This performative archive is created in 2009 for the Performance Studies International Conference #15 that took place in Zagreb, commissioned by the Center for Drama Art Zagreb in the frame of What To Affirm? What To Perform? program. What To Affirm? What To Perform? program was part of the East-Dance-Academy Project which was a joint project of Centre For Drama Art (Zagreb), National Dance Centre (Bucharest), Maska (Ljubljana), Tanzquartier (Vienna) and Allianz Kulturstifftung. The project aimed at the modes of historical appearance of the choreographic thought and it researched how did dance develop specific strategies of organization, education and political activation.
Upon the commission of this work we researched the oeuvre of the important Croatian avant-garde choreographer Milana Broš, mostly active during ’60s and ’70s.
We were focused on a periphery; on undocumented and unarchived works from her long working period between 1959 – 1980. One undocumented work which she created for her Chamber Ensemble of Free Dance (KASP), especially occupied our attention. Titled La voix du silence and choreographed in an improvisational format along the composition of the same title by Dubravko Detoni, it was created for a happening titled Carrousel II that took place within the program of the 7th Music Biennale Zagreb in 1973.
Carrousel II brought together very impressive mixture of different music formations: Zagreb Radio-Television Symphony Orchestra, Yugoslav Army Wind Orchestra, Zagreb Radio-Television Dance Orchestra, Zagreb New Tendencies Ensemble, J. A. Riedl Group from Munich, Zagreb Radio-Television Choir, Vatroslav Lisinski Music School children’s choir, Coral vocal ensemble from Belgrade and – Chamber Ensemble of Free Dance (KASP), ensemble lead by Milana Broš.
Interested in unfinished structures, open issues and empty spaces, performative archive FORENSICS AND FUGUE FOR THE FOLDER aimed to reconstruct open spaces in consistency and perception of the event while offering a new view upon the material, constructing a temporary performative location. Focusing on the fragments and the periphery we simulated the historical and the political context in which this choreographic work and artistic practice took place. In the frame of this project, we researched across the large number of documents from the period and had an extensive interviewing sessions with Ms. Broš, who was a remarkable witness, not just of that cultural period, but also of the roots of the modernist and post-modernist tendencies in the region that were exceptionally active, radical and transformative.
Ms. Broš (born in 1929) passed away in 2012, and her presence is still sorely missed. She was not only a pioneer choreographer and an extraordinary artist but was also dedicated and vivid thinker and supporter of dance, which was only preceded by her unlimited collegiality and openness. In that sense, this project holds a special and valuable place in my making.
Video archive of Milana Broš: all rights reserved by DVD "Kaspomanija" published by Croatian Institute for Movement and Dance, 2006.
Created in 2009 for Performance Studies International Conference #15 in Zagreb, comissioned by Center for Drama Art Zagreb in the frame of What To Affirm? What To Perform? programme of East Dance Academy (EDA) Project by Centre For Drama Art (Zagreb), National Dance Centre (Bucharest), Maska (Ljubljana), Tanzquartier (Vienna) and Allianz Kulturstifftung.
Realized with the support of City Office for Culture Zagreb and Ministry of Culture of Republic Croatia
We thank: Nikša Gligo, Dubravko Detoni, Milana Broš, Erika Krpan, Zrinka Matić, Ivana Kocelj, Nina Čalopek, Goran Sergej Pristaš, Enes Midžić and Lovro Rumiha. / We thank Maja Đurinović, archives of Croatian Radio-television HRT, arhives of Croatian Composers Society as well as the private archives of the artists.