prahorde ima pravo na sve žene, u jednom trenut- artefaktima uspostavljaju se, naravno, narativno, a tako se ku sinovi se ujedinjavaju, ubijaju oca i požderu ga). Iz osjećaja podvo- tretiraju i diskontinuiteti, jazovi nepotkrijepljeni materijalnim jenosti razvija se osjećaj krivnje i naknadna poslušnost. Mrtav otac ostacima. Istodobno se interpretacija ili konstrukcija prošlih stoga je jači nego živ otac. Ono što je sinovima branio otac, sad brane događanja vezanih uz ples nastoji prikazati kao rekonstrukcija sami sebi – ubojstvo totema (koji reprezentira oca) i seks sa ženama istog totema. Kultura se tako utemeljuje ograničavanjem samovolje povijesti plesa koja se nadaje kao kanon. No rekonstrukcija pojedinca. Pojedinac štuje totem, totem ga štiti. je prošlih događanja nemoguća, čak i kad je posrijedi vre- 10 Derrida, 1995, str. 2. Cit. prema Schneider, 2011, str. 97.

10 _ Kretanja 26 Ivana Slunjski: Onkraj arhiva

< Multimedijalna koliba i Zrinka Šimičić Mihanović, Nestajanja. Na fotograﬁ ji: Ivana Pavlović, Nastasja Štefanić. Foto: Jasenko Rasol. >

koji prvi dođe do nekoga materijalnog artefakta, analogno nom pritvoru’ i ‘domiciliranju’”11. Tako se tjelesni prijenosi se postavlja na vrh te hijerarhizirane piramide. Materijal- znanja i tjelesnost sama ponovno upisuju kao neukrotivi, ni tragovi, ostataci negdašnje cjeline koja je nestala (smrt nepoželjni, zazorni. objekta), jedino su što arhiv može regulirati. Nematerijalne tragove izvedbe nakon što se ona nestajanjem transformira Nagomilavanje digitalnih podataka u nešto drugo, tjelesnu memoriju izvođača ili recipijentovo rhivsko sjećanje, informacija upisana u materijalni iskustvo gledanja primjerice, arhiv ne može kontrolirati te ostatak koja čeka da ju netko naknadno iščita, na- izvedba proizvodi svojevrsni skandal. Ali skandal nije u tome A meće se stoga vrednijim od mentalnoga i tjelesnog što izvedba nestaje, „što arhiv očekuje”, nego to što ostaje drukčije pohranjena, izvedba se „opire arhontskom ‘kuć- 11 Schneider, 2011, str. 104–105.

Movements 26 _ 11 Ivana Slunjski: Onkraj arhiva

sjećanja (što su na kraju ipak dvije različite, a povezane Muzejski postav čine nevidljivi objekti, odnosno opisi ima- manifestacije tjelesnosti), iako iščitavanje nikad ne može ginarnih objekata koje posjetitelji doniraju vodiču tijekom biti jednako onome što je učitano, zbog očite različitosti obilaska muzeja, razmješteni unutar postava Muzeja suvre- konteksta realizacije događanja i odgođena konteksta tu- mene umjetnosti. Budući da se zbirka pohranjuje u sjećanju mačenja, čak i kad ne bi bilo diskontinuiteta u pohranjenoj vodiča, postav nevidljivih objekata svakom se ponovnom građi. Osim vlastitih iskustvenih spoznaja tijelu je dostupno izvedbom mijenja, iskrivljuje, osiromašuje ili dopunjava, i kolektivno sjećanje, s kojim pojedinac dijalogizira putem ovisno o pojedinačnim procesima pamćenja i evociranja usmene predaje, društvenih obrazaca, ritualnih ponavljanja. sjećanja svakoga vodiča. Nevidljivi muzej usredotočen na No suvremenost življenja u digitalnome dobu diktira nam procese pamćenja i prisjećanja, odnosno na dokumentiranje prije svega arhivski predznak, tjerajući nas na gomilanje i arhiviranje izvedbenih umjetnosti, i izveden unutar stvar- nepreglednih količina podataka, simulirajući potrebu za sa- noga prostora i materijalnog postava Muzeja suvremene moarhiviranjem i posve nevažnih stvari kao svjedočanstva umjetnosti, sučeljava nestalnost izvedbe koja „ostaje druk- postojanja. Ako dnevnim ritmom ne stvaramo sadržaje u čije” i trajnost opipljivih artefakata koji ovjeravaju povijest elektroničkome okolišu, kao da nas ni nema. Bujajući iz dana (umjetnosti), nagrizajući strategije tradicionalnih arhivskih u dan, jednakom brzinom nove gomile podataka smjenju- i muzejskih praksa. ju i zasjenjuju stare, njihova se važnost relativizira, sve je Čini se da je u vremenu usmjerenu na vizualno spozna- jednako važno i ništa nije važno. Sve je manje potrebe za vanje procese pamćenja i prisjećanja neophodno aktualizirati pamćenjem i prisjećanjem, na kraju, tko bi i pamtio nešto s pomoću drugih osjetila. Osim što je pokretač tih procesa, samo relativno važno i nešto što se u slučaju prijeke potrebe „senzorna aktualizacija” pomaže nam da vratimo i načine može vratiti skrolanjem na ekranu? Što se pamćenje manje djelovanja, mobiliziranja misli i ideja na putu prema nekom prakticira, „povećava se potreba za vanjskim, opipljivim prijašnjem otjelotvorenju pokreta. S obzirom na to da tijelo znakovima bitka koji postoji samo u sjećanju”12. Odatle raspolaže iskustvom kretanja, prisjećanje dobiva tjelesni, kao kontraučinak samo jača arhivski impuls, u nadi da će materijalni oblik.16 Prijenos iskustva dodirom s tijela izvo- se videozapisima, fotografskim i auditivnim bilježenjem đača na tijelo recipijenta u izvedbenim umjetnostima nije očuvati sadašnji trenutak, a kako „ne znamo što budućnost često viđen. Rumunjska umjetnica Madalina Dan u taktilnoj od nas želi”13, sve se pohranjuje kao zalog budućega. Ali izvedbi za jednu osobu The Agency of Touch, ugošćenoj vrijednost pohranjenoga ne leži u stvaranju novoga znanja, na netom završenim desetim Improspekcijama17, upravo u „u traženju, prikupljanju i dijeljenju da bi se, na primjer, dodiru otkriva izvedbenu gestu. U pojedinačnome susretu istražio, interpretirao i promijenio svijet”, nego u „moguć- s recipijentom manipulira njegovim tijelom ne bi li stvorila nosti pretraživanja” i „mogućnosti raspodjeljivanja”. Stoga taktilne kompozicije. Njezina taktilna praksa uljučuje rad sa „pitanje povijesti kao forme znanja nestaje”.14 slojevima kože, receptorima dodira koji registriraju različite teksture, pritisak, kretanje i vibracije. Taktilna izvedba za jed- Opiranje arhivskomu impulsu nu osobu utvrđuje se kao integrativni prostor međutjelesne ao način suprotstavljanja dominaciji arhivskoga im- razmjene na osjetilnoj, emocionalnoj, energijskoj, anatomskoj, pulsa vrijednim se čini spomenuti u javnosti slabo za- ali i transcedentalnoj razini. K pažen projekt Nevidljivoga muzeja, koji su izvedbeni Na istome festivalu upriličen je i somatski susret izvođača umjetnici Ben Evans i Luís Miguel Félix ujesen 2013. ostva- i publike Nestajanja18 autorice Zrinke Šimičić Mihanović, na- rili u suradnji s lokalnim umjetnicima Ekscene15 u Muzeju dahnut raznim somatskim pristupima tijelu. Zanimljivo ga je suvremene umjetnosti u Zagrebu. Nevidljivi muzej izmiče spomenuti u okviru problematike koja se tekstom razmatra materijalnosti, temeljeći se na usmenoj razmjeni sjećanja jer konceptom spaja nestalnost pokreta i plesa, koji autorica i iskustava vodiča, autora projekta, i posjetitelja muzeja. 16 Usp. Bleeker, Maaike A., „(Un)Covering Artistic Thought 12 Nora, Pierre, „Između sjećanja i povijesti”, s francuskoga pre- Unfolding”, Dance Research Journal, br. 2, god. 44, 2012, Cambridge vele Milena Ostojić i Ana irena Hudl, Diskrepancija, br. 12, god. 8, University Press, 13–26, str. 13. Klub studenata sociologije Diskrepancija, 2007, 135–165, str. 145. 17 Izvedbe 24. i 25. studenoga 2016. u Teatru ITD. Oblikovanje pro- 13 Smith, Marquard, „Theses on the Philosophy of History: stora i kostima: Ana Botezatu. Oblikovanje zvuka: Natalia Bustamante. The Work of Research in the Age of Digital Searchability and Produkcija: Das Hochschulübergreifende Zentrum Tanz Berlin. Distributability”, Journal of Visual Culture, Sage Publications, 2013, 18 Plesačice: Tamara Curić, Lana Hosni, Roberta Milevoj, Ivana br. 3, god. 12, 375–403, str. 388. Pavlović, Zrinka Šimičić Mihanović, Nastasja Štefanić. Autor zvuka: 14 Smith, 2013, str. 382. Roko Crnić. Oblikovatelj svjetla: Tomislav Maglečić. Koprodukcija: 15 Nino Bokan, Nikolina Komljenović, Marko Kalc i Martina Multimedijalna koliba i Zrinka Šimičić Mihanović. Premijera: 23. Granić. Produkcija: Ekscena. studenoga 2016. u Teatru ITD.

12 _ Kretanja 26 Ivana Slunjski: Onkraj arhiva

suptilno poistovjećuje s osjetom, koji se kao i osjet doga- predodžbu o događanjima. Je li moguće afirmirati bilo koje đa u trenutku, i proces starenja, nestajanja tijela. Dok tijelo prošlo događanje, a da to nije već unaprijed iznevjereno? Što nestaje, ono se neprestano mijenja i, kao i pokret, pretvara nam onda preostaje u pokušaju očuvanja plesa? Ne previše. u nešto drugo. S druge strane, koliko god se tijelo mijenja Možemo pokušati višesmjerno i višedimenzionalno podupri- i nestaje, postoji neka konstanta, izvjestan princip koji se jeti sadašnji kontekst da bismo nekomu budućem, bližem održava, čak i tjelesno matrilinearno prenosi potomcima19. ili daljem istraživaču olakšali snalaženje među podacima i Tako se i pokret koji nestaje na staničnoj razini upisuje u tje- interpretaciju. lesno sjećanje, čuvajući primarni impuls gibanja prve stanice Povijest koja se rekonstruira iz sadašnjega trenutka uvijek i prenoseći ga na čitavo tijelo. Navedena tri događanja mogli je povijest sadašnjosti, jer istraživač prošlim događanjima pri- bismo označiti kao „prakse otpora” koji se ili zbog načina stupa s vremenskim odmakom, raspolažući recentnim anali- razmjene i pohranjivanja iskustva i znanja između izvođača tičkim aparatom i unoseći u građu aktualni kulturni kontekst. i recipijenata ili upravljanjem imaginarnim objektima plesa Svako razdoblje ima svoju epistemu istraživanja. Premda u opiru „kanonskomu narativu” arhiva. svjedočenju, bilježenju i arhiviranju sadašnjosti također baratamo interpretacijama, odnosno konstrukcijama događaja, Arhiviranje u službi istraživanja ili fikcionalizacijama, bitno je drukčije iz sadašnjega trenutka, igitalni se okoliš pokazao pogodnim rasadnikom analitičkim aparatom kojim raspolažemo danas, govoriti i pi- arhiva. Ima arhiva i arhiva u mrežnome beskraju. I sati o događanjima kojima svjedočimo, iako nemamo većeg D sam je internet svojevrsna arhiva. I takav nije posve odmaka od toga što se događa. I zahvaćanje sadašnjosti i za- materijalan, premda pohranjuje i digitalne zapise materijal- hvaćanje prošlosti iz sadašnjosti jesu konstrukti, ali govorimo nih ostataka. Znači li to ujedno da se situacija obrnula i da o pristupu građi iz različitih konteksta, iz različitih stupnjeva nestajanje sad prijeti tradicionalnim arhivima? Budući da razvoja kulture, društva, teorija o umjetnosti, o različitim internetom kolaju podjednako važni i podjednako nevažni načinima apstrahiranja činjenica. I bitno je drukčije kad se sadržaji, znači li to općenito kraj arhivske prakse? I kako iz što više aspekata nastoji potkrijepiti što širi kontekst, i s se nositi s činjenicom da se svaki digitalni dokument može pozicije umjetnika i s pozicije analitičara i s pozicije gledatelja preinačiti ili izbrisati? Tko može jamčiti stalnost digitalnih kao svjedoka i sudionika umjetničkoga čina, jer tada ostaje arhiva? Kakve će posljedice cirkuliranje informacija imati na čitav bazen iz kojeg je moguće crpsti informacije, a ne, kao arhive? Digitalni okoliš u stalnoj je mijeni, „prostor koji je u slučaju tradicionalnih arhiva, sporadični artefakti ponuđeni nepostojan, ali nije nedostupan, prolazan, ali produktivan” za interpretaciju. Drugim riječima, takav istraživačko-arhivski i takav „rezonira kao manifestacija ljudskoga sjećanja”20. Ta model zagovara kritičko rasvjetljavanje aspekata prošlosti koji analogija poziva na propitivanje arhivske logike koja osporava su nevidljivi iz perspektive dominantne historizacije povijesti sjećanje kao nevjerodostojan arhivski alat ili izvor informa- uključujući i historizaciju plesa. Takav dinamičan model pro- cija, s namjerom da sjećanje postane sredstvom ažuriranja pituje arhivirane artefakte i usporedno bilježi i dokumentira arhiva, njegovim sastavnim dijelom. S aktivacijom sjećanja umjetnički i istraživački rad, omogućujući njihovu daljnju potencira se i narativna struktura, koja se multiplicira što se recepciju, reinterpretaciju, prevrednovanje i istraživanje. To više podataka stvara. To u konačnici narušava hegemonijsku se podjednako odnosi na teorijska istraživanja i na umjet- pravocrtnost „kanonskoga narativa”, pružajući mogućnost ničke pristupe mogućim ponovnim izvođenjima pohranjenih da se pohranjeni artefakti ponovno odvagnu te da se dotad imaginarnih objekata plesa. Na taj način umjesto jednom nevidljiva građa i načini prijenosa informacija, time i razne konstrukcijom raspolažemo s mnoštvom mogućih tumače- inačice minulih događanja i prošlosti uzmu u obzir kao bitni nja nekog umjetničkog čina, dobivajući znatno širi kontekst, u generiranju znanja. Multipliciranjem narativnih struktura odnosno još neiscrpljeno kreativno vrelo. ne otklanja se čimbenik fikcionaliziranja, ali se više ne poku- Ako neprestano baratamo konstrukcijama, što ostaje od šava ni prikriti. To što je dospjelo do nas nije dovoljno da bi prvobitnoga plesnog čina? Zašto je onda, ako su konstrukcije se rekonstruirala prošlost i ponudila jedinstvenu objektivnu posrijedi, uopće važno podupirati kontekst i to još iz raznih perspektiva? Male priče, male povijesti iščezle iz matice jer

19 Jajna stanica razvija se još u ženskome fetusu, na taj su način, njihovi akteri nisu pristajali na represivne mehanizme ili ih jajnom stanicom i genskom građom pohranjenom u njoj, u dodiru tri nisu mogli slijediti, jer su lagodnost klišeja zamijenile nužnošću ženske generacije. izbora, jer su ispisane prekarnim radom, jer zbog malih ekono- 20 Esling, Natalia, „Dance Archives in an Online Environment: mija nisu dometale daleko, jer su ne odustajući upirale protiv The Impact of Digital Media on the Preservation of Dance History”, Canadian Theatre Review, br. 156, University of Toronto Press, 2013, struje, te male vijugave povijesti probijaju se kroz pukotine, 30–34, str. 32. računajući na nas da ih razotkrijemo u njihovoj pravoj snazi.

Movements 26 _ 13 Ivana Slunjski: Beyond Archives Ivana Slunjski: Beyond Archives

IVANA SLUNJSKI BEYOND ARCHIVES: Poetics of Exploring Imaginary Objects of Dance

hen archiving dance art is concerned, an entire is inherent to all physical documents as well2 and that host of theoreticians and interpreters of both they, as remains, become the disappearance of the major W(dance) performance and archives almost part of the entirety they used to form, another branch inevitably focus on the im/possibility of documenting a grows stronger with time – the branch that eliminates dance act along the binary lines, confronting the intan- the ontological equation of a performance with a dis- gibility of a performance and the tangibility of archives, appearance by claiming that a performance constantly its transience with their permanence, the uncertainty of transforms into something else, also remaining traces or memory with document reliability, the irreversibility of remains, but “remaining differently”. the moment with the infinity of the eternal. Following The influential study “Performance Remains”, pub- the branch that defines constituting a performance, i.e. lished first in 2001 in Performance Research magazine3 the event determined by a momentary and immediate and again ten years later in a revised version as a chapter exchange among the “authentic community”, with its in the namesake book, Rebecca Schneider expounds that disappearance (since the 1980s and Richard Schechner advocating a performance as disappearance caters to the onwards), or what, as Peggy Phelan said, “becomes itself imperialistic logic of archives. If its constitutive part can- through disappearance”, the dance performance medium not be preserved, could in this case a performance chal- is immediately deprived by the archive logic. Since an lenge archival thinking4? Naturally, it cannot. Excluding archive stores “that which is recognized as constituting from the domain all that could jeopardise its survival and a remain, that which can have been documented or has reproduction of the existing logic, and simultaneously become document”1, while a performance does not have acting as “the institution of disappearance, with object a document given that it is ontologically inseparable from remains as indices of disappearance and with performance the moment, therefore it cannot leave a physical trace. as given to disappear”5 and, contrasting it with a need to Leaning on poststructuralist insights that disappearance 2 Cfr. Schneider, 2011, p. 102. 3 “Performance Remains”, Performance Research, no. 2, vol. 6, 1 Schneider, Rebecca, “In the meantime: performance re- 2001, pp. 100–108. mains”, Performing Remains. Art and War in Times of Theatrical 4 Schneider, 2011, p. 99. Reenactement, Routledge, London and New York, 2011, 87–110, p. 98. 5 Schneider, 2011, p. 104.

< Multimedijalna koliba and Zrinka Šimičić Mihanović, Disappearances. In the photo: Roberta Milevoj. Photo: Jasenko Rasol. > Movements 26 _ 15 Ivana Slunjski: Beyond Archives

preserve, an archive in its traditional form appropriates “constitutive remain”. Relations between the preserved the exclusive right to the past, legalising a possible version artefacts are, naturally, established narratively and discon- of the past as the only credible history. And a history tinuities, gaps unsubstantiated by material remains, are performed based on material remains, albeit stored as a treated the same way. Simultaneously, interpretations or certified document of the past, and although this history constructions of past dance-related events are presented is attempted to be portrayed as continuous and unequivo- as a reconstruction of dance history imposed as a canon. cal, it is in fact a history of discontinuity. Apart from the However, a reconstruction of past events is impossible, fact that the documented material is shrouded with large even when the context is temporally closer. Therefore, gaps of undocumented time and events, the document of every reconstruction of a past event is in fact a new con- the past or the preserved material remain says nothing struction, a new interpretation or a new invention6, and or very little about the context this material artefact is a performance of history which is not attempted to be taken from. The collected archive material thus privileges exhibited as a performance, as a construct, but rather as what is stored over other unsaved tangible and intangible a reconstruction of actual events, is in fact “a canonical artefacts, culture and life in general in the analysed peri- master-narrative leading to the present moment, and od of time, defining and limiting the type of issue and which seems incapable of registering alternate histories, methods of approaching both the stored material and counter-memories, or resistance practices”7. the analysed event, and consequently the interpretation The stored objects are by themselves subject to fic- and construction of context. Moreover, it is not irrelevant tionalisation, since it is the narrative connection that whether the stored artefact was preserved by chance or gives them a meaning, either in a way that an interpreter it was deliberately kept for the future. If it was left on relies on memory or that it is a subsequent construction purpose, the matter who kept it, for what reason and for according to preserved documents. Persuading us of the which purpose should always remain pertinent. Also, who only truth, stored objects a priori betrays the past, given constructs based on the artefacts they found, what knowl- that artistic activity is not defined only by inclusion, but edge and insights they dispose with and whose history just as much by exclusion from a particular selection. is henceforth written should be of utmost importance. Articulating history based on stored documents is there- And this often, especially in small communities like the fore equally unreliable as relying on memory or body to Croatian, with no broader awareness of the registering body transmission practices. In that sense, archives indeed and storing intangible remains of performance materials, expose, as Rebecca Schneider claims, referring to Derri- dance in particular, is frequently overlooked. da’s thoughts in the book Archive Fever8, their patriarchal approach which simultaneously supports both patrilinear- Fictionalisation of narratives ity and parricide9. Bearing in mind the fact that the word ost interpretations of parts of Croatian dance history published so far have been drawn 6 Reviewing the staging of Susanne Linke (1988) after Dora Hoyer’s Mfrom information contained in usually small, choreography Affectos Humanos (1962), Mark Franko proposes a preserved accompanying documentation about individ- distinction between reconstruction and reinvention as two possible ual events, found mainly in private storages and private approaches to historical performance materials. According to Franko, reinvention is categorisation of a piece by its initial sources (e.g. a cho- archives, since a real archive of dance, neither a tradi- reographic scores) and does not strive to produce a replica of a former tional which would systematically analyse and keep the work. “The move from reconstruction to reinvention is also a move performance-accompanying materials, nor alternative, toward the creation of choreography that actively rethinks historical more contemporary models that might register intangible sources.” Franko, “Repeatability, Reconstruction and Beyond”, Theatre Journal, The Johns Hopkins University Press, no. 1, vol. 41, 1989, 56– traces of dance, does not exist. Many results have been 74, p. 60. uncritically taken as relevant data, without a comprehen- 7 Mitchell, W. J. T., Picture Theory, Chicago, University of Chicago, sive, multi-layered examination of the context – research 1994, p. 87. Quoted in Garoian, Charles R., “Performing the Museum”, methodology is often unclear or inadequate, the content is Studies in Art Education, no. 3, vol. 42, National Art Education Association, 2001, 234–248, p. 237. expounded anecdotally, source relevance is unconfirmed, 8 Derrida, Jacques, Archive Fever: A Freudian Impression, Chicago, sources are not always correctly named, quotes are occa- University of Chicago Press, 1995. sionally unsigned even if the source is known, the content 9 See Schneider, 2011, pp. 76–78. Derrida leans on Freud’s inter- is whenever possible accompanied by photographic mate- pretation of culture which begins with a crime, more accurately with a patricide (the primordial father of the ancient hoard is entitled to all rials even though photographs due to the features of the women, but at one point the sons unite, kill the father and devour him). photographic medium cannot capture neither the essence A feeling of duality sparks a feeling of guilt and subsequent obedience. of a dance performance nor what might be labelled as its The dead father is therefore stronger than the living father. What the

16 _ Kretanja 26 Ivana Slunjski: Beyond Archives archive is in its base connected with the word archon, the who would remember something only of relative impor- head of a state, an archive could thus be interpreted as a tance, something that in case of dire need can be reached place of the one “considered to possess the right to make by simple screen scrolling? The less memory is applied, or to represent the law”.10 The interpreter of the archived “the bigger the need for external, tangible signs of being material, in our case, due to the lack of real archives, in that only exists in memory”12. As countereffect, the archival which information would be available to all interested impulse only grows stronger, hoping to preserve the present parties, is often the first one to reach a material artefact, moment by way of video records, photographic and audio analogously jumps to the top of the hierarchized pyramid. registering, and since “we do not know what the future Tangible traces, remains of a former entity that disappeared wants from us”13, everything is preserved as a token for the (the death of an object), are the only thing an archive can days to come. However, the value of the preserved “does not regulate. Intangible traces of a performance after it van- reside in searching, gathering, and distributing in order to, ishes to transform into something else, the performer’s for instance, investigate, interpret, and change the world”, corporeal memory or the recipient’s viewing experience, but in “searchability” and “distributability”. Therefore, “the for instance, cannot be controlled by archives and such a question of history as a form of knowledge disappears”.14 performance produces a certain kind of scandal. But the scandal is not about the fact that the performance disap- Resisting archival impulse pears, “what the archive expects”, but about the fact that s a method of opposing to the domination of it remains preserved differently, the performance “resists archival impulse, it seems worthwhile to men- archontic ‘house arrest’ and ‘domiciliation’”11. Corporeal Ation the Invisible Museum project, quite unno- transmissions of knowledge and corporeality itself are thus ticed in the public eye, conducted in the autumn of 2013 reinscribed as indomitable, unwanted, uncanny. by performance artists Ben Evans and Luís Miguel Félix in association with the local artists of Ekscena15 at the Hoarding digital data Zagreb Museum of Contemporary Art. Invisible Museum rchival memory, information inscribed in the mate- escapes tangibility, as it is based on the oral exchange of rial remain waiting to be elucidated, imposes itself memories and experiences between the guides, project Aas more valuable than mental and physical memory authors and museum visitors. The museum set-up is com- (which are, finally, two nevertheless different but connected posed of invisible objects, i.e. descriptions of imaginary manifestations of corporeality), although elucidation can objects donated by the visitors to the museum guide never be equal to the inscribed, due to obvious difference during the tour, placed across the set-up of the Museum in the event realisation context and postponed interpreta- of Contemporary Art. Since the collection is stored in the tion context, even if there is no discontinuity in the stored guide’s memory, the invisible object set-up changes with material. Apart from its own experiential knowledge, a every new performance, distorts, impoverishes or enrich- body also relies on collective memory, with which one es, depending on the individual processes of memory enters in a dialogue via oral history, social patterns, ritual and evoking every guide’s memories. Invisible Museum repetitions. However, the contemporaneity of living in a focused on the processes of memory and remembrance, digital era dictates, first of all, an archival denominator, i.e. on documenting as archiving performance arts, and forcing us to hoard endless amounts of data, simulating a it was conducted at the actual location and within the need for self-archiving and utterly meaningless things as real set-up of the Museum of Contemporary Art. As such, testimonies to existence. If we do not create content in the it juxtaposed the transience of the performance which electronic community on a daily basis, we might as well “remains differently” and the permanence of the tangi- not exist. Flourishing increasingly from day to day, new amounts of data take turns and overshadow the old ones 12 Nora, Pierre, “Between Memory and History: Les Lieux de at an equal pace, their importance is relativized, everything Mémoire”, Representations, no. 26, Special Issue: Memory and is equally important and nothing is important. There is less Counter-Memory. University of California Press, 1989, pp. 7–24. http://links.jstor.org/sici?sici=0734-6018%28198921%290%3A26%3 and less need for memory and remembrance and, finally, C7%3ABMAHLL%3E2.0.CO%3B2-N Accessed on 30 November 2016. 13 Smith, Marquard, “Theses on the Philosophy of History: father prohibited his sons, they now prohibit themselves – the killing of The Work of Research in the Age of Digital Searchability and a totem (which represents the father) and sex with the wives of the very Distributability”, Journal of Visual Culture, Sage Publications, 2013, same totem. Culture is hence based on limiting individual autocracy. no. 3, vol. 12, 375–403, p. 388. The individual respects the totem, the totem protects them. 14 Smith, 2013, p. 382. 10 Derrida, 1995, p. 2. Quoted in Schneider, 2011, p. 97. 15 Nino Bokan, Nikolina Komljenović, Marko Kalc and Martina 11 Schneider, 2011, pp. 104–105. Granić. Production: Ekscena.

Movements 26 _ 17 Ivana Slunjski: Beyond Archives

ble artefacts validating the (art) history, corroding the The same festival hosted the somatic encounter strategies of traditional archival and museum practices. between the audience and the performers of Nestajanja In a time focused on visual cognition, it seems indis- (Dissapearances)18 by Zrinka Šimičić Mihanović, inspired pensable to reactualise the memory and remembrance by different somatic approaches to body. An interesting processes with the aid of other senses. Apart from being point to mention in the scope of the issue discussed a driving force behind these processes, “sensory actual- with text, given that it conceptually connects movement isation” helps us regain action, to mobilise thoughts and and dance transience, which the author subtly identifies ideas on the road to a former embodiment of movement. with a sense and which, as a sense, takes place in the Since the body possesses the experience of movement, moment, and the process of aging, of physical disap- remembrance gets a physical, material form.16 Transfer- pearance. As the body disappears, it constantly changes ring experience by touching the performer’s body to the and, like movement, becomes something else. On the

. body of the recipient in performance arts in not com- other hand, as much as body changes and disappears, monly seen. Romanian artist Madalina Dan in her tactile there is a constant, a certain principle that persists and performance for one person The Agency of Touch, recently is even matrilineally transferred to the offspring19. The hosted at the 10th Improspections17, reveals precisely the same way the disappearing movement is inscribed on the

Disappearances performance gesture in touch. In an individual encounter cell level into physical memory, preserving the primary with the recipient, she manipulates their body to create impulse of motion in the initial cell and transmitting it tactile compositions. Her tactile practice includes working to the entire body. These three events might be labelled with all the layers of skin, with touch receptors that reg- as “resistance practices” which, either because of the ister different textures, pressure, motion and vibrations. method of exchange and storage of knowledge and expe- A tactile performance for one person is defined as inte- rience between the performers and the recipients or by grative space of inter-corporeal exchange on the sensory, emotional, energy, anatomical and transcendental level. 18 Dancers: Tamara Curić, Lana Hosni, Roberta Milevoj, Ivana Pavlović, Zrinka Šimičić Mihanović, Nastasja Štefanić. Sound design- 16 Cfr. Bleeker, Maaike A., “(Un)Covering Artistic Thought er: Roko Crnić. Light designer: Tomislav Maglečić. Coproduction: Unfolding”, Dance Research Journal, no. 2, vol. 44, 2012, Cambridge Multimedijalna koliba and Zrinka Šimičić Mihanović. Premiere: 23 University Press, 13–26, p. 13. November 2016 at &TD Theatre. 17 Performances on 24 and 25 November at &TD Theatre. Set and 19 An egg cell develops already in the female foetus and that way costume design: Ana Botezatu. Sound design: Natalia Bustamante. the egg cell and the genetic material stored in it bridges three female Production: Das Hochschulübergreifende Zentrum Tanz Berlin. generations. < Multimedijalna koliba and Zrinka Šimičić Mihanović, In the photo: Nastasja Štefanić. Jasenko Rasol. >

18 _ Kretanja 26 Ivana Slunjski: Beyond Archives managing imaginary objects of dance, defy the “canonical with a recent analytical apparatus and introducing the narrative” of archives. current cultural context into the subject matter. Every period has its research episteme. Although when testify- Archiving for the sake of research ing, registering and archiving the present we also work igital landscape has proven a favourable breed- with interpretations, i.e. constructions of events, or fic- ing soil for archives. The worldwide web infini- tionalisations, it is pivotal to speak and write differently D ty of archives. Internet itself is a sort of archive. about the events we testify to, from the point of view of And, as such, it is not fully tangible, although it stores the present moment, with the analytical apparatus we digital records of material remains, as well. Does this have today, even though we have not shifted much in mean that the situation has now reversed and that tra- time from the event itself. Both capturing the present ditional archives are now threatened with disappear- and capturing the past from the present are constructs, ance? Since internet equally disposed with relevant and but we are speaking about approaching the subject matter irrelevant content, does this generally mean the end of from different contexts, different degrees of evolution of archive practice? And how to cope with the fact that culture, society, theories of art and of different methods every digital document can be edited or deleted? Who of abstracting facts. What makes a crucial difference is can guarantee the stability of digital archives? What trying to substantiate as broad a context as possible, both will be the consequences of information circulation on from the position of analysts and from the position of archives? Digital landscape is in constant change, “a space observers as witnesses and participants in an artistic act, that is impermanent but not inaccessible, transient but because it leaves behind an entire pool of information productive”, which as such “resonates as a manifestation source and not, like in the case of traditional archives, of human memory”20. This analogy calls for a thorough just sporadic artefacts presented to be interpreted. In examination of archival logic that rejects memory as an other words, such as research/archive model advocates a untrustworthy archive tool or source of information, critical enlightenment of past aspects which are invisible with the intention to make memory a means to update from the point of view of the dominant historification archives, their constitutive part. Activation of mem- of history, including a historification of dance. Such a ory accentuates narrative structure, which multiplies dynamic model questions archived artefacts and simul- with the creation of new data. This, finally, disrupts the taneously registers and documents artistic and research hegemonic linearity of “canonical narrative”, giving us a efforts, making their further reception, reinterpretation, chance to re-evaluate the stored artefacts and to take into re-evaluation and exploration possible. This equally account the formerly invisible materials and information refers to theoretical research and artistic approaches to transfer methods, as well as different versions of prior potential re-enactments of preserved imaginary objects events and the past, as important factors in generating of dance. That way instead of a single construction we knowledge. Multiplying narrative structures does not have at our disposal a host of possible interpretations eliminate the factor of fictionalisation, but it does not of artistic act, which opens up a much broader context, try to hide it anymore either. The fact that something an uncharted creative source. has reached us is not enough to reconstruct the past and If we keep operating only with constructions, what offer a unique idea of the event. Is it possible to reassure remains of the original dance act? If these are construc- any past event, without betraying it in the first place? tions, why is it even important to support the context, What is there left for us in the attempt to preserve dance? and from different points of view, moreover? Little Not much. We can try to support the present context stories, little histories vanished from the mother-ship, through multiple directions and dimensions to make it because their players refused to agree to repressive easier for a future, nearer of further, researcher to find mechanisms or could not follow them, because they their way through the data and interpretations. replaced the comfort of clichés with the necessity of The history reconstructed from the present moment choice, because their stories were written in precarious is always the history of the present, because a researcher work, because due to small economies they did not reach approaches past events with a shift in time, equipped far and wide, because they resisted and swam against the current, these little sinewy histories burst through cracks, counting on us to unveil them at the pinnacle of 20 Esling, Natalia, “Dance Archives in an Online Environment: their strengths. The Impact of Digital Media on the Preservation of Dance History”, Canadian Theatre Review, no. 156, University of Toronto Press, 2013, 30–34, p. 32 English translation: Ivana Ostojčić

Movements 26 _ 19 Katja Šimunić: Hrabra efemernost plesne umjetnosti

< Sandra Banić Naumovski i Selma Banich, Između navodnih znakova i zagrada (Konstrukcija perspektive 2016). Foto: Iva Korenčić Čabo. > Katja Šimunić: Hrabra efemernost plesne umjetnosti

KATJA ŠIMUNIĆ Hrabra efemernost plesne umjetnosti

„Budući da to što tražim jedva postoji i da je u svojoj biti ‘go- smo gledali jer u svim tim sjećanjima zaborava, pa i kad su tovo ništa’, jedno ‘ne znam što’, nešto lagano među svim vizualno ili tekstno pomno materijalizirani, ono bitno okrnjeno laganim stvarima, to pomamno istraživanje teži ponad je. Beznadno je izostavljen sam pokret. I ono između pokreta. svega pružiti dokaz o neopipljivome, čiju pojavnost mo- žemo naslutiti, ali ne i potvrditi jer ona iščezava u trenut- Praksa neoarhiviranja ku u kojem se i pojavljuje, s obzirom na to da je prvi put vijest da je ples nemoguće arhivirati tradicionalnim također i posljednji.” strategijama zasnovanim na pisanim tragovima bila Vladimir Jankélévitch, Negdje u nedovršenome1 Sje inkorporirana već u prvi svjetski muzej plesa koji je ujedno bio i institut za istraživanje plesa, osnovan u Parizu avljenje plesnom umjetnošću podrazumijeva hrabrost 1931. pod nazivom Međunarodni plesni arhiv (Les Archives i lakomislenost. Jer svaka je izvedba plesne predstave internationales de la danse). Koncepcija je bila transdiscipli- Bistodobno prva i posljednja. I donosi zaborav upravo narna i široko internacionalna, uključivala je plesne izraze ne te izvedbene plesne iskustvenosti, zaborav upravo te plesne samo umjetničkoga plesa nego i one popularne, ne samo iz konkretnosti koja se odjelotvorila u neponovljivome. Što se do- Europe nego i iz njoj udaljenih zemalja. Supostavljala je ples gađa s plesnom predstavom nakon izvedbe? Kamo ona odlazi? sportu ili aktualnim znanstvenim otkrićima primjerice. Tiskan U koje se agregatno stanje pretvara? U čijim se sjećanjima, je i časopis Archives internationales de la danse (1933–1935)2 krhotinama, proplamsajima sjećanja prepoznaje? Ples ostaje te su organizirana koreografska natjecanja; na prvome je i ne ostaje. Ostaje u sjećanju publike, u kritičkim zapisima, u 1932. sudjelovao Oskar Schlemmer sa svojim Trijadnim ba- fotografijama, videozapisu. U notacijskome zapisu iznimno letom, a pobijedio Kurt Jooss s koreografijom Zeleni stol. rijetko. No nikad ne ostaje djelo koje je identično onomu koje 2 Svih devetnaest brojeva časopisa Archives internationales de la danse dostupni su u digitalnome obliku na mrež- 1 Béatrice Berlowitz, Vladimir Jankélévitch, Quelque part dans nim stranicama francuskoga Nacionalnog plesnog centra l’inachevé (Negdje u nedovršenome), Gallimard, 1978, str. 19. Ulomak (Centre national de la danse): http://mediatheque.cnd.fr/spip. s francuskoga prevela: Katja Šimunić. php?page=archives-internationales-de-la-danse

Movements 26 _ 21 Katja Šimunić: Hrabra efemernost plesne umjetnosti

Međunarodni plesni arhiv osnovao je švedski kolekcionar stupu baletu Rolanda Petita Mladić i smrt iz 1946. studiozno i impresario Švedskih baleta u Parizu Rolf de Maré (1888– bavila sjećanjima gledatelja na tu koreografiju, što je 2004. 1964), a vodio ga je francuski pisac Pierre Tugal (1895–1964). rezultiralo izvedbama Histoire(s). A svjedočenjima interpretâ Smješten je bio u Passyju, bogataškome dijelu Pariza, u De koreografije Zeleni stol Kurta Joossa kao i gledatelja toga djela Maréovoj kući, u čijem je dvorištu izgrađeno manje, novo u različitim razdobljima i na različitim scenama prihvatila se u zdanje sa scenskim prostorom, odnosno konferencijskom/ minucioznim i dugotrajnim istraživanjima za izvedbe naslova demonstracijskom/izložbenom dvoranom. Arhiv je podra- Débords (2012). Tako je povijest važnih plesnih djela decen- zumijevao i plesnu knjižnicu, dokumentacijski i informacijski tralizirana sa žarišta na koreografa na onaj opservatora, bilo da ured, arhivski ured, odjel za sociologiju i etnografiju, a osim je posrijedi publika ili izvođači, koji su u procesu rada nužno u izvedaba i izložaba privilegirao je izvedbena predavanja ili određenim trenucima i pozorni opservatori djela u nastajanju. predavanja s demonstracijom. S radom prestaje 1952, dio U predstavi Barbare Matijević i Giuseppea Chicoa I AM zbirke darovan je Francuskoj i danas se čuva u muzeju i knjiž- 1984 plesna je povijest pak u invokacijama balerine Mije nici Pariške opere, odnosno Nacionalnoj francuskoj knjižnici. Čorak Slavenske, Bolera klizačkoga para Torvill-Dean, ple- Velika kolekcija koja sadrži građu vezanu uz Švedske balete snoga filma Crvene cipelice ili baleta Labuđe jezero prisutna i artefakte azijske i afričke kulture prenesena je u Stockholm ravnopravno s ostalim popularnim povijesnim čijenicama i danas čini osnovu tamošnjega Muzeja plesa.3 poput, spomenimo tek nekoliko njih, Olimpijskih igara u Međunarodni plesni arhiv nedvojbeno je prethodnik vi- Sarajevu ili Los Angelesu, računalne igre Pac-Man, filmova talističkih koncepcija plesnih muzeja i arhiva kakvi su danas Star Trek i Star Wars, a svi podaci uzeti su iz nepouzdane odjelotvoreni u rasponu od Muzeja plesa u Rennesu pod zone copy-paste informacija, s Wikipedije i drugih mrežnih vodstvom Borisa Charmatza ili Les Carnets Bagouet iz Mont- depoa5. Povijest je u svima spomenutima i na različite nači- pelliera do izvedbenih kreacija poput Histoire(s) i Débords ne izvedbenim primjerima nelinearna, destabilizirana, auto/ Olge de Soto ili izvedbenoga predavanja I AM 1984 Barbare fikcionalizirana, plutajuća u virtualnome prostor-vremenu. I Matijević i Giuseppea Chicoa. Radovi su to koji upućuju na zapravo su to oblici koji se ne samo suprotstavljaju izravnu to da nije nužna muzejska rigidnost, arhivska hijerarhizacija arhiviranju nego oprimjeruju oblike svojevrsna neoarhiviranja. građe, otvrdjelost u materijalnome dokumentu nečega što Koje svakom svojom manje ili više historicizirajućom realiza- je bio pokret. I svaki od tih primjera radi izrazito na jedno- cijom uspostavlja novo djelo, autorsko djelo, koje opet traži me segmentu sjećanja. Boris Charmatz otvara prostor ne- neki sljedeći neoarhivski odgovor. kadašnjega Koreografskog centra u Rennesu umjetnicima za rad, naglašavajući procesnost i istraživanje kao nukleus Konstrukcija perspektive plesnih djela i ostvarujući takvu koncepciju, primjerice, u ecentni primjer uspostavljanja efemerne, dinamične svojim izvedbama naslova Flipbook kao nesmiljeno duho- i vitalističke arhive projekt je koji autorski potpisuju vitim uprizorenjima monografije Davida Vaughana Merce RMarjana Krajač i Andrej Mirčev, naslova Konstrukcija Cunningham: Fifty Years. Posve je različit primjer skupine perspektive. Riječ je o pseudoslavljeničkoj manifestaciji kojom Les Carnets Bagouet, koja nastaje godinu dana nakon smrti se zapravo kompleksnim analitičkim i izvedbenim diskursima najutjecajnijega plesnog umjetnika novoga francuskog vala promišljalo deset godina rada Sodaberg koreografskog labora- Dominiquea Bagoueta (1951–1992), kad plesači skupine nisu torija, njegova bliska ili udaljena, intenzivna ili blaga utjecaja.6 željeli nastaviti repertoarno izvoditi predstave bez prisutno- Taj se neoarhivski projekt sastojao od predavanja, izvedbenih sti koreografa (kao što su, primjerice, to napravile skupine predavanja, rada u nastajanju, rada u ponovnu nastajanju, raz- Marthe Graham ili Alwina Nikolaisa), nego su htjeli prenositi govora, upotpunjenih tristostraničnom publikacijom naslova O novim generacijama plesnih umjetnika i istraživača njegov umjetnički rad. U povodu dvadesete godišnjice koreografove smrti rezimirali su aktivnosti na arhiviranju njegovih koreografija i sve prikupljene građe (osobnih zapisa, scenografskih 5 Vidjeti više u: Katja Simunic, „Narration en mouvement: I AM i kostimografskih skica, fotografija, notacija itd.) i učinili ih 1984 de Barbara Matijevic et Giuseppe Chico” („Naracija u pokretu: dostupnima na mrežnim stranicama Les Carnets Bagoueta.4 I AM 1984 Barbare Matijević i Giuseppea Chicoa”), Danse contem- poraine et littérature, entre fiction et performances écrites (Suvremeni Španjolsko-belgijska plesna umjetnica Olga de Soto umje- ples i književnost, između fikcije i izvedbenog pisma), ur. Magali sto već uobičajena postupka re-enactmenta u svome se pri- Nachtergael i Lucille Toth, CND, Pantin, 2015. 6 Konstrukcija perspektive održana je 18. i 19. ožujka 2016. u Zagrebačkome plesnom centru, a sudjelovali su Hrvoje Hiršl, Nina 3 Više o Muzeju plesa u Stockholmu u tekstu Pavla Heidlera u Kurtela, Barbara Matijević, Krešimir Purgar, Nikša Gligo, Nikolina ovome broju Kretanja. Pristaš, Matija Ferlin, Lana Hosni, Irena Mikec, Sara Piljek, Marjana 4 www.lescarnetsbagouet.org. Pregledano 21. listopada 2016. Krajač, Andrej Mirčev, Koautorska incijativa OOUR i Marko Kostanić.

22 _ Kretanja 26 Katja Šimunić: Hrabra efemernost plesne umjetnosti plesu i iz(a) plesa.7 Tekstovima koje su za publikaciju napisali i dalje inzistira da je ipak stavljala barem puder, a druga bez Una Bauer, Katja Šimunić, Tomislav Medak, Andrej Mirčev, i najmanje dvojbe odgovara da nikad nije stavljala puder, da Pavle Heidler, Marjana Krajač i Mila Pavićević pridruženo je i jednostavno nikad nije stavljala „make-up”, ni privatno ni za nekoliko već objavljenih programatskih tekstova i razgovora izvedbu. Na djelu je snažna nepouzdanost sjećanja u dijalogu. I uz pomno vizualno oblikovanje usidreno u opsežnu fotograf- takav banalan sukob odjednom postaje neočekivano tragičan. sku građu koja reprezentira koreografski rad Marjane Krajač. Teško se suočavamo s činjenicom da ni takva sitnica kakva je Izdvajam iz Konstrukcije perspektive izvedbe Sandre Banić rumenilo na obrazima ili sjenilo na kapcima nemaju konsenzus Naumovski i Selme Banich, izvedbu Matije Ferlina i izvedbeno sjećanja. A kako li je tek s onim važnim stvarima? Kako smo ili predavanje Barbare Matijević, koji su se pokazali kao eksplo- zašto nešto radili? Tada je možda i bilo jasno, a danas uopće zivne i uzbudljive dekonstrukcije plauzibilnosti arhiviranja ne? Kontekst je promijenjen, a stvarna ili tek pretpostavljena plesa. Sandra Banić Naumovski i Selma Banich naslovljuju utemeljenost, neophodnost negdašnje umjetničke kreacije svoju izvedbu Između navodnih znakova i zagrada te upri- nepovratno zastrta protjecanjem vremena. Kako rekonstruirati zoruju uništavanje dijela svoje privatne materijalne arhive kontekst koji određuje i nastanak te posljedično i recepciju odnosno dokumenata i programskih knjižica koje su pratile plesnoga djela? Evidentna nemogućnost rekontekstualizacije njihove predstave u sklopu umjetničke organizacije OOUR8. kao predteksta za analizu više nas frustrira nego materijalno Njih dvije sjede svaka na svome stolcu, pred njima su mikro- uništavanje dokumenata za koje je moguće da izrone iz neke foni, jedna uredna, čini se, potpuno nova kartonska kutija, druge privatne arhive, ali stvaralački i izvedbeni kontekst ple- na podu uredno posloženi primjerci monografije OOUR-a. sne geste zauvijek je izgubljen. Na kraju performansa Sandra Sandra Banić Naumovski izvlači nasumce dokumente iz kutije Banić Naumovski i Selma Banich pojačavaju našu uznemirenost i spušta ih jedan po jedan u uredski stroj za rezanje papira materijalnim citiranjem efekta kojim su se koristile u jednoj nakon čijeg je tretmana gotovo nemoguće rekonstruirati ori- od svojih predstava – scenskom maglom. Puštaju umjetni ginalni dokument. Stroj za uništavanje tragova, smješten je dim i time završavaju svoj iskaz u kojemu se OOUR, usprkos negdje na jednakoj udaljenosti od dviju (bivših?) suradnica, svim nedosljednostima u sjećanjima njegovih protagonistica, djeluje i kao da ih razdjeljuje, a sve vrijeme trajanja izvedbe dosljedno pojavio kao očuđujući element krajnje nestabilne radi, razgrađuje. Ali nekako svjesni posvemašnje digitalizacije izvedbene prakse i postavio jedno od neoarhivskih neumor- (svega, pa i osobnih arhiva) počinjemo sumnjati nisu li ipak ti nih pitanja: sigurnost u bilo što, jeste li sigurni da to postoji? svi dokumenti pohranjeni u nekome računalu pa je trag tako Međunarodno potvrđeni plesni umjetnik Matija Ferlin u i dalje jasan i umnoživ. A sam taj njihov čin tek opozivo de- nastupu naslovljenu Posljednjih sedam godina nema scensko- finitivan. No na nas više od sjeckalice papira djeluju glasovi, ga sugovornika, odnosno u razgovoru udvaja samoga sebe. konvencionalna posjednutost na stolce i svakodnevne geste Supostavlja ulomke iz svojih odgovora u intervjuima iz različitih dviju nekad, a izvedbama osvjedočeno, bliskih suradnica koje razdoblja i prepoznaje brojne proturječnosti u vlastitim prose danas bave drugim stvarima: Sandra Banić Naumovski vo- mišljanjima plesa. Ako su kontradiktorne bile bliske suradnice diteljica je odjela za kulturu i nakladništvo u Pučkome otvore- poput Sandre Banić Naumovski i Selme Banich, možemo se nom učilištu u Zagrebu, a Selma Banich uronjena je duboko u ipak odlučiti za jednu od njihovih dviju diskurzivnih opcija, ali aktivistički rad i kad kreira vlastite performanse ili sudjeluje s kontradiktornost samoga umjetnika u različitim vremenima i drugim umjetnicima u kreaciji i izvedbi. Naizmjenično postav- mjestima govora o plesu postaje ozbiljno nerješivom. Poten- ljaju jedna drugoj pitanja i odgovaraju na njih. Sandra Banić cijalni istraživač suočen je s činjenicom da mu citirani pisani Naumovski u jednome se trenutku prisjeća nastupa u Poreču trag o plesnoj poetici Matije Ferlina neće pružiti nedvojbenost na betonskome podu i čini joj se da je to bila prekretnica u nji- i čvrsto uporište. Istodobno duhovit i obziran prema mogućoj hovu izvođenju. Da su se tada prestale i „šminkati” za izvedbe. gledateljskoj ili istraživačkoj nelagodi, Matija Ferlin govor o Selma Banich replicira da se ona nikad nije „šminkala”. Prva prošlosti završio je projekcijom u budućnost: predviđa kako će s prijateljem voditi Bed & Breakfast hotel u Svetvinčenatu 7 O plesu i iz(a) plesa, ur. Andrej Mirčev, Marjana Krajač i i odlaziti raditi na svojim predstavama u obližnji plesni studio. Valentina Toth. Izdavač: Sodaberg koreografski laboratorij, Zagreb, A toga jednog jutra nakon deset godina svakako će se sjetiti i 2016. Marjani Krajač poslati čestitku za dvadesetu godišnjicu rada. 8 OOUR, čije su osnivačice Selma Banich i Sandra Banić Naumovski, koautorska je inicijativa grupe autora različitih umjet- Ukratko, bit ćemo živi, imat ćemo s jedne strane osiguranu ničkih praksa koji su se okupili želeći istraživati vlastite autorske egzistenciju i dalje se baviti plesnom umjetnošću. Nesiguran pozicije i opozicijska trenja unutar zadanih izvedbenih koncepata. osmijeh na licu toga karizmatičnog umjetnika kao da pita: zar Grupa je realizirala desetak projekata (Stvarajući Eve, 2006, Salon, ne? Ne? Ili...? Daleko manje optimističnu projekciju budućnosti 2007, Chew, 2007, Whitebox, 2008. i druge) koje je prezentirala u sklopu kazališnih manifestacija i plesnih festivala u Hrvatskoj i ino- ponudila nam je Barbara Matijević u izvedbenome predavanju zemstvu. OOUR-ove su produkcije copyleft. naslovljenu Kako (p)ostati međunarodni umjetnik u tri jedno-

Movements 26 _ 23 Katja Šimunić: Hrabra efemernost plesne umjetnosti

stavna koraka. Najavljeno kao sažeti uvid u nekoliko strategija godina. Barbara Matijević kaže da voli taj intervju i danas opstanka na međunarodnoj izvedbenoj sceni ono se pretvo- kad ga ponovno čita zavidi „onoj mlađoj sebi na poletu koji rilo u moćni autorefleksivni narativ kojemu je slijedio ples, se nazire u svakoj rečenici”. Zamišlja u nekoliko verzija kako slobodna interpretacija koreografije Mary Wigman Abschied bi danas jedan takav razgovor između Marjane Krajač i nje und Dank. Konstruirano kao serija bilježaka na karticama koje izgledao. U verziji broj četiri zamišljeno pitanje Marjane Krajač nisu složene u koherentnu priču i za čiju pripadnu nelinearnu glasi: „Da li postoji neki rad koji bi voljela napraviti, ali se ne strukturu sama autorica kaže da je karakteristična za period usudiš?” A Barbara Matijević odgovara: o kojemu će govoriti, o zagrebačkim godinama potkraj de- „Da. Radi se o performansu za koji bih prvo trebala naći ženu vedesetih prošloga stoljeća i prve dekade tekućega. Barbara koja bi izgledala kao što bih mogla izgledati ja za otprilike Matijević kaže i da je mislila kako će joj za pripremanje te petnaestak-dvadesetak godina. Po mogućnosti bivša plesa- intervencije trebati manje vremena, ali da ju je jedna točka čica, jer to se i dalje vidi na tijelu, ali nikako glumica. Glumice prisjećanja vodila u sve udaljenije razdoblje, završno do one uvijek izgledaju kao da glume. Ne, najbolje neka žena koja točke nakon koje osvrtanje unatrag više nije imalo smisla. nema veze s umjetnošću. Znači, zaposlila bih tu ženu da Na takvo neplanirano poniranje navelo ju je prethodnoga predstavlja moguću verziju mene za dvadesetak godina. dana gledanje performansa Sandre Banić Naumovski i Selme Neku vrstu alternativne buduće realnosti. Ta Barbara Matije- Banich, s kojima je surađivala u sklopu Ekscene9, izvedbe od vić je bez novaca, bez ideja. Niti jedno europsko kazalište se koje nije očekivala da će ju u toj mjeri izmaknuti iz planirana više ne zanima za njezin rad, nitko je ne zove na gostovanja, predavanja o međunarodnim iskustvima u nužnost autore- nema ni koprodukcije, ne odgovara na mejlove. Živi sama u fleksivnoga rada o „zagrebačkome razdoblju”. S jedne od nekoj maloj sobi u Parizu. Tu ženu bih poslala na sve pariške kartica Barbara Matijević izvlači sjećanje na rad s francuskom premijere i domjenke da prodaje priču o uspješnim prošlim koreografkinjom i plesnom pedagoginjom Kilinom Cremonom danima. O tome kako je nekad izvodila na Avignonskom potkraj devedesetih u Boksačkome klubu u Crnatkovoj ulici. S festivalu. Kako se provodila na festivalima u Brazilu, u New dolaskom u Zagreb Kilina Cremona oformila je plesnu skupinu Yorku. Oko nje bi se širio miris indijskih štapića, kosa joj ne kojoj je svakodnevno držala satove tehnike zasnovane na onoj bi bila sasvim čista. Ljudima bi pokazivala fotografije svoje Mercea Cunninghama. Srž skupine tri su mlade plesačice in mačke i nudila DVD-ove svojih starih predstava. Ali prilično spe: Barbara Matijević, Sandra Banić i Ana Kreitmeyer. „Ples sam sigurna da nikad neću napraviti taj performans. je gotovo jedina tema našeg razgovora. Imamo neviđene re- Marjana Krajač: Zašto? zerve energije”, kaže Barbara Matijević. I navodi kako je taj Barbara Matijević: Zato što bi bio preosoban. Cilj mi je boksački klub koji im je ustupio (u slobodnim terminima) pro- da se u mom radu potpuno riješim svakog upisivanja seb- stor za rad bio u Runjaninovoj, ali ne, on je bio u Crnatkovoj, stva. Zasad mi baš ne uspijeva. Još uvijek su tu svi oni stari ulici koja se proteže okomito na Runjaninovu. Još jedan mali identifikacijski modeli, znaš ono: predstavljanje pod kišobra- prilog posvemašnjoj nepouzdanosti arhivskoga sjećanja, ne nom hrvatske umjetnice ili francusko-hrvatske umjetnice ili osobito važan i lako provjerljiv, ali ipak indikativan. plesačice ili performerice. Ili kazališne umjetnice s plesnim Nakon što Kilina Cremona nenadano odlazi iz Zagreba backgroundom. Ili umjetnice hibridnog izvedbenog izričaja. na mjesto direktorice Baleta Hrvatskoga narodnog kazali- Sve mi se to čini fake, sama ideja biografije kao nekakve ko- šta u Splitu, tri plesačice ostaju same i jedna drugoj vode herentne i linearne priče. To me čini nervoznom. Pogotovo treninge u negrijanu prostoru boksačkoga kluba. A onda kada me u intervjuima novinari traže da uspostavim uzroč- slijedi razdoblje Ekscene. No kako narativ Barbare Matijević no-posljedične veze među mojim radovima. Ne znam zašto ne teče linearno, kronološki i sistematično, kako se njezi- misle da im ja to mogu pojasniti. Osobno mi se čini da bi no pripovijedanje ritmizira s karticama na kojima je zapisala možda bilo iskrenije potpisati svaki rad različitim imenom.” sjećanja i koje manje-više nasumce bira, tako događaj koji Barbara Matijević protivi se etiketiranju svoje osobe i svoga slijedi nema veze s boksačkim klubom. Ni s Ekscenom. Tiče rada, a protivi se tako i legendarizaciji. Ona se svojim razorno se razgovora između Marjane Krajač i Barbare Matijević za iskrenim autofikcionaliziranjem uvijek distingvira od iskrčenih The Book 200810, od kojega je prošlo nešto više od sedam izvedbenih staza i taj put u obliku koji se temeljito etablirao kao izvedbeno predavanje probija novu malu pukotinu. Potpi-

9 Ekscena – eksperimentalna slobodna scena, nevladina nepro- fitna i neprofitabilna udruga mladih koreografa koja djeluje u provodila s umjetnicima: Selmom Banich i Sandrom Banić Naumovski, storu Pučkog otvorenog učilišta u Zagrebu od prosinca 2001. i čija Anom Kreitmeyer i Zrinkom Užbinec, Pravdanom Devlahovićem, je osnovna nakana pružanje uvjeta za rad neafirmiranim, nadolaze- Matijom Ferlinom, Barbarom Matijević, Nikolinom Pristaš, Željkom ćim plesnim umjetnicima. Sančanin, Andrejom Široki. The Book 2008 objavljen je na stranica- 10 Razgovor je vođen 12. prosinca 2008. Jedan je iz serije od ma Sodaberg koreografskog laboratorija. Pregledano 21. listopada devet razgovora naslovljenih The Book 2008 koje je Marjana Krajač na: http://www.sodaberg.hr/thebook/.

24 _ Kretanja 26 Katja Šimunić: Hrabra efemernost plesne umjetnosti sivanje svakoga novog rada različitim imenom subvertira ideju napraviti skok preko arhive da bi se afirmiralo povjerenje bilo kakva suvisla arhiviranja i dodiruje poetiku nearhiviranja. u splet sretnih okolnosti14 koje dovode do otkrića? Preo- sjetljiva na nesigurnost i nepouzdanost arhive moram ipak Poetika nearhiviranja nešto priznati: djelo Barbare Matijević iznimno me zanima i ertrude Stein slobodno citira Pabla Picassa koji je neobično nadahnjuje i htjela sam svakako pogledati njezinu tvrdio kako se papir „može očuvati koliko i boja, intervenciju u sklopu Konstrukcije perspektive, ali dogodilo se Ga naposljetku ako sve stari zajedno, zašto ne, i još da me spriječio drugi neodgodivi posao. Sve što sam, dakle, je rekao, naposljetku nitko neće vidjeti sliku, svi će vidjeti u ovome tekstu napisala o njezinu izvedbenom predavanju legendu o slici, legendu koju je slika stvorila, pa onda i nije rezultat je preslušavanja jednog arhivskoga zvučnog zapisa.15 važno hoće li se slika očuvati ili ne.”11 O plesu Barbare Matijević kojim je njezina narativna interven- Što je plesno djelo zapravo (bilo), a što je tek legenda o cija završila dostupan je, doduše, i trag u fotografijama, ali njemu? Ili postavimo pitanje drukčije: koliko iscrpna prezen- sam krajnje skeptična spram plesne fotografije kao mogućega tirana građa mora biti da bismo sa sigurnošću zaključili da je ulaza u koreografiju. Fotografija uglavnom petrificira trenutak neko plesno djelo zabilježeno? Jedan od primjera mogla bi biti koji je iz očišta fotografa dojmljiv, a odbacuje onaj koji je u primjerice obnova koreografskoga djela Odile Duboc Projet stanju narušene forme, nepogodan za dvodimenzionalnost i de la matière (Projekt materijala) koji je pratila vrsna plesna kadar slike. Odbacuje nedovršenost pokreta i njegovu fluidnu istraživačica Julie Perrin, čiji je rezultat iznimno poticajna knji- propadljivost. Osim toga plesačica može biti krajnje nefoto- ga12 koja svjedoči o procesu rekonstrukcije za povijest francu- genična, a istodobno iznimno scenična i plesno nadarena, skoga plesa važne koreografije, upotpunjene DVD-snimkom sposobna za najsuptilnija neuhvatljiva plesna stanja. A to izvedbe obnovljene predstave. Ali opet se možemo zapitati bi fotografiji izmiče. No možda postoji videozapis sola Barabre li knjiga bila bitno drukčija da je neka druga istraživačica, ili Matijević? Ali i videozapis nameće svoje očište, poravnava istraživač, pratila istu navedenu obnovu? Je li ta knjiga samo i prostornost i dinamiku pokreta, jedva daje prepoznatljivi još jedan dodatni eksponat u arhivi koji traži dalje istraživanje? oblik onomu što je srž izvedbe, njezina pokrenutost u svim Je li jednostavno riječ o teleskopskome karakteru arhiviranja smjerovima i neprekidno preinačiva snaga gestike. koji nikad ne daje jasnu sliku? Ili još dalje, jasnu sliku čega? Osjećam manjak i gubitak što nisam bila prisutna na Što je to što tražimo i što želimo zabilježiti? Drugim riječima: izvedbi, a opet me zvučni zapis narativa duboko pogađa. što je ples? Parafrazirajući Bergsona13, mogli bismo reći da Glas Barbare Matijević proteže se u vrijeme i prostor i na neki je u plesnoj umjetnosti riječ o nečemu jednostavnome, be- čudan način svakim novim preslušavanjem konstruira novu skonačno jednostavnome, tako izvanredno jednostavnome izvedbu njezine intervencije. Možda stoga što je umjetnica u što plesač nikad ne uspijeva otplesati. Zato i pleše čitav svoj jednome trenutku svoga stvaralaštva napustila ples ili, toč- život. Riječ je dakako o hvatanju vremena plesnom gestom. nije, investirala ga u pripovijedanje, u govor, u predavanje, Ireverzibilnoga vremena. Jer plesati je moguće samo u tre- u izravnu komunikaciju, možda mi je zato i moguće pisati o nutku de/konstrukcije vlastitoga plesa. A zabilješka o tome onome što je Barbara Matijević govorila, a možda i zamisliti trenutku uvijek je samo naknadna. Proizvoljna jer je već kon- kako je nakon gotovo desetljeća neplesanja, i to baš u Zagre- tekstualizirana Drugim i Drugošću. Kontaminirana receptivnim bačkome plesnom centru u kojem nikad nije ništa izvodila, baš dojmom koji nosi sav osobni habitus misli i osjeta onoga koji sad odlučila plesati svoju inačicu koreografije Mary Wigman. se osvrće na pogledanu, doživljenu plesnu izvedbu. Je li pisanje o plesu koji nam je dostupan tek preko ar- Ali ako je arhiva nedostatna ili čak nemoguća, kako onda hivskoga zapisa neuspjeh a priori? Ili, možda... ako je po- istraživati plesnu umjetnost? Kako misliti plesnu umjetnost? srijedi dijalog umjetničkoga plesa i pisma o njemu, dijalog Nepogrešivom (filozofskom ili umjetničkom ili znanstvenom uspostavljen izborom po srodnosti i hranjen ljubavlju spram ili ...?) intuicijom onoga koji o tome plesnome djelu piše? te umjetnosti, a ne znatiželjom za ples, možda ostavljamo Tek pokušajem, više ili manje uvjerljivim? Treba li, možda, barem osoban, kompetentan i nadahnut trag.

11 Gertrude Stein, Picasso, Šareni dućan, 2013, s engleskoga preveo Damir Biličić. Str. 49. 14 Engl. serendipity. Riječ je iznašao engleski pisac Horace 12 Julie Perrin, Projet de la matière – Odile Duboc – Mémoire(s) Walpole (1717–1797) nadahnut perzijskom pričom o trojici braće d’une œuvre chorégraphique (Projekt materijala – Odile Duboc – iz Serandipa koji neprestano otkrivaju stvari koje nisu namjeravali, Sjećanje/sjećanja plesnog djela), CND / les presses du réel, 2007. slučajnošću i oštrumnošću. Izraz označava neočekivano otkriće koje 13 „Riječ je o nečemu jednostavnome, beskonačno jednostavno- se slučajno dogodilo, ali podrazumijeva sposobnost onoga kojemu me, tako izvanredno jednostavnome da to filozof nikada nije uspio se dogodilo da ga prepozna i kontekstualizira. izreći. Zato je i govorio cijeli svoj život.” Henri Bergson, „L’intuition 15 Opis intervencije Barbare Matijević i citati njezina narativa re- philosophique” („Filozofska intuicija”) u La pensée et le mouvant konstruirani su zahvaljujući zvučnome zapisu koji je na izvedbi u (Misao i pokrenutost), PUF, 1969, str. 67. Zagrebačkome plesnom centru 19. ožujka 2016. snimila Ivana Slunjski.

Movements 26 _ 25 Katja Šimunić: Hrabra efemernost plesne umjetnosti

Protiv znatiželje je njezina velikodušnost, koja joj daje čak i neodređenu, plesu ne postoje odgođeni životi, nego samo oni nehajnu i katkad pomalo aproksimativnu pojavnost.”16 koje živimo ovdje, sada i jedino sada.Volim plesnu Vođena emocijom nakon ponovnoga preslušavanja zvuč- U umjetnost jer je tako sigurna u svoje sada, jer je ne snimke izvedbenoga predavanja, opisat ću plesni solo tako montaigneovska: „Kad plešem, plešem, kad spavam, zasnovan na koreografiji Mary Wigman, na glazbu koja nije spavam.” Volim ples zbog njegove nehajnosti spram pouz- ona na koju je plesala Mary Wigman, nego klavirska glazba danih tragova, spram eklatantne nemogućnosti arhiviranja na koju je Barbara Matijević plesala Vertigo, svoju posljednju pokreta, ali i nemogućnosti analiziranja plesa u trenutku plesa. eminentno plesnu predstavu: dakle, Barbara Matijević ple- No usred tih nemogućnosti moguće je, možda, ples iz sala je kao da se oslobađa svoje zagrebačke plesne prošlosti, perspektive emocionalne pristranosti predočiti, približiti, po- njezinih propuštenih mogućnosti, ne/realiziranih izvedaba i sve blizu prinijeti drugima. Sredstvima koja svakako izbjega- ne/mogućih zamisli. Plesala je hrabro i lakomisleno. Znajući vaju znatiželju za kojom je pak arhiva pomamna. Vladimir da je svaka izvedba istodobno prva i posljednja. I da nuž- Jankélévitch o znatiželji piše: no donosi ireverzibilan zaborav upravo te izvedbene plesne „Znatiželja je pohlepna za biografskim detaljima, manje ili više iskustvenosti, zaborav upravo te plesne konkretnosti koja se pikantnim anegdotama, glasinama, rijetkim uspomenama i odjelotvorila u neponovljivome. Plesala je kao ona koja tvrdi povjeravanjima. Znatiželja pretjeruje u detaljima, osluškuje da je od plesa odustala, sluteći da takvo što nije moguće. razne vijesti i slaže kroniku punu bilježaka; ona uspostavlja Kao što nije moguće znati, rekonstruirati, arhivirati kojim je tako površno i beznačajno poznavanje; znatiželja nemarnim imenom taj svoj rad potpisala. Kojim ga je imenom auto/ prstom lista biografsku knjigu. To nije ljubav, to je detektiv fikcionalizirala. A kojim destabilizirala osobnu pri/povijest i policijski inspektor koji ima posla sa sumnjivcima i priku- odnosno izvedbenu odnosno plesnu arhivu i naše aposteri- plja saznanja o njima. (...) Da, znatiželja se suprotstavlja orno plesno istraživanje. naklonosti kao ljubitelj ljubavniku, kao selekcija izboru. Amater probire, reda i potanko prikazuje osobe na način sakupljača koji razvrstava uzorke u apstraktnu seriju ili 16 Béatrice Berlowitz, Vladimir Jankélévitch, Quelque part dans na neosoban način. Ljubav je, nasuprot tome, ravnoduš- l’inachevé (Negdje u nedovršenome), Gallimard, 1978, str. 14–15. na prema pojedinostima i materijalnim posebnostima; to Ulomak s francuskoga prevela: Katja Šimunić.

26 _ Kretanja 26 Ephemeralness of Dance Art Katja Šimunić: Courageous Ephemeralness of Dance Art

KATJA ŠIMUNIĆ COURAGEOUS Ephemeralness of Dance Art

< Barbara Matijević, How to Be(come) an International Artist in Three Easy Steps (Constructing Perspective 2016). Photo: Iva Korenčić Čabo. >

Movements 26 _ 27 Katja Šimunić: Courageous Ephemeralness of Dance Art

“Since what I seek barely exists and since it is in its essence and impresario of Ballets suédois in Paris, Rolf de Maré ‘almost nothing’, a ‘don’t know what’, something (1888–1964), and managed by French writer Pierre Tugal effortless among all those effortless things, this frantic (1895–1964). It was located in Passy, a wealthy Parisian exploration strives above all to testify to the intangible, neighbourhood, at the building owned by De Maré, with whose manifestation could be felt but not confirmed, a smaller newly built structure in the yard housing a since it vanishes as soon as it appears, since the first stage and a conference/presentation/exhibition hall. The time is also the last.” archives also included a library of dance, office for docu- Vladimir Jankélévitch, Quelque part dans l’inachevé mentation and information, archive office, sociology and (Somewhere in the Unfinished)1 ethnography department, and apart from performances and exhibitions it privileged performance lectures or eing involved in dance art assumes courage and lecture demonstrations. Its activities terminated in 1952, light-headedness. For every dance performance when a part of the collection was donated to France and Bis both the first and the last. And carries with is still kept at the Opera de Paris museum and library, i.e. it the oblivion of this very dance experience, oblivion the National Library of France. A large collection of mate- of this dance tangibility which incarnated in something rials pertaining to Ballets suédois and artefacts from Asian irreproducible. What happens to a dance work after the and African culture was transferred to Stockholm and performance? Where does it go? What state of matter today builds the basis of the municipal Dance Museum.3 does it assume? In whose memories, fragments, flickers International Dance Archives are undoubtedly an of memory does it mirror? Dance remains and does not institution that paved the way to the vitalist concepts remain. It remains in the memory of the audience, in of dance museums and archives such as we have today, critical writings, in photographs, videos. Extremely rarely ranging from Musée de la danse in Rennes, managed by in notations. But it never remains the identical dance Boris Charmatz, or Les Carnets Bagouet in Montpellier, work we saw because in all those memories of oblivion, to performative pieces like Olga de Soto’s Histoire(s) and even if they are visually or textually meticulously mate- Débords, to performance lecture I AM 1984 by Barbara rialised, the essential is mangled. The movement itself is Matijević and Giuseppe Chico. These works lead to con- hopelessly left out. As well as what is between movements. clude that museum strictness, archival hierarchy of material, and freezing something that used to be movement Practice of neo-archiving into a concrete document are not necessary. Each of these he awareness that dance cannot be archived by examples expressly focuses on one segment of memory. way of traditional strategies based on writing was Boris Charmatz lends the space of the former Centre for Talready incorporated in the first world museum of Choreography in Rennes to artists for their work, high- dance, also the institute for dance research, established lighting process-orientation and exploration as the core in Paris in 1931 under the name International Dance of dance works and bringing such a concept to life, for Archives (Les Archives internationales de la danse). The example, in his Flipbook performances as a relentlessly concept was transdisciplinary and widely international, it humorous staging of David Vaughan’s monograph Merce included dance expressions stretching well beyond artistic Cunningham: Fifty Years. Quite a different example is Les dance – to popular dances not only from Europe, but also Carnet Bagouet group, established a year after the death from distant countries. It juxtaposed dance to sport or of the most influential dance artist of the French new new scientific discoveries, for instance. The institution wave, Dominique Bagouet (1951–1992), when the com- also printed a magazine called Archives internationales de pany dancers refused to continue performing repertory la danse (1933–1935)2 and organised choreography com- works without the choreographer’s presence (as did, for petitions; the first ever winner was Kurt Jooss with his instance, Martha Graham or Alwin Nikolais’s companies), choreography The Green Table and one of the participants but rather decided to turn to conveying their artistic work was Oskar Schlemmer with Triadic Ballet. International to new generations of dancers and researchers. Ahead of Dance Archives were founded by the Swedish collector the 20th anniversary of the choreographer’s death they summarised the activities of archiving his choreographies 1 Béatrice Berlowitz, Vladimir Jankélévitch, Quelque part dans l’in- and all the acquired materials (personal records, set and achevé (Somewhere in the Unfinished), Gallimard, 1978, p. 19. 2 All the 19 issues of Archives internationales de la dance are available in digital format on the official website of the French National Dance Centre (Centre national de la danse): http://mediatheque.cnd.fr/ 3 Read more about the Stockholm Dance Museum in Pavle Heidler’s spip.php?page=archives-internationales-de-la-danse. text in this issue of Movements.

< Sandra28 _ BanićKretanja Naumovski 26 i Selma Banich, Between Quotation Mark and Brackets (Constructing Perspective 2016). Photo: Iva Korenčić Čabo. > Katja Šimunić: Courageous Ephemeralness of Dance Art costume designs, photographs, notations etc.) and made ical and performative discourses.6 This neo-archiving pro- them available on Les Carnets Bagouet’s official website4. ject consisted of speeches, performance lectures, works in Spanish-Belgian dance artist Olga de Soto, instead of progress, works in remake, interviews, completed with a the usual re-enactment, approached Roland Petit’s ballet 300-page edition On, By and Behind Dance (O plesu i iz/a/ The Young Man and Death (1946) through a meticulous plesa)7. The essays written for this publication by Una analysis of the spectators’ memories of that choreography, Bauer, Katja Šimunić, Tomislav Medak, Andrej Mirčev, which resulted in performative works entitled Histoire(s) Pavle Heidler, Marjana Krajač and Mila Pavićević were (2004). In a painstaking and long research for Débords joined by several other already published programmatic (2012) performances she delved into testimonies of the texts and interviews, meticulously designed and amply performers of Kurt Jooss’s The Green Table, as well as immersed into comprehensive photographic material spectators of the piece at different points in past and representing Marjana Krajač’s choreographic work. on different stages. That way the history of important Within the scope of Constructing Perspective I would dance works shifted focus from a choreographer to an single out the performances of Sandra Banić Naumovski observer, be it audience or performers themselves, who and Selma Banich, Matija Ferlin’s performance and Bar- inevitably were, during the working process, at certain bara Matijević’s performance lecture, which proved to be points careful observers of the piece in the making. explosive and exciting deconstructions of the plausibility In I AM 1984 by Barbara Matijević and Giuseppe of archiving dance. Sandra Banić Naumovski and Selma Chico, dance history is evoked through references to Banich named their performance Between Quotation Mark ballerina Mia Čorak Slavenska, Bolero by figure skating and Brackets (Između navodnih znakova i zagrada) and pair Torvill and Dean, Red Shoes dance film, or The Swan staged the destruction of a part of their physical archive, Lake ballet, present in equal measure to other popular i.e. documents and booklets accompanying their dance historical facts like, to name a few, the Olympic Games pieces realised with the OOUR8 art organisation. Each is in Sarajevo and Los Angeles, Pac-Man computer game, sitting on a chair, in front of them are microphones, one Star Trek and Star Wars films, with all the information tidy, seemingly brand new cardboard box, with OOUR copy-pasted from unreliable sources like Wikipedia or monographs neatly placed on the floor. Sandra Banić Nau- other online databases.5 movski takes random documents out of the box and places In all the mentioned and differently performative them one by one in a shredder, after which the original examples history is non-linear, it is destabilised, auto/fic- documents cannot be reconstructed. The shredder, on an tionalised, floating in virtual space-time. These forms, in equal distance from the two (former?) associates, seems to fact, not only oppose direct archiving, but rather embody be dividing and dissolving them during the performance. the methods of a certain kind of neo-archiving. Which But somehow, aware of general digitisation (of everything, with every more or less historicising embodiment creates including personal archives), we begin to doubt if all these a new work, an original creative work, which in turn documents are not stored on a computer, if their trace requires another neo-archiving response. is not still clear and reproducible. And the very act only revocably definite. However, more than the shredder, Constructing Perspective we are spellbound by voices, by the conventional sitting ecent examples of establishing an ephemeral, posture and everyday gestures of the two once close, dynamic and vitalist archive include a project Rco-authored by Marjana Krajač and Andrej 6 Constructing Perspective was performed on 18 and 19 March Mirčev, under the title Constructing Perspective (Konstruk- at the Zagreb Dance Centre, with Hrvoje Hiršl, Nina Kurtela, Barbara Matijević, Krešimir Purgar, Nikša Gligo, Nikolina Pristaš, Matija Ferlin, cija perspektive), a pseudo-celebration analysing ten years Lana Hosni, Irena Mikec, Sara Piljek, Marjana Krajač, Andrej Mirčev, of Sodaberg Choreographic Laboratory’s work, its near Koautorska incijativa OOUR and Marko Kostanić. and far, intense or mild impacts, through complex analyt- 7 O plesu i iz(a) plesa, eds. Andrej Mirčev, Marjana Krajač and Valentina Toth. Publisher: Sodaberg Choreographic Laboratory, Zagreb, 2016. 8 OOUR, founded by Selma Banich and Sandra Banić Naumovski, 4 www.lescarnetsbagouet.org. Accessed on 21 October 2016. is a co-author initiative of a group of authors coming different artistic 5 See more in: Katja Simunic, “Narration en mouvement: I AM 1984 disciplines, who gathered in order to explore their authorial positions de Barbara Matijevic et Giuseppe Chico” (“Narration in Motion: I AM and conflicted frictions within the set performative concepts. The 1984 by Barbara Matijević and Giuseppe Chico”), Danse contempo- group carried out a dozen projects (Creation of Eve /Stvarajući Eve/, raine et littérature, entre fiction et performances écrites (Contemporary 2006, Salon, 2007, Chew, 2007, Whitebox, 2008 and others), pre- Dance and Literature, Between Fiction and Written Performances), eds. sented at theatrical events and dance festivals in Croatia and abroad. Magali Nachtergael and Lucille Toth, CND, Pantin, 2015. OOUR’s productions are copyleft.

Movements 26 _ 29 Katja Šimunić: Courageous Ephemeralness of Dance Art

performatively testified, collaborators, who now pursue different walks of life: Sandra Banić Naumovski manages the Department of Culture and Publishing at the Public Open University in Zagreb, and Selma Banich is deeply immersed in activism even when she creates her own original performances or collaborates with other artists in both creative and performative fields. They ask each other questions and respond to them in turns. Sandra Banić Naumovski at one point recalls their performance in Poreč, on a concrete floor, which seems to have marked a turning point in their way of performing. They even stopped wearing make-up for the stage. Selma Banich replies that she has never worn make-up in the first place. The former still insists that she used at least foundation, and the latter persists in her reply that she has never put on foundation, simply that she never wears make-up, on stage and in private life. A powerfully felt unreliability of memory is present in the dialogue. Such a banal conflict all of a sudden becomes unexpectedly tragic. It is hard for us to face the fact that not even such a tiny detail like blush on one’s cheeks or eye shadow on one’s eyelids can keep consistency of memory. And what about the important things then? How and why we did something? Back then it could have been clear, but now? The context has changed and the real or only assumed grounds, the necessity of a former work of art, has been irreversibly shrouded by the passing of time. How to reconstruct the context that defines both the making and, consequentially, the reception of a dance work? The evident impossibility of recontextualisation as a prerequisite to analysis is even more frustrating than the physical destruction of documents which could emerge from another private archive, but the creative and performative context of a dance gesture is lost forever. At the end of the performance, Sandra Banić Naumovski and Selma Banich enhance our disturbance by physically quoting the effect they used in one of their performances – theatrical fog. They release artificial haze and wrap up their performance in which OOUR, despite all the inconsistencies in the memory of their protagonists, congruously appeared as an alienating element of an utterly unstable performance practice and raised one of the relentless neo-archive questions: certainty of anything, are you certain that it exists? Internationally renowned dance artist Matija Ferlin, in a performance named The Last Seven Years (Posljednjih sedam godina) does not have a stage interlocutor, more accurately, he duplicates himself in the conversation, jux- taposing excerpts from his interview replies from different < Matija Ferlin, The Last Seven Years (Constructing periods and identifying countless contradictions in his Perspective 2016). Photo: Iva Korenčić Čabo. > own thoughts on dance. If two close collaborators like Sandra Banić Naumovski and Selma Banich were contra-

30 _ Kretanja 26 Katja Šimunić: Courageous Ephemeralness of Dance Art dictory, we can nevertheless opt for one of their discursive and taught daily dance classes based on Merce Cunning- options, but contradictions within the statements of one ham’s technique. The core of the company consisted of artist, made at different times and places of dance dis- three young dancers in spe: Barbara Matijević, Sandra course, become seriously unsolvable. A potential researcher Banić and Ana Kreitmeyer. “Dance is practically the only has to face the fact that quoted written traces of Matija topic of our conversations. We have unsurpassed energy Ferlin’s dance poetics may not provide unequivocalness in store,” says Barbara Matijević. Then she goes on to and a solid ground. Both witty and considerate towards mention that the boxing club that let them use the space a possible unease among observers or researchers, Matija (the free slots) in Josip Runjanin Street, but no, it was Ferlin closed his speech about the past with a forecast: he in Crnatkova Street, the one stretching vertically across foresaw how he and his friend would manage a bed-and- Josip Runjanin Street. Another small contribution to the breakfast in Svetvinčenat and he would work on his pieces utter uncertainty of archival memory, not a particularly in a nearby dance studio. And one of these mornings, ten important and easily verifiably, but still indicative. years afterwards, he will definitely remember to send a After Kilina Cremona suddenly left Zagreb to accept message to Marjana Krajač to congratulate her on the 20th the post of the Ballet Company Manager at the Croatian anniversary of artistic activity. In brief, we will be alive, National Theatre in Split, the three dancers were left on our livelihood will be secured and we will still pursue their own, to train each other at the unheated boxing dance art. The diffident smile on this charismatic artist’s club. Then followed the Ekscena period. But since Bar- face seems to be asking: right? No? Or else…? bara Matijević’s narrative is not linear, chronological and A far less optimistic forethought came from Barbara systematic, as her narrative get attuned to the memory Matijević in her performance lecture, under the title cards which she picks more or less randomly, the event How to Be(come) an International Artist in Three Easy Steps that follows has nothing to do with the boxing club. (Kako /p/ostati međunarodni umjetnik u tri jednostavna Or Ekscena. It is about a conversation between Marjana koraka). Announced as a concise introduction into several Krajač and Barbara Matijević for The Book 200810, which strategies of survival on the international performance took place more than seven years ago. Barbara Matijević scene, it turned into a powerful narrative self-reflection says she like this interview and, rereading it today, she followed by dance, a free interpretation of Mary Wig- envies “the younger self for the enthusiasm bubbling man’s choreography Abschied und Dank. Structured as up in every sentence”. She is trying to imagine several a series of notes on cards that do not form a coherent versions what one such interview between Marjana Krajač story and whose non-linear structure the author herself and herself would look like today. In the version number explains as characteristic of a period she will be discuss- four, Marjana Krajač’s imaginary question is: “Is there a ing, the late 1990s and early 2000s in Zagreb. Barbara piece you would love to make, but have never dared?” Matijević says she also believed that preparations for And Barbara Matijević responds: these interventions would take less time, but that one “Yes. A performance for which I would first have to find a point of memory guided her further and further away in woman who would look like me in about 15-20 years’ the past, up to the point after which looking back simply time. Preferably a former dancer, since this is visible no more made sense. Such unplanned retrospection was on the body, but by no means an actress. Actresses inspired by the performance of Sandra Banić Naumovski always look like they are acting. No, the best would and Selma Banich, with whom she collaborated in Eksce- be a woman in no way associated with art. So, I would na9, a performance she did not expect would derail her hire this woman to represent a possible version of me that much from the planned lecture on international in 20 years’ time. A kind of alternative future reality. experiences to the necessity of a self-reflective work on This Barbara Matijević has no money and no ideas. No ‘the Zagreb period’. One of Barbara Matijević’s cards European theatre is interested in her work anymore, no sparked a memory of working with the French choreog- one invites her to tour, she has no co-productions, she rapher and dance pedagogue Kilina Cremona in the late 1990s, at a boxing club in Crnatkova Street. Upon arrival 10 The interview took place on 12 December 2008, as one in a series to Zagreb, Kilina Cremona established a dance company of nine interviews joined together in The Book 2008, between Marjana Krajač and the artists Selma Banich and Sandra Banić Naumovski, Ana 9 Ekscena – an experimental independent scene, a non-governmen- Kreitmeyer and Zrinka Užbinec, Pravdan Devlahović, Matija Ferlin, tal non-profit and non-profitable association of young choreographers Barbara Matijević, Nikolina Pristaš, Željka Sančanin and Andreja active within the scope of the Public Open University in Zagreb since Široki. The Book 2008 was published on the website of Sodaberg December 2001, whose basic intention is to provide quality working Choreographic Laboratory. Accessed on 21 October at: http://www. conditions to emerging, up-and-coming dance artists. sodaberg.hr/thebook/.

Movements 26 _ 31 Katja Šimunić: Courageous Ephemeralness of Dance Art

does not reply to her e-mails. She lives alone in a small which resulted in an exceptionally stimulating book12 tes- room in Paris. I would send this woman to all the Paris- tifying to the process of reconstruction of a choreography ian premieres and parties to sell her stories of a brilliant significant for the history of French contemporary dance, past. Of the days when she performed at the festival complete with a DVD of a performance remake. But again in Avignon. How she had fun at festivals in Brazil and we could ask ourselves would this book have been sig- New York. She would be walking in a cloud of Indian nificantly different if another researcher had covered the incense sticks and her hair would not be freshly washed. same remake? Is this book yet another additional exhibit She would show people some photographs of her cat in the archives seeking further research? Is it simply the and offer them DVDs of her old performances. But I telescopic character of archiving that never yields a clear am quite certain I will never make this performance. picture? Furthermore, a clear picture of what? What is it Marjana Krajač: Why not? that we are looking for and what do we want to register? Barbara Matijević: Because it would be too per- In other words: what is dance? sonal. In my work I strive to eliminate all the traces of To paraphrase Bergson13, in this point it is something myself. So far not particularly successfully. All the old simple, infinitely simple, so extraordinarily simple that identification models are still present, you know: being the dancer has never succeeded in dancing it. And that presented as a Croatian artist, or a French-Croatian is why he went on dancing all his life. It is, of course, artist, or a dancer, or a performer. Or a theatrical artist capturing time in a dance gesture. Irreversible time. For, with a background in dance. Or an artist of a hybrid dancing is possible only at the moment of de/construction performative expression. All this seems fake, the very of one’s own dance. A written record about this moment idea of a biography as a coherent and linear story. is always only subsequent. Random, as it is already con- It makes me nervous. Especially when interviewers textualised by Other and Otherness. Contaminated with ask me to explain the cause and effect of my works. a receptive impression imbued with the entire personal I do not know why they think I would be capable habitus of ideas and senses of the one observing the seen, of explaining that. Personally, it seems to me that it the experienced dance performance. would be much more honest to sign each work with But if archiving is inadequate or even impossible, a different name.” how then to explore dance art? How to contemplate Barbara Matijević opposes labelling herself and her over dance art? By way of the unmistakable (philosoph- work and, equally so, she opposes iconification. With her ical or artistic or scholarly or…?) intuition of the one gut-wrenchingly sincere self-fictionalisation she always writing about a dance work? By attempting, more or distinguishes from the paved roads of performance and less plausibly? Should we, perhaps, make a leap across this time she makes a new small rupture in the fully estab- the archives to establish trust in serendipity14 leading to lished form of performance lecture. Signing each new piece discovery? Overly sensitive to the archive’s uncertainty with a different name subverts the idea of any meaningful and untrustworthiness, I nevertheless have a confession archiving and signals to the poetics of non-archiving. to make: I find Barbara Matijević’s work extremely interesting and inspiring and I definitely wanted to see her Poetics of non-archiving intervention in Constructing Perspective, but I was unable ertrude Stein freely quotes Pablo Picasso, who due to another pressing matter. Therefore, all I wrote in claims that it does not matter whether the paint- this essay about her performance lecture is a result of Ging is preserved or not, that in the end no one will see the painting, everyone will see a legend of the 12 Julie Perrin, Projet de la matière – Odile Duboc – Mémoire(s) d’une œuvre chorégraphique (Project of Material – Odile Duboc – painting, the legend that the painting created.11 Memory/s/ of a Choreographic Work), CND / les presses du réel, 2007. What is (or was) in fact a dance work, and what is 13 “In this point is something simple, infinitely simple, so extraordinar- merely a legend of it? Or let us rephrase: how exhaus- ily simple that the philosopher has never succeeded in saying it. And that tive should the presented material be to conclude with is why he went on talking all his life.” Henri Bergson, The Creative Mind: An Introduction to Metaphysics (La Pensée et le mouvant, 1934). certainty that a dance work is documented? One of the http://libarch.nmu.org.ua/bitstream/handle/GenofondUA/27413/ examples could be the remake of Odile Duboc’s chore- f806710d56b11abe3157fdbf83110528.pdf?sequence=1, page 127. ographic piece Project of Material (Projet de la matière), 14 A word created by the English writer Horace Walpole (1717– covered by the outstanding dance researcher Julie Perrin, 1797), inspired by a Persian tale of three brothers from Serendip who keep discovering things they did not plan to, by chance and shrewd- ness. The word denotes a sudden unexpected discovery that happened by chance, but implies the capability of the person it occurred to to 11 Gertrude Stein, Picasso, Paris, Floury, 1938. recognise and contextualise it.

32 _ Kretanja 26 Katja Šimunić: Courageous Ephemeralness of Dance Art listening to an archival sound record15. The dance that evident impossibility to archive movement, but also the Barbara Matijević’s narrative intervention finished with impossibility to analyse dance at the moment of dancing. is available on photographs, but I am utterly sceptical However, in the midst of all these impossibilities, regarding dance photography as a possible ingress to dance could perhaps be depicted, illustrated, brought choreography. Photography mostly petrifies a moment quite close to others from the perspective of emotional which, from the photographer’s point of view, seems predisposition. Through means avoiding curiosity in every impressive, and rejects the ones in a state of broken form, way, for which archiving yearns. Vladimir Jankélévitch unsuitable for two-dimensionality and framing. It rejects writes about curiosity: the unfinished qualities of movement and its fluid decay. “Curiosity hungers for biographic details, for more or less Besides, a dancer can be unspeakably unphotogenic and intriguing anecdotes, rumours, rare memories and still incredibly scenic and gifted, capable of the most confidential titbits. Curiosity exaggerates in details; it subtle elusive dance shapes. And this is what photogra- listens to different news and compiles a chronicle full phy fails to capture. However, perhaps a video record of of notes: it establishes only a superficial and mean- Barbara Matijević’s solo exists somewhere? Even though ingless acquaintance; with its reckless finger, curiosity a video also imposes its point of view, it flattens both flips through the book of biography. This is not love, the spatiality and the dynamics of movement, barely this is a detective and a police inspector dealing with lending a recognisable form to what is the essence of a suspects and gathering information about them. (…) performance – its motion in all the directions and the Yes, curiosity defies predilection as an amateur to a infinitely versatile power of gesturality. lover, as selection to choice. An amateur chooses, lists I feel a lack and a loss not to have been present at the and painstakingly portrays people in the manner of a performance, but the sound record of the narrative never- collector who assorts samples into an abstract series or theless strikes me deeply. Barbara Matijević’s voice spans completely impersonally. Instead, love is indifferent to across time and space and in a strange manner, every time I details and material idiosyncrasies; this is, in fact, her relisten it, it builds a new performance of her intervention. generosity, which even gives it an indefinite, buoyant Perhaps because the artist at one point of her creative and at times somewhat approximate appearance.”16 career gave up dancing or, more accurately, invested it Led by emotion after relistening to the sound record into narration, into speech, a lecture, direct communica- of the performance lecture, I will describe the last solo tion, maybe that is why I can write about what Barbara based on Mary Wigman’s choreography, to the music Matijević spoke about, perhaps I could even imagine her which is not the music Mary Wigman danced to, but now, after almost a decade of not dancing, at the Zagreb piano music to which Barbara Matijević danced Vertigo, Dance Centre where she has never stepped foot on stage, her last foremost dance work: Barbara Matijević danced as performing her version of Mary Wigman’s choreography. if she was letting go of her Zagreb dance past, its missed Is writing about dance available to us only through opportunities, (un)realised performances and (im)possi- archival records in advance doomed to failure? Or, may- ble ideas. She danced courageously and light-mindedly. be… if it were a dialogue between artistic dance and Knowing that every performance is both the first and a written discourse about it, a dialogue established by the last. And that it inevitably brings irreversible oblivion elective affinities and fed on love for this art and not of the very same dance experience, oblivion of the very curiosity about dance, perhaps we would be leaving at materiality of dance which manifested its elf in the inimi- least a personal, competent and inspired trace. table. She danced as the one who claims to have given up dancing, sensing that such a thing is not possible. As it is Against curiosity not possible to know, reconstruct, archive which name n dance there are no postponed lives, only those we live she used to sign just this work of hers. Which name she here, now and only now. I love dance art because it is used to self/fictionalise it. And which to destabilise a Iso confident of its now, because it is so Montaignesque: personal hi/story id est a performative or a dance archive “When I dance, I dance, when I sleep, I sleep.” I love dance and our irrevocably subsequent dance research. because of its negligent approach to reliable traces, to the English translation: Ivana Ostojčić 15 Descriptions of Barbara Matijević’s intervention and quotes from her narrative were reconstructed based on the sound record made at the performance on 19 March 2016 at the Zagreb Dance Centre by 16 Béatrice Berlowitz, Vladimir Jankélévitch, Quelque part dans l’in- Ivana Slunjski. achevé (Somewhere in the Unfinished), Gallimard, 1978, pp. 14–15.

Movements 26 _ 33 Pavle Heidler: Što je u kostimu

< Muzej plesa u Stockholmu. Foto: Pavle Heidler. > Pavle Heidler: Što je u kostimu

PAVLE HEIDLER Što je u kostimu: neostvarivi projekt arhiviranja plesa

Rolf de Maré prvim svjetskim muzejom plesa.) AID-ova zbirka postojano olf de Maré bio je švedski sakupljač umjetnosti i suosni- je rasla i naposljetku dosegnula brojku od 6000 knjiga, ba- vač plesnoga ansambla Švedski baleti, koji je djelovao kroreza i drugih predmeta. Nakon Drugoga svjetskog rata Ru pariškome Théâtre des Champs-Élysées od 1920. De Maré je odlučio da je zbirka prevelika da bi je održavala do 1925. De Maré, tvrdi Erik Näslund, ravnatelj Muzeja plesa samo jedna osoba, pa ju je u cijelosti donirao francuskoj vladi, (Dansmuseet) i autor knjige Rolf de Maré – Kolekcionar umjet- koja je pak zbirku dodijelila muzeju i knjižnici Pariške nacio- nina, ravnatelj baleta i osnivač muzeja (Rolf de Maré – Art nalne opere, u kojoj se većina predmeta još može pronaći i Collector, Ballet Director, Museum Founder), za umjetnost se proučiti. Što znači sljedeće: Opera je odbila primiti neke od mogao zanimati i u nju ulagati ponajprije zahvaljujući činjenici predmeta iz De Maréove zbirke, a to su svi oni koji se odnose da je potjecao iz jedne od najbogatijih švedskih obitelji toga na njegovu plesnu skupinu Švedski baleti te predmeti koje je vremena. Sve žene s kojima je bio u bliskome odnosu tako- donio s ekspedicije u Indoneziji 1936. S tim se predmetima đer su bile kolekcionarke. Primjerice, njegova baka, grofica De Maré vratio u Stockholm, a prvi su put izloženi 1953. u Wilhelmina von Hallwyl, iako je bila tradicionalnijeg ukusa, podrumu Švedske kraljevske opere (Kunliga Operan). podupirala je De Maréova avangardna nagnuća redovno i Otkako je otvoren u podrumu Švedske kraljevske opere, bezuvjetno te mu je često nudila veće svote novca koje bi on stalni postav Muzeja plesa mnogo se puta selio. Trenutačno ulagao u svoju plesnu skupinu ili putovanja. Obitelj je bogat- je smješten u vlastitoj zgradi u staroj jezgri Stockholma (Ga- stvo stekla na samome sjeveru Švedske, gdje je drvna industrija mla Stan), a sastoji se od dvaju izložbenih prostora, eduka- na prijelazu stoljeća bila u punome zamahu. cijskoga centra te poznata bistroa i vinskog bara. U jednome od prostora nalazi se De Maréova privatna zbirka, dok se u Osnivanje Muzeja plesa drugome održavaju tekuće izložbe. Jedna od takvih koju sam vadesetak godina prije otvaranja Muzeja plesa, točni- posjetio dok sam istraživao građu za ovaj članak bila je izložba je 1931, Rolf de Maré osnovao je Međunarodni ple- kostimografkinje Bee Szenfeld pod nazivom Sve što možete Dsni arhiv (Les Archives internationales de la danse, zamisliti stvarno je (Everything You Can Imagine is Real), AID) u Parizu. AID se smatra prvim svjetskim muzejom plesa nastala u suradnji s odjelom za ples Švedske kraljevske opere. i istraživačkim institutom. (Dansmuseet se također smatra Izložba je prikazala brojne kostime i skulpture od papira te

Movements 26 _ 35 Pavle Heidler: Što je u kostimu

niz fotografija i kratkih filmova koji prikazuju plesače Šved- stapaju poput kolaža i tako prenose sadržaj djela. Predstava ske kraljevske opere u papirnatim kreacijama Bee Szenfeld. je, poput nekih drugih radova te koreografkinje, problema- tizirala više povijesno važnih koreografskih metodologija Stalni postav te estetskih i izvedbenih parametara koji su utjecali na ono talni postav muzeja, njegova zbirka, sastoji se od pred- što, gledano unatrag, tj. iz današnje perspektive, smatramo meta, artefakata i umjetničkih djela (uglavnom slika važnim u povijesti plesa. Plesači su proučili mnoge povijesne Si skulptura) čiji se život nekoć vezao ili se još veže uz plesne predstave koje su izvedene na pozornicama i čije su ples, plesanje ili, češće, određenu povijesno priznatu plesnu snimke dostupne, u potrazi za obrascima (estetskim, bihe- produkciju. Prema mojem mišljenju, najdojmljiviji je izložak u vioralnim, tjelesnim, plesnim) koji bi se mogli reartikulirati i zbirci kostim koji je dizajnirao Nicholas Roerich za produkciju rekoreografirati te tako razotkriti, propitati, analizirati i pro- Posvećenja proljeća u izvedbi Ruskih baleta 1913. – ako ni- učiti. Proučeni obrasci varirali su od onih očitijih, lako prepo- šta drugo, zato što se o toj produkciji može naći veoma malo znatljivih (primjerice, sličan način kako plesači u određenoj zapisa. Sam kostim nosi lutka koja kao da stoji u drvenoj okolini drže kralješnicu ili kako predstavljaju lice) do onih kutiji, koja bi pak trebala nalikovati kutiji u kakvoj se inače suptilnijih (primjerice, sličnosti u načinu kako se u određenoj transportiraju umjetnine. (Prisjetimo se samo prizora iz filma okolini gledaju ili dodiruju). Osmijeh Mona Lise, kada lik Julije Roberts dovede skupinu Predstava nije samo metodološki kritizirala prepoznatljive srednjoškolki u njujorški loft iz šezdesetih, u kojem će na- obrasce, ako kritičnošću smatramo „isključivo intelektualan zočiti raspakiravanju Jacksona Pollocka. Kutija iz koje izlazi rad” ili „rad koji teži kritizirati i kritikom možebitno poboljšati Pollock manje-više jednaka je toj posred koje stoji izloženi ono što proučava”. Predstava je bila katkad jednostavno, čak kostim. Svijetlo drvo s crvenim oznakama koje oblikuju riječ i naivno kreativna. Neke je obrasce, primjerice, pokušala što LOMLJIVO!) Jedna strana kutije, ona na koju bi trebao doći autentičnije rekreirati, izvodeći ih sa što manje umjetničkih imaginarni poklopac, pokrivena je staklenom površinom za- i drugih dodanih detalja. U takvim je trenucima umjetnički hvaljujući kojoj posjetitelji vide unutrašnjost, to jest lutku. Lut- proces namjerno lišen bilo negativna bilo pozitivna suda ple- kina stopala trajno stoje u paralelnoj poziciji, a ruke bez šaka sača te umjesto toga radije predstavlja publici sirovi materijal poslušno vise. Lice joj je bezizražajno, poput bijele jastučnice kako bi donijela vlastite prosudbe. Artikulirajući višeslojnu uokvirene plastičnom srebrnosijedom vlasuljom. Gledajući kritičku perspektivu spram obrazaca koji su, povijesno gle- ju, pozornost su mi neizbježno odvraćala ta stopala, krajnje dano, omogućili stvaranje i razmjenu (komunikaciju) plesne pristojna, u paralelnoj poziciji. Posvećenje proljeća, pomislio umjetnosti i umijeća koreografije, Stillman i ansambl željeli sam, prvi je put u povijesti plesnih uprizorenja na pozornicu su stvoriti novu koreografiju iz rezultata analize stare koreo- donijelo zatvorenu poziciju. Ne bi li postavljanje lutke takvo grafije, ne anticipirajući kako će nova koreografija izgledati. da priziva taj koreografski i povijesno odvažan prijedlog u Koreografska načela preuzeta su iz proučavanja starih kore- najmanju ruku bilo zanimljivo, ako ne i informativno? ografija i u ključnim su aspektima do neke mjere preinače- Razmišljajući o tome, prošetao sam ostatkom stalnoga na, a potom otjelovljena (otplesana, izvedena, katkad čak, muzejskog postava i ustanovio da položaj većine izložaka baš usuđujem se reći, odglumljena) i tako predstavljena publici. i nije pridonio pretpostavljenoj važnosti i značenju umjetničkih Estetika se pojavila kao rezultat opisana rada i sama po sebi predmeta – za većinu bi se moglo reći da su izloženi pragma- nije se smatrala krajem ili ciljem procesa, nego nečime što tično, izravno, nepoetično. Poslije sam došao do zaključka da se promatra i proučava. Stoga se nikad i nije prilagođavala sam ustvari većinu predmeta doživio kao izrazito nepomične, kako bi umjetno zadovoljila estetske zahtjeve sadašnjosti. kao da su zapeli na jednome mjestu protiv svoje volje, a ta Izvedba te predstave u Muzeju plesa imala je smisla s me misao posebno zbunila kada sam na službenoj mrežnoj obzirom na to da se djelo bavi očuvanjem plesa, ne samo stranici muzeja pročitao da to nije samo muzej plesa, kazališta, zato što se u samome djelu izvodi stara koreografija nego umjetnosti i fotografije. Taj muzej ujedno je i muzej – pokreta. zato što je riječ o plesu izvedenu u muzeju plesa. Posebno iznenađuje i izlazi na vidjelo kod uvježbavanja i izvođenja toga Izvedba u Muzeju plesa djela, kada god se pokušava nanovo otplesati povijesni ples Muzej plesa sam prvi put došao u travnju 2015. točno onako kao nekad, činjenica da ples nikad nije nastao Tada je moj posjet bio motiviran jedinstvenom za- isključivo kao rezultat koreografije. Ples je odraz koliko kul- U daćom. Naime, trebao sam nastupiti na improvizi- ture, toliko i plesačeva obrazovanja, gestike u kojoj se zrcali ranoj pozornici muzeja u koreografiji Rebecce Stillman, za- plesačeva izvedba, drugih sklonosti i slično. Kada plešemo jedno s plesačima iz skupine Weld: Anna Westberg, Caroline povijesne plesove, čak i ako naši pokreti odgovaraju pokreti- Byström, Josefine Larsson-Ohlin, Per Saklén, Elias Girod i ja. ma u izvornim snimkama, gestika je drukčija. I stoga, estetski Koreografiju je činilo šest naoko nepovezanih cjelina, koje se gledano, ples nikad ne izgleda jednako.

36 _ Kretanja 26 Pavle Heidler: Što je u kostimu

Staromodnost loše napisane tekstove na temu plesa, najblaže rečeno, nije rativši se u stalni postav muzeja, opazio sam da dostojno bogate prošlosti i sadašnjosti koje čine cjelovito zbirka dokumentira upravo ono što plesači skupine područja plesa, koreografije i pokreta. V Weld ne uspijevaju uskrsnuti, a to su točno određeni kulturni parametri koji služe poput okvira u sklopu kojih su se Zaključak razvijale i koreografske i performativne metodologije (neki bi edno očito pitanje nameće se samo: kakvo bi dokumen- rekli i jezici), a plesovi cvali. Kada bi stalni postav barem bio tiranje ili arhiviranje plesa bilo dostojno bogate prošlosti i obuhvatniji, tematski jasnije određen, svjesniji toga koji bi mu Jsadašnjosti koje čine cjelovito područje plesa, koreografije i aspekt mogao biti najjači adut! Dakle, ono što stalni postav pokreta? I dok se to pitam, nazire se jedno moguće razmišlja- muzeja nije pokazao upravo je ključni gradivni element plesa nje: nije dokumentiranje ili arhiviranje plesa ono što će na kraju – pokret. Zbirka se sastoji u prvome redu od maski, kostima, pomaknuti jezičac na vagi u našu korist, nego upravo to kako skulptura, slika; to je zbirka neživih predmeta izloženih (da se tim zapisima pristupa, kako ih se tumači i čita. A zašto uma-

stvar bude gora) staromodno. Zašto muzej trenutačno sebe njujem važnost pružatelja, a naglašavam važnost primatelja < Muzej plesa u Stockholmu. Foto: Pavle Heidler. > naziva muzejom plesa i pokreta u najmanju je ruku nejasno. informacija kada je riječ o stvaranju vrijedna i informativna do- Glavnina zbirke Rolfa de Maréa nije staromodna ni u jed- življaja? Zato što je koreografskim i plesnim praksama s kojima nome starom značenju riječi. Ona je odraz vremena kada su sam upoznat već dulje vrijeme potreban upravo paradigmatski muškarci bijele rase putovali svijetom i sakupljali predmete, a pomak takvih razmjera. Tek kada primatelj informacija hoti- potom ih donosili u Europu, u kojoj su ih izlagali kao egzotič- mično (i po mogućnosti ushićeno) razloži informaciju, propita ne, onozemaljske dokaze stranoga (i često nepovlaštenoga), i kritizira, prouči ju i – nadahnut tom informacijom – njome čemu se valjalo diviti. De Maré se proslavio time što je prvi dopuni svoje sanjarenje, tada će ikakav razgovor o uspješnu počeo odlaziti na duge ekspedicije čija je jedina svrha bila dokumentiranju i arhiviranju plesa i koreografije, ili uopće bilo dokumentirati obrasce ponašanja i estetska načela plesnih koje žive umjetnosti, uopće imati smisla. Jer kako će ijedan kultura širom svijeta. I iako je činjenica da je De Maré učinio zapis ikad moći nešto što je nekoć bilo živo prenijeti u drugi to što je učinio tada kada je to učinio možda sama po sebi trenutak, koji nije njegov izvorni (jedini) trenutak? Mislim da to vrijedna divljenja (jer tko je drugi učinio toliko za ples u to ni jedan znanstveno-fantastični zapis nikad neće moći. S druge vrijeme?), sama zbirka – i kako je danas pred stavljena: ne- strane, ljudska će nam sposobnost za interakciju, za maštu, za refleksivno, izravno, staromodno – ne zadovoljava potrebe empatiju uvijek na kraju moći pružiti dojmljiv doživljaj, bez vremena u kojem postoji. Izložiti poprilično malen broj maski obzira na dostupan format informacije. i kostima, pustiti isječke iz brojnih klasičnih skladbi, prikazati kratke isječke plesa na ekranima različitih veličina te ponuditi S engleskoga prevela: Ivana Ostojčić

Movements 26 _ 37 Pavle Heidler: What's in a Costume

< Museum of Dance in Stockholm. Photo: Pavle Heidler. > Pavle Heidler: What's in a Costume

PAVLE HEIDLER WHAT’S IN A COSTUME – the Impossible Project of Archiving Dance

Rolf de Maré de la danse (AID) in Paris. AID is said to be the world’s olf de Maré was a Swedish art collector and first dance museum and research institute. (Dansmuseet co-founder of the Ballets suédois dance company is also said to be the world’s first museum of dance.) Rthat operated from Paris’ Théâtre des Champs- AID’s collection grew steadily and eventually numbered Élysées between 1920 and 1925. According to Erik some 6000 books, engravings, and other items. After the Näslund, the current director of Dansmuseet and author Second World War De Maré decided the collection to of the book Rolf de Maré – Art Collector, Ballet Director, be too large to be maintained by a single person, so he Museum Founder, de Maré’s interest and investment in donated the whole of it to the French government, which art were very much made possible by the fact that he in turn bestowed the collection on the museum and the came from one of the richest Swedish families of the library of the Opéra National de Paris, where most of the time. Most women he was close to were themselves art items can still be found and studied. This is to say that collectors. His grandmother, Countess Wilhelmina von the Opéra refused to accept some of the items De Maré’s Hallwyl, for example, whilst reportedly of a more tradi- collection consisted of. These included all items related tional palate, supported De Maré’s avant-garde interests to De Maré’s Ballets suédois dance company, and items regularly and unconditionally, often by offering him large brought back from his 1936 expedition to Indonesia. It sums of money he then invested in his dance company or was these items that De Maré returned to Stockholm his travels. His family’s wealth came from the far north with. The items were first exhibited in the basement of Sweden, where – at the turn of the century – timber of Kunliga Operan (the Royal Swedish Opera) in 1953. industry was in full bloom. Since its opening in the basement of Kunliga Operan, Dansmuseet’s permanent exhibition changed location a Establishment of Dansmuseet number of times. It currently inhabits a building of its t was twenty years prior to the opening of the Muse- own in the city of Stockholm’s old centre, called Gamla um of Dance (later: Dansmuseet), namely in 1933, Stan (Old Town). The museum itself is comprised of two Ithat Rolf de Maré founded Les Archives internationales exhibition spaces, a study centre, and a well-known bistro

Movements 26 _ 39 Pavle Heidler: What's in a Costume

and wine bar. One of the two exhibition spaces shows artefacts were exhibited in a way that I can only describe De Maré’s private collection, whilst the other hosts tem- as pragmatic, direct, non-poetic. I later concluded that porary exhibitions. The temporary exhibition I’ve had a most artefacts, in fact, I perceived to be extremely still, chance to visit whilst doing research for this article was an as if stuck in place against their will. This reflection I exhibition of the costume designer Bea Szenfeld entitled found particularly confusing when I read on the muse- Everything You Can Imagine Is Real created in collaboration um’s website that not only was the museum the museum with Kunliga Operan’s dance department. The exhibi- of dance, theatre, art and photography. The museum was tion shows a number of costumes and sculptures made also the museum of – movement. of paper, and features a series of photographs and short films that portray dancers from Kunliga Operan wearing Performing at Dansmuseet Szenfeld’s paper designs. he first time I came to Dansmuseet was in April 2015. My visit to the museum was then driven by Permanent exhibition Ta singular purpose. I was to dance on the muse- he museum’s permanent exhibition – its collection um’s makeshift stage in a choreography created by Rebecca – consists of objects, artefacts, and works of art Stillman in collaboration with the dancers of the Weld T(mostly painting and sculpture) whose existence Company: Anna Westberg, Caroline Byström, Josefine was once or still is related to dance, dancing, or more Larsson-Ohlin, Per Saklén, Elias Girod, and me. The chore- commonly – a specific historically acknowledged dance ography consisted of six seemingly unrelated parts, which production. The most awe-inspiring object in the collec- in a collage-like manner came together to communicate tion, in my opinion, is the costume designed by Nicholas the content of the work. The work, as do some other Roerich for the 1913 production of Ballets Russes’, The works the choreographer is associated with, focused on Rite of Spring – if only because so little is left documented a number of historically relevant choreographic method- of this particular production. The costume is worn by a ologies, aesthetic and performative parameters that came puppet made to appear as if standing in a wooden box, to influence what of dance history is deemed important in which is presumably intended to look like a box you would hindsight, i.e. from today’s point of view. The company expect an art object to be transported in. (Just think of studied a number of historic dance productions that had the scene from the film Mona Lisa Smile in which Julia been performed on proscenium stages and the recordings Roberts’s character brings a group of female high-school of which were available on video, and looked for patterns students to a 1960s New York City loft, where they witness (aesthetic, behavioural, physical, danced) that could be the unboxing of a Jackson Pollock. The box the Pollock re-articulated or re-choreographed and so be exposed, comes out of is pretty much the same box the exhibited questioned, analysed and studied. Studied patterns ranged costume is standing in. Fair wood, red markings spell the from the more obvious ones, easy to recognise (e.g. the word FRAGILE!) One side of the box, the one covered by similar way dancers in a particular environment carried an imaginary lid, is now covered by a glass surface that their spines, or chose to present their faces), to the more enables the viewer to see its inside, i.e. the puppet. The subtle ones (e.g. the similar way dancers in a particular puppet’s feet are forever resting in a parallel position, environment looked at each other, or touched each other). its handless arms hanging obediently by their sides. The The work was not only methodologically critical of puppet’s face is featureless; little more than a white pil- recognisable patterns, inasmuch as criticality could be lowcase framed by a plastic grey-and-silver-coloured wig. understood as either “exclusively intellectual work” or Looking at the puppet, I couldn’t help but be distracted by “work that is looking to criticise and by criticising poten- the fact that its feet assumed – ever so politely – a parallel tially make better that which it studies”. The work was, position. The Rite of Spring, I thought, introduced to the and at times simply, maybe even naively, creative. Some proscenium stage – for the first time in history of staged patterns, for example, were re-created as authentically dancing – the turned in position. Wouldn’t positioning the as was possible, and performed with little added detail, puppet in a way that would elude to this choreographically artistic or otherwise. In those instances the artistic process and historically speaking daring proposal seem at least was purposefully void of negative or positive judgement interesting if not informative? on the side of the artists, and instead sought to present the With these thoughts in mind I browsed the rest of audience with raw material in order to ask them to pass the museum’s permanent exhibition and found that the their own judgement. Whilst articulating a multi-faceted placement of most exhibited artefacts did little to ‘add’ critical point of view of patterns that, historically speaking, to the artefacts’ assumed significance or meaning. Most enabled the creation and the sharing (communication) of

40 _ Kretanja 26 Pavle Heidler: What's in a Costume the art of dance and the art of choreography, Stillman and of a time in which white men travelled the globe and col- Company looked to create new choreography from the lected objects, then brought them back to Europe where results that came out of analysing old choreography. This they were exposed as exotic, other-worldly proofs of the was done by not anticipating what the new choreography foreign (often non-privileged) which was to be admired. De was to look like. Choreographic principles were derived Maré is famous for having been the first to take extensive from studies of old choreographies; and were critically expeditions the sole purpose of which was to document processed to different degrees, then physicalized (danced, the behavioural patterns and aesthetic principles related performed, sometimes even acted, I dare say) and so pre- to dance cultures worldwide. And whilst the fact that De sented to the audience. The aesthetic appeared as the Maré did what he did at the time in which he did might be result of described work, and was itself not understood admirable in its own right (because who else did for dance to be the end or the goal of the process but was observed what he did for dance at the particular time in which he and studied, and so never adjusted in order to artificially did it), the collection itself – and the way in which it is satisfy aesthetic preferences of the present. presented today; unreflectively, bluntly, old-fashionedly Presenting this work at Dansmuseet made sense to – fails to cater to the needs of times in which it exists. To the extent that the work examined the notion of the exhibit a rather small number of masks and costumes, to preservation of dance – not only because the work was play excerpts from a number of classical pieces of music, working on old choreography, but because the work itself to show a number of short clips of dancing on screens was a dance shown in a dance museum. One interesting of various sizes, and to offer a number of poorly written (re)discovery that became apparent during the rehearsing texts on the topic of dance is – to say the least – not doing and performing of this piece, whenever a historic dance justice to the rich history and present that the fields of was tried to be danced again, exactly as it once was – was dance, choreography, or movement comprise of. the fact that dances were never created as a result of choreography alone. They were reflections of a culture In conclusion inasmuch as they reflected the specific dancer’s training, he obvious question presents itself: what kind the specific dancer’s gesturality which in itself reflected of documenting or archiving of dance would do the specific dancer’s performative, or other preferences, Tjustice to the rich history and present that the etc. When dancing historical dances, even though our fields of dance, choreography, or movement comprise of? movements corresponded with the movements seen Posing this question I reveal to myself a possible opinion in the original videos, our gesturalities didn’t. And so, I have: that it is not documenting or archiving of dance aesthetically speaking, the dances never looked the same. that will eventually make a satisfying difference – it is how the documents are approached, interpreted, and read Old-fashioned that will. And why is it that I move the power to create a oming back to the museum’s permanent collection, meaningful and informative experience from the provider I noticed that the collection documents exactly of the information to the consumer of the information? Cwhat the dance of the Weld Company fails to resur- Because it is exactly the paradigmatic shift of such pro- rect. Namely, the specific cultural parameters that served as portions that the choreographic and dancing practices I frameworks within which choreographic and performative am familiar with have been calling for some time now. It methodologies (some would also say: languages) devel- is only when the consumer of information willingly (and oped and dances thrived. If only the permanent collection possibly excitedly) breaks the information down, ques- then would be more extensive, more articulated in its tions and criticises, studies the information, and – having focus, more conscious of what aspect of itself could be its been inspired by the consumed information – adds to it strongest asset. That said – what the museum’s permanent in their daydreams that any talk of successful document- collection didn’t show was exactly the crucial component ing and archiving of dancing and choreography – or any of dancing, which is – movement. The collection is made live arts, for that matter – will make any sense. For what primarily of masks, costumes, statues, paintings; it’s a document will ever be able to convey an instance that collection of inanimate objects exhibited (to make matters was once live into a time other than its original (its only) worse) in an old-fashioned way. Why exactly the Museum time? I don’t think any non-sci-fi document will ever be currently claims to be a museum of dance and movement able to do that. A person’s ability to interact, to imagine, is, to say the least, puzzling. to empathise on the other hand will – at least – always be Most of Rolf de Maré’s collection is not old-fashioned able to provide that person with an impressive experience, in any old meaning of the word. The collection is reflexive no matter the format of the information available.

Movements 26 _ 41 Iva Nerina Sibila: Dodiri s arhivskim Iva Nerina Sibila: Dodiri s arhivskim

IVA NERINA SIBILA DODIRI S ARHIVSKIM: odsutnost i fikcije

njiga Paula Isenfelsa Getanzte Harmonien1 stoji u ma, organizirajući tijela u kosine i elipse koje prate fontane ili obiteljskoj kućnoj biblioteci otkad pamtim. Knjiga je kolonade. Treći niz čine tijela u eksploziji, u skoku. Kžutonarančasta, s platnenim ovitkom i naslovom uti- Na fotografijama se plesači pojavljuju nagi, odjeveni u snutim zlatnim slovima. Iako nekoliko stranica ispada, još su hitone, a ponegdje ovlaš prekriveni draperijama. No pojavljuju sve na broju. Izdana je 1927. Sadrži brojne fotografije plesa- se i u ekscentričnim, orijentalnim kostimima koji daju dojam čica i plesača u pokretu. dekadencije, pa i seksualne ambivalencije jer su i mladići če- Na uvodnim stranicama piše da je svih 120 fotografija sto u suknjama, a rodne podjele u gesti ili akciji nema. Sve koje čine knjigu snimljeno u ljeto 1926. u Stuttgartu, u parku fotografije slike su cjeline, portreta ili detalja nema. i dvoranama monumentalna neoklasičnog dvorca koji je dr. Na svakoj je stranici po jedna fotografija. Prva fotografija Ernst von Sieglin, bogati tvorničar, otvorio autoru Isenfelsu slika je mlade djevojke koja sjedi prekriženih nogu i ruku u za tu prigodu. Na slikama su polaznici i polaznice plesne poziciji za jogijsku meditaciju, smirena, spuštenih očiju, kratke škole Ide Herion, u povijesti plesa 20. stoljeća zapamćene kose bubi-frizure i potpuno naga. Njezina skulpturalna smi- po povezivanju plesa, nudizma i ekstaze. renost i savršena simetrija tijela oblo se spušta od spuštena Nakon uvodnog teksta kreće niz crno-bijelih fotografija pogleda, preko meka pada ruku i otvara poput cvijeta u mladih plesačica i plesača, smještenih unutar raskošne ar- dlanovima i stopalima okrenutima prema gore, susrećući se hitekture vrtova i stubišta vile. Dojam je iznimno privlačan s pogledom. Kao kontrapunkt tom mekom cvijetu lotosa, i elegantan jer su plesači ujednačenih, treniranih, mladih ti- unoseći nemir, horizontalne su linije utisnute u zid robusne jela, detaljno dorađenih gesta, a njihove formacije naglaša- teksture na koji je djevojka oslonjena. vaju harmoničan odnos tijela, arhitekture i prirode. Početni Zaustavljam se na sredini knjige, na dvjema stranicama niz fotografija smješta tijela veoma blizu mramora i kamena na kojima su tri nage plesačice: na lijevoj se drže za ruke u građevine, tako djeluju kao oživljene statue ili suprotno, kao krugu, izvijene unatrag, plesačica koje je okrenuta leđima okamenjena tijela. Drugi niz razrađuje grupe u širim vizura- prema nama povijena je u koljenima toliko da glavom gotovo dodiruje petu, dok druge dvije koje vidimo iz profila 1 Isenfels, Paul, Getanzte Harmonien, Dieck & co., Stuttgart, 1927. stoje čvršće na ispruženim nogama i omogućavaju joj rav-

Movements 26 _ 43 Iva Nerina Sibila: Dodiri s arhivskim

notežu. Na slici na desnoj stranici iste tri plesačice slikane armije u ulici Socijalističke revolucije, ulaznice su po cijeni od su iz profila, u poziciji mosta, dramatično izvijene unatrag i 30 do 60 dinara. Početak je u 10.30, a svršetak u 12.30 sati. s jednom podignutom nogom. Svaka stoji na jednoj širokoj U zaglavlju stoji logotip s dvjema nacrtanim dječjim glavama stubi, tako se kaskadno spuštaju. U pozadini je drveće, nji- s maramom oko vrata i kapom i natpisom „Za domovinu s hove noge kao da se spajaju s granama. Njihova potpuna Titom naprijed”. jednakost, repeticija forme i nagosti na objema slikama, Sudar tih dvaju dokumenata, weimarske aristokratske od napetih tijela čini ornament, ili živo hijeroglifsko pismo nagosti i jugoslavenskog socijalističkog realizma kojim se koje gotovo mistično pokušava imenovati poveznicu žive probijaju Mozart i Prokofjev, šokantan je. Jesu li autori možda prirode i arhitekture. tražili inspiraciju za Zaboravljeni park u toj knjizi i nosili ju Na posljednjih dvadesetak fotografija nalaze se plesači na probe, da mali plesači vide određene poze i formacije? Ili u skoku, gotovo u letu. Prostor je ondje otvoren, bez pre- je taj program slučajno, u trenutku nepažnje položen među preka, kolonada, fontana, stubišta ili drveća. Nema ni igre stranice knjige, dok se knjiga selila s jedne police na drugu svjetla i sjene. Što je tijelo slobodnije, autor stavlja manje i tako, zaboravljen, a čuvan neimenovanim plesačicama i vizualnih distrakcija oko njega. Sve fotografije skokova po- plesačima gospođe Ide Herion, preživio do danas? kazuju fascinantnu snagu i kontrolu plesača, ali i oslobođe- nost tjelesne forme što, prelistavajući ih u nizu, budi osjećaj //// radosti i euforije. Otkad pamtim u obiteljskoj arhivi, seleći se s jednog kuta Posljednja je u knjizi fotografija djevojke u skoku izvije- kuće u drugi, nalazi se tridesetak primjeraka američkog ča- nom unatrag, snimljena iz profila, raširenih nogu, gola torza, sopisa Dance Magazine, godišta od 1958. do 1963. ispruženih ruku iza sebe koje nadlakticama prekrivaju lice, Prelistavajući brojeve, među brojnim reklamama za ple- a u rukama drži prozračnu tkaninu koja lebdi nastavljajući snu odjeću i obuću („Dreams Begin with Danskin, Ronna’s pokret. Luk njezina torza, povijene stražnje noge koja goto- breathtaking new Ballet Costume with elasticized shired sa- vo dodiruje glavu i tkanina čine trokut u koji nemarno ulazi tin bodice!”, „A Dancer’s Prayer book by Dr. Luba Morgan: pramen raspuštene kose. Truly a philosophy of the dancing artist!”), portretima ple- Dojmu mukle, dekadente harmonije te knjige pridonosi sača i koreografa (Marthe Graham: Portrait of The Lady as potpuna anonimnost plesača. an Artist Leroya Leathermana, Hanyje Holm: A Vital Force Prema trenutačno dostupnim podacima ta je knjiga tiska- Waltera Sorella, Anne Sokolow: My Roots are Here Doris na u sedam izdanja, odnosno bila je jako popularna. Zasigurno Hering, Alvina Aileyja: Two way Pasage for Dance Arthura zbog uzbudljive i elegantne modernističke estetike tijela u Todda), brojnim tekstovima o anatomiji i pravilnoj edukaciji pokretu, a s druge strane zbog otvorene erotike kojom zrači. plesača, osvrtima, kritikama i povijesnim tekstovima, tragam Povijest primjerka koji držim u ruci i prelistavam, ne znam. Je za građom koja me zanima, za prvim osvrtima o američkom li knjiga dobivena na dar? Je li putovala s donositeljem ili je postmodernom plesu. Nailazim na Selmu Jean Cohen koja kupljena u Zagrebu? Postoji li po gornjogradskim altdeutch u nastavcima piše tekst Avant-Garde Choreography: Beat kabinetima još primjeraka? Je li knjiga bila stručno štivo ili – Anti-dramatic – Non-objecitve – Dance by Chance. Spo- skandal, koji je svojom queer erotikom još više ugrozio io- minje Mercea Cunninghama, Alwina Nikolaisa i meni nepo- nako nestabilnu reputaciju plesačica? Pitam se kako odrediti znatu Merle Marsicano čije su ideje „bliske onima Jacksona stvarnu vrijednost te knjige, mimo one tržišne koju saznajem Pollocka”. U broju iz studenoga 1957, na čijoj je naslovnici na aukcijskim internetskim stranicama? Pokušavam shvatiti Chita Rivera iz brodvejskog hita West Side Story, objavljen je što glatke, požutjele stranice stare 90 godina kazuju o ple- na dvjema stranicama tekst/manifest Johna Cagea 2 pages, su, o tijelu. Koju je vezu moguće uspostaviti, osim čuđenja 122 words on Music and Dance (naslov je preslika Cageova o rafiniranosti, kompleksnosti i maru koji je uložen u njezinu rukopisa). U broju iz travnja 1963, na naslovnici je velikim izradu, a potom i čuvanje? crnim slovima otisnuto: „Annual Awards Margot Fonteyn Još jedan detalj budi znatiželju: na kraju knjige uloženo Bob Fosse Isadora Bennet”, nalazim tekst Manifold Impli- je nekoliko kopija programa Zagrebačkog pionirskog kaza- cations autora Jacka Andersona koji govori o Anni Halprin, lišta, datirano: „nedjelja, 23. februar 1958.” Predstava pod na kojem se zaustavljam jer su u njega umetnuta dva lista brojem 749, prvi je dio (koji se izvodi četvrti put) Zaborav- ispisana rukom. ljeni park na glazbu W. A. Mozarta, potom slijedi drugi dio, Anna Halprin poznata je kao ključna figura američkog Živa ulica (drugi put) i Petja i vuk (četrnaesti put). Na letku postmodernog plesa, koja je svojim eksperimentima snažno su potpisani koreograf, dirigent, scenograf, korepetitori i svi utjecala na generaciju kolektiva Judson. No postoji podatak izvođači. Priredba se izvodi u domu Jugoslavenske narodne da je na drugom Muzičkom biennaleu u Zagrebu gostovala s

44 _ Kretanja 26 Iva Nerina Sibila: Dodiri s arhivskim

dvjema predstavama i to 10. i 11. svibnja 1963. Ti nastupi bili Kad netko govori o uobičajenoj kazališnoj predsta- su senzacija za publiku i kritiku, kako je zabilježeno u knjizi vi, obično počinje riječima: predstava je započela tako Anna Halprin: Experience as Dance2: i tako…, ali ja ne mogu započeti otpočetka Five Legged „Publika i kritika bili su tako zapanjeni radovima koji su bili Stool stoga što nitko ne zna kad je predstava započela i predstavljeni (The Five-Legged Stool i Visage) da je fe- kad je završila. stivalski direktor Josip Stojanović pitao Annu da plesači Dok je publika ulazila u kazalište, pozornica je bila ostanu još nekoliko dana, kako bi se na brzinu organizira- otvorena i glumci, muškarci i žene, stajali su poput kipo- la konferencija za tisak ‘zato što nikad nismo imali takvu va. Neki neuobičajeni zvukovi su (…) [nečitljivo] i bežični proturječnost o vrijednosti ili nevrijednosti neke izvođačke također i tko je bio veoma pozoran mogao je prepoznati grupe’. Taj sastanak bio je sniman za jugoslavensku tele- buku koju je činila sama publika. viziju i simultano prikazivan diljem Europe. Nakon znatne Tako je svaki gledatelj mogao izabrati početak ili kraj debate, sto pedeset kritičara i kazališnih i glazbenih pe- predstave, za nekoga je to bio trenutak kad je učinio prvi dagoga na tiskovnoj konferenciji zaključili su da je Annin korak u kazalište, za nekoga kad je pronašao svoje sjedalo, rad najveće umjetničko postignuće u proteklim godinama počeo čitati program ili pozdravio svoje poznanike. ili da su izvođači vrludali umjetničkim formama koje nisu No buka je bila strašna, publika je bila tako glasna, tako razumjeli. Anna je bila oduševljena kontroverzijom… To iznenađena i u stanju očekivanja nečega i dva glumca na gostovanje bilo je i prijelomno za tada mladu koreograf- sceni htjela su susresti jedan drugoga, ali nisu mogli, svjetlo kinju Veru Maletić, koja je bila prevoditeljica grupe: ‘The na pozornici neprekidno se palilo i gasilo i dvije djevojke Five-Legged Stool bilo je nešto potpuno novo. Kao kad negdje gore na sceni u malom (…) [nečitljivo] pjevale su i naiđeš na novu paradigmu, uznemiri se osjećaj norme. svlačile se i spremale za spavanje veoma, veoma lagano, Upotrebu svakodnevnog pokreta naša kazališna publika upravo kao da su kod kuće i kao da se spremaju u krevet, još nije vidjela.’” no tada se na pozornici pojavio fotoreporter s bljeskali- O svom radu, citirano u tekstu Jacka Andersona, Anna com i počeo bljeskati prema publici i glumcima. Svi smo Halprin kaže: pali u duboku i tešku tišinu i svi smo mogli zaključiti da je „Volim dati publici mogućnost da se koriste imaginacijom u predstava zaista i počela. svakom trenutku – da vide, da čuju, da naglase, da budu Jedna djevojka na sceni hodala je u spavaćici sa svi- svjesni. Kazalište tako vrijednim čini to što daje publici novi jećom gore-dolje, jedan glumac bez hlača gledao je kroz svijet osjećaja i iskustva. U njega unesete ono iz čega ste dalekozor, a glavna glumica stalno je padala na pod i dru- došli. Ali također ponesete nešto novo…” ga glumica u jednom je trenutku trčala kroz kazalište, a u Umetnuti tekst, pisan teško čitljivim, vitičastim, ženskim drugom stala s uplašenim izrazom na licu tako da je publika rukopisom, osobno je pismo s detaljnim opisom te izvedbe na bila prisiljena okretati se u svim smjerovima i ustajati kad MBZ-u. Pisano je na engleskom, školovanom, ali nepreciznom. je jedan glumac prolazio kroz redove s tranzistorom (…) Dio vokabulara kojim se opisuje viđeno očito je preuzet iz [nečitljivo] zatvarajući ljestve naopako, nitko nije primijetio teksta Jacka Andersona. Zato je, povezujem, umetnut upravo zašto, kad i odakle se spustio na pod. Nastavio se kotrljati tu. Ispravke su unesene istim rukopisom crvenom kemijskom i puzati polako koliko je moguće, dok su se svjetla mije- olovkom. (Gotovo sam sigurna, iz obiteljske povijesti, da je au- njala iz crvenoga u zeleno, i u jednom je trenutku nestao. torica pisma plesačica i tada studentica povijesti umjetnosti.) Kamo? Nitko nije znao. Ovdje je prijevod pisma u cijelosti: Gužva, buka i nered nastavljali su se. Glumac bez hlača „Stolica s pet nogu (Five Legged Stool) otvorio je vrata za publiku i počeo bacati vodu iz jedne Htjela bih ti reći o predstavi koju sam vidjela prije dvije kante u drugu. Na pozornici je glavna glumica promijenila godine tijekom Muzičkog bienallea u Zagrebu. Do danas ne haljinu s veoma dugim crvenim šalom i počela postavljati znam točno je li ta predstava bila dobra ili loša, no posve ogromnu količinu boca. Puževim korakom i zaustavljajući sam sigurna da je ostavila duboki dojam na mene i da sam se sa svakim korakom nosila je stolicu kad god je donosila upamtila cijelu predstavu od početka do kraja, iako nije bocu i popela se na nju kad god je htjela dodati bocu ne- bilo nikakva sadržaja, priče ili cjeline. Predstavu je izvodila kom tko je stajao i onda mu dala bocu. Ne znam koliko je mala skupina – Dancers Worskhop – iz San Francisca i zvala boca bilo, možda između 50 i 100, i kome ih je dodavala, se Five Legged Stool. ali je ispunila cijelu scenu. Gledatelji su počeli gubiti živ- ce, ali ona je donosila i postavljala boce s nevjerojatnom

2 Anna Halprin, Experince as Dance, Janice Ross, University of upornošću i s istim mirom ih je iznosila. (…) [nečitljivo] California Press 2007, str. 172. Nikad nisam čula tako glasnu tišinu i nikad nisam vidjela

Movements 26 _ 45 Iva Nerina Sibila: Dodiri s arhivskim

tako očajničku situaciju, koja je bila pojačana glumcem ći traperice, tirkiznu majicu i narančasti kaput koji toliko na prosceniju koji se pokušavao popeti se na scenu, ali je volim”… „here she is, old and tatty and suspect, but with uvijek padao s nogama prema gore. love and a secert smile”… „mala crna haljina pokušala se Ne mogu ti reći o cijeloj predstavi, o brojnim malim smjestiti u neku predstavu, ali nije se dala”… „srele smo događajima na sceni, to bi mi oduzelo mnogo vremena, o se sasvim slučajno, tražila sam svašta za novu predstavu svjetlima i dekoru, koji su se stalno mijenjali tijekom pred- i nabasala baš na nju, moja haljina s pričom”… „u ovoj stave, o mnogim situacijama koje su bile komične, tužne, crnoj haljini plesala je i Varja”… „za Jadranku koja je ot- glupe i besmislene, ali istina je da su gledatelji bili uključeni plesala sve što sam ikada htjela reći”… „uzimam škare u predstavu kao aktivni promatrači i da nisu bili mirni i režem haljinu i izrezujem dio na kojem se bijelo još drži sa uljudni promatrači koji na kraju predstave iz navike plješću.” crnim”… „sašila ga je Ivana Popović za jedan performans u Komu je pismo pisano, s kojom motivacijom i je li ikad Tvornici”… „bambina mia, sono l’ultimo poeta che s’ispira dovršeno i poslano – nije poznato. ad una stella”… „moja violet-ona”… Od svih 26 haljina i pisama koja su ih pratila u sjećanju //// mi se nameće izložak Krune Tarle. Ona je naime izložila Posebno mjesto u arhivi mog profesionalnog djelova- svoju izgubljenu haljinu. Izrezala ju je iz smeđeg pak-papira, nja ima mala crvena knjižica na čijoj je naslovnici digitalno na njoj napisala pismo rukom i objesila zajedno s drugima, oblikovan ženski lik u bijeloj haljini s brojem 26. Ispod piše stvarnima, prisutnima. Pismo objašnjava kako je tu crvenu „llinkt! / plesni projekt / haljine”. Projekt je ostvaren 2002. haljinu kupila na berlinskom sajmu za 69 njemačkih maraka, Na poleđini naslovnice piše: nosila i odveć dugo i nije ju imala snage baciti. (Zamišljam „‘haljine’ su multimedijalna instalacija na specifičnoj lokaciji ju dugačku i usku, s visokim ovratnikom, nešto poput por- sastavljena od haljina i tekstualnih poruka. Kontaktirale treta Anite Berber Otta Dixa). To ljeto zaredali su se, piše u smo kolegice koje svoj identitet pronalaze u/kroz razne pismu, razni događaji: u njoj je skočila u Neretvu, ostavila forme plesa i umjetnosti kretanja i koje su željele sudjelo- ju je u Mostaru, vratila se po nju i na kraju ostavila na Visu. vati u stvaranju ovog specifičnog prostora ženskog plesa i Još ju traži. ženskog teksta i zamolile ih da nam posude jednu haljinu i napišu malo pismo. Cilj ove akcije je bio zajednički krei- //// rati specifičan prostor ženskog iskustva u plesu. Posuđene U Beču u ljeto 2014. bila sam na istraživačkom projektu haljine postavljene su kao mobilni eksponati s pridruženim Tijelo kao arhiv koji vodi Mathilde Monnier. Tijelo, živo i di- im kratkim tekstualnim porukama oblikovanim u video/ namično, suprotnost je tradicionalnom pojmu arhiva, tijelo zvučni zapis”.3 evidentno nije i ne može biti arhiv, no privlači me traganje Odaziv na taj poziv bio je iznenađujuće velik, tako je za izvedbenošću te kontradikcije i mogućnost da ono bude instalacija sadržavala 26 eksponata, a haljine su dale: Snje- – inspirativno. Zamišljam neku vrstu kartografije tijela, ma- žana Abramović, Milana Broš, Selma Banich, Sandra Banić, piranja kože ili osluškivanja krvotoka, u odnosu na razlaganje Tamara Curić, Jasna Čižmek Tarbuk, Mirna Čubranić, Mila konteksta u kojem tijelo biva. Mathilde Monnier odlučuje se Čuljak, Charlotte Darbyshire, Maja Đurinović, Iva Nerina za drugačiji pristup. Poziva nas da provedemo neko vrijeme Gattin, Nataša Govedić, Blaženka Kovač, Magdalena Lupi, izvodeći pokrete koje znamo, koje smo naučili, koji su nam Neda Marović Turković, Vesna Mimica, Zorica Radaković, poznati, koje smo izvodili u prošlim predstavama, koje imamo Lala Raščić, Urša Raukar, Željka Sančanin, Katja Šimunić, arhivirano negdje na površini tjelesne, plesačke memorije. Za- Kruna Tarle, Anica Tomić, Sanja Tropp, Ljiljana Zagorac i datak isprva djeluje površno, nezanimljivo. Koliko je pokreta, Ksenija Zec. oblika, sekvencija, koraka, pozicija… moguće izvući iz tijela Iz pisama: i nabacati u prazan prostor plesnog studija? Koliko plesačko „jako mi je čudno bilo tražiti haljine iz predstava, kao da tražim tijelo može prizvati otplesanih plesova ili bljeskova kretanja izgubljenu sebe”… „ova haljina puno je putovala, nije se koje je u određenoj situaciji uvježbalo, utvrdilo, upisalo u gužvala, prošla je Siciliju i Italiju prije velikih potresa”… prostor i u sebe? Nebrojeno. I prilično nepoticajno. Prostor „dobila sam je ’97 za probe godišnje produkcije baleta se puni formama, sigurnim reprodukcijama poznatoga koje Chopiniana, Irena Pasarić ju je koristila za probe 2. čina izvučeno iz konteksta često djeluje komično. Giselle prije mene”… „naravno da nisam našla haljinu koju No ustrajavanje na toj vježbi ipak dovodi do zanimljivijih sam tražila, ali sam našla jednu drugu”… „danas ću obu- zona. Nastojanje aktiviranja znanja određenih plesova ili dijelova koreografija, zapravo minirekonstrukcija zaboravljenih

3 Autorice su Iva Nerina Sibila, Katja Šimunić i Ljiljana Zagorac, plesova, vježba je dugoročne plesne memorije. A u traga- a videa Lala Raščić. nju za alatima koji služe da se iz sjećanja izvuče ono što je

46 _ Kretanja 26 Iva Nerina Sibila: Dodiri s arhivskim tijelo memoriralo susrećem se s očekivanim problemom – s gubitkom tjelesne moći da izvede ono što je nekad moglo. Memorija tako ne može povući iz sebe ono što tijelo fizički ne može reproducirati jer tijelo ne može dati memoriji ponovno iskustvo izvedbe i time pokrenuti vlastiti proces koje to prisjećanje i izvođenje poznatih pokreta otvara. Kako pu- tovi memorije poput vode vrludaju tražeći protočna mjesta, tako memorija ulijeće u druge zone, u prisjećanja konteksta u kojima se taj ples odvijao. Pozornost se fiksira na određene situacije, određena razdoblja, gravitacija prema nekim razdobljima iznenađuje me. Pokušavam zadržati koncentraciju na određene slike koje me privlače i otjeloviti ono što je u sjećanju vidljivo. Otvaraju se senzacije – točan osjećaj poda u nekim dvoranama, svilenkasta likra na koži, specifični osjećaj umora vezan za pojedine procese, kava iz onog automata iz onog studija uz cigarete, tada… Nastavljajući predloženi proces, odlučujem se baviti dijelom jedne predstave koju sam izvodila tridesetak puta. Znam taj dio, nemoguće je da ne postoji više u mom tijelu, u mojoj plesačkoj, prilično preciznoj memoriji. Isproban je, promišljen, čvrst, neprobojan, izveden pred toliko para očiju, učvršćen i u njihovoj memoriji. Proces postaje uzbudljiv, pitam se kamo će me tonjenje u tu zonu odvesti? Prije nego tjelesno ulazim u staru građu, pripremam kartice papira na kojima ispisujem pojmove oko kojih je nastao upravo taj dio te predstave. Kao u prvoj vježbi lutanja i hvata- nja arhiviranih kretnji, sada puštam sjećanju da mapira sve što još nazirem, a vezano je za taj ples. Iznenađuje me zapisano, iznenađuje me količina detalja, situacija, ljudi, putovanja, tekstova i fotografija do koje me rekonstrukcija nekih pet minuta koreografije vodi. Provodim vrijeme u dvorani i preslagujem kartice s pojmovima kojih je sve više. Sam slijed pokreta kojeg se prisjećam lebdi zbunjeno među njima tražeći vezu. Griješim. Vadim službeni dosje predstave; tako se vlastita proživljena sjećanja miješaju s fotografijama, osvrtima se kiša slijevala niz lica. Ta senzacija, zapravo sjećanje na tu i videosnimkama. Udaljenost između osjećaja koje u meni senzaciju, vodi me do nove materijalnosti kretanja. Iz cjelo- budi tjelesno bavljenje tom građom i suočavanje s novin- kupne višednevne igre somatomnemozije i amnezije dolazim skom arhivom ogromna je. Ne uspijevam uspostaviti odnos do nečega što prepoznajem kao dovoljno važno, inspirativno, između tih dviju zona. nepoznato da pokrene neku novu zonu performativnosti. (Svaka izvedba je, zaključujem iznoseći frustrirano dosje iz dvorane, kriptogram tog, odnosno onog trenutka. Svaka //// izvedba, ako je ostala u sjećanju nekoga tko ju je vidio, ostala Na izvedbi predstave Sketches/Notebook skupine Meg je u sjećanju zbog intimnoga i svakodnevnoga u izvođaču, Stuart istog ljeta u Beču sakupljam staklene tri špekule koje koje je s pomoću šifre koreografije i autorskoga, boljeg ili plesači u jednom trenutku rasipaju po sceni i gledalištu. Stav- lošijeg, izvedbenog sklopa predstave doprlo na površinu – ljam ih u torbicu. Prvu gubim na radionici u sklopu Impros- kondenzirano i izravno.) pekcija godinu dana nakon toga, koju je, prigodno, vodila Taj sudar s protjecanjem vremena vodi me do jedne za plesačica iz upravo te predstave. Druge dvije prilažem za službenu arhivu predstave potpuno nevažne situacije, do instalaciju koju postavljamo za otvaranje novog plesnog pro- jedne izvedbe, noći nakon te izvedbe, i strašnog nevremena stora u Karlovcu. Građa iz te instalacije izgubila se negdje koje nas je uhvatilo na otvorenome. Sjećam se kako su ulice između Karlovca i Zagreba. Špekule su se, nadam se, neka- bile potopljene u svega nekoliko minuta pljuska i kako nam mo otkotrljale...

Movements 26 _ 47 Iva Nerina Sibila: In Touch with Archive

< Irma Omerzo, As I Walk. In the photo above: Ivana Pavlović. In the photo below: Lana Hosni. Photo: Jasenko Rasol > Iva Nerina Sibila: In Touch with Archive

IVA NERINA SIBILA In Touch with Archive: Absence and Fictions

aul Isenfels’s book Getanzte Harmonien1 has and nature. The initial series of photographs positions been part of my family library ever since I could the bodies in the close proximity of the building’s Premember. In yellow and orange hues, with a can- marble and stone, making them appear like statues vas cover and a title printed in gold letterpress. Although brought to life or, quite the contrary, like petrified several pages are falling out, they are all still there. It bodies. The second series focuses on groups in broader was published in 1927. It contains many photographs angles, on bodies arranged in slants and ellipses in line of dancers in motion. with fountains or colonnades. The third series portrays The introductory pages say that all the 120 photo- exploding bodies jumping. The photographed dancers graphs in the book were taken in the summer of 1926 are nude, in wrap skirts, occasionally lightly covered in Stuttgart, in the park and halls of the monumental in drapes. However, they also appear in eccentric, ori- neo-classicist castle opened to Isenfels for this particu- ental costumes evoking an air of decadence and sexual lar occasion by Doctor Ernst von Sieglin, a rich factory ambivalence, as the young men are also often in skirts, owner. The pictures portray the students of Ida Herion’s and there is no gender division in gesture or action. dance school, remembered in the history of 20th century All the photographs depict entire scenes, no portraits dance for uniting dance, nudism and ecstasy. or details are present. The introduction is followed by a series of black Each page of the book contains one photograph. The and white photographs of young dancers set among the first portrays a girl sitting with her legs crossed and her lavish architecture of the villa’s gardens and stairwells. hand positioned as in a yoga meditation, serene, with The impression is extremely attractive and elegant as her gaze lowered, her hair styled in a short bob, and the dancers’ bodies are young, trained and attuned, fully nude. Her sculptural peace and the perfect corporeal with detailed gestures, and their formations accentuate symmetry obliquely descend from her lowered eyes, to a harmonious relation between the body, architecture the soft curve of the arms, and open up like a flower in her palms and feet facing upwards, to meet the gaze. 1 Isenfels, Paul, Getanzte Harmonien, Dieck & co., Stuttgart, 1927. To counterpoint this soft lotus flower, horizontal lines,

Movements 26 _ 49 Iva Nerina Sibila: In Touch with Archive

carved into the robust texture of the wall the girl leans auction sites. I am trying to grasp what these smooth, upon, bring in anxiety. yellowed, 90-year-old pages are telling about dance, about I stop somewhere in the middle of the book, on two body. What connection could be established, apart from pages with three nude dancers: on the left-hand page wondering at the detail, complexity and diligence invested they hold hands to form a circle, bent backwards. The in its making and later preservation? dancer turning her back at us is bent in the knees to Another detail arouses curiosity: several copies of the point that her head almost touches her heel, while the cast sheets from the Zagreb Pioneer Theatre were the other two, seen from the side, stand more firmly inserted at the end of the book, with a date “Sunday, on their stretched legs and give her better balance. In 23 February 1958”. The rendition number 749, part the right-hand side photograph, the same three dancers one (performed for the fourth time) is Forgotten Park, to are pictured from the side, in a bridge pose, dramatical- the music of W. A. Mozart, and part two is Living Street ly bent backwards, with one leg up in the air. Each is (second performance) and Peter and the Wolf (fourteenth standing on a wide stair, forming a descending cascade. performance). The cast sheet includes the names of the Their utter uniformity, the repetition of form and nudity choreographer, conductor, set designer, accompanists in both photographs create an ornament out of the tight and all the performers. bodies or a living hieroglyphic scripture almost mystically The performance is staged at Yugoslav People’s Army trying to delineate a connection between living nature House in Socialist Revolution Street and tickets were sold and architecture. at a price of 30 to 60 dinars. The show began at 10.30 The final 20 photographs portray dancers in a jump, and ended at 12.30. The letterhead displays a logo with almost as though they are flying. The space is open, with- two illustrated children’s heads, wearing neckerchiefs and out obstacles, colonnades, fountains, staircases or trees. caps with the slogan “Onward for Homeland and Tito”. Without light and shadow play. The freer the body, the The clash of these two documents, the Weimar aristo- less visual distractions the author surrounds it with. All cratic nudity and the Yugoslav socialist realism interlaced the photographs of jumps point to the dancers’ capti- with Mozart and Prokofiev, is shocking. Is there a chance vating strength and control, but also the freedom of the that the authors might have sought for inspiration in this physical form which, as one browses them in a sequence, book for Forgotten Park and carried it to rehearsals, for sparks a feeling of joy and euphoria. young dancers to see certain positions and formations? The last one in the book is the photograph of a young Or was this cast sheet accidentally, in a moment of pure woman in a jump with a backward bend, taken from the negligence, placed between the pages of the book and side, with her legs spread, her arms outstretched behind moved together with it from one shelf to the other, safe- her, her upper arms covering her face. In her hand she kept by the anonymous dancers of madam Ida Herion, is holding a piece of transparent fabric which floats as to survive until this day? an extension to the movement. The arch of her torso, her legs bent backward almost to touch her head and //// the fabric create a triangle disturbed only by the wisp Ever since I can remember, my family archives, mov- of her hair. ing from one corner of the house to another, have con- The impression of a subdued, decadent harmony of tained around 30 issues of the American Dance Magazine, this book is additionally championed by the dancers’ com- dating back to 1958-1963. Flipping through them, among plete anonymity. According to available information, the the many ads for dancewear and dance shoes (“Dreams book was reprinted in seven editions, i.e. it was extremely Begin with Danskin, Ronna’s breathtaking new Ballet popular, quite probably because of the exciting and ele- Costume with elasticized shired satin bodice!”, “A Danc- gant modernist aesthetic of body in motion, but on the er’s Prayer book by Dr. Luba Morgan: Truly a philosophy other hand also because of the open eroticism it emanates. of the dancing artist!”), portraits of dancers and chore- The history of the copy in my hands is unknown to me. ographers (Martha Graham: Portrait of The Lady as an Was this book a present? Did it travel with the giver or Artist by Leroy Leatherman, Hanya Holm: A Vital Force by was it bought in Zagreb? Are there more copies around Walter Sorell, Anna Sokolow: My Roots are Here by Doris Zagreb Old Town altdeutsch cabinets? Was this book on Hering, Alvin Ailey: Two way Pasage for Dance by Arthur someone’s reference list or was it a scandal, whose queer Todd), countless articles about anatomy and proper dance eroticism additionally jeopardised the dancers’ already training, essays, reviews and historical overviews, I seek unstable reputation? I wonder how to assess the real value the materials that interest me – the pioneering studies of of this book, beside the market price I find at online post-modern dance. I stumble upon Selma Jean Cohen,

50 _ Kretanja 26 Iva Nerina Sibila: In Touch with Archive writing a text in instalments: Avant-Garde Choreography: it offers the audience a new world of feelings and Beat – Anti-dramatic – Non-objective – Dance by Chance. experiences. You bring it to your own background. She mentions Merce Cunningham, Alwin Nikolais and, But you also take away something new.” unknown to me, Merle Marsicano, whose ideas are “sim- The inserted text, written in a barely legible, undu- ilar to Jackson Pollock’s”. The November 1957 issue, with lating, female handwriting, is a personal letter with a Chita Rivera from the Broadway hit West Side Story on detailed description of this performance at the Biennale. the cover, contains a spread with John Cage’s manifesto It was written in an educated albeit imprecise English. 2 Pages, 122 Words on Music and Dance (the title is a copy Some of the vocabulary used to describe the seen was of Cage’s handwriting). In the April 1963 issue, the cover evidently borrowed from Jack Anderson’s text. That says in large block letters: “Annual Awards Margot Fonteyn is why, I deduce, it was insert right here. Corrections Bob Fosse Isadora Bennet”, and inside I find the text Man- were made in the same handwriting, in a red pen. (I am ifold Implications by Jack Anderson about Anna Halprin. almost certain, from family history, that the author of I stop there; I have found two handwritten pages inside. the letter was a dancer and at that time an art history Anna Halprin is known as the key figure in American student.) post-modern dance, whose experiments exerted a power- The letter follows in its entirety: ful influence on the Judson collective generation. How- “Five Legged Stool ever, it is evidenced that she visited the second Zagreb I would like to tell you, about the performance, Biennale of Music with two performances, on 10 and which I saw two years ago during the Musical Biennale 11 May 1963. These performances were a sensation to in Zagreb. I haven’t got to know till today if this perfor- both audience and critics, and it says in the book Anna mance was good or bad, but I am perfectly sure, that Halprin: Experience as Dance2: it has left deep impression on me and I have remem- “There audience and critics were so perplexed by the two bered the whole performance from the beginning to works they presented, The Five-Legged Stool and Visage, the end although there wasn’t any content, any story, that the festival director, Josip Stojanović, asked Ann any whole. and the dancers to remain a few days for a hastily This performance was performed by a small dance assembled press conference ‘because we have never had group – Dancers Workshop – from San Francisco, and such a controversy over the merits or demerits of any called Five Legged Stool. performing group.’ This meeting was televised through- When somebody speaks about a normal theatre – out Yugoslavia, with a simultaneous radio broadcast performance the beginning of the story usually starts throughout Europe. After considerable debate, the one with words: The beginning of the performance was hundred fifty critics and drama and music teachers at so and so… but I can’t start from the beginning of the the press conference resolved that either Ann’s work Five Legged Stool because nobody knew when was the was the greatest artistic achievement in years or the beginning or the end of the performance. performers were groping among art forms they didn’t While the audience were entering the theatre the understand. Ann was delighted with the controversy… stage was opened and the actors women and men were Vera Maletić, a young Yugoslavian choreographer who standing like statues on it. Some unusual sounds were was fluent in English, was recruited to help Ann and hoard (…) [unreadable] and the wireless too and who the company in Zagreb. The experience changed her was very careful could recognize a noise which was life. ‘I was stirred up by The Five-Legged Stool,’ she said made by the audience themselves. years later. ‘It was so new. It was like when you meet So every spectator could choose the beginning of a new paradigm, it upsets your sense of the norm. The the performance, so somebody it was the moment use of everyday movement wasn’t like anything known when he made the first step into the theatre, for some- to our dance theater audience before.’ body when he found his seat or when he read the About her own work, quoted from a text by Jack programme, or greeted his acquaintances. Anderson, Anna Halprin says: But there was such terrible noise, the audience were “I’d like to give the audience the opportunity to use imagi- so noisy, so surprised and in a state of expecting some- nation at every moment – to see, to hear, to emphasize, thing and the two actors on the stage wanted to meet to be aware. What makes theater so valuable is that each other, but they couldn’t, the light on the stage per- petually switched on and off and two girls somewhere

2 Anna Halprin, Experience as Dance, Janice Ross, University of up on the stage in a small (…) [unreadable] were singing California Press 2007, p. 172. undressing and making themselves ready for sleep in a

Movements 26 _ 51 Iva Nerina Sibila: In Touch with Archive

very easy way, just as if they were at home and went to the calm and polite spectators who at the end of the bed, but when on the stage appeared a photo-reporter performance were used to applaud.” with flashlight and started flashing at spectators and To whom the letter was addressed, what was the actors, we all fell at once in deep and heavy silence that motivation behind it, and was it ever finished and sent we all concluded the performance was really beginning. – remains a mystery. One girl on the stage was walking in a night dress with candle upstairs and downstairs, one actor without //// trousers was looking through the binoculars and the A special place in the archive of my professional main actress was persisting in falling on the floor and activity is taken by a little red book, whose cover had a the other girl was one moment running (…) [unreada- digitally designed female character in a white dress and a ble] the theatre and standing with fearful expression on number 26. Below it said “llinkt! / dance project / dresses”. the face, so that the audience were force to turn head The project was implemented in 2002. On the rear side in all directions and also to stand up when another of the cover was a description: actor was passing through the rows with a transis- “‘dresses’ are a multimedia installation on a specific loca- tor, the same one who was lowering each rows with, tion, consisting of dresses and textual messages. We upside down (…) [unreadable] the leaders was put approached colleagues who have found their identity in/ down, nobody noticed why, when and from where through different forms of dance and art of motion and and when he landed on the floor he continued in fall- who wanted to take part in making this specific space of ing and creeping as slowly as he possibly could, when female dance and female text. We asked them to lend the light was changing in red and green, and in one us one dress and write a short letter. The aim of this moment disappeared. Where? Nobody knew. action was to create a specific space of female experience The muddle, noise and disorder were continuing. in dance together. The borrowed dresses were displayed The actors without trousers opened the doors from as mobile exhibits with adjoining short textual messages the audience and started to throw water from one jug in the form of a video or a sound record.”3 into the bigger one. And on the stage the main actress The turnout was surprisingly good – the installation who changed her dress in a red one with very long thus contained 26 exhibits, and the dresses were bor- red shawl started to arrange an enormous quantity rowed by Snježana Abramović, Milana Broš, Selma Ban- of bottles. With snails steps and stopped each she ich, Sandra Banić, Tamara Curić, Jasna Čižmek Tarbuk, was pulling the stool wherever she was bringing the Mirna Čubranić, Mila Čuljak, Charlotte Darbyshire, Maja bottles, and climbed up it wherever she wanted to Đurinović, Iva Nerina Gattin, Nataša Govedić, Blaženka hand the bottles to someone who was standing up and Kovač, Magdalena Lupi, Neda Marović Turković, Vesna gave a hand for a bottle. I don’t know how of those Mimica, Zorica Radaković, Lala Raščić, Urša Raukar, Željka bottles were there. Maybe between 50 maybe 100. Sančanin, Katja Šimunić, Kruna Tarle, Anica Tomić, Sanja And where to whom she handed them, but she filled Tropp, Ljiljana Zagorac and Ksenija Zec. the whole stage (but they made desperate situation). From the letters: The spectators happen to lose their nerves but she was “it felt very strange to look for the dresses I wore in the bringing and arranging her bottles with a tremendous performances, as though I was looking for my lost obstinacy and the same calm that was bringing out self”… “this dress travelled a lot, it never wrinkled, it form the stage all those bottles. Some black person toured Sicily and Italy before the big earthquakes”… “I entered the audience. I have never heard such a loud got it in ’97 for the rehearsals of the annual production silence and never seen such a desperate situation, of the ballet Chopiniana, Irena Pasarić used it in rehears- which was enlarged by an actor in proscenium who al of act two of Giselle before me”… “of course I didn’t wanted to climb on the stage but always fell down on find the dress I was looking for, but I found another the head with legs and... one”… “today I’ll wear jeans, a turquoise T-shirt and I can’t tell about the whole performance, about the orange coat I adore”… “here she is, old and tatty many little happenings on the stage, it would take and suspect, but with love and a secret smile”… “a me a lot of time, about light and decor which were little black dress tried to find its way into a show, but always changing during the performance, about many it wouldn’t”… “we met quite by chance, I was looking situations which were comical, sad, stupid an unuseful,

but the truth was that the audience were involved in 3 The authors are Iva Nerina Sibila, Katja Šimunić and Ljiljana this performance as active spectators, and they weren’t Zagorac, and the video was made by Lala Raščić.

52 _ Kretanja 26 Iva Nerina Sibila: In Touch with Archive

Movements 26 _ 53 Iva Nerina Sibila: In Touch with Archive

for stuff for my new work and I stumbled upon this, //// my dress with a story”… “Varja too danced in this black In the summer of 2014, I was in Vienna on a research dress”… “to Jadranka, who danced everything I have project Body as Archive, led by Mathilde Monnier. A always wanted to say”… “I take the scissors, I cut the body, alive and dynamic, juxtaposes the traditional dress and I cut out the part where white still hold on notion of an archive, a body is evidently not and cannot to the black”… “it was made by Ivana Popović for a be an archive, but I am intrigued by the quest for the performance at Tvornica”… “Bambina mia, sono l’ulti- performativity of this contradiction and a possibility mo poeta che s’ispira ad una stella”… “my violet-she”… of making it – inspirational. I imagine a cartography of Of all the 26 dresses and accompanying letters, I most the body, mapping the skin or listening to the blood vividly remember Kruna Tarle’s exhibit. She displayed flow, in relation to the analysis of the context a body her lost dress. She cut it out of brown kraft paper, on it resides in. Mathilde Monnier decides to apply a different she wrote a letter by hand and she hung it along with approach. She invites us to spend some time perform- the others, the real, the present ones. The letter explains ing gestures that we know, that we have learned, that how she bought that red dress at a flea market in Berlin are familiar to us, that we performed in our past dance for 69 German marks, how she wore it for too long and works, that we have archived somewhere on the surface could not find the strength to throw it away. (I imagine it of the corporeal, dance memory. The task at first seems as long and tight, with a high collar, something like Otto superficial, unassuming. How many gestures, forms, Dix’s portrait of Anita Berber.) That summer, the letter sequences, steps, positions etc. could be drawn out of says, was the scene of different events: in that dress she the body and thrown into an empty dance studio? How jumped into the Neretva river, she then left it in Mostar, many dances danced or flashes of motions it rehearsed came back for it and finally left it on the island of Vis. in a particular situation, defined, inscribed in the space She is still searching for it. and in itself can a dancer’s body recall? Countless. And quite unstimulating. The space fills with forms, with fixed reproductions of the familiar which, taken out of context, often seems ridiculous. However, insisting on this exercise nevertheless leads to more interesting zones. Striving to activate knowledge of certain dances or choreography parts, in fact mini re-enactments of forgotten dances, is an exercise of long-term dance memory. And on this quest for the tools to draw out of the memory what was memorised by the body leads me to the encounter with expected problems – losing the physical power to perform now what I once could. Mem- ory thus cannot draw to the surface what the body cannot physically reproduce, since the body cannot provide memory with a renewed performative experience and consequently kick-start its own process, whose doors open with the recollection and the performance of familiar gestures. As memory trails meander like water searching for a good flow, the same way memory pervades other zones – recollections of the context the dance took place in. Attention is fixed on particular situations, particular periods, gravity towards certain period surprises me. I am trying to remain focused on certain images that attract me and to embody what is visible in my memory. Sensations open up – the exact feeling of the floor in particular halls, the silky lycra on the skin, the specific weariness related to certain processes, the coffee from the machine from the studio, with cigarettes, back then… Continuing the proposed process, I decide to focus on one part of the dance work I performed around 30 times.

54 _ Kretanja 26 Iva Nerina Sibila: In Touch with Archive

I know this part, it is absolutely impossible that it should rised because of the intimate and the everyday in the not exist anymore in my body, in my quite precise dance performer, which was encoded in a choreography and memory. It is well tested, considered, firm, resistible, authorship, in a better or worse performative structure performed before so many eyes, fixed in their memory to rise to the surface – intensely and directly.) as well. The process becomes exciting, I wonder where The clash with the passage of time leads me to a situ- this immersion into such a zone will take me. ation completely irrelevant for the official archive of the Before I physically penetrate the old material, I pre- dance work, to one particular performance and the night pare sheets of paper I write down with terms that build after, when we were caught outside by a terrible thunder- this particular part of the performance. Like in the first storm. I remember the streets were flooded in just a few exercise of wandering and capturing archived gestures, minutes of rain, I remember the water pouring down our now I let my memory map all other things I discern faces. This sensation, in fact the memory of the sensation, related to this dance. I am surprised by the writing, by leads me to a new materiality of movement. The many the amount of details, situations, people, journeys, texts days of play of somatomnemosis and amnesia lead me to and photographs which result from the reconstruction something I recognise as sufficiently relevant, inspiring, of approximately five minutes of choreography. I spend unfamiliar to launch a new zone of performativity. time in the hall and reshuffle the sheets with the terms which seem to be growing. The very sequence of ges- //// tures I remember is floating between them, perplexed, At the performance of Sketches/Notebook by Meg Stu- searching for a connection. art the same summer in Vienna, I collected three glass I make mistakes. I take out the official files of the marbles scattered by the dancers at one point across the dance work; this is how my own experienced memories stage and auditorium. I put them in my bag. I lost the combine with photographs, reviews and video footage. first at an Improspections workshop a year after which The distance between the feelings awoken by reapproach- was, quite suitably, mentored by one of the dancers from ing this material and facing the newspaper archives is that very performance. I donated the other two for the immense. I fail to establish a connection between these installation we set up for the opening of a new dance two zones. venue in Karlovac. The material for the installation got (Every performance, I conclude, frustrated, taking the lost somewhere between Karlovac and Zagreb. The mar- files away from the hall, is a cryptogram of this – more bles, hopefully, rolled away… accurately – of that moment. Every performance, if it remained in the memory of the spectator, was memo- English translation: Ivana Ostojčić

Movements 26 _ 55 Maja Đurinović: Istraživanje povijesti hrvatskog plesa Maja Đurinović: Istraživanje povijesti hrvatskog plesa

MAJA ĐURINOVIĆ Istraživanje povijesti hrvatskog plesa Crtice iz arheološke prakse

duvijek sam bila sakupljačica. U svoju sam arhivu Na primjer, iz perioda kad me još mama kao djevojčicu spremala ulaznice, programe, iz knjiga prepisane vodila na balete, imam program baletne sezone 1971/72; Orečenice, izreske iz novina, sve što mi se iz nekog tada su u jednoj knjižici, u kojoj su i portreti autora i plesnih intuitivnog razloga činilo važnim za budućnost, što god to solista, bila tri baleta, u tom slučaju Đavo u selu Pije i Pine značilo, iako sam oduvijek bila uvjerena da će biti povezano Mlakar, Trnoružica prema Marijusu Petipau u koreografiji s plesom. Naravno da je ta arhiva periodično bila izložena Frane Jelinčića i Labuđe jezero Rostislava Zaharova. revizijama i dobar dio građe nije izdržao kušnji vremena i Ili, zanimljiva priča koja je dobila nastavke vezana je uz selidbama, ali i danas se ugodno (i s obzirom na godine – cedulju iz Doma JNA-e, u kojem je u jednom periodu bila iskreno!) začudim prebirući po svojim fasciklima i kutijama. „stalna scena HNK-a”, od 24. listopada 1967. kad su održane Često iznenadim i sudionike1 minulih događaja koji su to „prve izvedbe u Jugoslaviji” Grand Hotela Borisa Papando- sjećanje negdje u sebi pospremili, ali im se bez materijalnog pula koji je koreografirao Boris Pilato, a glavnu ulogu plesala podsjetnika u stalno novoj angažiranoj svakodnevici rasplinu- Vjera Marković, i Talijanske simfonije u koreografiji umjet- lo, ostajući kao općeniti dojam koji treba neki okidač, kolačiće ničkog i bračnog para Vjere Marković i Alfreda Köllnera na madlen za povratak vlasniku. glazbu Felixa Mendelssohna-Bartholdyja. S Vjerom Marković me tridesetak godina poslije upoznala Milana Broš. Njih dvije bile su prijateljice iz djetinjstva i zajedno s Beatom Domić, Sonjom Kastl i Nevenkom Biđin činile grupu „zagrebačkih 1 Kad sam za francusko izdanje Kretanja (Mouvements br. 17, beba balerina”, djevojčica koje su 1945. angažirane u Baletu 2012) razgovarala s Irmom Omerzo, odnijela sam joj program Décodexa iz HNK-a od 21. listopada 1996, koji nije imala iako je na- HNK-a da popune prazninu nastalu tijekom i nakon Drugog stupala kao članica plesne skupine DCA. Čuvam i oduševljeni osvrt svjetskog rata.2 Vjera Marković s velikim je veseljem nastu- Branka Magdića koji je dva dana poslije izašao u Večernjem listu pila na promociji biografske knjige Mercedes Goritz Pavelić pod naslovom „Futurističko putovanje”. Zanimljivo, Magdić nije spomenuo Zagrepčanku Omerzo koja je dugo bila članicom skupine Philippea Decoufléa, što je meni bio važan detalj na koji sam s po- 2 Više u tekstu „Iz albuma Beate Domić”, koji sam pripremila za nosom upozoravala i zbog čega me se predstava možda i više ticala. Kretanja br. 19/20, 2013, posvećena Milani Broš, str. 63–65.

Movements 26 _ 57 Maja Đurinović: Istraživanje povijesti hrvatskog plesa

jer je bila njezina učenica u Dječjem carstvu (1936–1939), a Pa kad smo već kod Tjedna suvremenog plesa, preda mnom poslije mi je poklonila i plakat navedene baletne večeri koju je bilten šestog Tjedna iz 1989. koji je naslovljen imenom ple- sam 1967. gledala u Domu JNA-e.3 snog časopisa GIB, a uvodno objašnjenje potpisuje Jasna Frankić Jedan od beskrajno dragocjenih artefakata moje arhi- Brkljačić kao stručna suradnica za plesnu kulturu Kulturno-prove program je baletne večeri Milka Šparembleka iz sezone svjetnog sabora Socijalističke Republike Hrvatske. „GIB je”, piše 1975/76. Izvedeni su Opus 43 Ludwiga van Beethovena, Frankić Brkljačić, „zamišljen kao art časopis o plesnoj kulturi, Sonata Claudea Debussyja i Trijumf Afrodite Carla Orffa. sadržajem koji je namijenjen i suvremenom plesu i klasičnom U toj knjižici, tzv. kazališnom listu, objavljena su dva zapra- baletu i folkloru, kao i svim aspektima čovjekovog života, od- vo povezana Šparemblekova teksta, Uz baletnu premijeru i goja, obrazovanja i zabave vezanim uz pokret i ples. Četiri Koreograf o predstavi, u kojem ukratko stručno prolazi kroz godišnja broja obuhvatit će događanja sa područja Jugoslavije povijest, značenje i ključne nazive suvremeni balet i moder- i informirati o svjetskim zbivanjima”. Izdavač je trebao biti Kul- ni ples, da bi, pripremivši teren, onda prešao na postulate turno-prosvjetni sabor SRH, a ja sam se našla među članovima svoje autorske poetike i prakse. Dosta godina nakon toga (a uredništva. (Uskoro se ispostavilo da to uistinu nije pravo vri- i nemoguće je takve stvari prosuditi bez vremenskog odma- jeme za pokretanje plesnog časopisa, a događaji iz područja ka), radeći na Šparemblekovoj građi4 i pripremi polemičkih bivše Jugoslavije sljedećih su godina vezani uz vojne operacije.) i kritičkih tekstova Maje Bezjak i Tuge Tarle5, shvatila sam koliko je ta baletna večer bila važna i prekretnica u povijesti Tu je i kopija famoznog plakata Mije Čorak Slavenske iz hrvatskog baleta i plesa uopće. Zanimljivo je koliko su, iako iz Pariza za baletnu gala večer 1. srpnja 1937, nastup koji je posve drukčijih plesnih tabora Bezjak („Potpun umjetnički do- zabranjen i nikad nije održan, a plakat je, uz druge dokumen- življaj”, Vjesnik, 11. prosinca 1975) i Tarle („Klasična tehnika te, ostao primjerom i dokazom povijesnog incidenta između i nove teatarske mogućnosti plesa”, Oko, br. 99, 25. prosinca države i mlade umjetnice6. 1975) kompatibilne i složne u prosudbi, i zapravo anticipaciji povijesnog pomaka koji se netom dogodio. I tako dalje. Premećem i isječke iz novina prošlog stoljeća, Također tu je i knjižica Zagrebačkog kazališta mladih (god. većinu nisam već dugo imala u rukama: XCVII, br. 3), naslovljena Zagrebačka plesna scena, veoma „Tango je tužna misao koja se pleše”, razgovor Dubravke Vrgoč neobična dizajna, veličine omota za LP; na četirima stranica- sa Snježanom Abramović u povodu premijere u ZKM-u, ma nalaze se odlični tekstovi: uvod nedvosmisleno i ponosno Vjesnik, subotnji prilog Danica, 11. ožujka 1995. ističe ZKM kao plesnu i naprednu pozornicu koja uključuje i „Kamera u prolaznoj sobi”, Dražen Ilinčić piše o Nani predstave Tjedna suvremenog plesa i Eurokaza, potom nepot- Šojlev u povodu sudjelovanja na Europskom video danceu, pisani tekst iz Vjesnika „Novi val zagrebačke plesne scene” Večernji list, 22. ožujka 1993. vezan uz autorske iskorake Katje Šimunić, Mare Sesardić i „Ples je moj život”, razgovor Vladimira Stojsavljevića Ksenije Čorić, tekst Mirne Žagar „Prilozi budućoj široj studiji s Trishom Brown, Vjesnik, subotnji prilog Danica, 21. si- o razvoju domaće scene suvremenog plesa” (1992), nepot- ječnja 1995. pisani tekst naslova „Učilište Zagrebačkog kazališta mladih „Moram biti slobodan”, razgovor Krune Petranovića – plesni studio” i na kraju označen kao „&” tekst Marianne s Lloydom Newsonom, vođom kazališne skupine DV 8, van Kerkhoven o plesnom kazalištu. Na posljednjoj stranici Nedjeljni vjesnik, 23. veljače 1997. impresivan je popis skupina koje su gostovale u ZKM-u. „Apel za hitnu izradu strategije razvoja, predstavljanja i financiranja suvremenog plesa u Hrvatskoj javno upućen Štovanom gospodinu Ministru i dužnosnicima Ministar- 3 Skenirala sam i dio fotografske građe; to je dio arhiva baleta stva kulture”, objavljen u Zarezu, II/30, 27. travnja 2000, HNK-a, ali i foldera vezanog uz fenomen generacije zagrebačkih a potpisala ga je inicijativna grupa predstavljajući različite baletnih plesača koji su pedesetih godina 20. st. krenuli u Europu i ostvarili uspješne karijere. tada aktivne grupacije: Snježana Abramović (Zagrebački 4 Uredništvo časopisa Kretanja organiziralo je tri skupa ve- plesni ansambl), Iva Nerina Gattin (llinkt!), Darko Kolar zana uz djelo Milka Šparembleka. Radovi 1. simpozija objavljeni su u Kretanjima br. 11, 2009, a radovi 2. simpozija čine drugi dio Kretanja br. 15/16, 2011. Radovi 3. skupa posvećena Šparemblekovu 6 O toj temi sam više puta govorila, a u prosincu 2015. na djelovanju u skupini Ballets 1956 de Paris de Milorad Miskovitch, Krležinim danima u Osijeku održala sam izlaganje baš o toj temi: poslije Les Étoiles de Paris de Miskovitch, bit će iskorišteni u cjelo- Mia Čorak Slavenska: o zvijezdama i trnju (i kako je Jugoslavija ne- vitom radu o generaciji pedesetih godina 20. st. poćudnoj plesačici platila pariški debi). Tekst je predan za zbor- 5 Biblioteka Kretanja Hrvatskog centra ITI pokrenula je ediciju nik Krležini dani u Osijeku 2015. Originalni plakat, donacija Jurja Mala dvorana u kojoj su dosad objavljene Plesne kritike Tuge Tarle Mofčana, pohranjena je u arhivu Odsjeka za povijest hrvatskog (2010) i Baletna večer da, ali kakva? Kritike, eseji i razgovori Maje kazališta Zavoda za povijest hrvatske književnosti, kazališta i glazbe Bezjak (2011). HAZU-a.

58 _ Kretanja 26 Maja Đurinović: Istraživanje povijesti hrvatskog plesa

(Udruga samostalnih i drugih plesnih umjetnika Hrvatske), Škole za ritmiku i ples, prve i jedine za koju sam znala! Što se Rajko Pavlić (Plesni studio Liberdance), Goran Sergej Pri- događalo u međuvremenu? Zašto ništa ne znamo?) staš (Centar za dramsku umjetnost), Mare Sesardić (Studio U antikvarijatu je nađena knjižica: Filozofija plesa Have- Mare), Vladimir Stojsavljević (Tjedan suvremenog plesa), locka Ellisa10 u prijevodu dr. Adolfa Mihalića, koja je bila, po- Milko Šparemblek (Academia Moderna), Bosiljka Vujović slije smo otkrili, poseban otisak teksta koji je izlazio te 1923. Mažuran (Studio za suvremeni ples) i Mirna Žagar (Hrvatski u Slobodnoj tribuni. Iskapanje podataka o izvorniku, sažeto institut za pokret i ples). u tri retka fusnote, trajalo je mjesecima i na kraju se završilo uz pomoć Vere Maletić, tada profesorice na Sveučilištu dr- Čuvam i neke antiprimjere kao „S jedinim profesionalnim žave Ohio u Columbusu. Nedvojbeno je ta mala ganutljiva plesačima u Hrvatskoj / Ples za cijeli život”, prilog o plesnom knjižica mnogo više oduševljavala kao arheološka iskopina paru iz Pule koji vodi međunarodnu plesnu grupu Dance nego svojim sadržajem. Silno sam željela podijeliti otkriće Show International čiji me naslov svojedobno prilično uzrujao. – informaciju da se ovdje davno pisalo i čitalo o plesu – sa (Večernji list, 15. kolovoza 1993) strukom, ali i s akademskom zajednicom u koju sam imala pristup preko književnih sadržaja, dok se s temama iz plesne Zanimljivo, tu se našao i letak Otvorenje Zagrebačkog umjetnosti tek trebalo probiti. Kolega Miroslav Mičanović, plesnog centra / Ususret prostoru: prostorno-plesni obila- pisac i pjesnik, kvorumaš, suosnivač Naklade MD, prihvatio zak. To se dogodilo 26. listopada 2009. s početkom u 15, 17 se povijesne uloge urednika prve plesne biblioteke Gesta koja i 19 sati i uključen je impresivan broj sudionika plesne scene. je pokrenuta 1992. baš Filozofijom plesa11. (Mislim da negdje imam i crvenu vrpcu koju je gradonačelnik Tako je počelo sakupljanje i transparentno dokumentiranje Bandić presjekao tom prigodom.) prisutnosti plesne umjetnosti u Hrvatskoj u prvoj polovici 20. stoljeća. No istodobno je na vizualnoj razini biblioteka Gesta Biblioteka Gesta zamišljena kao dokumentiranje aktualne suvremene scene tudij jugoslavistike na Filozofskom fakultetu u Zagre- plesačima koji su dominirali scenom devedesetih. Uz mene bu nedvojbeno je bio poticajan, ako ne i presudan u je otpočetka bila dizajnerica Nada Dogan12 koja je tada kao S mojoj sklonosti ka kritičkom istraživanju povijesti. Na studentica dizajna napravila svoju prvu plesnu naslovnicu, kraju krajeva, osamdesete su bile godine postavljanja nekoć na kojoj je ovjekovječena Sanja Zimmer, sjajna, karizmatična zabranjenih pitanja. Izlazili su veoma zanimljivi romani i ja sam plesačica koja je tih godina plesala vodeće uloge u Studiju za za Studentski list7 istražila temu Informbiroa i Golog otoka u suvremeni ples. Nada Dogan nije željela fotografije iz pred- suvremenoj srpskoj prozi. Tekst (naravno da imam sačuvane stava, nego je prema njezinoj zamisli i preciznom, upravo izreske iz novina) počinjem citatom iz romana Antonija Isa- koreografskom nacrtu plesačicu fotografirao mladi Tomi- kovića Tren 2: „Jedno vreme bili smo sami samcati na svom slav Marić, danas renomirani fotograf koji se, sudeći prema ostrvu. I desilo nam se, stvorismo i mi jedno ostrvo gubava- časopisu Dance Mogul, od kolovoza 2015. do danas bavi i ca. I onoliko koliko ga budemo tajili, toliko smo u njemu.” plesnom fotografijom. Danas mi se čini da mnogo bolje razumijem što je Isa- Na naslovnici treće knjižice Glazba i plesač Émilea Jaques- ković htio reći. Dalcrozea nalaze se Blaženka Kovač i Snježana Abramović, No ples me i tu pronašao. Neočekivani impulsi stigli su plesački dominantan i vrlo atraktivan duo Zagrebačkog ple- od pjesničkih autoriteta kao što su Antun Gustav Matoš i Tin snog ansambla, a na knjižici Život za ples Rudolfa Labana iz Ujević8. Matoš je 14. svibnja 1903. gledao Isadoru Duncan i 1993. Sorin David, prvak Baleta HNK-a koji je plešući i prin- posvetio joj cijeli tekst koji je objavljen godinu poslije u Ob- čeve i uloge suvremenog repertoara, poput Balada… koje zoru, a 1913. u Pečalbi. Ako je to Matoš objavio, netko je donosi vjetar, donio posebnu, profinjenu mušku energiju na u Zagrebu već 1904. čitao o moguće prvoj preporoditeljici domaću scenu. Iz tog je izbora također bilo razvidno da pod modernog plesa9? (To je bilo točno 50 godina prije osnutka

7 Studentski list, br. 855, 29. veljače 1984. i br. 856, 7. ožujka 1984. 10 Havelock Ellis (1895–1939), napredni i cijenjeni engleski pisac, 8 Fascinantna je obaviještenost i suvereni stav Tina Ujevića u antropolog i seksolog. Članak „The Philosophy of Dancing” prvotno feljtonu „Terpsihora u crnačkoj školi” iz 1940. Sabrana djela, svezak je objavljen u časopisu The Atlantic Monthly 1912, a potom ga je au- XIII, Feljtoni II, str. 187–194. tor razradio i objavio 1923. u knjizi The Dance of Life pod naslovom 9 Sabrana djela, V, str. 234–239. Poslije sam otkrila da su o „The Art of Dancing”. Isadori Duncan pisali i Adela Milčinović („Pismo iz Monakova”, 11 Izdanje Naklada MD / Gesta, Zagreb, 1992. Narodne novine, LXX, 72, Zagreb, 29. ožujka 1904) i Josip Kosor 12 Tada još djevojački Nada Turčin, kad smo zajedno, nakon („Miss Isidora Duncan ili ‘plešući ljiljan’ /impresije/”, Pokret, 2. Komornog ansambla slobodnog plesa (KASP), plesale u ansamblu travnja 1906). Gesta.

Movements 26 _ 59 Maja Đurinović: Istraživanje povijesti hrvatskog plesa

hrvatskim plesom podrazumijevamo kompletnu scenu ne angažirana za tekst o baletu za novo, prošireno izdanje mo- pristajući na podjelu u tabore. nografije HNK-a u Zagrebu14. Imala sam veoma kratak rok za Na trećoj razini biblioteka Gesta krenula je u animaciju tako velik posao i urednik izdanja Nikola Batušić dogovorio osoba iz struke, koje sam poznavala iz plesne prakse i Škole za mi je izniman tretman, odnosno mogućnost svakodnevnog ritmiku i ples, i za koje sam znala da kriju znanja i sposobnost istraživanja građe na Odsjeku za povijest hrvatskog kazali- njihova oblikovanja u misao teksta. Nakon mog predgovora u šta HAZU-a. To je bio uistinu intenzivan tečaj za nadobud- Filozofiji plesa, stručan uvod u Dalcrozeovu knjižicu napisala nu, novopečenu povjesničarku plesa, na kojem sam upijala je Jasmina Zagrajski Vukelić, a „Kratak prilog jednoj (budućoj) i učila povijest zagrebačkog baleta, da bih na kraju donijela povijesti suvremenog plesa u Hrvatskoj” Vlaste Kaurić (od koje ipak neke pomake u razmatranju građe. U međuvremenu sam tom prigodom dobila požutjeli primjerak Scene, „revije sam dosta proširila vidike i 2007. napisala proširenu i nešto za sve pojave scenskog života”, od 21. maja 1924. s temom ispravljenu inačicu15, ali kako sam s jedne strane popunjavala Ples kao posebna umjetnost u povodu gostovanja Labanove gradivo, tako sam s druge otkrivala, i neprestano opažam Tanzbühne) odškrinuo je vrata u orvelovski zamućeno, onda, nove praznine. No važno je bilo da se istraživanje suvremenog kao za svaki slučaj, zataškano, pa generalno zaboravljeno plesa i baleta neprestano isprepletalo i međusobno nadopu- vrijeme, koje je postalo predmetom fascinacije i istraživačke njavalo otvarajući nova poglavlja. strasti, a sigurno i osobnog bunta, razvijenog na mnogim, za plesače poraznim, bojištima hrvatske kulturne stvarnosti. Mala ali važna digresija: Odsjek za povijest hrvatskog ka- Nekako su ti prvi naslovi bili kao neki dug i repetitorij, zališta Zavoda za povijest hrvatske književnosti, kazališta neko proširenje temelja stečenih u Školi za ritmiku i ples, koji i glazbe HAZU-a su sad dobili ime i europski kontekst13. Još jedna knjiga iz an- ako, a ja ću kao stari optimist reći zasad, u nazivu te središ- tikvarijata bila je Moje uspomene Isadore Duncan, objavljena nje arhivske institucije nigdje nema izdvojenog segmenta 1944. u Nakladi Antun Velzek u Zagrebu. Knjigu je pripremio Iplesa, na što smo povijesno naviknuti, niti u općem nedo- i preveo književnik i publicist Mato G. Hanžeković, uključivši statku zaposlenika postoji suradnik koji bi bio specificiran za na kraju knjige tekst bečke plesne umjetnice Else Huber- ostavštine, donacije i građu iz područja plesa, Odsjek za po- Wiesenthal „Značenje Isadore Duncan kao plesačice”. No vijest hrvatskog kazališta u prekrasnom zdanju Preporodnog prvo hrvatsko izdanje uspomena Isadore Duncan donijelo je doma u Opatičkoj 18 (do ulice u kojoj se nalazi Hrvatski centar nešto još važnije: u predgovoru Hanžeković temu umjetno- ITI i uredništvo Kretanja!) nezaobilazno je mjesto u procesu sti Isadore Duncan prebacuje u Zagreb koji je poput drugog istraživanja povijesti hrvatskog plesa, čija je građa i doku- prosvijetljenog svijeta usvojio izvorna shvaćanja nove plesne mentacija tu smještena i čuvana kao dio kazališne baštine. umjetnosti. Autor spominje Miju Čorak Slavensku i onda Želja mi je upozoriti čitatelje i kolege na mjesto koje se iz upozorava (uključujući i dvije fotografije) na Školu umjetničke gerilsko-proleterske pozicije suvremenog plesa čini daleko i plesne kulture Mirjane Janeček-Stropnik. nepristupačno, a zapravo je moguće izvrsno mjesto sjećanja Konačno, trebalo je prestati govoriti o nama iz Škole kao i obnavljanja vlastite memorije, širenja vidika i komunikacije prvim plesačima bosih nogu na ovim prostorima, pronaći iz- s prošlim vremenom. (Odsjek je među ostalim, suorganizator gubljene, iz kulture i povijesti izbrisane umjetnike i uspostaviti kazališno-teatrološke manifestacije Krležini dani u Osijeku, prohodne putove kroz taj prostor-vrijeme između dvaju svjet- i kako već godinama držim izlaganja iz područja plesa, tako skih ratova kad se hrvatski ples vidljivo uključuje u europske sam naišla na veliki interes i potporu kolega iz drugih struka, tijekove. Biblioteka Gesta nastavila je s kolom: Poglavlja iz što mi je otvorilo neke nove dimenzije u, čini mi se, neve- povijesti hrvatskog plesa 20. stoljeća. Izašla su dva naslova rending pokušaju rekonstrukcije povijesti plesa u Hrvatskoj.) (Mercedes Goritz Pavelić i Mia Čorak Slavenska), a kako je Za potrebe ovog teksta razgovarala sam s dr. sc. Antoni- Naklada MD u međuvremenu časno propala, sljedeći projekt jom Bogner-Šaban, znanstvenom savjetnicom na Odsjeku za Razvoj suvremenog plesa: Ana Maletić, životopis (2008), uz povijest hrvatskog kazališta koja mi je u više navrata bila od potporu Vere i Saše Maletić, potaknuo je i objavio Hrvatski presudne pomoći za istraživanja i rad na arhivama16. institut za pokret i ples. Biblioteka Gesta za mene je bila presudna iz još jednog 14 Hrvatsko narodno kazalište u Zagrebu 1840–1860–1992, HNK i razloga. Privukla je pozornost i upozorila na osobu koja želi Školska knjiga, Zagreb, 1992. istraživati i ozbiljno pisati o plesu. Budući da sam stekla po- 15 Tekst je predan u HNK, ali nije došlo do novog izdanja vjerenje objavljujući u književnim časopisima, iste sam godine monografije. 16 Posebno na knjizi Mercedes Gortiz Pavelić, Naklada MD / Gesta / Čvorak, Zagreb, 2000. i radu na tekstu „Vera Milčinović – Tashamira 13 Naravno, riječ je o entuzijazmu svih uključenih uključujući i Dances of Reality and Unreality”, Feminine Future (Performance, Dance, poklonjene prijevode Đurđe Otržan i Vesne Vančik. War, Politics and Eroticism), ur. Adrien Sina, Les Presses du réel, 2011.

60 _ Kretanja 26 Maja Đurinović: Istraživanje povijesti hrvatskog plesa

Movements 26 _ 61 Maja Đurinović: Istraživanje povijesti hrvatskog plesa

„Zavod je započeo s radom 1. ožujka 1948. godine pod nazi- glazbena grana od 1863. do 1980. izvodi 913 različitih djela, vom Institut za jezik i književnost JAZU-a. Godine 1952. Balet od 1876. do 1980. prikazuje tek 276 naslova. Institut za jezik i Institut za književnost izdvajaju se iz U međuvremenu izlazi Repertoar hrvatskih kazališta. dotadašnjeg zajedničkog instituta i postaju dvije samo- Knjiga treća: Repertoari [1981. – 1990.]. Abecedni popisi stalne jedinice unutar Jugoslavenske akademije znanosti i kazala (2002), koji već po naslovima, kaže Bogner-Šaban, i umjetnosti. Zatim se godine 1966. utemeljuje Odsjek „pokazuje promjene tipologije predstava, zatvaranje kazališ- za teatrologiju te se nakon spajanja s arhivom Hrvatskog nih institucija, festivalskih smotri ali isto tako i rađanje novih, narodnog kazališta naziv ustanove mijenja u Institut za zastupljenost autora, organizacijske promjene u kazalištu”. književnost i teatrologiju JAZU-a. Ta objedinjena građa Taj svezak Repertoara bit će nedvojbeno veoma koristan povijesti HNK-a kao osnova kazališno-muzejske zbirke i za temu istraživanja hrvatske plesne scene osamdesetih konačno je smještena u zgradi Narodnog doma u Opatič- godina 20. st. koju su potaknule i započele Iva Nerina Sibila koj 18, gdje se 1968. formira Odsjek za povijest kazališta. i Katja Šimunić. Od 1993. kompletni kazališno muzejski materijal smješten Antonija Bogner-Šaban na kraju našeg razgovora upozo- je, precizno dokumentiran te dostupan i vanjskim, često rila je buduće istraživače da se u biografskim svescima nalaze inozemnim, korisnicima u zgradi Narodni dom. tek indikativni, inicijalni podaci o karijerama pojedinaca, a Arhivski fond sastoji se od bogate knjižnice povijesnih svako dalje istraživanje pretpostavlja kombinaciju postojeće i stručnih knjiga, ostavštine pisaca, baletana i glazbenih različite građe: fotografija, programa, scenografija, kritika umjetnika i oko 4000 svežnjeva (kuverti) pojedinačnih itd. i tek se povezivanjem može doći do neke rekonstrukcije biografija iz svih područja, koje uključuju fotografije i no- cjeline. I na kraju, apelira na sve sudionike umjetničkog čina vinske kritike. Tu su mnogobrojne kazališne (tzv. redateljske da čuvaju svoju građu u brizi za budućnost i vlastito povi- knjige) i dramski tekstovi, nešto libreta, skice scenografija i jesno mjesto; svi mogu pridonijeti bogaćenju arhiva svojim kostima, audio i videosnimke u novije doba, uvezi reperto- donacijama, pogotovo teže dostupnim inozemnim kritikama, arnih knjiga HNK-a iz Zagreba i većine hrvatskih kazališta, koje će po principu muzejske zbirke biti arhivirane i prezentne festivala i smotri. suvremenicima i nasljednicima. Od 1977. započinje projekt utvrđivanja stanja i znače- nja postojeće dokumentarističke građe i uvjeta za izradu Ples kao segment nacionalnih projekata Repertoara hrvatskih kazališta te se u Odsjeku skupljaju edan istraživački projekt nastavio bi se u nekoliko drugih, materijali koji se odnose na izvedbe u cijeloj Hrvatskoj kao koji bi se opet negdje spojili. Suradnja s povjesničarima i inozemne nastupe hrvatskih umjetnika. U sam, do da- J umjetnosti i kustosima na likovnim i posebno fotografskim nas stalni, projekt HAZU kreće 1981, a prve dvije knjige, ostavštinama17, sudjelovanje na velikim izložbenim projektima Repertoar hrvatskih kazališta 1840–1860–1980. Knjiga kao što su Avangardne tendencije u hrvatskoj umjetnosti18 i prva: Repertoari kazališta, kazališnih družina i grupa, Strast i bunt – ekspresionizam u Hrvatskoj19 otvorili su nove partizanskih kazališta, festivala, smotri i susreta i Reper- perspektive istraživanja povijesti plesa, a istodobno su, što toar hrvatskih kazališta 1840–1860–1980. Knjiga druga: mi se čini važnim, prezentirani rezultati privukli pozornost Abecedni popisi. Kazala izlaze 1990.” kulturnih i akademskih krugova kao nedvojbeno zanimljiv, Antonija Bogner Šaban naglašava: znakovit fenomen u hrvatskoj umjetnosti 20. stoljeća. „Fascinantan je podatak da je u tom periodu od Jurana i Sofije, Duboko vjerujem da je istraživanje povijesne građe je- bez obzira na politička događanja, odigrano 13 688 pred- dan od načina prepoznavanja suvremenosti, kao i ulaganja stava. Popisane su dramske, glazbene i baletne predstave i u budućnost struke. Programi, plakati, autorski osvrti i ne- to izdanje ne samo da je evidentiralo sve tri grane, odredilo potpisane crtice, objavljeni tekstovi i neobjavljeni rukopisi, datume, prostor igre, redatelje, koreografe, scenografe, umjetnički manifesti, skice i crteži kostima i scene i, naravno, kostimografe, dirigente... nego je promijenilo pogled na fotografije, u konačnici svjedoče o događanjima, izvedbama i povijest hrvatskog kazališta. Do tada nismo imali ni jedno umjetničkim nastojanjima i prijeporima nekog vremena. Na- sintetičko, teatrografsko, povijesno stručno izdanje koje ravno da među iskopanim, sakupljenim činjenicama postoji bi pokazalo razvoj, promjenu repertoara i zastupljenost prostor rekonstrukcije, premošćivanje praznina na temelju predstava.” nekih usporednih znanja, analogija, predviđanja i pomalo – Repertoar je bio ishodište i mog rada na monografiji Ba- leta HNK-a: brojčani podaci nepristrano svjedoče o važnosti 17 Za rekonstrukciju plesa u Zagrebu između dvaju ratova izni- „drame kao nositelja nacionalne samobitnosti” i posebnom mno su važne arhive Toše Dapca i Đure Janekovića, Foto Tonka i drugi. položaju Baleta unutar Hrvatskoga narodnog kazališta. Dok 18 Galerija Klovićevi dvori, 2007. Drama od 1860. do 1980. bilježi 2 855 izvedenih naslova, 19 Galerija Klovićevi dvori, 2011.

62 _ Kretanja 26 Maja Đurinović: Istraživanje povijesti hrvatskog plesa mašte. Nakon 25 godina bavljenja arheologijom hrvatskog da informacije često kriju još koji sloj značenja iz kojeg je plesa, u potrazi za počecima i prvim akterima, sigurna sam moguće iščitati stanje duha i kulture, sklonost i stav spram i mogu dokumentirati da postoji bogata povijest hrvatskog dotičnog plesnog umjetnika / plesne umjetnosti, kao i pri- plesa u prvoj polovici 20. stoljeća koja dobiva europske padnost nekoj estetskoj ili idejnoj ili ideološkoj grupaciji. obrise, a počinje dvadesetih godina 20. stoljeća, jednako u Vjerujem da je u svakom istraživačkom poslu silno uzbud- baletu kao i u suvremenom plesu; da su baletni i suvremeni ljivo, pa tako i u plesnoj arheologiji, kad obrađivana tema plesni umjetnici međusobno surađivali i na sceni HNK-a i u uputi na sljedeću, stare činjenice postanu novi putokaz, školama modernog umjetničkog plesa i da su bili uključeni jedno otkriće već sluti sljedeće; kad se imena i događaji u napredne promjene stavova i događaje u kulturi surađu- počnu umrežavati. jući s istaknutim predstavnicima avangardnih tendencija u Primjerice, za kraj: jedan segment aktualnog istraživa- hrvatskoj umjetnosti; i da ni jedno poglavlje nije završeno, nja biografije Mije Čorak Slavenske koji je provela Katarina niti ga možemo smatrati zaključenim. Ne samo zato što su Žeravica22 vezan je uz školu Gertrud Kraus. Dosta gradiva pred nama još velike količine neistražene građe i arhiva nego vezanog uz njezinu školu našli smo u arhivi jedne druge moramo biti svjesni da su se u kritičnim trenucima tijekom važne zagrebačke plesačice tog vremena, Nevenke Perko. radikalnih smjena vlasti u našoj zemlji vlasnici ili čuvari i No u građi Gertrud Kraus spominje se još jedna plesačica nasljednici privatnih arhiva nastojali riješiti opasnih, kom- iz Zagreba koja nam nije bila poznata: Claudia Vall. Znala promitirajućih materijala. I nakon Drugog svjetskog rata u sam da je postojala Fritzi Vall koja je 1932/33. plesala u Za- SFRJ bilo je najsigurnije početi iz početka (ne pozivati se na grebačkoj komornoj plesnoj grupi Mercedes Goritz Pavelić autoritete kapitalističkog Zapada, a od Rezolucije Inform- i za koju smo znali da je studirala u Beču i da je poslije, na biroa 1948. ni komunističkog Istoka), i ne kopati mnogo po vrijeme, napustila Zagreb i otišla u Ameriku. Da ne duljim, zasigurno (politički) krivoj prošlosti. jer to je tema za sebe, došli smo do Judith Brin Ingber, osobe Stoga nas danas, a taj je proces entuzijastički započeo koja je dobro poznavala zagrebačku Fritzi (koja više nikad nije devedesetih, čeka priličan broj sati prelistavanja časopisa i dala da ju tako zovu) u Americi, dobili smo neke fotografije i novinskih izdanja u Nacionalnoj i sveučilišnoj knjižnici, kri- građu i uskoro ćemo ju moći smjestiti u pripadajući kontekst. tičko iščitavanje (i vlastitih!) dosadašnjih radova, da ne spo- Judith Brin Ingber poslala nam je i presliku plesnog progra- minjem neobrađenu građu u institucionalnim i privatnim ma na njemačkom od 14. prosinca 1924. iz arhive Claudije arhivama20. To sigurno ne može odraditi jedna, dvije ili tri Fritzi Vall, za koji vjeruje da je iz Zagreba; istina je da sva osobe. Sreća je da svijest o potrebi istraživanja arhiva, ali i imena zvuče domaće (Vera Kohn, Blanka i Zlata Schneller, izdavanja barem monografske literature raste21, jer bez tako Jelkica Goldstein i Alma Hirschl, koja je bez dvojbe plesačica sakupljene i organizirane građe nema komparacije, dijaloga poslije poznata kao Alma Jelenska). Moguće je to program i sintetskog sagledavanja. A budućnost povijesti hrvatskog nastupa škole Jelisave Törne, koju je spominjala i Mercedes plesa sa sigurnošću vidim u novom kadru obrazovanih ple- Goritz Pavelić i za čije je potrebe Sergej Glumac izradio skice snih pedagoga koji izlazi sa zagrebačke Akademije dramske plakata koje se čuvaju u Muzeju za umjetnost i obrt, koja umjetnosti, koji će jednom izvojštiti i doličan, siguran insti- sredinom dvadesetih godina 20. st. predaje „nauku o gibanju tucionalni prostor arhive. po Labanu” u Dalmatinskoj 5, a u tjedniku Svijet (28. svibnja Zanimljivo je kako s jedne strane neprestano iskrsava 1927) spominje se nastup njezine poznate škole? Odakle nova građa, a s druge opet s godinama i nakupljenim isku- je i kad došla? Čini li se jednom od prvih karika u povijesti stvom i one stare isječke i programe drukčije čitamo, više modernog plesa u Zagrebu? toga prepoznajemo i povezujemo. Neki podaci su nam go- Istraživanje se nastavlja. dinama pred nosom, ali ih usredotočeni na drugu temu jednostavno previdimo i onda poslije najednom progledamo. Također, s vremenom i arheološkom praksom shvaćamo

20 Primjerice, zahvaljujući višegodišnjem trudu Vere Maletić, ostavština Ane Maletić arhivirana je u Hrvatskom državnom arhivu, pri čemu je većina slikovne građe digitalizirana. Kategorizirani inventar umjetničke ostavštine Ane Maletić objavljen je na CD-u kao dodatak mojoj knjizi Razvoj suvremenog plesa: Ana Maletić, živo- topis, HIPP, Zagreb, 2008. 22 Riječ je o radu za interdisciplinarni znanstveno-umjetnič- 21 U području istraživanja povijesti baleta veliki doprinos daju ki skup Mia Čorak Slavenska koji je održan 19. i 20. veljače 2016. u Davor Schopf i Mladen Mordej Vučković. Oni su dosad objavili mo- Osijeku i Slavonskom Brodu i objavljen u Književnoj reviji, Ogranak nografije Vesne Butorac Blaće, Sonje Kastl, Ane Roje i Željka Jureše. MH Osijek, br. 1–2, 2016.

Movements 26 _ 63 Maja Đurinović: Exploring the History of Croatian Dance

< A playbill from a Milko Šparemblek ballet evening in 1975/76. > Maja Đurinović: Exploring the History of Croatian Dance

MAJA ĐURINOVIĆ Exploring the History of Croatian Dance Sketches from Archaeological Practice

have always been a collector. My first archives con- events who buried this memory deep inside them, but tained tickets, playbills, quotes copied from books, without a physical reminder in the new engaging daily life I newspaper clippings, anything that out of some intu- it vanished, remaining a general impression that simply itive reason seemed important for the future, whatever it needs a trigger, a madeleine cake to return to the owner. meant, although I have always known it would somehow For example, back in the days when I was still a little be related to dance. Of course, these archives were peri- girl, my mother took me to see ballets. I still have a book- odically revised and a lot of materials did not survive the let from 1971/72; back then a single booklet included the test of time and constant moving around, but nevertheless portraits of authors and dance soloists in three ballets, I am even today pleasantly (and, given my age, honest- in this case The Devil in the Village choreographed by Pia ly!) surprised whenever I rummage through my folders and Pino Mlakar, The Sleeping Beauty choreographed by and boxes. Often I even surprise the participants1 of past Frane Jelinčić, after Marius Petipa, and Swan Lake by Rostislav Zakharov. 1 When I was interviewing Irma Omerzo for the French edition of Or, an interesting story, also with a continuation, is Kretanja (Mouvements no. 17, 2012), I brought her a playbill from a related to a theatre brochure from the Yugoslav People’s Décodex performance held at the Croatian National Theatre on 21 Army House, which at a certain point housed the “per- October 1996, which she did not have although she performed in it as a member of DCA dance company. I also keep Branko Magdić’s enthu- manent stage of the Croatian National Theatre”, from 24 siastic review, published two days later in Večernji list under the title October 1967, when “the first performances in Yugosla- A Futurist Journey. Interestingly, Magdić did not make a mention of via” of Boris Papandopulo’s Grand Hotel, choreographed Irma Omerzo from Zagreb, who was a long-time member of Philippe by Boris Pilato, took place with Vjera Marković as the Decouflé’s company, which I saw as an important detail to which I proudly drew attention to. For that reason I felt an even stronger con- principal dancer, and Italian Symphony, choreographed nection to the performance. by the artist couple Vjera Matković and Alfred Köllner

Movements 26 _ 65 Maja Đurinović: Exploring the History of Croatian Dance

to Felix Mendelssohn-Bartholdy. About 30 years later Tarle (“Classical Technique and New Theatrical Potential Milana Broš introduced me to Vjera Marković. The two of Dance” /“Klasična tehnika i nove teatarske mogućnosti of them were childhood friends and together with Beata plesa”/, Oko no. 99, 25 December 1975), albeit hailing Domić, Sonja Kastl and Nevenka Biđin they comprised from completely different dance backgrounds, were the group of “Zagreb baby ballerinas”, little girls hired in fact compatible and congruous in their judgment by the Croatian National Theatre’s ballet company to and the anticipation of a historical shift that had just fill in the gap during and after the Second World War.2 happened. Vjera Marković was thrilled to perform at the promo- There is also a booklet from the Zagreb Youth Thea- tion of the biography Mercedes Goritz Pavelić, whose tre (year XCVII, no. 3), with a title Zagreb Dance Scene, student she was at Children’s Empire (1936–1939), and quite unusually designed, size of an LP record cover; later she also gave me a poster for this ballet evening, its four pages contain extraordinary texts: the introduc- which I attended at the Yugoslav People’s Army House tion unequivocally and proudly mentions the Zagreb in 1967.3 Youth Theatre as a stage of dance and progress, hosting One of the infinitely precious artefacts from my Dance Week Festival and Eurokaz performances, fol- archives is a playbill from a Milko Šparemblek ballet lowed by an unsigned article from Vjesnik “New Wave evening in 1975/76. The performance included Opus of Zagreb Dance Scene” (“Novi val zagrebačke plesne 43 by Ludwig van Beethoven, Claude Debussy’s Sonata scene”), focusing on the creative endeavours of Katja and Triumph of Aphrodite by Carl Orff. The booklet, the Šimunić, Mare Sesardić and Ksenija Čorić, Mirna Žagar’s so-called theatre brochure, published two in fact context “Contributions to a Future Broader Study of the nected texts by Šparemblek, About the Ballet Premiere Development of Croatian Contemporary Dance Scene” (Uz baletnu premijeru) and The Choreographer’s Take on (“Prilozi budućoj široj studiji o razvoju domaće scene the Performance (Koreograf o predstavi), which provided suvremenog plesa”, 1992), an unsigned article under a concise and expert overview of the history, meaning the title “Zagreb Youth Theatre’s Training Programme and key terms of contemporary dance and modern dance – Dance Studio” (“Učilište Zagrebačkog kazališta mladih as starting points for his subsequent delineation of the – plesni studio”), and finally, entitled as “&”, Marianne premises of his creative poetics and practice. Many years van Kerkhoven’s text about dance theatre. The last page later (as such matters can hardly be judged properly features an impressive list of companies hosted by the without a distance), working on Šparemblek’s material4 Zagreb Youth Theatre. and editing essays and critiques by Maja Bezjak and Tuga Speaking of Dance Week Festival, I have before me Tarle5, I realised how important this ballet evening was the 6th Week’s bulletin, from 1989, with the GIB dance and how it turned out to be a pivotal point in the history magazine’s name and an introductory account by Jasna of Croatian ballet and dance in general. It is interesting Frankić Brkljačić as the dance culture professional asso- how Bezjak (“A Full-Blown Artistic Experience” /“Potpun ciate at the Committee for Culture and Education of the umjetnički doživljaj”/, Vjesnik, 11 December 1975) and Socialist Federative Republic of Croatia. “GIB is,” says Frankić Brkljačić, “meant as an art magazine focusing on dance culture, with contents covering both contem- 2 See more in the text “From the Album of Beata Domić”, my con- porary dance and classical ballet, as well as folklore and tribution to Movements no. 19/20, 2013, dedicated to Milana Broš, pp. 63–65. all the aspect of human life, education, training and 3 I also scanned some of the photographic material; Croatian entertainment pertaining to movement and dance. Four National Theatre’s ballet archives and folders pertaining to the genera- issues per year will encompass events on the territory of tional phenomenon of Zagreb’s ballet dancers who set out to Europe in Yugoslavia and provide information about global events.” the 1950s and made outstanding careers. 4 The editorial board of Movements organised three symposiums The publisher was supposed to be the Committee for focusing on the work of Milko Šparemblek. The first symposium papers Culture and Education and I was among the editorial were published in Movements no. 11. In 2009, the second symposium board members. (Soon it turned out that this really was papers comprised the second part of Movements no. 15/16 in 2011. not a good time to launch a dance magazine, and events The third symposium papers were dedicated to Šparemblek’s work in the company Ballets 1956 de Paris de Milorad Miskovitch, later Les from former Yugoslavia in the next few years mainly Étoiles de Paris de Miskovitch, and will be used for a comprehensive referred to military operations.) work about the 1950s generation. There is also a copy of the famous poster of Mia 5 Croatian Centre ITI’s Movements edition has launched a new Čorak Slavenska from Paris, from a ballet gala on 1 July edition called Small Studio which has thus far published Plesne kritike (2010) by Tuga Tarle and Baletna večer da, ali kakva? Kritike, eseji i 1937, a performance which was banned and never took razgovori Maje Bezjak (2011). place, and the poster, along with some other documents,

66 _ Kretanja 26 Maja Đurinović: Exploring the History of Croatian Dance remained an example and proof of a historical incident whose title quite threw me off the tracks. (Večernji list, between the state and this young artist.6 15 August 1993) And so forth. I browse through newspaper clippings Interestingly, there is also the flier for the Zagreb from the past century, most of these I have not touched Dance Centre Opening / Meeting Space: A Spatial-Dance in a long time: Tour. The event took place on 26 October 2009, sched- “Tango is a Sad Danced Thought” (“Tango je tužna mis- uled for 3pm, 5pm and 7pm, and included an impressive ao koja se pleše”), Dubravka Vrgoč’s interview with number of dance scene partakers. (I believe I even have Snježana Abramović ahead of the premiere at the the red tape Mayor Bandić cut on that occasion.) Zagreb Youth Theatre, Vjesnik, Saturday’s special feature Danica, 11 March 1995. Gesture edition “Camera in the Pass-through Room” (“Kamera u he course in Yugoslav Language and Literature prolaznoj sobi”), Dražen Ilinčić writes about Nana at the Zagreb Faculty of Humanities and Social Šojlev and her participation at European Video Dance, TSciences was undoubtedly stimulating, if not Večernji list, 22 March 1993. crucial in my penchant for critical research of history. “Dance Is My Life” (“Ples je moj život”), Vladimir Finally, the eighties were the time to raise once forbidden Stojsavljević interviews Trisha Brown, Vjesnik, Satur- questions. Very interesting novels were published and day’s special feature Danica, 21 January 1995. I explored the subject of Informbureau and Goli otok “I Have to Be Free” (“Moram biti slobodan”), Kruno in contemporary Serbian prose for Studentski list7. The Petranović interviews Lloyd Newson, the principal of text (I have, of course, kept the clippings) begins with a DV 8 theatre company, Nedjeljni vjesnik, 23 February quote from a novel by Antonio Isaković, Tren 2: “For a 1997. while we were all alone on our island. And it happened, “Call for Urgent Strategy of Development, Presenta- we have also created an island of lepers. And as much as tion and Funding of Contemporary Dance in Croatia we will want to keep it secret, that much we’ll be in it.” Publicly Addressed to Respected Minister and Ministry Today I seem to understand Isaković’s point much better. of Culture Officials” (“Apel za hitnu izradu strategi- However, this is where dance found me. Unexpect- je razvoja, predstavljanja i financiranja suvremenog ed impulses arrived from poetic authorities like Antun plesa u Hrvatskoj javno upućen Štovanom gospodinu Gustav Matoš and Tin Ujević8. On 14 May 1903 Matoš Ministru i dužnosnicima Ministarstva kulture“), pub- saw Isadora Duncan and dedicated an entire essay to lished in Zarez, II/30, 27 April 2000 and signed by the her, published the following year in Obzor and in 1913 initiative, representing different, at that time active in Pečalba. If Matoš had indeed published that, someone groups: Snježana Abramović (Zagreb Dance Compa- from Zagreb could have read about the possibly first ny), Iva Nerina Gattin (llinkt!), Darko Kolar (Croatian modern dance pioneer as early as in 1904.9 (This was Association of Independent and Other Dance Artists), exactly 50 years before the establishment of the School Rajko Pavlić (Liberdance Dance Studio), Goran Sergej of Rhythm and Dance, the one and only I knew of! What Pristaš (Centre for Drama Art), Mare Sesardić (Studio was happening in the meantime? Why do we not know Mare), Vladimir Stojsavljević (Dance Week Festival), anything about it?) Milko Šparemblek (Academia Moderna), Bosiljka Vujo- In a second-hand bookshop I found a little book: vić Mažuran (Contemporary Dance Studio) and Mirna Havelock Ellis’s The Philosophy of Dancing10, translated by Žagar (Croatian Institute for Movement and Dance). I also keep some anti-examples, like “With the Only 7 Studentski list, no. 855, 29 February 1984 and no. 856, 7 March 1984. 8 Tin Ujević’s knowledge and commanding views published in the Professionals Dancers in Croatia / Dance for Life,” a 1940 feuilleton “Terpsichore in a Black School” (“Terpsihora u crnačkoj feature about a dance couple from Pula managing the školi”) are more than fascinating. Sabrana djela, volume XIII, Feljtoni international dance company Dance Show International, II, pp. 187–194. 9 Sabrana djela, V, pp. 234–239. Later I found out that Adela Milčinović (“Pismo iz Monakova”, Narodne novine, LXX, 72, Zagreb, 6 I spoke several times of this subject, and in December 2015 29 March 1904) and Josip Kosor (“Miss Isidora Duncan ili ‘plešući at Krleža’s Days in Osijek I gave a speech on this very topic: Mia ljiljan’ /impresije/”, Pokret, 2 April 1906) also wrote about Isadora Čorak Slavenska: of Stars and Thorns (and How Yugoslavia Paid the Duncan. Unsuitable Dancer’s Paris Debut). The paper was submitted for the 10 Havelock Ellis (1895–1939), a progressive and renowned English collection Krleža’s Days in Osijek 2015. The original poster, Juraj writer, anthropologist and sexologist. The article “The Philosophy of Mofčan’s donation, is kept at the archives of the Department of Dancing” was first published in The Atlantic Monthly magazine in History of Croatian Theatre, Institute of History of Croatian Literature, 1912, and later the author elaborated it and published it in 1923 in The Theatre and Music, Croatian Academy of Sciences and Arts. Dance of Life under the title “The Art of Dancing”.

Movements 26 _ 67 Maja Đurinović: Exploring the History of Croatian Dance

Dr Adolf Mihalić. This book, as we later discovered, was On the third level, the Gesture edition set out to a special print of the text published in 1923 in Slobodna engage the professionals whom I knew from the dance tribuna. Digging out the information about the original, practice and the School of Rhythm and Dance, who had compressed in a three-line footnote, took months and the knowledge and ability to shape their practice into was finalised with the assistance of Vera Maletić, back text. After my preface to Philosophy of Dance, a profes- then a professor at the Ohio State University in Colum- sional introduction into Dalcroze’s book was written by bus. This touching little booklet undoubtedly thrilled me Jasmina Zagrajski Vukelić, and “A Brief Contribution to a more as an archaeological finding in its own right rather (Future) History of Contemporary Dance in Croatia” (“Kra- than its content. I was dying to share this discovery – tak prilog jednoj /budućoj/ povijesti suvremenog plesa u the information that dance was here long written and Hrvatskoj”) by Vlasta Kaurić (who at that occasion gave read about – with my colleagues and with the academic me a yellowish copy of Scena, “a magazine for all forms community I could approach only through literature. of stage life”, dated 21 May 1924, featuring a spread Dance-related topics yet had to wait for their place in Dance as Special Art ahead of a visiting performance of the sun. My colleague Miroslav Mičanović, writer and Laban’s Tanzbühne) opened the door to a time of Orwel- poet, a literary magazine Quorum man, co-founder of lian blur, later subdued and generally forgotten, which Naklada MD, took up the historical role of the editor of became a subject of fascination and research passion, the first dance edition, Gesture, launched in 1992 with as well as, quite certainly, personal rebellion developed the very The Philosophy of Dancing11. across many, to dancers defeating, battlefields of Croatian This is how collecting and transparent documenting cultural reality. of the presence of dance art in Croatia in the first half of These initial titles seemed like a debt and a repetition the 20th century began. However, at the same time, the sheet, an expansion of the basics acquired at the School Gesture edition was envisaged on the visual level as a of Rhythm and Dance, now grown to encompass the document of the current contemporary dance scene with European context.13 Another vintage book is My Life by dancers who dominated the scene in the 1990s. Nada Isadora Duncan, published in 1944 by Antun Velzek Pub- Dogan12 has been by my side from the very beginning. lishing from Zagreb. The book was edited and translated As a design student, she made her first dance cover with by writer and publisher Mato G. Hanžeković, including Sanja Zimmer, a magnificent, charismatic dancer who at at the end of the book a text by the Viennese dance artist that time danced the leading roles at the Studio – Contem- Elsa Huber-Wiesenthal, “Significance of Isadora Duncan porary Dance Company. Nada Dogan did not want stage as a Dancer” (“Značenje Isadore Duncan kao plesačice”). photographs. Rather, to her idea and a precise, almost However, the first Croatian edition of Isadora Duncan’s choreographic plan, the dancer was photographed by memoirs brought something even more important: in young Tomislav Marić, today an acclaimed photographer his preface, Hanžeković transfers the subject of Isadora who has, judging by Dance Mogul magazine, has pursued Duncan’s art to Zagreb which, like another enlightened dance photography from August 2015 to this day, as well. world, adopted the original notions of new dance art. The cover of the second booklet, Music and Dancer The author makes a mention of Mia Čorak Slavenska and by Émile Jaques-Dalcroze from 1995, features Blaženka then of Mirjana Janeček-Stropnik’s School of Art Dance Kovač and Snježana Abramović, a dominant and attractive Culture (including two photographs, as well). duo of dancers from the Zagreb Dance Company, and on Finally the time came to stop talking about us from the cover of the A Life for Dance booklet by Rudolf Laban the School as the first barefoot dancers in our region, to appears Sorin David, who danced both the roles of princ- find the lost artists, expelled from culture and history, es and contemporary repertory, like Ballads… Brought and to establish clear roads through this space-time gap by the Wind (Balade… koje donosi vjetar), and infused between two world wars, when Croatian dance became the local scene with a special, refined male energy. This visibly up to date with European trends. The Gesture particular choice made it clear that when we say Croatian edition continued: chapters from the history of Croatian dance, we mean the entire dance scene and refuse to be 20th century dance. Two titles were published (Mercedes divided into camps and fields. Goritz Pavelić and Mia Čorak Slavenska), and since Nak- lada MD in the meantime went into bankruptcy, the

11 Published by Naklada MD / Gesture, Zagreb, 1992. 12 At that time still under her maiden name Nada Turčin. After the 13 Naturally, we are grateful for the enthusiasm of all the partici- Chamber Ensemble of Free Dance (KASP), we danced together in the pants, including the translations made by Đurđa Otržan and Vesna Gesture dance company. Vančik free of charge.

68 _ Kretanja 26 Maja Đurinović: Exploring the History of Croatian Dance next project, The Development of Contemporary Dance: exploring the history of Croatian dance. Related materials Ana Maletić, a Biography (Razvoj suvremenog plesa: Ana and documentation are housed and kept safe here as a Maletić, životopis, 2008) was initiated and published by part of theatrical heritage. the Croatian Institute for Movement and Dance, with I wish to draw the readers’ and colleagues’ attention the support of Vera and Saša Maletić. to the place which might seem distant and unapproach- I find the Gesture edition crucial for another reason. able from the guerrilla-proletarian position of contem- It drew attention and shed light on a person who wished porary dance, while it could, in fact, be a fantastic place to explore and seriously write about dance. Since I gained of memory and refreshing our recollections, expanding trust by writing and publishing in literary magazines, the horizons and communicating with past times. (Among same year I was commissioned to write a text on ballet other things, the Division is a co-organiser of the the- for the new and expanded edition of the Zagreb Croatian atrical event called Krleža’s Days in Osijek and, since National Theatre’s monograph14. The deadline for such for many years now I have been giving speeches about extensive work was very short and the editor, Nikola dance, I encountered a lot of interest and support from Batušić, arranged a special treatment for me, a chance colleagues hailing from other professions, which has to research the materials at the Department of Croatian opened new dimensions in this seemingly neverending Theatre History of the Croatian Academy of Sciences attempt to reconstruct the history of dance in Croatia.) and Arts every day. This was indeed a crash course for For the purposes of this text I talked to Antonija Bogn- an ambitious dance historian newcomer, where I soaked er-Šaban, PhD, a research consultant at the Division for in and learned the history of ballet in Zagreb to finally the History of the Croatian Theatre, whose help was on make steps ahead in my analysis of the material. In the several occasions crucial in my investigation and archival meantime I quite expanded my horizons and in 2007 work17. I wrote a new and somewhat improved version15, but “The Institute became active on 1 March 1948 under since I kept improving my existing knowledge and gained the name Institute for Language and Literature of the new, I was constantly noticing new gaps. However, the Yugoslav Academy of Sciences and Arts. In 1952, the important thing is that contemporary dance and ballet Institute of Language and the Institute of Literature are research mutually intertwined and complemented each separated from the joint institution and become two other, constantly opening up new chapters. independent units within the Yugoslav Academy of Sciences and Arts. In 1966, the Division of Theatrology A small but important digression: The Division for is established and after merging with the archives of the History of the Croatian Theatre of the Institute the Croatian National Theatre, the institution changed of the History of the Croatian Literature, Theatre and its name to Literature and Theatrology Institute of the Music of the Croatian Academy of Sciences and Arts16 Yugoslav Academy of Sciences and Arts. Such unified lthough, and as an eternal optimist I will say for historical material of Croatian National Theatre as the now, the name of this central archive institution basis of a theatrical-museum collection was finally Adoes not contain a separate segment of dance, housed at the National Home Palace in 18 Opatička what we are historically used to, and in the general lack Street, where the Division for the History of the Cro- of employees there are no associates specialised in leg- atian Theatre was established in 1968. Since 1993, acies, donations and materials pertaining to dance, the the entire theatrical and museum material has been Division for the History of the Croatian Theatre, located properly accommodated, thoroughly documented and at the magnificent building of the National Home Pal- available even to outsiders, often foreign interested ace in 18 Opatička Street (right next to the street where users at the National Home Palace. the Croatian Centre ITI and Movements editorial board The archives consist of a rich library of historical are seated!), is an unavoidable address in the process of and professional literature, legacies of writers, ballet dancers and musicians, and about 4000 volumes (envelopes) of individual biographies from all are- 14 Croatian National Theatre in Zagreb 1840–1992, Croatian National Theatre and Školska knjiga, Zagreb, 1992. as, including photographs and newspaper reviews. 15 The text was submitted to the Croatian National Theatre, but the monograph has not been re-issued. 17 Particularly on the book Mercedes Goritz Pavelić, Naklada MD 16 The official English terminology of the departments and units of / Gesture / Čvorak, Zagreb, 2000 and on the text “Vera Milčinović the Croatian Academy of Sciences and Arts was used in the translation – Tashamira Dances of Reality and Unreality”, Feminine Future of this text, as stated on the official website, although the terms are (Performance, Dance, War, Politics and Eroticism), ed. Adrien Sina, Les not entirely grammatically correct. (Translator’s note) Presses du réel, 2011.

Movements 26 _ 69 Maja Đurinović: Exploring the History of Croatian Dance

There are also many stage (so-called director’s) books Towards the end of our conversation, Antonija Bogn- and plays, several librettos, set and costume design er-Šaban informed future researchers that the biographic sketches, audio and video images from recent peri- volumes contain only basic, initial information about ods, hardcover books of repertory from the Croatian individual careers and that any future research should National Theatre in Zagreb and most Croatian theatres, assume a combination of different existing materials: festivals and fairs. photographs, cast sheets, set designs, reviews etc. Only In 1977, a new project was launched, focusing by compiling them could one reconstruct a coherent on the assessment of conditions and significance of whole. And finally, she appealed to all the participants the existing documentary material and conditions for of an artistic act to safekeep their material as an aspect making Repertory of Croatian Theatres. The Division of care for the future and their own historical position began collecting materials about performances in in it; everyone can contribute to archival opulence with entire Croatia, as well as Croatian artists’ international their personal donations, especially less available foreign performances. Croatian Academy of Sciences and Art critical reviews, which would, as a museum collection, kick-started the very project, now a permanent ongoing be archived and present for both their contemporaries endeavour, in 1981, and the first two books, Repertory and their successors. of Croatian Theatres 1840–1860–1980. Book One: Rep- ertories of Theatres, Theatre Companies and Ensembles, Dance as a segment of national projects Partisan Theatres, Festivals, Fairs and Events and Reper- ne research project continued with several other tory of Croatian Theatres 1840–1869–1980. Book Two: projects that would finally all meet again at a Alphabetical Lists. Indexes were published in 1990.” Ocertain point. Collaboration with art histori- Antonija Bogner-Šaban continues: ans and curators on visual and especially photograph- “Fascinatingly, in that period, regardless of the political ic legacies18, partaking in large exhibition projects like situation, there were 13 688 performances of Juran and Avant-garde Tendencies in Croatian Art19 and Passion and Sofija. All the drama, music and ballet performances Revolt – Expressionism in Croatia20 opened up new per- and this edition not only documented all the three spectives on dance history research and simultaneously, branches, set the dates, the space, directors, chore- and I believe importantly, they presented results that ographers, set designers, costume designers, conduc- have drawn the attention of the cultural and academic tors, but also changed the perspective of the history circles as an unequivocally interesting and significant of Croatian theatre. By then we had not had a single appearance in 20th century Croatian art. synthetic, theatre scientific, historical professional I deeply believe that a research of historical materials issue to portray the evolution, repertory change and is one of the ways of acknowledging contemporaneity, frequency of pieces.” as well as investing in the future of our profession. Play- Repertory was the starting point for my work on the bills, posters, original critiques and anonymous sketches, Croatian National Theatre Ballet monograph: numeri- published texts and unpublished manuscripts, artistic cal data unbiasedly testify to the importance of ‘drama manifestos, designs and sketches of costumes and stage as the torchbearer of national self-awareness’ and the and, naturally, photographs finally testify to events, per- special position of ballet at Croatian National Theatre. formances, artistic strivings and controversies of a time. And as drama between 1860 and 1980 registered 2 855 Of course, somewhere between the dug out and collected performances, the music branch between 1863 and 1980 facts there is room for reconstruction, room to bridge the performed 913 different pieces and Ballet, from 1876 to gaps based on parallel knowledge, analogies, predictions 1980, showed only 276 titles. and – to a bit – imagination. After 25 years of pursuing In the meantime, Repertory of Croatian Theatres. Book archaeology of Croatian dance, in search of starting points Three: Repertories [1981–1990]. Alphabetical Lists and and the very first players on the scene, I am convinced Indexes (2002) was published and the represented titles, and I can document that there is a rich history of Croatian says Bogner-Šaban, “show changes in the typology of dance in the first half of the 20th century which acquired plays, closing down of theatrical institutions and festi- European outlines, and it began in the 1920s both in vals, but also the birth of new ones, authorial presence, organisational changes in the theatre.” This volume of 18 Particularly significant for the reconstruction of dance in Zagreb between the two wars were the archives of Tošo Dabac and Đuro Repertory will undoubtedly prove extremely useful to the Janeković, Photo Tonka and others. research of Croatian dance scene in the 1980s, initiated 19 Klovićevi dvori Gallery, 2007. and launched by Iva Nerina Sibila and Katja Šimunić. 20 Klovićevi dvori Gallery, 2011.

70 _ Kretanja 26 Maja Đurinović: Exploring the History of Croatian Dance ballet and in contemporary dance; that ballet dancers and it, only to rediscover it suddenly later. Also, with time contemporary dance artists cooperated on the stage of and archaeological practice we realise that information the Croatian National Theatre and at schools of modern, often hides more levels of meaning that lend themselves art dance and that they were all involved in progressive to potential readings of zeitgeist and culture, affinity or changes of mind-sets and cultural events, working with views on particular dance artists / dance art, as well as prominent envoys of avant-garde tendencies in Croatian belonging to an aesthetic or conceptual or ideological art; and that neither of these chapters is finished, nor camp. I believe that what is exciting with every research, could be considered completed. Not only because we have including dance archaeology, is when one processed sub- so much more unexplored subject matter and archives ject matter leads to another, when old facts become a ahead of us, but because we have to be aware that at crit- new milepost, when one discovery is already hinting to ical points in time, when power structures in our country another; when names and events form a network. were changing radically, the owners or keepers and heirs One final example: a part of the ongoing research of of private archives were trying to dispose of dangerous, Mia Čorak Slavenska’s biography, conducted by Katarina compromising material. When World War II in Socialist Žeravica23, refers to Gertrud Kraus’s school. We located Federative Republic of Yugoslavia ended, the safest thing quite a lot of material about her school in the archives to do was start afresh (and not refer to the authorities of of another important dancer from Zagreb of the period, the capitalist West or, since the Informbureau Resolution Nevenka Perko. However, Gertrud Kraus’s documents in 1948, of the communist East) and not to ruminate too mention another dancer from Zagreb we were unfa- much over the (politically) definitely wrong past. miliar with: Claudia Vall. I knew there was Fritzi Vall, Therefore, today – and this process enthusiastically who danced in 1932/33 with the Zagreb chamber dance began in the 1990s – we are still facing quite a large company led by Mercedes Goritz Pavelić, who studied in number of hours of browsing through magazines at the Vienna, and later left Zagreb in time to move to the USA. National and University Library, followed by a critical Long story short, as this is a whole new topic, we came rereading of (even one’s own!) previous works, not to to Judith Brin Ingber, who knew the Zagreb Fritzi quite mention unprocessed material at institutional and private well (who never allowed anyone to call her that anymore) archives21. This cannot be done by one, two or three in America, we received some photographs and materials persons. Luckily, the awareness of the need of archival and soon we will be able to place her in an appropriate research, as well as publishing monographic issues, is context. Judith Brin Ingber sent us a copy of a playbill in growing22, because without such collected and organised German, dated 14 December 1924, from Claudia Fritzi material there is no comparison, no dialogue, no syn- Vall’s archives, which she believes to be from Zagreb thesised analysis. I certainly see the future of Croatian – truly, all the names sound local (Vera Kohn, Blanka i dance history in the new generations of educated dance Zlata Schneller, Jelkica Goldstein and Alma Hirschl, who pedagogues graduating from the Academy of Dramatic is doubtlessly the dancer known later as Alma Jelenska). Art, who will one day win a suitable, secure institutional This could be a playbill for a performance of Jelisava archive space. Törne’s school, which was also mentioned by Mercedes It is interesting how, on the one hand, new material Goritz Pavelić and for whose needs Sergej Glumac made keeps popping up, and on the other how we read the sketches for a poster kept at the Museum of Arts and old clippings and playbills differently thanks to age and Crafts. In the mid-1920s the school taught ‘motion sci- experience, how we recognise and connect better. Some ence according to Laban’ in 5 Dalmatinska Street, and information has been right before our eyes for years, but Svijet weekly on 28 May 1927 made a mention of a show we focused on something else and simply overlooked of her famous school. Where did she come from and when? Could she be one of the first links in the chain of 21 For example, thanks to many years of effort invested by Vera history of modern dance in Zagreb? Maletić, Ana Maletić’s legacy has been archived at the Croatian State The research continues. Archives, and most of the visual materials were digitised. Ana Maletić’s catalogued artistic legacy inventory was published on a CD as an appendix to my book Development of Contemporary Dance: Ana English translation: Ivana Ostojčić Maletić, Biography (Razvoj suvremenog plesa: Ana Maletić, životo- pis), Croatian Institute for Movement and Dance, Zagreb, 2008. 22 As far as research of the history of ballet is concerned, a great 23 A paper for the interdisciplinary research symposium Mia Čorak contribution has been coming from Davor Schopf and Mladen Mordej Slavenska, taking place on 19 and 20 February 2016 in Osijek and Vučković. So far they have published the monographs of Vesna Butorac Slavonski Brod, and published in Književna revija, MH Osijek Branch, Blaće, Sonja Kastl, Ana Roje and Željko Jureša. no. 1–2, 2016.

Movements 26 _ 71 Nada Dogan: Kontinuitet individualiziranih tijela ji: Marina Bagić. Foto: Nada Dogan. > < Na fotograﬁ Na < Nada Dogan: Kontinuitet individualiziranih tijela

NADA DOGAN Kontinuitet individualiziranih tijela

avirivanje u vlastitu dizajnersku arhivu nakon dvade- – solo u predstavi Minimal Moving koji me potaknuo da ples set pet godina stvaranja i istraživanja zanimljiv je, ali počinjem promatrati s likovnog aspekta, kao niz pokrenutih Zistodobno vremenski zahtjevan pothvat. Iz područja slika. Lebdeću figuru transformirala sam u apstraktne, na plesne umjetnosti u mojoj se arhivi nalaze, u digitalnom i trenutke potpuno geometrijske oblike koje ni Milana Broš nije fizičkom obliku, svi brojevi Kretanja, uključujući i sva poseb- bila predvidjela. Taj kostim sam zajedno s opisom doživljaja na izdanja, zatim sva izdanja biblioteke Gesta, sva izdanja pohranila kao materijalni artefakt u Privremenom muze- Biblioteke Kretanja, knjiga Razvoj suvremenog plesa: Ana ju plesnih uspomena3. Otad sam željela biti s obiju strana: Maletić – životopis, neobjavljena monografija Škole suvre- izvođačica, ali i ona koja bi željela trajno zabilježiti vizualni menog plesa Ane Maletić, brojne knjižice, programi i plakati doživljaj. Profesionalno sam se bavila plesom punih deset Susreta plesnih grupa TREPS-a1, daCi-ja Hrvatske2 itd. Radeći godina. Kad smo se odvojili od Milane Broš kao Gesta, počela 2011. na monografiji Škole suvremenog plesa Ane Maletić, sam se baviti scenskom šminkom, kostimografijom pa čak i digitalizirala sam i arhivirala mnoštvo fotografija vezanih uz scenom. Tako sam uglavnom kreirala kostime i šminku, pa i školu, prikupljenih iz dobro čuvanih privatnih arhiva. Bilo je maske za pojedine cjelovečernje predstave: Agram Baroque jasno da Škola suvremenog plesa Ane Maletić nema vlastitu (1991), Bez imena (1988), Razdioba podneva (1989), Potra- sređenu arhivu i da je to mukotrpan posao. ga i čekanje, Pojave (1993)… U mojoj arhivi mnoge su skice Moja veza sa Školom suvremenog plesa Ane Maletić za- kostima tih predstava. počinje kad me mama kao jedanaestogodišnju djevojčicu Studij dizajna još me više potaknuo na spajanje iskustva upisala u Školu za balet i ritmiku u Bogovićevoj ulici (Školu plesačice i dizajnerice. Naoružana prvim fotoaparatom i po- suvremenog plesa Ane Maletić u Laginjinoj ulici), da se tamo suđenom kamerom dolazila sam u Školu u Bogovićevoj ulici. isplešem. Potkraj mojeg osmogodišnjeg plesnog školovanja No nisam bila zadovoljna dokumentarnim fotografijama i jednog mi je dana prišla Maja Đurinović (tada Zalar) i pozvala filmovima, zanimala me inscenirana fotografija plesačkog me u KASP Milane Broš. Slijedila je moja prva i najdraža uloga tijela u prostoru. Izabrala sam nekoliko učenica završnog

1 Trešnjevačka plesna scena. 3 llinkt! Privremeni muzej plesnih uspomena, prvi dio, TREPS 2 Međunarodna organizacija Dance and the Child International, / Centar za kulturu Trešnjevka, 2007. Katalog, mapa i plakat dio su čiji je daCi Hrvatska ogranak. moje dizajnerske arhive.

Movements 26 _ 73 Nada Dogan: Kontinuitet individualiziranih tijela

razreda s kojima sam inscenirala improviziranu stuaciju za Ples za kameru bitno se razlikuje u pristupu od situacije fotosesiju. Našminkala sam ih, odjenula u kostime, dala im u kojoj fotograf isključivo hvata ples kao promatrač. u ruke rekvizite i upute za improvizaciju i eksperimentirala, U Školu ritmike i plesa odnosno Školu suvremenog plesa a snimala sam na stubištu Škole u Bogovićevoj, koje sam u Ana Maletić došla sam ponovno 2008. Drugo vrijeme, drugi osam godina školovanja pretrčala do trećeg kata sigurno prostor, druga tijela? Otežavajuća je okolnost nefotogeničan stotinama puta. Na fotografijama su Marina Bagić i Marta prostor i problematično svjetlo. Tadašnje učenice viših razreda Radman, koje su se najbolje snašle na zadatku. Martu sam reagirale su u duhu vremena, s lakoćom i ležerno. No još su snimala i u finoj zelenoj mreži, u kojoj sam prethodno sama me više zrelim plesnim pristupom oduševile malene plesa- koreografski istraživala, eksperimentirajući s tijelom koje se čice, učenice četvrtog razreda niže škole. Te sam fotografije gubi i pojavljuje u obrisima te strukture. Najstarije fotografije konkretno trebala za dizajn kataloga petih Susreta plesnih iz moje arhive potječu iz 1992/93. i posebno su mi drage. grupa TREPS-a Centra za kulturu Trešnjevka 2008. Osim tadašnjih učenica Škole, mnogo sam fotografirala ko- Škola je uvijek njegovala individualizirana plesačka tijela i legicu Maju Đurinović, u haljinama i kostimima u kojima je reagirala u duhu vremena. Nije uopće važno jesu li ti đaci po- plesala, a koje sam za nju kreirala. Na metre duga crvena slije postali vrhunski plesači ili nisu. Mnogi su ostali povezani ji: Marina Bagić. Foto: Nada Dogan. > haljina, ručno izrađena točno prema skici, jedna je od naj- i nadahnuti plesom za cijeli život poput mene. Promišljajući impresivnijih. Simbolična duga crvena haljina koju žena vuče temu ovog broja, u svome dizajnerskom radu zapravo se preko scene, kao crvenu nit svog bitka, postala je dio mene. bavim upravo sažimanjem plesnog materijala u neku vrstu

< Na fotograﬁ Na < Nalazi se transformirana kao nit vodilja mog rada. materijalne arhive koja ostaje.

74 _ Kretanja 26 Individualised Bodies Nada Dogan: The Continuity of Individualised Bodies

NADA DOGAN The Continuity of Individualised Bodies

aking a sneak peek into my own design archive eight years at school there, one day I was approached after 25 years of creating and exploring is an inter- by Maja Đurinović (back then Zalar), who asked me to Testing, but also time-consuming endeavour. As far join Milana Broš’s KASP. My first and all-time favourite as dance art is concerned, my archives, digital and physi- role followed – a solo in the piece called Minimal Moving, cal, contain all the issues of Movements, including all the which inspired me to start perceiving dance from a visual special editions as well, followed by all the issues of the point of view, as a series of images in motion. I transformed Gesture edition, the book Development of Contemporary the floating figure into abstract, at times fully geometric Dance: Ana Maletić – A Biography (Razvoj suvremenog plesa: forms that neither Milana Broš predicted. Together with Ana Maletić – životopis), the unpublished monograph of the description of the experience, I stored this costume the Ana Maletić Contemporary Dance School, count- as a physical artefact in the Temporary Museum of Dance less books, cast sheets and posters of the TREPS1 Dance Memories.3 Ever since then I wanted to be on both sides: Events, daCi Croatia2 etc. Working in 2011 on the mono- a performer and the one who wanted to permanently graph of the Ana Maletić Contemporary Dance School, I register a visual experience. I pursued dance profession- digitised and archived a lot of photographs related to the ally for ten whole years. When we separated from Milana school, gathered from well-kept private archives. It was Broš to become Gesture, I became active in the field of clear that the Ana Malet ić Contemporary Dance School make-up, costume design and even stage design. I mostly does not have an arranged archive of its own and that designed costumes and make-up, even masks for full- this was going to be a painstaking job. length evening performances: Agram Baroque (1991), I first came into contact with the Ana Maletić Con- Untitled (Bez imena, 1988), Dissection of Noon (Razdioba temporary Dance School when I was 11 years old – my podneva, 1989), Search and Waiting (Potraga i čekanje), mother sent me to the Ballet and Rhythm School in Appearances (Pojave, both 1993)… My archives contain Bogović Street (Ana Maletić Contemporary Dance School many sketches of costumes for these performances. in Laginja Street), to dance out. Towards the end of my

1 Trešnjevačka plesna scena – Trešnjevka Dance Scene. 3 llinkt! Temporary Museum of Dance Memories, part one, TREPS / 2 International association Dance and the Child International, of Trešnjevka Centre for Culture, 2007. The catalogue, folder and poster which daCi Croatia is a branch. are part of my design archives.

Movements 26 _ 75 Nada Dogan: The Continuity of Individualised Bodies

Studying design motivated me even more to connect across the stage as a red thread of her existence, became a my experience as a dancer with my experience as a design- part of me. It is depicted transformed, as a guiding light of er. Armed with my first photo camera and a borrowed my work. Dancing for the camera differs substantially in video camera, I visited the school in Bogović Street. How- its approach from the situation in which a photographer ever, I was not pleased with documentary photographs and captures dance exclusively as an observer. films, I was rather interested in the staged photographs of I again visited the School of Rhythm and Dance, i.e. a dancer’s body in space. I chose several final year students Ana Maletić Contemporary Dance School, in 2008. A dif- with whom I staged an improvised situation for the photo ferent time, another space, other bodies? The aggravating session. I did their make-up, dressed them up in costumes, circumstance is the unphotogenic space and debatable I gave them props and instructions for improvisation and light. Former senior students reacted with the zeitgeist, I experimented. The shooting took place at the stairwell with ease and leisure. But I was even more surprised by of the School in Bogović Street, whose three flights I must little dancers, elementary school fourth-graders. I needed have ran up and down hundreds of times in the eight years these specific photographs for the design of the catalogue of studying there. The photographs portray Marina Bagić of the fifth Dance Event TREPS, hosted by the Trešnjevka and Marta Radman, who did best on the task. I photo- Centre for Culture in 2008. graphed Marta Radman in a fine green net, which I wore The School has always nurtured individualised dancer myself for choreographic exploration, experimenting with bodies and responded in line with the zeitgeist. It does a body disappearing and reappearing in the silhouettes of not even matter if these students later became top-level the structure. The oldest photographs in my archive were dancers or not. Many of them remained connected with made in 1992/93 and I particularly like them. Apart from and inspired by dance for lifetime, like myself. Contem- the former students of the School, I often photographed plating the subject matter of this issue, in my design my colleague Maja Đurinović wearing dresses and costumes work I in fact deal with condensing dance material into she danced in, designed by me. A metre-long red dress, a kind of physical archive that remains. handmade exactly to the sketch, is one of the most impressive. A symbolical long red dress, dragged by a woman English translation: Ivana Ostojčić

76 _ Kretanja 26 Nada Dogan: Kontinuitet individualiziranih tijela Movements 26 _ 77

< Na fotograﬁ ji: Marina Bagić i Marta Radman. Foto: Nada Dogan. > < In the photo: Marina Bagić and Marta Radman. Photo: Nada Dogan. > < Na fotograﬁ ji: Marta Radman. Foto: Nada Dogan. > < In the photo: Marta Radman. Photo: Nada Dogan. > 78 _ Kretanja 26 Nada Dogan: Kontinuitet individualiziranih tijela l The Continuity of Individualised Bodies

Movements 26 _ 79 80 _

Kretanja 26 Nada Dogan: The ContinuityNada Dogan: The of Individualised Bodies

< Skice za predstavu Agram Baroque > < Skice za predstavu Pojave > < Sketches for the performance Agram Baroque > < Sketches for the performance Appearances > Nada Dogan: Kontinuitet individualiziranih tijela Movements 26 _ 81

< Na fotografi ji: Maja Đurinović. Foto: Nada Dogan. > < In the photo: Maja Đurinović. Photo: Nada Dogan. > < Na fotografi ji: Anja Đurinović i Martina Radošević. Foto: Nada Dogan. > < Na fotografi ji: Ema Jovanović i Ida Valković, Foto: Nada Dogan. > < In the photo: Anja Đurinović and Martina Radošević. Photo: Nada Dogan. > < In the photo: Ema Jovanović and Ida Valković. Photo: Nada Dogan. > 82 _

Kretanja 26 Nada Dogan: The ContinuityNada Dogan: The of Individualised Bodies Nada Dogan: Kontinuitet individualiziranih tijela

Movements 26 _ 83 Sonja Pregrad: Radna knjiga Sonja Pregrad: Radna knjiga

SONJA PREGRAD Radna knjiga: predmetnost tijela i pokreta

itanjima o predmetnosti tijela i pokreta bavila sam se Koreografske ideje i tjelesna iskustva u radnoj se knjizi prevode tijekom duljeg perioda, od 2007. i sola O tijelo moje, u trag/zapis – riječi, slike, prostorne kompozicije… Pda si barem tu te intenzivno na diplomskome studiju Tijekom studija koristila sam se bilježnicom za zapisiva- (MA) Solo/ples/autorstvo na Međufakultetskome centru za nje i raspisivanje ideja, strategijama koje sam, kad gledam ples1 na Umjetničkome sveučilištu u Berlinu. s odmakom, razvila idiosinkrastički, ne učeći ih, nego kon- Za vrijeme studija svaki smo semestar uz praktičnu pre- tinuiranom praksom bilježenja – poput, na primjer, crtanja zentaciju, obrazloženje projekta2 i kritički tekst, imali obvezu prostornih skica kao opisa kako pojedini rad/scena/materijal prikazati vlastiti proces i u obliku radne knjige3, „dokumenta organizira prostor, ili prevođenja zadataka za tijelo u pokretu kojim se mapira napredak i proces individualnoga stvaranja u zadatke za ruku/um koja/koji piše, ili korištenja praznom predstave” (prema definiciji studija). Radna knjiga sredstvo je stranicom za raspoređivanje svih ideja i pojmova koji su me bilježenja procesa umjetničkoga istraživanja i njegova otvaranja prema drugima. Takva se dokumentacija s jedne strane odmiče od isključivo funkcije radnih bilježaka, jer se ipak stvara se s avangardnim pokretima na početku 20. stoljeća (futurizam, kon- s namjerom da se drugima pruži nova razina uvida u proces/ struktivizam, dada i dr.), u Hrvatskoj s konceptualnom umjetnošću šezdesetih godina, a njezinim ranim prethodnikom smatra se engle- praksu rada. S druge strane, iako govori o procesu promišljanja ski književnik, slikar i grafičar William Blake (1757–1827). Do kraja i stvaranja koreografije, radna knjiga nije koreografsko djelo, sedamdesetih godina 20. stoljeća knjige umjetnika najčešće su izra- nego izmiče koreografiju u vizualni, materijalni medij (slično đivane ručno ili jeftinim tiskarskim tehnikama u malim nakladama. knjizi umjetnika4), čime se konstituira kao rezonantni prostor. Od osamdesetih godina 20. st. nadalje tehnički i tehnološki razvoj mijenjaju način realizacije, povezujući knjigu umjetnika s drugim medijima, a sve se više problematizira odnos knjige umjetnika kao 1 Hochschulübergreifendes Zentrum Tanz Berlin. umjetničkoga djela i onoga što ona prezentira: predmeta, dokumenta 2 Engl. framing statement, pisano obrazloženje u kojem student rada, teorijskoga objekta. Izabiranje knjige umjetnika kao umjet- iznosi glavne postavke i koncept projekta na kojem radi i koji će izvesti. ničkoga medija koji izmiče jednoznačnomu određenju i sam po sebi 3 Engl. workbook. usložnjava interpretativne razine naglašava umjetnikovo viđenje 4 Knjiga umjetnika (engl. artist’s book) ili „knjiga kao umjetnost” umjetničkoga djela kao rada podložna stalnoj mijeni između različi- odnosi se na umjetnički koncept realiziran u mediju knjige. Pojavljuje tih određenja koje spaja u neraskidivu cjelinu. Op. ur.

Movements 26 _ 85 Sonja Pregrad: Radna knjiga

okupirali u određenome trenutku i onda nalaženjem njihovih trećeg, stvarajući tako kultiviranu bazu podataka kojoj se odnosa i poveznica u takvu raspoređivanju. stalno vraćam i upotrebljavam u daljem radu. Osim toga, U prvim sam semestrima u radnim knjigama pokušavala u radioničkim procesima koje facilitiram često primjenjujem naknadnim tekstom opisati/objasniti proces stvaranja, no uvi- slične procese, predlažući različite načine bilježenja i pisanja jek bih završila na veoma apstraktnoj i teško prohodnoj građi. te osobito naglašavajući važnost vraćanja i dopisivanja i do- Zato sam u zadnjem semestru odlučila da za dokumentaciju čitavanja u namjeri da bilježnica postane zrcalo vlastitoga rada upotrijebim bilježnicu sa zapisima kao sirovi materijal. KAKO (kako radim stvari koje radim). Uvela sam dvije strategije, prva se sastojala u sakupljanju sve Ponovno se 2015. vraćajući projektu Karnevalski šator hrđa vizualne dokumentacije (fotografija proba, važnih predmeta i na večernjem povjetarcu, što je 2012. bio moj diplomski rad na mjesta, slika i druge vizualne građe te predmeta koji su mi bili HZT-u, želeći napraviti hrvatsku izvedbu projekta, shvatila sam zanimljivi/korisni za vrijeme rada itd.), a druga je bila metoda da je radna knjiga njegov neizostavni dio, jer prezentira cijeli izbjeljivanja teksta Mladena Stilinovića5 (razvijana u njegovu proces višegodišnjega rada i mali vokabular poetike/politike ready-made radu Dictionary Pain /2000–2003/ u kojem briše kojom se rad bavi. Zato sam odlučila pozvati grafičku dizajne- definicije iz rječnika i na to mjesto upisuje riječ bol). Pritom ricu i umjetnicu, suradnicu i prijateljicu Doru Đurkesac, koja iz mi je bilo jasno da tako mogu prekriti dijelove koje ne želim raznih aspekata poznaje moj rad, da tu radnu knjigu preradi podijeliti s javnošću i istodobno stvoriti prostor oko pojmova u novu knjižicu. Karnevalski šator hrđa na večernjem povje- i informacija koje ostaju kako bi se ponovo interpretirale s tarcu – ras/pakiranje predmetnosti. Knjiga objekata6 nastala pomoću pojma objektnosti, što je zajednički nazivnik cijeloga je iz ideje Dore Đurkesac da svakom stranicom reprezentira istraživanja. jedan pojam iz moga rada kao jedan objekt, a neke od stranica Pretvarajući vlastitu bilježnicu u radnu knjigu, dobila sam njezina su razrada tih koreografskih koncepata u grafičkome novu perspektivu svoga rada/procesa, jer sam ga otvorila za formatu knjižice. Tako se dogodio treći stupanj remedijacije, od druge na drukčijem mjestu no inače, i to ne formulirajući tekst koreografije preko radne knjige / knjige umjetnika do tiskane o procesu, nego reformulirajući tragove procesa, gledajući knjige i njezina grafičkog oblikovanja kao oruđa koje također ih kao vizualnu/kompozicijsku građu. Time sam, prevodeći možemo koreografski pokrenuti, ali i nove (ne)materijalnosti proces u drugi medij, uvidjela nove konzistencije te nove iz koje možemo na novi način uviđati paradoks predmetnosti i prostore igre unutar samoga rada (teme). odnose koje pokreće u odnosu na specifični (umjetnički) objekt Otad to radim sa svakom bilježnicom (dopisujući ju na s pomoću kojega mu svjedočimo, što je i dalje jedan od mojih kraju, izvlačeći ono što mi se u tom trenutku čini najvažni- ključnih poetičkih interesa. jim), doduše, više čineći ju čitljivom za sebe no za nekoga

5 Mladen Stilinović (1947–2016), hrvatski postkonceptualni umjetnik. Umjetničko djelovanje započinje sedamdesetih godina 20. stoljeća i to stvarajući eksperimentalne filmove prema praksi GEFF-a (Genre Film Festival) te prve konceptualne radove unutar Grupe šestorice autora (uz Borisa Demura, Željka Jermana, Vladu Marteka, Svena Stilinovića, Fedora Vučemilovića). Istaknuo se kao važan pred- stavnik tzv. nove umjetničke prakse, tijekom sedamdesetih ustrajući na izlaganju u eksterijerima i izravno kritizirajući ondašnji galerij- sko-muzejski sustav. U njegovu izrazu karakteristična je uporaba svakodnevnih, neatraktivnih materijala, jednostavnost, ali promišlje- nost izvedbe i kontradiktornost znakova. Ideje realizira u brojnim kolažima, fotografijama, knjigama umjetnika, slikama, instalacijama i akcijama te filmovima i videu. Suosnivač je Galerije Podrum (1978– 1980), skupine umjetnika koja se nezadovoljna tretmanom gradskih galerija prema njihovu radu okupljala u studiju Dalibora Martinisa organizirajući izložbe, predavanja, izdajući publikacije i slično, te vo- ditelj zagrebačke Galerije proširenih medija (1984–1990), od osnutka 1980. poznate po izlaganju radova umjetnika koji su se odmicali od tradicionalnih disciplina, u kojoj je poslije pokrenuo model tjednih izložaba. Uz dosljedno kritiziranje institucijskih aparata, Stilinović oštricu okreće i prema društvu, ponajviše se pritom usmjeravajući na pozicije moći, usredotočujući se na jezik kao manipulativno sredstvo 6 Knjižica je pratila moju izvedbu/izložbu Karnevalski šator hrđa politike i umjetnosti. Najpoznatiji mu je ciklus Eksploatacija mrtvih na večernjem povjetarcu – ras/pakiranje predmetnosti, koja je premijer- (1984–1990) koji broji oko 400 radova s citatima iz suprematističkih, no izvedena 14. srpnja 2015. u zagrebačkoj Galeriji Miroslav Kraljević. konstruktivitičkih i socrealističkih djela. Od drugih ciklusa ističu se Dora Đurkesac grafička je oblikovateljica i suautorica knjižice. U knji- Bol, Smrt, Ekonomija, Hrana, Posao, Novac, Crveno – Roza. Op. ur. žici je objavljen i tekst Ivane Slunjski „Križište rezonantnih suvišaka”.

86 _ Kretanja 26 Sonja Pregrad: Workbook

SONJA PREGRAD Workbook: Objecthood of Body and Movement

n the matters of objecthood of body and move- a visual, material medium (similarly to an artist’s book2), ment I focused during a longer period of time, which structures it as a resonant space. Choreographic Osince 2007 and the solo act Oh, My Body, If ideas and corporeal experiences are translated in the Only You Were Here with Me (O tijelo moje, da si barem tu), workbook into a trace/record – words, images, spatial and more exhaustively at the MA course in Solo/Dance/ compositions etc. Authorship at Inter-University Centre for Dance Berlin1 During the course, I used a notebook to write down at the Berlin University of the Arts. and elaborate ideas, strategies I developed, in hindsight, In this course, apart from practical presentation, idiosyncratically, without studying them, only continu- framing statement and critical text, each semester we ously taking notes – such as, for instance, drawing spatial were required to present our progress in the form of sketches to describe how a particular work/scene/mate- a workbook, “a document that maps the progress and process of individual performance making” (according 2 An artist’s book or “book as art” refers to the artistic concept to the definition of the MA course). A workbook is a executed in the form of a book. It first appeared with avant-garde movements in the early 20th century (futurism, constructivism, Dada means of registering the process of artistic creation and etc.), and to Croatia it began developing with conceptual art of the its approaching others. Such documentation, on the one 1960s. English writer, painter and graphic artist William Blake (1757– hand, disengages from the sole purpose of taking notes, 1827) is considered the antecedent of the artist’s book. By the late as it is created with the aim of giving others a new level 1970s, artist’s books were mainly handmade or cheaply printed in small runs. Starting from the 1980s, technical and technological proof insight into the work process/practice. On the other gress have changed the method of realisation, connecting the artist’s hand, although it focuses on the process of examining book with other media, with a growing accent on the link between an and creating choreography, the workbook is not a cho- artist’s book as a work of art and what it presents: an object, a work reographic piece. Rather, it transposes choreography into document, a theoretical object. Choosing the artist’s book as the artistic medium escaping unequivocal definition and harmonising inter- pretational levels highlights the artist’s vision of artwork as something subject to a constant shift between different definitions, which it binds 1 Hochschulübergreifendes Zentrum Tanz Berlin (HZT). into an absolute incontestable whole. (Editor’s note)

Movements 26 _ 87 Sonja Pregrad: Workbook

rial organised space, or translating physical demands formulating a text about the process, but rather by refor- into writing hand/mind tasks, or using a blank page to mulating traces of the process, perceiving them as visual/ distribute all the ideas and notions that intrigued me compositional material. By doing this, by transposing the at a certain moment. Then I tried to chart their mutual process into another medium, I became aware of new relationships and connections in such an arrangement. consistencies and new spaces of play within the work In the initial semesters I used the workbooks as an (subject matter) itself. attempt to describe/explain the creative process textually, Since then I have been doing so with every notebook but this would always lead me to very abstract and her- (adding additional notes at the end, highlighting what metic material. In the final semester, therefore, for the seems most important at that moment), however, mostly documentation of work I decided to use the notebook to make it legible to myself rather than others, creating containing my notes as raw material. I applied two strat- thus a cultured database I keep coming back to and using egies, the first implied gathering all the visual materials as I work along. Besides, as a workshop facilitator I often (rehearsal snapshots, photographs of important objects apply similar processes, proposing different methods of and places, images and other visual materials, as well taking notes and writing and particularly underlining the as objects I found useful and interesting while I was importance of coming back, rewriting and rereading in working etc.), and the second was Mladen Stilinović’s3 order to make the notebook a mirror of one’s own HOW text bleaching method (elaborated in his ready-made piece (how I do the things I do). Dictionary Pain /2000–2003/, in which he erased diction- In 2015, coming back to the project The Carnival Tent ary definitions and replaced them with the word pain). Rusts on the Evening Breeze (Karnevalski šator hrđa na It was quite clear to me at that time that this was how večernjem povjetarcu), which was my graduation work at I could cover up the parts I did not wish to share with HZT, and with a wish to make the Croatian version of the the public and at the same time create a platform for the project, I realised that the workbook is an inseparable remaining terms and information to be reinterpreted part of it as it present the entire process: many years of through objecthood, the common denominator of the dedicated work and a small glossary of poetics/politics entire research. the piece focuses on. To that aim, I decided to hire the Turning my notebook into a workbook, I gained a graphic designer and artist, an associate and friend of whole new perspective of my work/process, as I opened mine, Dora Đurkesac, who is familiar with different it to others at a different place than usual, and not by aspects of my work, to turn this workbook into a new booklet. The Carnival Tent Rusts on the Evening Breeze – 4 3 Mladen Stilinović (1947–2016) is a Croatian post-conceptual Un/packing the Objecthood. The Book of Objects sprang artist. His artistic activity began in the 1970s with experimental films from Dora Đurkesac’s idea for each page to represent a inspired by GEFF (Genre Film Festival) and the first conceptual pieces single term from my work as a single object, and some he made as a member of the Group of Six (with Boris Demur, Željko of the pages are her elaboration of these choreographic Jerman, Vlado Martek, Sven Stilinović and Fedor Vučemilović). He made a name for himself as an important envoy of the so-called new concepts in the graphic format of a booklet. This led to art practice, in the 1970s, persisting on open-air exhibitions and di- the third degree of remediation, from choreography to a rectly criticising the gallery/museum system and establishment. His workbook / artist’s book to a printed book and its graph- expression is characterised by the use of ordinary, everyday, unat- ic design as a tool which could also be choreographically tractive materials, simplicity, as well as considerate execution and contradictoriness of signs. His ideas came to life in countless collag- set in motion, but also as a new (im)materiality that can es, photographs, artist’s books, paintings, installations, actions, films make us see the paradox of objecthood with new eyes, and videos. He was a co-founder of Basement Gallery (1978–1980), a as well as the relations it sets in motion connected with group of artists unsatisfied with the treatment they were getting from the specific (artistic) object helping us testify to it, which city galleries who gathered at Dalibor Martinis’s studio and organised exhibitions and talks, issued publications and the like. Also, he was the is still one of my seminal poetic interests. manager of Zagreb’s Expanded Media Gallery (1984–1990), known since its establishment in 1980 by exhibiting the works of artists who English translation: Ivana Ostojčić defied traditional disciplines. Later, in the same gallery, he started weekly exhibitions. Next to consistent critique of the institutional apparatus, Stilinović turned his edgy razor blade to the society as well, focusing mostly on power positions, focusing on language as a manip- 4 The booklet complemented my performance/exhibition of the ulative means of politics and art. His most famous cycle, Exploitation title The Carnival Tent Rusts on the Evening Breeze – Un/packing the of the Dead (1984–1990), amounting to around 400 works with Objecthood, which premiered on 14 July 2015 at the Miroslav Kraljević quotes from supremacist, constructivist and social-realist titles. Among Gallery in Zagreb. Dora Đurkesac is a graphic designer and co-au- his other cycles, the most prominent are Pain, Death, Economy, Food, thor of the booklet. The booklet also contains a text by Ivana Slunjski Work, Money, Red – Pink. (Editor’s note) “Križište rezonantnih suvišaka” (“Intersection of Resonant Surpluses”).

88 _ Kretanja 26 Movements 26 _ 89

< Sonja Pregrad, Radna knjiga. Izbor fotograﬁ ja: Ivana Slunjski. Foto: Dora Đurkesac. >

< Sonja Pregrad, Workbook. A selection of photographs: Ivana Slunjski. Photo: Dora Đurkesac. > 90 _ Kretanja 26 Sonja Pregrad: Radna knjiga l Workbook

Movements 26 _ 91 92 _ Kretanja 26 Sonja Pregrad: Radna knjiga l Workbook

Movements 26 _ 93 Sonja Pregrad: Radna knjiga l Workbook

94 _ Kretanja 26 Sonja Pregrad: Radna knjiga l Workbook Sonja Pregrad: Radna knjiga l Workbook

96 _ Kretanja 26 Sonja Pregrad: Radna knjiga l Workbook

Movements 26 _ 97 98 _ Kretanja 26 Movements 26 _ 99 Sonja Pregrad: Radna knjiga l Workbook Movements 26 _ 101 Sonja Pregrad: Radna knjiga l Workbook

102 _ Kretanja 26 Movements 26 _ 103 Suradnici: Contributors: Foto/Photo: Nada Dogan Dogan Nada Foto/Photo: Đurinović Jerko Foto/Photo: NADA DOGAN MAJA ĐURINOVIĆ [email protected] [email protected] Foto/Photo: Pavle Heidler Heidler Pavle Foto/Photo: Sonja Pregrad Foto/Photo: PAVLE HEIDLER SONJA PREGRAD [email protected], pavleheidler.wordpress.com, [email protected] vimeo.com/pavleheidler Foto/Photo: Iva Nerina Sibila Slunjski Ivana Foto/Photo: IVA NERINA SIBILA IVANA SLUNJSKI [email protected] [email protected] Foto/Photo: Nikola Šimunić Nikola Foto/Photo: KATJA ŠIMUNIĆ [email protected]

Kretanja Movements  DANCE MAGAZINE 26  Sadržajl Contents

Kretanja Movements DANCE MAGAZINE 26 Sadržajl Contents