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STANICA je osnovana 2005. godine radi strateškog razvoja edukacije i profesionalizacije u oblasti savremenog plesa u Srbiji i u Regionu Balkana, i radi afirmacije ove umetnosti. Od tada STANICA aktivno radi na obrazovnim i kreativnim programima, umrežavanju, promociji lokalnih i regionalnih produkcija i umetnika.Stanica je ko-osnivač Balkanske Plesne Mreže i Nomad Dance Academy.
STATION was established in 2005 with the aim to promote and enhance the art of contemporary dance. Since then STANICA is active in education, production, promotion and networking. It is one of the initiators of Balkan Dance Network and Nomad Dance Academy.
www.dancestation.org / kondenz@dancestation.org
KONDENZ – Festival savremenog plesnog soloa
Ana Vujanović
U domaćoj sredini poslednjih godina, plesna scena se intenzivno razvija i time uspostavlja ples kao regularnu formu savremene umetničke prakse, koja privlači i sve širu umetničku publiku.
Kako bi taj razvoj bio sistematičan i kontinuiran, osim bazičnog infrastrukturnog sistema i materijalizacije apstraktnih pojmova kao što su „podrška mladim autorima“, „razmena“, „saradnja“ itd, neophodno je paralelno raditi na nekoliko razina. To su: sistematična edukacija kroz više državnih i nezavisnih sistema, povećanje broja domaćih produkcija i koprodukcija sa producentima iz inostranstva, kao i informisanje i upoznavanje sa drugim plesnim scenama. Na poslednjoj razini deluje festival Kondenz, koji je pre svega fokusiran na regionalne scene (radovi stižu iz Slovenije, Hrvatske, Bugarske, Rumunije, Mađarske, Srbije, kao i Švedske), od čijeg bi poznavanja domaći akteri trebalo da imaju najviše koristi jer su im problematike, teme i uslovi rada bliski.
U programskom smislu, festival je jasno usmeren na ono što se na evropskoj sceni naziva „savremeni ples“ - dakle, ni moderni balet, ni neoklasika, ni Tanztheater, ni koreodrama, a posebno ne igra. Drugi uočljiv parametar je promocija manjih i nezavisnih produkcija (ovog puta tu je i specifian fokus na solo format), čime se, između ostalog, izbegava komunikacijski procep između velikih spektakularnh festivalskih ponuda i onoga što postoji ili se može uraditi na domaćoj sceni. Unutar tog makrookvira, Kondenz nema čvrstu programsku koncepciju, već mu je namera da domaćoj publici predstavi širok spektar recentnih radova iz oblasti savremenog plesa, odnosno da pokuša da obuhvati postojeće različitosti. U lokalnom kontekstu takva orijentacija može imati dvostruke implikacije: s jedne strane, festval neće identifikovati, specifikovati i konceptualizovati pojedinačne paradigme koje se pojavljuju na savremenoj sceni, ali sa druge će domaćoj publici ponuditi uvid u različitost plesnih paradigmi, koje tek treba interpretirati. Na toj tački, postaje jasno da edukacija, produkcija i informisanje o savremenim dešavanjima ne mogu biti nezavisne razine sveta plesa, te je nužna njihova stalna i koordinirana interakcija. Moglo bi se očekivati da će festival Kondenz - ako ni zbog čega, onda zato što se ono što predstavlja inače retko može videti u Beogradu - osim što će široj publici ponuditi uvid u aktuelnu produkciju, makar zainteresovati autore/publiku da razmišlja o onome što je videla, i time „podići ulog“ u priči o nužnosti plesne edukacije kod nas.
KONDENZ – Festival of Contemporary Dance Solo
Ana Vujanović
In the recent years, dance scene in Serbia has been intensely advancing, establishing dance as a common form of contemporary artistic practices and attracting ever wider artistic spectatorship.
For this development to be systematic and sustainable, apart from the basic infrastructure and materialization of abstract concepts like ‘support to young authors’, ‘exchange’, ‘cooperation’ etc, work on several levels is a necessity. These levels being: comprehensive education through various public and independent systems, increase in numbers of local productions and co-productions with institutions abroad, as well as information and first-hand knowledge of the international dance scene. The latter is addressed by the Kondenz Festival, which is primarily focused on the regional scenes (presenting works from Slovenia, Croatia, Bulgaria, Romania, Hungary, Serbia and Sweden, as well), the knowledge of which should be the greatest a benefit to the local artists, as they can closely relate to problems, issues and conditions of production of the works presented.
Program-wise, the festival is clearly focused on – what is called on the European scene – ‘contemporary dance’. Neither on the modern ballet, that is, nor the neo-classical; neither on the Tanztheater, nor the choreodrama – and especially not on dance as wide homo-ludistic practice. The other conspicuous parameter is promotion of smaller and independent productions (this time there is a specific focus on the solo format), thus, among other things, averting the communication gap between the large-scale and spectacular festival offers and what there is and what can be done on the local scene. Inside this macro-frame, Kondenz is not based on a strong program conception. The intention is to present a wide range of recent works in the field of contemporary dance to the local audience, and that means trying to encompass existing differences. In the local context, such agenda can attain two-fold implications: on the one hand, the Festival will not identify, specify and conceptualize particular paradigms appearing on the contemporary dance scene, but on the other, it will, nonetheless, present the local audience with an insight into the variety of current dance paradigms awaiting their interpretation. At this point it becomes clear that education, production and information on contemporary phenomena can not be separated turfs of the danceworld and this is why their incessant and articulated interactions become necessities. One could well expect that the Kondenz Festival – if for nothing other than the rare opportunity of seeing this type of work in Belgrade – will at least prompt the local authors / audience to reflect on what has been seen, ‘raising stakes’ in the story of the insufficiencies of dance education in Serbia.
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