Dancehouse

DANCING SOLO IN THE 21st CENTURY with BOJANA CVEJIC

A DANCEHOUSE 2018 KEIR CHOREOGRAPHIC AWARD PUBLIC PROGRAM 

SUBMIT EOI 

A globally widespread genre, solo dance typifies both truth games and body techniques that individuals practice in everyday life, not only on stage. The most abundant format in contemporary dance performance, a mandatory test of artistry in education as well as a fetish item in a choreographer's oeuvre, solo dance is also perhaps the most inexpensive commodity traded in the art world nowadays. It is, moreover, the form in which many bodily systems and techniques are instructed and exercised in the everyday, ranging from therapy, business management rhetoric to entertainment in reality TV and social media. The principles and techniques of solo dance (such as "being-in-the-present", the cult of the personal, self-expression, auto-affection, virtuosity and creativity, projective self-ownership and entrepreneurship) are the technologies of the self which individualize the self by performance.

"Technologies of the self" hark back to Michel Foucault and designate a mode of action that an individual exercises upon one's self and uses to produce subjectivity. They encompass a system of techniques, from truth games to corporeal praxes of the care of the self.

This workshop will explore the aestheticized notions of self-transformation and resistance as well as mechanisms of spectacular commodification and New-Age consumerism. Participants are asked to collect in advance their materials, thoughts and experiences of solo dance/performance (e.g. videos of their previous work in the genre), as well as the training bodily techniques/systems they have encountered which are circulated beyond the art of dance. The workshop will be divided into sessions in which we focus on the theoretical study (self, individualism, care of the self, trans-individuality and other concepts) and other sessions in the studio in which we will examine together bodily knowledge and solo ideas/ambitions of the participants. 

 

Where: The Stables, 19 Duke St, Richmond VIC 3121
Date: 26 February - 2 March
Time: 10am-4pm (incl. 1 hr lunch break)
Price: $150

SUBMIT EOI

*In order to be considered for this workshop, you must be or become a Dancehouse Member.

EOIs CLOSE SUNDAY JANUARY 7, midnight

Open to choreographers, dancers and other practitioners with a movement-based practice

 

SEE THE KCA FULL PUBLIC PROGRAM

SEE THE 2018 KCA ARTISTS & BOOK TICKETS FOR THE SEMIFINALS

 

Listen to the Audio Stage x KCA16 interview with Bojana Cvejić on the dance market and the dance worker HERE.

 

Bojana Cvejić's work spans philosophy, theater and performance education. She is author of several books in performance theory and philosophy (Choreographing Problems, Palgrave 2015, Public Sphere by Performance, with A. Vujanović, books 2012 etc. Drumming&Rain: A Choreographer's Score (co-authored with A. T. De Keersmaeker, Mercatorfonds 2013.). She has collaborated as a dramaturg in a number of choreographies by X. Le Roy, Eszter Salamon, Mette Ingvartsen, Anne Teresa De Keersmaeker, C. De Smedt). As a co-founding member of TkH/Walking Theory editorial collective and performing arts theory magazine (2000-2017), Cvejić has engaged in theoretical-artistic research projects, currently an investigation of performances of the self and transindividuality together with Ana Vujanović and Marta Popivoda. In 2013, Cvejić curated the exhibition Danse-Guerre at Musée de la danse, Rennes. In 2014, she devised a choreography and lecture program titled Spatial Confessions for Tate Modern's Turbine Hall. Cvejić is Associated Professor of Dance and Dance Theory in KHIO Oslo and Professor of Philosophy of Art at FMK, Singidunum University in Belgrade. 

Bojana Cvejic was a jury member for the Keir Choreographic Award in 2016.

 

The Keir Choreographic Award Dancehouse Public Program is presented by Dancehouse in partnership with Faculty of the VCA and MCM | University of Melbourne, Abbotsford Convent, Lucy Guerin Inc., BalletLab and Temperance Hall, City of Yarra, Critical Path, Goethe Institut Australia.

Dancehouse would like to warmly thank the Keir Foundation for making this public program possible. Dancehouse would like to thank City of Yarra for the warm support and in-kind access to spaces.