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The final hours of the three-day session.


The difficulty of working summits is always the ending. The group reached the apex of creative productivity two hours before the ending.??


Who advocates for the regional contemporary dance ??scene? NOMAD.??This last block of the sessions revolved around developing a message for the forthcoming event and a concrete strategy for the regional triggers??necessary??for establishing honest and genuine human relationships with political bodies and??influential figures.??

Kanjiza for Contemporary Dance Cultural Policy Strategic Action in SEE

Yesterday, 15??individuals from different countries of ??South East????Europe commenced a three day conference/working session that is needed and important. NOMAD Dance Academy has organized this event with the following aim:

-advocacy in the SEE region plus several countries, albania, romani, hungary and slovenia and germany
?? ?? ?? ?? ?? -aim meet with secretary general of cultural action europe,Iliona Kisch, to??strengthen own capacity (nomad first and then other projects) for cultural policy advocacy with specific focus on contemporary dance. ??

?? ?? ?? ?? ?? ??-to recognize difference advocacy and lobbying: take to account of importance of programs and experiences and strategic goals when they make own policies. channels of communication where people can follow and position as relevant??

-Scenario for one big public event
?? ?? ?? ?? ?? ??-identify politicians and allow them to participate genuine work. ways that station communicates, gices them insight into people of arts and culture??

-In preparation for this seminar, a number of steps have been taken, one of which is to research existing cultural policies for a given set of regional countries.

???? ?? ?? ?? ?? ?? ?? -education in contemporary arts

???? ?? ?? ?? ?? ?? ?? -intersectorial between education??

???? ?? ?? ?? ?? ?? ?? -regional collaboration policies??

???? ?? ?? ?? ?? ?? ?? ?? ?? ??-1)theory and practice: how they see it

???? ?? ?? ?? ?? ?? ?? ?? ?? ??-2)what actually exists: what good practices exists

Kanjiza for Dance

This week Missa and I have been in Kanjiza, Serbia. This small, predominantly Hungarian town is located between Budapest and Novi Sad.??

This past week Missa and I participated in a workshop??facilitated??by Gemza Peter (Hungarian place last name first). Peter is a member of the Josef Nadj dance company. ??

After the workshop, there was some Hungarian folk dancing. Our ten-day stay continues tomorrow with a conference on policies for contemporary dance,??



??? Reviewing Sections on a Tuesday

A??mountainous and, at the same time, cavernous hole, dilapidated??from over use and now neglect, concerns my thoughts as I set up the objects on which Melissa and Luana will be positioned.??


The stark contrast between made-made objects and man-destroyed housing structures becomes puzzling. I begin to review review my section.??

I disregard these thoughts as nothing more than distractions from my work at hand. On two stage metal frames icons will be made.??


Melissa arrives to rehearsal. We review the movement sections. Hours later Melissa tries to find Luana. Our rehearsal space is not easily identifiable. Twenty minutes later, they return. Melissa has to run off to a workshop, so she says goodbye. Luana stays so that we go over her section for the first time.??


Practicing the Creative

I step into a stuffy studio expecting something to result from this encounter with this familiar space. I ask myself, who is this for???


I being to recount the steps, movements, gestures generated from the previous studio-based sessions. My body surely enough remembers slight kinesthetic details. I stop to consider, who is this for? Is it for that waiting audience, somewhere in the future? Is it for my future self? Is it for the individuals this piece is inspire by? I stop once again to consider the possibility that it could all be considered laughable. This very creative process is laughable. I trudge through creative minefields, avoiding deadly steps, but am excited by the very fact that I will strike kinetic gold.??



I flashback to Rosalind Goldberg's showing three days prior. She introduces her month's research then stops to give instructions on the music. She proceeds to calibrate her arms, legs ??and mind.??Attentive??to the space, she positions herself in the center. Music commences and her peripheral aura??heightens. Nine minutes go by and she ends an improvised movement score.??


I return today, to this very movement moment. Melissa has just finished reviewing our mirrored section. The music, Beirut and Satie, provide a solemn texture to this Balkan creative workspace.??


A conversation about Peer Reviews.

There has been an going conversation about peer-reviews over on lovedancemore's blog. Here's my most recent response.??

"You are correct lDm to disambiguate between between formal and informal within our conversation, but it still leaves up for question who defines these levels of formality in a broader scenario. To say that formal reviews historicise performance events fails to consider that it's within the informal sector of our lives that our practice is contextualized, inspired and leaves the true impression. To say that we need something outside of ourselves, some type of expert culture, for reflections, ??dismisses the importance of the critical self-reflection as a powerful device for artistic growth. While there has been a need for formal reviews to frame collective memory, there have been debilitating consequences as a result of it. Current conventional ??designs and divisions of visual and artistic labor leave no room for understanding peer-organization, peer-managing and peer-education as a means to establish assumed shared collective responsibility for all users of dance. The problem, without trying to sound too accusatory, lies in dance partitioners taking for granted the knowledge production and exchange that is generated in our discursive contexts.Take into account that companies, free lancers and independent dance artists are all leaving traces of their work, taking ownership of their record, by way of the internet. This blog is also an example of these procedure. But this is not enough? How do we deal with this new fundamentally informal, yet formal, context? ??

I think we can circumvent the critic being the one lambasted for their criticism of a work, if we dont characterize them as a necessary procedure for artistic realization. Lets introduce new principles of knowledge sharing, exchange and collaboration in our very creative process. Maybe Mudson can really take advantage of their forum by not just providing opportunity for feedback on works in progress, but by facilitating the questions. Could a two question/comment minimum before moving on to next showing serve as an active procedure?"

INDEPENDENTDANCEORG: Documentation about an internship with STATION-Center for Contemporary Dance.

I believe small to medium sized organizations serve a critical role in assisting the establishment of emerging artists by investing a platform and resources to fuel the development of local creative processes for dance artists. It is of interest and importance to me to recognize and promote organizations whose mission is exactly to foster a thriving community by encouraging local artists who demonstrate a commitment to their artistry, passion for artistic community development and stimulating methodologies for presenting theories and new aesthetics. 

For this reason, as part of a requirement for my master’s programme, I started an internship with STATION- Center for Contemporary Dance, here in Belgrade.  I think it’s important to bring an international dialogue regarding processes of organizational support so independent knowledge it may be accessed, processed and contributed to, and therefore advanced.

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M??rten Sp??ngberg: Researching Research, Some reflections on the current status of research in performing arts

"The complexity of the establishment of research and related discourses into the field of performing arts has taken the course of an avalanche. From the product and image intensive period of the 1980s, following a period of politically orientated work, the 1990s and early 2000s will most probably be remembered as the era of research."

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