Live from Zagreb
k.o. kombinirane operacije
Zagreb Dance Center
Author, Concept: Željka Sančanin
Score : Željka Sančanin, Nives Sertić, Damir Šimunović
Sound Design: Damir Šimunović
Sound Processing: Damir Šimunović
Editing: Željka Sančanin, Nives Sertić
Light Design: Miljenko Bengez
Production: k.o. kombinirane operacije in collaboration with HIPP Croatian Institute for Movement and Dance
Technical support : Zagreb Dance Center, Cinema Mosor
Measurements is a multi-disciplinary dance project aiming to document and produce audio matrix generated from various variables of dance, performance and theatre templates, and from theoretically directed collaborative dance exploration. Multi-sidedness of the project aims to find simultaneous interest in the production of internal and external audio documentation, and establish conditions for research focused on performativity of the sound, physics and dynamics of the contemporary dance and contemporary dance theory, and on the listening process as a political act. The use of sound recordings of the selected theatre performances, and their reconstructions, as exclusively autonomous audio performatives characterizes selected templates, that is, frequency of their audio recordings as a basic score for further choreography of audio matrixes, i.e. integration and multiplication of their reconstructed pieces into new levels of performance material. Focusing on several parallel interests: translation of written material ( choreography, score, composition ) into conceptual template, technical reproductivity of performance templates and models of their reconstruction, erasing of live performance in favor of performativity of its technical reproduction, performativity of perception – listening to contemporary theatre art, Measurements aims to explore formal conditions and effects in the process of performance creation, levels of its documentarity and textuality, as well as possibilities for dislocation of live performance into its sound interface surrogate, transforming performative function into a motor drive of audio traces.
Our data analyzes all known instruments for instrument makers, all performance abilities for performers, and all known musical forms for composers. The edge, though, is the unknown of imagination for performers, improvisers, composers, and instrument makers, and the unification of all these roles. On our musician chip we treasure: The ability to recognize and identify instantaneously any frequency or combination of frequencies in any tuning, timbre, in any tempo or rhythm, in any style of music or sound in any space.
The ability to produce any frequency or sound in any tuning, timing, timbre, dynamic, and articulation, within the limits of the selected instruments or voices used. Maybe we would also like to morph from any instrument to any other instrument or voice, at will.
The ability to recognize, identify, and remember any piece of music –its parts as well as the whole, no matter the complexity. The ability to perceive and comprehend interdimensional spatiality. The ability to understand the relational wisdom that comprehends the nature of musical energy – its forms, parts, underlying spirituality – as the music develops in performance. To comprehend the spiritual connection and interdependence of all beings and all creation as the basis and privilege of music making. The ability to create community and healing through music making. The ability to sound and perceive the far reaches of the universe much as whales sound and the vastness of the oceans. This could set the stage for interdimensional galactic improvisations with yet unknown beings. We suppose it would be great to be able to print it all out as well in 3-D color .
After _ SOUND UNBOUND / Quantum Improvisation, Pauline Oliveros
Abut the author:
. Željka Sančanin (1979, Zagreb) is the cofounder, choreographer and dancer of k.o. kombinirane operacije. In 2001 she cofounded and is the coordinator of ekscena, open source NGO platform for education and research in dance and performance art. During 2004/2005 she was invited as Croatian choreographer in the project HWE – HardCore Workshop Exchange / Dance Balkan Nordic region initiated by NordScen – Nordic Centre for Performing Arts ( Zagreb, Belgrade Bergen, Malmö ). She was the grant participant of Theorem for international symposium on performing arts Transformes, Le Centre national de la danse Paris and artist-in-residence in Berliner Künstlerprogramm des DAAD in the context of Theorem project on Dance Residencies, Podewil Berlin 2006. In 2008 she was selected for ex.e.r.ce – 6M1L (six months one location), Centre choregraphique national de Montpellier where she worked and collaborated within the platform of independent european dance professionals.
She started dancing at the age of 18 in the workshop of Milana Broš (Cunningham and Improvisation) and then continued her dance education in ekscena Zagreb (Contemporary, Release, Contact Improvisation), ZeKaeM Theatre (Ballet), Liberdance Zagreb (Graham, Modern), Nava Zagreb (Yoga, Capoeira, Aikido, Pilates Core Dynamic) with many domestic and international dance artists and pedagogues. She participated in many workshops, among others : Helge Musial – Movement and Gravity; Hajashi Hideki – Traditional Japanese technique in contemporay theatre; Tamara Huilmand / Performingunit , ex Montažstroj – New Theatre Skills; WATT+EAU- Dance and Dramaturgy / Imaginary Academy Grožnjan – BAD.CO –Goran Sergej Pristaš, Ivana Sajko; Boris Charmatz – Bocal Introduction Workshop; Goat Island; Martin Nachbar – Maping the Body; Franz Anton Cramer – Making dance yours,the problem of definition; Alice Chauchat – Triatlon/Love piece.
Within ex.e.r.ce / 6M1L – Centre choregraphique national de Montpellier she was trained by Claude Espinassier – Feldenkrais Method, Jonathan Burrows-Why choreography? Workshop with Jonathan Burrows, Chrysa Parkinson – Craft and Skill Development (Feldenkrais, Yoga, BMC, Qigong, Klein and Alexander Techniques, Skinner Realising), Juan Dominguez – Body practice workshop, Gerald Kurdian – Voice and Singing Skills.
Beside k.o. she collaborated as a performer or choreographer with: Ivana Müller – performer in List of Instructions, Oliver Frljić – choreographer for the show Sailor by Fernando Pessoa, Bad.Co / Ivana Sajko – performer in Mass (For Election Day Silence), Branko Brezovec – choreographer for the show Timon of Athens / coproduction of Macedonian National Theatre Bitola, Turkish Theatre Skopje, Laboratorio Nove – Firenza, Damir Gamulin – choreographer for “OO” / HDD – Croatain Designer’s Society, Xavier Le Roy – performer in Le Projet, reconstruction of the peice by Xavier Le Roy from 2001 – with Xavier Le Roy, Christine de Schmedt, Marten Spangberg / Festival danse de Uzes , Herses – une lente introduction by Boris Charmatz’s piece «Herses» from 1997 – coauthor and performer for the recreation together with Luis Miquel Felix, Neto Machado, Thiago Silva Granato, Younes Atbane, Kelly Bond, Ines Lopez, Nick Quinn, Saša Asentić / Centre Choregraphique national de Montpellier .
Željka studied Comparative literature and History of Art from the Faculty of Philosophy, University of Zagreb. She is the member of Croatian freelance artists’ association and a member of the Task Force for the Development Strategies, Financing, Presentation and Distribution of Contemporary Dance in the City of Zagreb within the Association of Dance Artists of Croatia (UPUH).