This is a dance performance by artists with and without learning disabilities. It focuses on the history of German dance scene and choreographies created in the 20th century that had a significant effect on the world of dance: Hexentanz by Mary Wigman from 1926, Kontakthof by Pina Bausch from 1978, and Self Unfinished by Xavier Le Roy from 1998. The intention of the artists in this performance is to critically examine the position of people with disabilities in dance and in the society. The performance offers a possibility for artists with disabilities to appear as subjects and actors of contemporary dance today.
Asentić was artist in residence at the Akademie Schloss Solitude in Stuttgart, New York Live Arts – Suitcase Fund program, and Centre national de la danse in Paris. He took part in the research and educational program ex.e.r.ce 2008 at the Centre chorégraphique national de Montpellier.
In 2005, he initiated Per.Art organization that deals with production and promotion of contemporary performing arts in Serbia. Since 1999, he is the leader of the Arts and Inclusion program for artists and audiences with cognitive disabilities.
He received reviews for his artistic work in TheNew York Times, Time Out New York, TAZ (Die Tageszeitung), Frankfurter Allgemeine Sonntagszeitung, etc., and journals of performing arts such as Performance Research, Performance Journal – Movement Research, Maska, TkH and Scena published texts about his work.
Concept and artistic direction: Saša Asentić
Choreography and artistic collaboration: Natalija Vladisavljević, Alexandre Achour and Olivera Kovačević
Performers: Natalija Vladisavljević, Jelena Stefanovska, Snežana Bulatović, Dalibor Šandor, Marko Bašica,
Frosina Dimovska, Dunja Crnjanski, Alexandre Achour, Olivera Kovačević Crnjanski and Saša Asentić
Poems: Natalija Vladisavljević
Duration : 90 min.
The number of audience : 300
Performance is not for youth under 12 years of age.