Platform of Contemporary Dance 2020 - CREATIVE REFLECTIONS

Anja Bornšek, Barbara Kanc, Tina Valentan

Flying eyes

dance performance in the making, about the art of listening, disappearing, and adapting

Flying eyes <em>Photo: Oblikovanje fotografije: MB</em>
Photo: Oblikovanje fotografije: MB

Zavod MOJa KreacijA, Kino Šiška, 2020

Concept and performance: Anja Bornšek, Barbara Kanc, Tina Valentan
Sound design: beepblip
Production: Platform of Contemporary Dance – Zavod MOJa KreacijA. Plesna izba Maribor
Coproduction: Kino Šiška Ljubljana
Executive production: Mojca Kasjak

Everything is a parable. Every being is the key to everyone else.
J.M. Coetzee

At the time when everything came to a standstill, the artists' studio became many times a forest, one in which they softened the contact between themselves and nature. In this next presentation phase they move from forest to another space, a space of inanimate forms. The authors are interested in the course of chemical reactions that occur when these two spaces collide. They write, "Through our bodies the stage becomes a place of the rememberance of being with the living, with the many, which permeates the body and the senses the moment we enter into the forest. How to land, how to soften the landing, how to allow the things that landed within us to find their way to the viewer? Fruitful encounters and deep listening bring about change. We are looking forward to discovering what is living – the forest of the body will still seep through us."  
Anja Bornšek is a dancer, pedagogue, creator, and a master of the Body-Mind Centering method. She completed her studies in contemporary dance at the Salzburg academy (SEAD), is a certified practitioner of the Body-Mind Centering method, and earned her Masters degree in pedagogy of contemporary dance at the University of Frankfurt, HfMDK. She is interested in movement and presence which stem from the attunement between the sensory, physical, energetic, and mental bodies, and the composition which arises from the many relationships between perception and reaction. She teaches mainly through the spectrum of experiential anatomy and somatics and develops her work with the methodology of experiential-movement research, as well as improvisation. She teaches at the Dance Academy in Zagreb, at the Pedagogy of Contemporary Dance Masters program at HfMDK in Frankfurt, the Tanzhaus NRW in Dusseldorf, etc. For the last five years she has also been developing and teaching a format for audiences, Physical Introduction, with which she is exploring a way to make a more conscious connection between physicality and perception, and thus a more intimate relationship between the work of art and the viewer.

Barbara Kanc, dancer, dance pedagogue, performer, choreographer, and avid coffee drinker. She studied contemporary dance at the Arts Secondary School in Ljubljana, and earned her degree at Trinity Laban in London. Upon finishing her studies, she was the recipient of the Simone Michelle prize for outstanding achievements in choreography for the years 2006/2007. In recent years she has collaborated with many choreographers and directors in the field of dance and performance. Since 2004 she has also been working in the field of historical dances. For more than a decade she has been teaching children and young people creative and contemporary dance, and has created dance performances and miniatures with them, which are presented at various recitals as well as the Opus competition. She is currently teaching children's dance workshops at the Puppet Theatre of Ljubljana.

Tina Valentan is a graduate of the Amsterdam Academy of Dance and Theatre (SNDO). Her choreographic specialty are solo-author projects (When the Moon Grown, Calypso, Point of the Axis). In terms of her dance and performance work, she was most marked by the collaborations with Snježana Premuš, Milan Tomášik, and Mateja Bučar, as well as a year of burlesque with the group Feminalz. A key part of her regular psychophysical practice is tied to the Body-Mind Centering method, which, among other things, offers her an entrance into an unpredictable, maximally attentive, and multidimensional stage presence. She has been connected with educational intitiatives at JSKD for many years through her role as a regional selector, and in the last two years as part of the SKUM project. In the next year, she will be co-curator of Neforma. She is the recipient of the Ksenija Hribar prize for dancer/performer for 2017.

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