On the invitation of renowned ensemble for contemporary music – Cantus Ensemble, choreographer Marjana Krajač in collaboration with dancers Lana Hosni, Irena Mikec and Sara Piljek created a concert ballet for the composition titled Kaleidoskop im Nebel, by the avant-garde composer and trombonist Vinko Globokar (born in 1934) of the Slovene descent living in Paris. A concert evening took place on 25th of April 2016 at Lauba House in Zagreb. Maestro Globokar conducted his composition in person, guiding the ensemble through this complex and sturdy compositional work.
"In order to see birds it is necessary to become a part of the silence."
Each choreography is also a story of its origin, the story of time that the body needs to form choreography, to form a structural tissue that in its final form stabilizes the dance. The origin of that forming is then also a continuous study of the movement itself; a first dance of the day, dance still uninscribed, that comes out of the body as a detoxification of a form and a pulse. In this inner impulse that becomes a form, lies a central idea of this ballet: a form that becomes a physical event. Sequences of unusual movement architectures, which simultaneously construct and deconstruct a shape, a form and a continuum, a procedure that perpetuates itself in an endless accumulation of new segments. Segments are continuously erased and newly created. In that capacity of continuous re-creation is a virtuosity of this dance code, which is luminescent only in contrast, which is understandable only in the interstices of movement and music.
These interstitial spaces are opened by Globokar’s composition, which is in this case much more than a just a music template. Music is here understood as a mediator and as an initiator of the choreographic-luminescent. In a certain sense, a dance is building itself forward upon the music theme, separating itself into its own specific architecture, as in some sort of hologram, to be returned to the music effort in the very next moment. Movement reconstituted music from the first choreographic listening; performing the music and performing the dance, each of which is subject to their own discipline or wilderness. Inner dialogue of this dance piece begins therefore in all possible points, while passing through the detail of every movement, every breath, circularly considering internal and external spaces. Deconstructing that which is visible in a multi-dimensional dynamic inner layers, movement swells and becomes swept away, carried and escorted into the multitude of parameters, visible and invisible ones, which are then assembled in a fixed structure of a ballet. However, this work invites you to view it as a movement session, invites you to view it fluidly and changeably; like music-and-dance session which can begin in any point, even when there is only silence.
“Marjana Krajač’s choreography was very fluid, maneuvering in a wide arc of disjoining and approaching a music score, leaning on it during the crucial points, that were then giving a further impuls for afresh independency of development in the texture of the dance, whereby a choreographer herself described her intervention as a fluctuous body that anticipates a meeting with the music composition. Marjana Krajač sensed very well the overall atmosphere of Globokar’s music and so her choreography for three dancers seemed like a logical extension of the composition itself.”
“Choreographer Marjana Krajač shaped the energy of the Globokar’s musical display of the fog that descends despite all forecasts together with dancers Irena Mikec, Lana Hosni and Sara Piljek as a ballet concert that gradually progresses, suggesting the viewer fluid and variable observing that relies on excellent and mobile performance of musicians of the Cantus Ensemble.”