If I know the answers already, why not make it cozy to understand them?
Programming, performing, production by Matt Shini
Produced by International Dance Terrorist Organization
Co-financed by Erferifund and Vilko Šesek
Project is run as a research at Institute for Research and its Application
Project is part of InMeMorIAmGreGorKamNikar initiative that co-creates Grand Triptych.
Thursday, 25th April 2013 from 4pm to 7pm, Špica, Ljubljana
Dance program 42 consists of dance algorythms that the program needs to run properly without breaking down too often. The program offers each user a possibility to explore principles of dance and finally get some results in form of sense, meaning, understanding, experience by the time program finishes with calculations.
In each execution of 42 I will personally explore the principles of dance (how does dance emerge and how it seizes its disappearance). I will do that through imagining one contemporary artist I worked with (and if I still have energy after that, I will take some other artists) and explore the principles of dance through my image of a particular artist.
I will explore in particular way. I will not base my exploration on pre-conceived principles. I will do my best to extract from the happening around me and in me, what is principles of dance at hand, and explore it.
In order to organize this a bit, I decided to use Shostakovich’s 24 Preludes and Fugues performed by Keith Jarrett. I will use preludes as time to understand what is principles of dance that is emerging from that dance. In the following fugue paired with the prelude, I will explore the emerged principle in depth and deliver its clear statement by the end of fugues.
It is noteworthy that prelude means litterally pre-game, foreplay 🙂 So through playing and fooling around with movements in prelude time, I will attempt to understand what is principle of dance at work in particular moment. It is noteworthy also that fugue can be derrivative of latin verb fugere (to flee) and fugare (to chase). And for the fugues we can say that it is melody that chases itself, it is the chaser and the chased. So is the principle. By fooling around with itself, it can produce a myriad of meaning and senses and understanding.
So, the principles of dance will come about through dancing itself and will not be thought of beforehand. That means that principles of dance can appear to a mind quite senseless, suspicious and monstruous, while they makes perfect sense to a dance(r). On top of it, to make it even more personal, I will perform the principles though my imagination of other contemporary artists I worked with (one per execution of the program).
Maybe I will manage to execute 42 each time for the birthday of the contemporary artist I will imagine. I hope I will have energy. First one in this row is Gregor Kamnikar that turns 42 25th April 2013.
Everyone is welcome to join in in any role: as user, as programmer, as observer, as perfomer, as choreographer… And just simply enjoy the dance. No one needs to understand above mentioned tasks in order to join in the program. These tasks are mine. And part of that tasks is also the task to open up the program to passer-by to use it as s/he pleases.
I consacrate this project to Gregor Kamnikar’s obsession with ephemerality and identity. His idea of taking movement as a way to disappear has led me to making of this program. Yes, a program; not project, practice or happening. It is a program.
42 is part of »In Me Mor I am Gre Gor Kam Nikar« project initiated by group of artist that consacrate one of their works to Gregor Kamnikar in order to celebrate his ideas and relentless exploration and research in the field of dance, especially on finitude, ephemerality and identity.
»In Me Mor I am Gre Gor Kam Nikar« is part of Triptych. First part of Triptych was Gregor Kamnikar’s last project 39. »In Me Mor I am Gre Gor Kam Nikar« is second part. Third part is planned later after »In Me Mor I am Gre Gor Kam Nikar« and it will be Gregor Kamnikar Museum of Improvisation.