MY PRIVATE BIO-POLITICS: A Performance on the Paper Floor (Third phase) written/performed by Ana Vujanovi and Saa Asenti PROLOGUE:

Our contribution to the MOVE Choreographing you should be considered textual version of the performance, suitable to the paper context of a theoretical journal. Thus, this is not a text about the performance neither its description but a performance itself, paper one. You open the page. There are credits: MY PRIVATE BIO-POLITICS, lecture-performance Author and performer: Saa Asenti Assistant: Olivera Kovaevi-Crnjanski Theoretical support and dramaturgy: Ana Vujanovi Duration: 50 min Performance is part of the research-artistic project Indigo Dance. Producer: Per.Art, Novi Sad The performance was made in co-production with the Centre national de la danse Paris, research in residency (Theorem Dance residencies), and it was prepared within the trainings of practical dramaturgy THe FaMa in Belgrade and Dubrovnik. It was supported by DanceWEB (with the support of the Cultural Programme 2000 of the European Union within the frame of danceWEB Europe). Then you open the next double-page. You enter the hall. Working lights. A male performer in trousers and T-shirt is already on the stage. Stage is about 11 x 8 m. On the left page you can see a square of mostly paper material on the floor. Among them you can recognize some books, a video camera, a lot of documents, one chair, an unrecognizable black boxlike object, and along the diagonal of the square several ceramic pots. On the right there is another square; it is a ring, marked by very thin white thread, some 10 cm from the ground. In the right back corner of the ring, there is a goblin on gantry; it depicts figure of a female dancer. The performer is preoccupied with the needlework. You are looking at him more than browsing the pages set design. At one moment you finally calm. Now I will perform My Private Bio-politics for the 34 th time! It is part of Indigo Dance project. Premiere of this performance was on the 11th of February, three years ago. It was in Serbian National Theatre in Novi Sad on the stage called Hinterbhne. In its first year, the work was presented at various festivals and art centers in Eastern and Western Europe. While re-thinking this period, I have realized that performance started to exhaust its departing concept through the regular circulation within contemporary dance system.

On 11th of February two years ago in Serbian National Theatre, on the 1 st anniversary of this performance, I performed the special jubilee edition of "My private bio-politics", and it was the last time that I performed it in its original and integral version. That night, after the jubilee, I decided to change this performance: from a WORK-IN-PROGRESS into a WORK-IN-REGRESS! Which means that in its second year, the performance was gradually canceled through its regression. Every time I was invited to perform it I performed less and less of the live event, replacing its parts with their video documentation. Finally last year, on the 2nd anniversary I performed it in Belgrade without any performance. The audience watched only the video. During MOVE Choreographing you I/we will perform My private bio-politics performance in its 3rd phase that I will reveal to you during the performance. Now, it is very important to me not only to perform for you but also to prepare the video material that I will send to producers, programmers, directors of different festivals that present contemporary dance projects. I would need your help to prepare it, now! The performer is opening his lap-top: Which festivals might be considered? At this moment there is no open call for the festivals that I am interested in But as I have already performed this work I realized that what is more efficient that application is >>>>>>>> recommendation! Thus, after performing in Berlin on Tanz im August festival I have received following e-mail: Dear Sasa Asentic, I got your e-mail address from Julia Wocke, Tanzwerkstatt Berlin. I'm writing from "brut", a new international coproduction-house for performance, dance and theatre in Vienna. Our artistic directors Haiko Pfost and Thomas Frank are very interested in your work and would be pleased, if you could send us a video from your performance "My own private biopolitics". Is that possible? Just send it to the address below, thank you very much, Larissa Bizer He is closing his lap-top and putting it in the left front corner of the ring. He is taking the clothes off, putting it in the right front corner. He is now only in his underwear with a fake animal or maybe Balkan-macho fur on the shoulders, chest, and back.

He is pouring blue pounce on his hair, making the shape of a small hat, and adding a red spot just above his forehead. He is making an altar in the left back corner putting an Orthodox icon, and adding real whistle around the neck of the saint. He is giving sign for start. W h e n I w a s a k i d I w a n t e d t o b e c o m e a n a r t i s t. A 5-minute symbolic and pathetic choreography in the ring. The light is changing, becoming overtheatrical. The scene is silent. You see the fight of a weak and unskillful animal with an invisible enemy. It is trying. It is failing. It is on the floor. Finally it decides to stand up and survive. It stays as a live sculpture of Victory. The performer suddenly steps out the ring. The light changes immediately, again into working light. W h e n I w a s a k i d I w a n t e d t o b e c o m e a n a r t i s t. I was 7-8 years old. I dont know why I wanted to become an artist. And I was thinking about how to become artist and in which art should I be an artist. And I was thinking to paint is very difficult because you need to train. Then the music, for me was, I need to learn solfeggio you know its very difficult. Dancing was of course.... so I said: no! And finally I've arrived to the fact that I should become an actor, because actors are doing the same in the movie or in the theatre that like as in the life. I think it was not much to learn. Yeah, I was very young! The performer is taking off the fake animal or maybe Balkan-macho fur from his shoulders, chest, and back. He is putting on Adidas shorts and athlete T-shirt. So, in the next years I've started to take acting classes with kids until the time I was 16. I was 16. I was in acting class and I had to go out on stage and to make my scene but I didnt learn the text. Yeah, I was very lazy. Youve got it from the beginning. Even I was at 8 I was already lazy. And then the teacher I think he was, he couldnt stand it anymore and he said: ok go away, I dont want you in the class anymore and he wont make performance! I was very, very shocked! But it was in cultural centre and in this room after the acting class there was a dance class. So, I've decided to stay in the room. He said: go out, I said: no and I stayed in the room and I stayed in the room for the dance class. So, the dancer came and the teacher came and I took the dance class. Everybody were ok. A new student... I've started to do exercises. Warm up. He is doing exercises. Like this. Like this. And it was ok. And after a while you do, at the end of the warm up you do the big split. He is trying to do a big split position.

And ok, now I can not do it anymore. But the thing I did it! I've never tried before and at once... it was something like impossible... you know... and we did the warming up and exercises and I could do it. I was so surprised! I was watching me! I was watching the position! I was calling everybody saying: "Look I did it!" I couldnt believe it! It's fantastic, interesting... And in fact it was very easy for me to dance. I didnt have to work! I was doing this. And I was imitating the dance, I mean the teacher. And ok! And teacher loved me! Gave me private classes for free. So, I've become a dancer! In the performance Pichet Klanchun and myself Jerome Bel gave this answer to the question why did he, Jerome Bel, become a dancer? The performer is changing the clothes, putting again the trousers and T-shirt on. He is walking around the left square. Ive been working on this material during my residency in May 2006 in the Centre national de la danse in Paris within Theorem dance residence program. In the mediatheque of the Centre I've got acquainted with the work of several crucial choreographers from French and Western European contemporary dance scene in general. Among the others, I've been attracted by the work of Jerome Bel from whose performance Pichet Clunchan and myself this quotation was. This quoting scene I presented for the first time in Dubrovnik, Croatia during the interdisciplinary dramaturgy coaching program also in May 2006. These were 2nd and 3rd working periods, but the first one which was the starting point of Indigo Dance project artistic research dance project was in November 2005 in Belgrade within interdisciplinary dramaturgy coaching. (We all take a step aside or any other direction to detach from the flow of the performance) He announces: And, now its time for a digression. I apologize for breaking the spectacle. Please be patient, in just a few minutes the performance will continue to run. Here, together with my colleagues, I would like to open a gap through which we go far both from the original version of this performance as work-in-progress and from the later phase as work-in-regress. Beyond this gap, there is a 3rd phase in which you can find My private biopolitics and the whole Indigo Dance project not as an art work, a piece but as a discursive platform. The platform is meant to be an artistic means, or a methodological tool which we wish to share with contemporary dance and performance artists, who are willing to reflect their contexts and public work. And also to all who have something to say about structuration of global World of contemporary dance and performance.

With this digression we want to open possibility for the work itself to be transformed into its own archeology. We want to discover or to reveal together with other colleagues from other contexts its multiple layers without artistic aura that can seduce our gaze. So, please consider this performance only as its own possible demonstration or actualization, and as a part of an open research platform that includes also talks, methodological games, discussions, etc. Ok, now I will continue as nothing has happenedMaybe nothing has happened indeed. He is sitting on the chair. During the speech he is walking through the materials from time to time, showing some of them to the audience. These are my materials! I have collected all of them during these working periods that I have just mentioned but before that there were several, to be precise three situations, three reasons to even start thinking about the new project. - After watching several Serbian contemporary dance productions I have asked myself: Is there any other possible way to produce contemporary dance in Serbia but to copy techniques and concepts that are popular, almost even trendy, and that are usually or only coming from the West? This was the first situation. - Second situation happened during the work on the performance Fragments which was the production of New Dance Forum of Serbian National Theatre in 2005. I was developing a solo within that project... And in the final phase when decision has to be made about which materials / scenes are going to be part of the performance and which are not that solo has been decided not to become part of the The Fragments performance, because it has been seen as being a parody of ballet and that would not be a right thing to do I was told. ...I was very, very shocked! I had tried to explain that it was not about parody of ballet but about dance education in Serbia that solo was about the possibility to develop dance body, to educate the dance body out of the only existing dance education system in Serbia! However, that solo had been evacuated from The Fragments and I have used it as fuel for Indigo Dance project. ...But interesting thing is that solo has been evacuated even from this performance at the end So, I was wondering if the destiny of that solo was to be continuously elusive for the audience. The thing I can guarantee you is that solo is present in traces in tonights performance! - The 3rd situation that enhanced Indigo Dance project happened probably because I was intensively thinking about all these problems, all these materials so, one morning I had a dream! It was June 19, 2005, 9:34 AM when I sent this email to Bojana Cveji, theorist from Belgrade and Brussels. In this email I have described the dream that I had! He is taking the letter from the floor, reading it aloud or rather re-telling it. In the dream Bojana Cveji has a new performance. It is something between theoretical performance and circus! Together with Bojana Cvejic there is a real trained elephant. In this dream elephant represents dance scene from Serbia. But which part of the dance scene? The part that has ballet education but is trying to make a step into experience of contemporary dance. The interesting thing in this dream is that elephant responds to questions and tasks given by Bojana Cveji and takes position of self-criticism

and self-irony. And in some moments it seems that the elephant is being aware of what it is being told and that is not only about mechanically trained reactions. He is moving from pot to pot along the diagonal, toward the front stage, attaching a copy of image of a figure whose legs and hands are mixed up to each of them. How to understand influential choreographers instead of copying or imitating them? That is a central question of this work! Influences are of great importance indeed development would not be possible if we would be closed to influences. But how to understand them? ...What is that can make my work, my dance not to be a copy? Or to be more precise, what is that can give me the possibility to perform the same scene from let say Shirtology or The Show Must Go on" or Pichet Klunchun and myself by Jerome Bel and not to be a copy? In this work my attempt is to use quotation as an intentional choice of indicating references, history, context the quotation that is shown explicitly, and that is not a literally copied phrase but a process of translation! Is translation an alternative to copy? The translating that is not oriented toward coping or managing equivalence to its original, but is focused on reflecting its own, local context and on finding the phenomena, terms, solutions adequate to the context in which the dance trends, concepts, and influences are being introduced. Hence, the translating where the translation is more important than its original! When finished, he is proudly showing the row of the enchased pots. This is a copy of the photo from well-known performance Self-unfinished by very influential choreographer Xavier le Roy. Really, how to understand such a great and influential choreographer but not to make him an ornament? NOTA BENE: Just to clarify something about this thesis. Conceptual dance that is the most influential in our dance contexts is not a big mainstream paradigm of European dance scene but its marginal practice. And that is just what the problem is about! We bet on the conceptual dance, as it is the only hope, the only chance, the only crack through which we as being outside of European dance scene can pierce through and appear on it! He is moving through the materials. The influences mostly come from the West. The quotation that Ive performed right after leaving the ring of my local context, I have presented for the first time Dubrovnik, Croatia. Later on, during the discussion that followed I was told by Goran Sergej Prista, dramaturge from Centre for Drama Arts from Zagreb, that after first few sentences he had thought: Ough, Saa no! Dont go into the autobiographic sentimental story about how you became a dancer.

It will totally ruin the stream of performance which was good until that moment! (As he said) ...Of course he thought like this until the moment when he realized it was about the explicit quotation! It put me in position to ask myself: What does it mean exactly? Does it mean that Jerome Bel has the right to autobiographic story about how he became a dancer? And in his case it is new contemporary dance production? And that I dont have that right to contemporaneity? Who has the right to contemporaneity? ...Thinking about possible answers to this question, the text by Bojana Kunst, theorist from Ljubljana, Performing Other Body published in TkH Journal no. 4, 2002 helped me a lot! In the text she writes about why the East always fails in keeping step with contemporaneity to which the West has almost exclusive right? The performer is staying between the squares, just in front of you. Does only right that remains to us is right to: EXOTIC (showing the ring), AMATEURISH (showing himself), OLD-FASHIONED (showing the materials), because we do not have right to contemporaneity? Does only right that remain to us is right to non-articulated body, still absent, confused, awkward a bit, too bodily, too romantic, narrative body, the body as an attempt, as a late physicality, which is always limited to the specific, particular context (political, traditional, ethnical, local, marginal)? ...Right to the dance that is late in cultural, technological, aesthetic and all other senses?! ANOTHER DIGRESSION. BELIEVE OR NOT: In Dubrovnik, when I was supposed to give presentation of this work, one of the technicians asked me if I could use the lights of other performances because he was too lazy to set up, to prepare it for me! I was very shocked! I said: No, I need lights for my performance! ...But then I asked myself what would happen if I would include his question, his proposal into my work and if I would let my work to be visible, to be defined only by other surrounding performances? To the technicians: Please, in next few minutes give me the lights of all performances that had been performed here in this space!!! You are teleported together with the performer to Novi Sad! (SORRY FOR THE INNCONVINIENCE.) The performer is standing on the very back of the scene, behind the squares.

The lights are changing arbitrarily, making the points where there are no points, and rereading the scene strangely... maybe annoying... This is the Hinterbhne! This is dance floor! This is a place of contemporary dance in Novi Sad and one of few in Serbia. This is place of New Dance Forum! This is an isolating tape! On this dance floor there are many traces of dance. I will try to isolate them on this dance floor. He is crouching and looking at the floor carefully. Its hard to see them... But the lights of other surrounding performances will help me to find them! I will mark the traces of the performances presented on this dance floor... Probably, I will mark the traces of New Dance Forum productions. Here is one! He is isolating it, as well as all the others he finds by the tape. Maybe this is a trace of Language of Walls? Here is another one! Fragments! And one more! Smile of the Mind! Maybe I will mark the dance traces of Galina Borissova, Dalija Acin, Isidora Stanisic, and traces of ballet ensemble of the Serbian National Theatre. ... Which of these traces have the privilege to presence? Which of these traces are the traces of dance that is already late too? ... I am marking them, I am tracing them, ...because they remain very briefly! ... In Serbia contemporary dance doesnt last for long time! Here traces of dance remain very briefly! There are no historical traces; they are erased, they are invisible. Blackout! Am I also already late in this attempt to mark the dance traces? You are teleporting back to your common context as a MOVE Choreographing you visitor / reader. The light is changing, and turning to the working light. The performer is walking between the squares. However, what is important for marking dance and its more lasting traces are not only dance traces themselves but also other surrounding practices. Thinking about what can I do with this Ive remembered the work of Ana Vujanovi and Tanja Markovi Artists Have to Walk through Theory .

Then, Ive realized that majority of dance scene in Serbia neglects it as it conceives the work does not address it. We have the situation where choreographers and dancers dont need to articulate their work in theoretical terms. So, I was thinking what would happen if we replace the words in this statement Artists have to walk through theory, And if we say: DANCERS - HAVE - TO - DANCE - THROUGH - THEORY or: DANCERS - HAVE - TO - WALK - THROUGH - DANCE What kind of new engagement would be required from us? And would the new engagement makes the traces (to become) more visible? Or, all of this that I am saying and presenting you here has nothing to do with it! What if it is only the matter of geo-politics? Then all my materials that Ive prepared for tonight are m e a n i n g l e s s !!! The performer is taking a paper from the left square, and reading in Serbian the decision of the Department for Culture of the City of Novi Sad. In the decision, they politely inform him that they decided not to support the project Indigo Dance, because its content although interesting is not a subject matter of the Department (i.e. a matter of culture). These were some of the materials! As you can see there are more, but of course I am not going to present them all now. I dont have time! I have to prepare the video of this performance! I would need your help to do it and I cant hold you here for the whole day or night. I have to act fast!!! What to do with all of them? Each of them presents the local specificum for which, in fact, nor we ourselves want to know, and I suppose neither the International co-production house Brut in Vienna, where they expect me to preset contemporary dance and new dance tendencies. Ok! Ive decided to purify my work, to purify my dance. I should clear it of local context because that is what is acceptable. Only exotic or pure dance, uninterrupted flow of movement is acceptable. Showing by finger the black plastic box: So, I decided to included this object in my work to help me clear it of local specificum and to give me more chances to make my way to the this co-production house in Vienna! The box is in fact paper shredder. The performer is turning electricity on, shredding and destroying the most of the materials from the left square. He is using the paper cuttings as confetti to decorate his path on the central line of the stage (between the squares).

Now, I am free of context!

Im ready!!! I need two more elements to be completely ready. One is this upper part of track suit that suits me perfectly; together with this second hand trousers and second hand T-shirt it gives me Berliner second hand look! Now I am recognizable with no doubt as contemporary dancer, and Im totally in new dance tendencies! And the second element is the light for contemporary dance! He is wearing upper part of a track suit. Floor light is on. Slowly we are getting closer to the moment when we will finish the video of this performance! If you have been listening to me at the beginning while I was reading the e-mail you could hear that they ask me to send video of my performance. From now on it will be the part of performance that I will actually send to the artistic directors of Brut centre in Vienna. Because it will be pure dance, uninterrupted flow of movement, with all necessary elements of contemporary dance! I dont want to risk with all other materials that I had prepared for this performance; no one is interested for it, for local specificum that disturbs the flow of dance! I dont want my work to be considered as betrayal of bind between dance and movement. So, it will be only this pure dance, that will follow now, made within its familiar parameters! Now I would need your help to record this with camera. He is taking the camera from the left square and inviting one of you to record. You or if not you then some other good willing visitor or reader is taking the camera. The camera is on (you can use camera on your mobile phone as well). THE PERFORMANCE MY PRIVATE BIO-POLITICS STARTS: Serbian National Theatre Hinterbhne, again Dance Dance W h e n I w a s a k i d I d i d n ' t w a n t t o b e c o m e a n a r t i s t. The performer is singing and dancing The Last Tango all over the stage. He is performing a series of dance sequences, from his own or the others performances. They seem familiar to you. The changes are very fast. All kinds of movement and dance styles are included. It is something like a dance nightmare. While a strange music (you can only recognize words: Je ne sais pas...) is running he is slowly dancing on the confetti path, from the front stage, turning his back to you. The fire protection metal curtain is opening.

You can see the Main stage behind. While dancing, the performer is leaving the Hinterbhne and entering the Main stage of Serbian National Theatre. The spot light is on. He is dancing on the Main stage! In found set. In front of the empty auditorium. Music stops. Dark. The performance is over. You are back to your common context. Stop recording with the camera. EPILOGUE: He is staying on the page, in front of you, looking you at the eyes. I am Saa Asenti, native of Bosnia and Herzegovina, based in Serbia. This was My Private Bio-politics performance. After the premiere, the most important question to me was: Why did festivals from Western Europe (such as Tanz im August TiA) invite me to perform? I asked myself the question because I couldnt understand it this work criticizes Western monopoly over the contemporary dance; besides it is neither Balkan-exotic nor virtuous; moreover it is not even a dance! So, why I have been invited? I would take the TiA festival invitation as an example! When Andre Theriault, one of artistic directors of TiA, invited me, he told me that the questions that I raised in the performance were important not only for my local context but also to their scene. I guess he meant Berlin dance scene, western dance scene. It was very challenging to accept to perform on TiA, because I had to find the answer to this question otherwise all the questions that I raised in this work would become senseless and neutralized by TiA invitation! So, together with my colleague Ana Vujanovi we came up to several possible conclusions, and the most optimistic assumption that we decided to include in the very performance is the following one: Maybe TiA or other festivals from the West wants to be critical towards its own context in the same way as we are in this work towards our local context? If so, TiA needs this work to criticize its own context because TIA cannot do it, cannot criticize it by itself as being part of it, as already being inside the system. Maybe thats why TiA invited this work three years ago and later did the same festivals New York, Moscow, Paris, Barcelona, Frankfurt, Salzburg, etc. - maybe they all invited this performance as a critics that is outside of the system, and which real, not only symbolic outside position is the very symptom of what it talks about, of the western monopoly over contemporary dance scene. Maybe these festivals are fully aware that their critical potential is weak and in fact benign as it is already adopted and appropriated by the system they belong to. BUT!

If it is so, then they made a mistake! Because just thanks to these invitations this performance becomes also a part of the system, adopted by the system and legitimated by the system. And I am, by performing it, loosing the exceptional critical position the outside position that is material evidence of the criticism that I am performing! If all these assumptions are correct then I can only apologize to all of you for not fulfilling your expectations, being aware that my critical performance became just one more piece at these festivals! Its not my personal fault, and its not your or their personal fault. That is how the art, dance system operates. Now, I am wondering if I was a part of the system even before these invitations? Did this mistake exist from much before? According to Boris Groys: The only difference between Western and Eastern art is that eastern art always comes from the East! ... Its time to turn the page.

If you would stay a bit more to develop this work further? After self-abolition of this performance as an art work, in the 3rd phase, we comprehend the work as an artistic means, a methodological tool which we wish to share with contemporary dance and performance artists, who are willing to reflect their contexts and public work and with all who have something to say about structuration of global World of contemporary dance and performance. We would like to invite you to join us in this research and to develop your own private bio-politics through which other stories could be told about symbolical ownership over history and concepts, monopolizing of global dance and performance scene, and patronization of the backward and the always late (comers). We would usually propose to start with discussion or after talk moderated by (local / present) theorist, artist or in this case by you at the spot. After you can play some of the methodological games (Impersonation game, Generique, etc. ) applied to the subjects of problematisation filed of My private bio-politics. For more info about the games please visit: www.everybodystoolbox.net or contact us: sasentic@yahoo.com