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Kretanja Movements  DANCE MAGAZINE 26  Sadržajl Contents

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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 umjet- nost, 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 kon- cept 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 prostori- ma 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 obitelj- ske 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,
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