the Croatian contemporary dance scene fights for space and recognition

EkS-scena (Experimental Free Scene), a self-organized working platform for collaboration on joint projects, communication and exchange of information, stepped in seven years ago to provide the educational and production programmes its constituency lacked. Its work has resulted in a noticeable diversity of choreographic styles and artistic aesthetics on a formerly scarce dance scene.

Any serious conversation on the contemporary dance scene of a country should start off from its foundation pillars rounding off with a good representation of the off-scene. But, to speak or write of contemporary dance in Croatia is to reflect on the off, the not there. It is still the only art form that has no dedicated spaces, no institutions, no university courses, no studios, no dance center, miserable financial support. So, how can there be a scene to speak off at all, let alone one on par with its counterparts in radically more sensible environments? A number of authors and small-scale initiatives are making Croatian dance scene plentiful and interesting. One initiative in particular has helped to create the scene we see today.

EkS-scena (Experimental Free Scene), a self-organized working platform for collaboration on joint projects, communication and exchange of information, stepped in seven years ago to provide the educational and production programmes its constituency lacked. Starting off by running an information mailing list, then by semi-squatting the morning hours of a local cultural center's studio to organize training for dancers who took turns leading the classes for their colleagues, it continued with workshops with local and international choreographers, as well as enabling auditions that give dancers the possibility of further education abroad. More educational and presentation programmes followed.

The result was a quickly noticeable diversity of choreographic styles and artistic aesthetics on a formerly scarce scene. Together with innovative initiatives of (self-)organizing, production models and educational programs, this is what distinguishes Croatia's contemporary dance scene today; this is its primary capital, built-up over years of labor under hard circumstances and with the lack of support.

Still, after the initial drive of the first years, EkS-scena's ever rotating crew seemed exhausted to the brink of burnout. The choreographers started to question working hours spent not producing dance, but filling in for institutions that are still not on the horizon. A disbanding of EkS-scena was even proposed in 2006/2007, but luckily was not realized.

And one institution seems to be just around the corner. In 2003, the City of Zagreb purchased several buildings that used to house cinemas. One has become operational as the Croatian Cinematheque, another houses a theater company, one was additionally purchased to run non-commercial cinema programs. The fourth one has been announced as the location of the future Dance Center. For years now all cries for action from the scene have been stifled by announcements of ever delayed opening dates of the future institution, as it will surely resolve all issues, won't it? The anticipation of the establishment of the first Dance Center has been a big issue in all discussions of the scene's status, although most are reserved about what this will mean for the scene's production and stability. Despite a now quite near (May 2008) announced date of opening, the location holds only construction fencing and a partially torn-down old cinema. It seems to be used only as a permanent parking lot for trucks and construction machinery. No work has occurred on the location for years.

Beyond the building, the very model of the future institution is uncertain. The Municipality of Zagreb has established well known local name Mirna Žagar (the executive director of Vancouver's Dance Center) as the head of the future Dance Center without an open call or survey of the scene. Žagar has publicly spoken of the future institution as "a space that will enable continuous dance education of professionals, information flow, audience attraction and, lastly, production and performance space", but has not revealed a model, program or direction of the future institution. No room dance can call its own is further accented by a bad lack of financial support. The City of Zagreb's Office for Culture designates a portion of its budget for the whole dance scene which in total is an amount lower than the budget of one average city theater. Only the raise in the already enormous budget for the National Theater for 2008 surpasses the whole dance scene budget for the same year.

On March 7th, I attend an event organized by EkS-scena titled center2. It marks their partnership with the cultural center that originally allowed them the use of its studios for their first run of dance classes with elusive performances and installations (it houses them still). Although the different authors participating in the event have not consulted on the topics of their works and the event itself was more of an open call for participation then a curated exhibition, the common thread is eerie: BADco. does a walking tour through fictional spaces of consumption (cultural and commercial), Želijka Sancanin exhibits images of different places she has performed in (a rare stage appears ever so often), the company Oour stages an all-white meditation room and Irma Omerzo attempts to dance in a cornered off 1m2. It is certainly time for Croatian dance to have a m2 of space of its own.

Ivana Ivkovic, March 2008

More info: http://www.eks-scena.hr