Jasna worked with Montazstroj Physical Theatre in Zagreb, Groupe Dunes Company in Marseilles,  with Jonathan Lunn at the Opern Theater in Bonn and with Joachim Schlömer at the Theater Basel in Switzerland, where she was engaged as a soloist until 2001. Since then she has been working with Schloemer in the numerous dance, opera and theatre productions at the Köln Theater, Luzern Theater, Staatstheater Stuttgart, Provincialni Tanzi in Jekatarinenburg, Russia, Cal Performances in San Francisco and Salzburger Festspiele in Austria, and since 2003 she has been working as a freelance choreographer in Berlin and at the Theatre Freiburg in Freiburg. Jasna´s choreographic work has been shown at the Basel Theatre, Folkwang Hochschule and at festivals in Ravensburg, Rimini, Ljubljana, Naples, Berlin and Zagreb.. Her last creation ‘Which Club?’ won two prizes at the 9th International solo dance-theatre Festival in Stuttgart, as well as a prize at the 11 Masdanza contemporary dance Festival in Canary Islands in Spain.

Solo ‘Which Club?’ nastavak je istraživanja započetog kreacijom ‘Mittelwelle AFC’, a bavi se birokracijom i birokratskim sustavima, ovaj put u odnosu s profesijom plesača suvremenog pleas. Kao njezino ishodište koreografkinja je iskoristila osobno iskustvo plesačice filipinskog porijekla, Unite Gay Galiluyo tijekom 5 godina njezina boravka u Europi. ‘U kojem klubu’ plešete bilo je jedno od pitanja koja su joj postavljali nakon što je zatraživši vizu za Veliku Britaniju kao svoju profesiju navela – plesačica suvremenog plesa.

Solo “Which Club? is continuation of the piece “Mittelwelle AFC” and it questions further the bureaucracy and bureaucratic systems, this time in the  relationship with the profession of contemporary dancers.  Choreographer used the personal experience of dancer Unita Gay Galiluyo who during her last 5 years living in Europe, due to her Philippine origin, experienced world of beurocracy from very close…. In which club do you dance? was one of the  questions Unita Gay Galiluyo was asked after she named her profession as a contemporary dancer, while applying for the visa at the UK embassy.

‘Fragile On The Edge’ kreacija je koja prije svega istražuje anksioznost i odnose spram situacija koje izazivaju to stanje. Ideja korištenja čaše kao glavnog objekta proizišla je iz improvizacija, a s vremenom je od interpretatora zahtijevala posebnu posturu tijela te ih tako suočila s aksioznošću i sličnim stanjima.

The theme that is explored in ‘Fragile On The Edge’ is in the first place anxiety and relationship to different situations where this state is produced. The idea of using a glass as a main object came through experimenting with the different aspect that this certain object offers, which in the further development reached the issue of anxiety from a totally new point of view.

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Which Club

choreographer: Jasna Vinovrski

dancer: Unita Gay Galiluyo

costume design: Tanja Liebermann

composer: Heinrich Ignaz Franz von Biber

Fragile On The Edge

concept & interpretation: Clement Layes, Jasna Vinovrški

composer: Claudio Bettinelli

Duration : cca. 60 min.

Her artistic work connects a strong choreographic signature with a curiosity for a new approach to movement material and concepts of performing. Since 2005 she is especially dedicated to, simplified defined, the interface of opera and body material in the broad sense.

Using Resnais’ film “Je t’aim, Je t’aiim” as the structural source, “Victoria Beckham has a Migraine” as a performance aims to temporarily stop and delay referential fields that open as referential fields through its title. By way of quotes and paraphrasing earlier works of author Marjana Krajač and those of other performers, accompanied by taxonomic repetetion of historical events that marked 1926, the uncritical reaching out for the recent and less so pop-products, Puccini’s opera “Manon Lescaut”, interviews with Paris Hilton; the performance uses accumulation as a functional switch  for hierarchy. By a deliberate depolitization of content and performance, without an attempt of repolitization which would happen through another type of performing entity, “Victoria Beckham” continues to seek a space where its implicit political state is virtualy present yet unfulfilled.

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Croatian Choreographic Platform

concept, author & choreography: Marjana Krajač

dramaturgy: Oliver Frljić

performed by: Larisa Lipovac, Maja Marjančić, Roberta Milevoj, Andreja Široki

performance support: Tamara Curić, Selma Banich

video support: Rodion

light design: Miljenko Bengez

duration: 80′

Produced by CIMD, with the support of City Office for Culture Zagreb and Ministry of Culture of Republic Croatia, through the working platform of EkS-scena and with support of TALA within the choreographic laboratory The Adventure of Impulstanz Festival Vienna 2006

The first works of the group were conceptually founded on the confrontation of different cultural and ideological legacies that the members brought with them and linked with the problem of the status of an artist in the politically unstable time and space. Later on, their work was directed more towards dance and intensive choreographic research, and the interest for the “political” bodies from the initial phase was transferred to researching the pure physicality and phenomenology of movement within the new modes of performativity.

‘Vertigo’ insists on the seemingly easy, „pedestrian” movement which paradoxically demands a different kind of effort invested in the preciseness of the dance gesture.

The body is fluctuating between the manifestation and the non-manifestation of its presence and the action that it is producing. It explores the space in which the spectator’s desire for the semantic possession of the visual is confronted with the sliding away from the seen to the unseen and from recognition to the sophisticatedly organized confusion of signs. The performer returns her gaze back to the audience, drawing them from their safe anonymity. ‘Vertigo’ plays around the idea that the range of experiences we need to maintain a genuine feeling of control is never fully contained in what we define as the denotable.

‘Bloom’ is a choreographic pseudo-festivity taking as its subject any kind of movement as well as its oppressive need to produce any kind of meaning…

Inability to identify, potentiality and multi-personality become a posture, a possibility to transform an ever-fleeting meaning through movement and avoid the representational restrictions. The choreographic procedure is marked by the simultaneous multiplication and exhaustion of gestures, the result of which points to the nondescript quality of the very form of the choreography.

The performer indulges in the elegy of her own defeat, affirming a sort of new type of exaggeration. A feeling of melancholic relief without consequences is produced through the object-like treatment of music, seemingly offering us a possibility of interiorization.

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Croatian Choreographic Platform

Vertigo

choreography and performance: Barbara Matijević
Bloom

choreography and performance: Željka Sančanin
dramaturgy: Saša Božić

set and costume design: k-o

light design: Saša Božić

music selected by: Damir Šimunović

coproduction: kombinirane operacije/Tijana Gojić, Berlin Kunstlerprogramm Das DAAD, ASSO Theorem

The project was supported by the Zagreb City Council for Culture, the Ministry of Culture of the Republic of Croatia and realized within the Work Platform of the EkS-scene and the Student Centre program Culture of Change.

“So let us move into the next millennium with hope, for without it all we can do is eat and drink the last of our resources as we watch our planet slowly die. Instead, let us have faith in ourselves, in our intellect, in our staunch spirit. Let us develop respect for all living things. Let us try to replace impatience and intolerance with understanding and compassion. And love.” (Jane Goodall)

Thanks to Mirna Zagar and everyone at New Dance Week who made this production possible;  Normela Krešić-Vrkljan and everyone at the Skola Ane Maletic; Nikolina for all her essential help; Jennifer McLeish Lewis for her commitment to this project; and all the dancers for their hard work and resilience.

Martha Carter

Artistic Director of mmHoP, Martha Carter is a Canadian based director-choreographer-creator of dance, media and music works. Transcending her roots of classical music and ballet, her hybrid creations are an external expression of her vision of dance as a reflection of contemporary life. Carter’s recent choreographies include Xdance at the Canada Dance Festival 2002; iDUB: Vancouver (2004). iDUB:Calgary (2006) and iDUB St. John’s (2006); The Spell Remains (2005) and Ri’zilyent: an Urban Ballet (2007). Each creation is an evolution of her innovative multi-disciplinary style, involving dancers from different disciplines, as well and media, music and lighting artists. Martha is also a respected teacher at universities and private schools, notably Montréal’s Studio 303 that she co-founded in 1989. Since 1993 she has regularly toured internationally with Compagnie Marie Chouinard as rehearsal master and Touring Artistic Director.

Jennifer McLeish-Lewis Dancer

Jennifer McLeish-Lewis is a Vancouver based new-dance artist who has performed works by Peter Bingham, Martha Carter, Susan Elliott, Karl Frost, David Pressault, Felix Ruckert, Helen Walkley and Daelik of MACHiNEONiSEY. She is one of three co-artistic directors of The Tomorrow Collective, and has presented her own choreographies at Dances for a Small Stage, Dancing on the Edge, Signal and Noise, The Dance Center’s DanceLab Series and Lucky Trimmer (Berlin). She has maintained a consistent association with Martha Carter since 2002 as a performer in her stage and film work, as rehearsal director and as choreographer’s assistant. Jen also teaches Hatha Yoga and contact improvisation, writes poetry and likes to sing.

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Director and Choreographer : Martha Carter

Assistant Director and Rehearsal Master : Jennifer McLeish-Lewis

Music : Jacob Cino, François Houle, LaConnor and François Houle Acoustic Quartet

Vocals : Jacob Cino, Sizzla

Violin : Kytami

Costumes : Martha Carter, Davor Klarić and the dancers

Hair and Makeup Styling : Jennifer McLeish-Lewis

Dancers: Sven Bahat, Anja Đurinović, Lana Hosni, Ana Borac, Rebeka Kukolja Cicvarić, Andreja Jandrić, Nataša Mihoci, Monika Posilović, Andrea Pofuk, Sara Piljek, Mihael Miško Regović

“But don’t look for a story, because there isn’t one,” says Kibbutz artistic director and choreographer Rami Be’er. His goal has been to create a certain world on stage, a world that combines and gives comparable importance to movement, music, sets, costumes and lighting and to which each audience member is urged to attach his or her personal associations.

The Kibbutz Contemporary Dance Company started as an extension of the Regional Western Galilee Dance Group by Yehudit Arnon who founded and directed the company until 1996. Over the years, the KCDC developed into one of Israel’s prominent dance companies and has gained international renown. In performing the original creations of Artistic Director Rami Be’er, the KCDC acquired its exclusive and unique character, which has become its trademark both in Israel and abroad.

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choreographer & director: Rami Be’er

music: Sigur Ros, Saka, 310, H. Hilmarsson, Colleen, Massive Attack

text by: Georg Büchner (Woyzeck)

light design: Rami Be’er, Yossi Revach

costume design: Ma’or Tzabar

dancers: Renana Randy, Danny Eshel, Ilana Bellahsen, Artour Astman, Mika Webber, Amit Marsino, Eran Gisin, Nir Even Shoham, Sara Wilhelmsson, Yuko Harada, Efrat Hendler, Itzhak Amar, Moriel Debi, Daniel Ohn, Amit Gerera, Yarden Bloom
Duration : 70′

Até que Deus é destruido pelo extremo exercicio da beleza is a line of verse by the Portuguese poet Herberto Helder and means: ‘until God is destroyed by the extreme exercise of beauty’. The first sentence of the Judaeo-Christian story of the creation is: ‘In the beginning was the Word’. But now that God is dead, perhaps the word should also be destroyed.

In Vera Mantero’s new project there are six dancers on stage; they talk under their breath without interruption. It is important that they speak but we do not need to understand exactly what they are saying. The silences, the gaps they leave between their words, are just as eloquent as the words themselves. Their sung meditation is constantly changing but ultimately always remains the same. The music produced by these six talking performers gives the viewer the feeling of walking round inside someone’s head: a galactic journey in the void or in the space of memory. And yet their speech is not turned inwards: they address the audience, inviting them to follow them on their exhausting journey. In this production, the viewer experiences the essence of theatre – the experience of a ‘here and now’ – as one great slow motion: as if time and space were being stretched further and further until they were so thin that they no longer existed.

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Artistic direction : Vera Mantero

Co-creation & performance : Antonija Livingstone, Brynjar Bandlien, Loup Abramovici, Marcela Levi, Pascal Quéneau & Vera Mantero

Visual installation & costumes: Nadia Lauro

Live music: Boris Hauf

Light: Jean-Michel Le Lez

Dramaturgical collaboration : Bojana Bauer

Co-production: Centre Chorégraphique National de Tours, Centre Pompidou – Les Spectacles Vivants / Festival D’Automne, Culturgest de Lisbonne, Le Quartz/Scène Nationale de Brest, O Espaço do Tempo de Montemor-o-Novo

Supported by: Fundação Calouste Gulbenkian/Lisbon

O Rumo do Fumo is supported by the Portuguese Ministry of Culture / Arts Institute

Duration: 74´.

‘Unkaputtbar’ is a dance production with four men who pursue crooked ways

while travelling together on the wrong track. Imperturbably they always fall on their feet – more or less – and they never give up. They keep up a sturdy and friendly camaraderie amongst themselves that here and there degenerates into unfriendly scuffles. They construct pyramids as structures of ideas and coax their friends

into allowing themselves to be used as building blocks. They love building too high and become masters in crashing down. During their falls they always hope to be able to learn to fly. At the same time they are relieved to realize that the law of gravity still operates. The world is in the eyes of these men so full of deception

that they have to use all of their wits to survive in it. They are never quite sure whether their perceptions are distorted by trickery. Therefore they take shelter in compiling and inventing complex rules and regulations, thus concealing reality within a jungle-like matrix that presses it into a bizarre framework. They pronounce absurd ways in which to solve problems as rational. They tap each other on the shoulder, to prove that the shoulder still exists. In this way the men keep to their course and decide to see their world as beautiful because if the world were ugly, their lives would be stale. In their happiest dreams they are mountaineers or polar explorers;

useless heroes exploring the darkest caves, deepest oceans and desert snows.

But whether or not they would have become so, the world would still be unchanged.

In spite of their extreme effort and the resulting frozen fingers the last messages they would leave to the world outside and to posterity would arouse no particular interest. Perhaps when on the mountain peaks they would look for new continents.

Instead, failing in that radically futile search, they would find their own unchanging inner selves. They would enjoy life and settle contentedly in their newly tested homemade reality.

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idea and set design: Peter Schelling

direction and dramaturgy: Béatrice Jaccard

choreography and performance : Massimo Bertinelli, Thomas Maucher, Philippe Olza, Ivan Wolfe

music: Massimo Bertinelli i François Gendre

light design: François Gendre

costumes: Daphné Ineichen

trajanje duration: cca 60 min

Maja, by working solely on its own production and towards an object that is repeatedly colonized by certain perceptual strategies, a body in its duration produces the specific pleasure of watching that consist of the fact of the viewer’s observing his or her own observation. And that way the viewer is included into his or her own regime of objectification and affected by the totalitarian movement that tries to take possession of all positions. The situation in which the appearance of the totalitarian also functions as the realization of a project of a new community, a community in which totalitarianization becomes the only mode of joining, becomes the space of articulation of a different political, but also performative, discourse.

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Croatian Choreographic Platform

concept & choreography: Selma Banich, Sandra Banić i Oliver Frljić

performers: Selma Banich i Sandra Banić

dramaturgy: Oliver Frljić

composer: Adam Semijalac

light design: Mario Vnučec

Supported by The City Office for Culture Zagreb and The Ministry of Culture of the Republic of Croatia.

Project has been realized through the EkS-scene work platform.

duration: 60′

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Croatian choreographic platform

choreographers, performers, set designers: Ana Kreitmeyer i Sandra Banić

costum design: Silvio Vujičić

dramaturgy consultant: Goran Sergej Pristaš

assistant choreographer: Nikolina Pristaš

light designer: Miljenko Bengez

In 1993, Julie Dossavi composed her first solo piece. Her collaboration with Gérard Gourdot in the company Les Géographes was launched in 1995 along with their son Marcus. In 2003. she set up her own company, which is based in Poitiers.

She has supervised contemporary dance at the Cairo Opera, and worked Cameroon, London, Marrakech, Bangui and Chad. Her choreographies have been shown at festivals in Châteauvallon, Montpellier and Paris Quartier d’été.

The show’s title, P.I. (Pays) ou Présentations Intimes, conveys its artistic slant: an exploration of intimacy. Different kinds of intimacy: physical, sexual, spiritual, emotional, intellectual. Different worlds to trek: Mali, Benin, India, France, contemporary dance, ceremonies, groovy… A blend of traditional and electronic music, a blend of dance forms, interchange… The choreography delves into the relationship between a solo dancer and three musicians.

The creative process stems from the interactive work among the participants, who are encouraged to transcend their artistic skills in order to try out new forms while maintaining their own specificity and authenticity.

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choreography and performance: Julie Dossavi

voice: Papa Gédéon Diarra

electric bass, electronic machine: Allan Houdayer

percussion: Yvan Talbot

lights: Sylvain Bresson

costumes: Valérie Saïd

sound : David Godard
duration: 57′