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Upon recommendation by Jardin d'Europe co-organiser Station, Cullberg Ballet invited the artist and choreographer Ana Dublijevic (RS) for a four week residency in Stockholm.

During the residency, Cullberg Ballet offered lodging in a central apartment hotel, individual local transportation cards, a studio and morning classes with the company and fitness facilities. Cullberg Ballet also covered her travel and Per Diem during 26 days.

In Stockholm, Ana did a part of her research on dance communities. Given that nowadays lectures become performances, festivals become choreographies, performances become social events etc, she was interested to make a residency a process of gathering materials, but also a project in itself. On an invitation to “spend a night with me”, sixteen artists interested were invited to be involved in the project. They were dancers and choreographers coming from or based in Stockholm. The one-on-one meetings varied from two hour Skype meetings, to four hours map making in a local pub, to six hours thorough overview of Stockholm dance scene over a dinner in her apartment, to watching a performance and having twelve hours philosophical talk on communities. Although people were different (their backgrounds, the work they do, belonging to different communities) and there were not two conversations alike, there were some themes and questions that Ana could single out as mutual and important, for example; What is a dance community? Am I a member of one? Or few? Do other people perceive me as a member of a certain community? How did I get to be a part of it?  Is a community that I’m a part of, hierarchical? What is my position in it and what is it conditioned by? What is my motivation to be a part of it? Do I feel responsible for the community?

Ana’s idea was to use collected materials from Stockholm to make a printed work on dance communities. That will be a finishing part and a product of this year’s “spend a night with me” project.
The material gathered in Stockholm was used in a Laboratory "Choreography of attention" in Belgrade, (RS) that Ana attended in October 2012.

 

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report by Ana Dubljevic

Residency in Cullbergballet in Stockholm provided great conditions for my work. All my needs were met and I can only express appreciation for good work that Jane Hopper and others within Cullbergbaletten did to support my project.

In Stockholm I did a part of my research on dance communities. As nowadays lectures become performances, festivals become choreographies, performances become social events etc, I was interested to make a residency a process of gathering materials, but also a project in itself. On an invitation to “spend a night with me”, sixteen artists were interested to be involved in a project. They were dancers and choreographers coming from or based in Stockholm. Our one on one meetings varied from two hour skype meetings, to four hours map making in a local pub, to six hours thorough overview of Stockholm dance scene over the dinner in my apartment, to watching a performance and having twelve hours philosophical talk on communities. Although people were different (their backgrounds, the work they do, belonging to different communities) and there was not two conversations alike, there were some themes and questions I can single out as mutual and important: What is a dance community? Am I a member of one? Or few? Do other people perceive me as a member of a certain community? How did I get to be a part of it?  Is a community that I’m a part of, hierarchical? What is my position in it and what is it conditioned by? What is my motivation to be a part of it? Do I feel responsible for the community? Is there a position of “being outside”? What are temporary communities? Do shared space, time and money make a community? What are affiliations, what are alliances and how do they interconnect in forming of community? What is a community feeling? What is an image of community? What is a usage of a term community? When are those used and/or abused?  Do I have time to think about these questions? Why are the answers to some of these questions so hard to grasp? What is a presence of an interested other changing in answering them?

I am very satisfied with a material a got from working with these sixteen artists. They were all very generous with sharing thoughts, experiences, knowledge and willing to, together with me, build up from there. My intention is to use this material in a Laboratory "Choreography of attention" in Belgrade, that I will attend in October this year. This laboratory is proposing a format of collaborative research of dancers, choreographers, curators and visual artists around the concept of “choreography of attention”. As participants are invited to re-think choreography as practice, thinking about choreography in the form of printed materials such as books, post-cards, posters, comics and further on, opening various questions such as: Where is choreography?, What is choreographed?, Who is choreographed?, Who is performing?, my idea is to use collected materials from Stockholm to make a printed work on dance communities. That will be a finishing part and a product of this year’s “spend a night with me” project. I am interested in doing it next year in some other city and continue working on that format as a practice.

I want once more, to underline importance of understanding of the real needs of artists and willingness of institutions to support their work. This is the way it should be, not the other way around, but often that’s not the case. That’s why I’m grateful for having this residency and hope that artists in the future will have more and more of this kind of support.

Ana Dubljevic

 

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