Brina “When, as a dancer, I stood alone in the massive crowd of liberation fighters, aware that I shall be able to use my dance gift and weak body to express what had been uniting us, that I shall also be able to master the vast natural space, I felt strength in my feet, tramping the hard soil of the forest ground. In our case, it was not the so-called 'ballet' in the wider sense of the word, but more than that: it was a dance expression rooted in the domestic ground, human beings taking part in the very historic event of their own nation. It meant taking part in the liberation struggle of the people who know no despair, who know their power and their purpose. Dance invokes fighting, is victorious in it, then disbound into joy: due to fighting, due to efforts endured, due to strength, due to the very historic act.” – Marta Paulin–Brina https://vimeo.com/367736834 Author: Bara Kolenc Choreography and performance: Bara Kolenc, Leja Jurišić Dramaturge: Aldo Milohnić Music and sound: Mitja Cerkvenik Scenography: Bara Kolenc Rotor installation: Peter Kutin in co-operation with: Patrik Lechner, Mathias Lenz Lighting design: Peter Pivar Produced by: KUD Samosvoj Co-produced by: Zavod Moja kreacija Maribor In cooperation with: City of Women, Kino Šiška, Platform of Contemporary Dance – Platform after Platform; Bunker – Old Power Station Thanks: National Museum of Contemporary History Supported by: Ministry of Culture, City of Maribor; City of Ljubljana The performance tackles the specific emancipatory moment of Slovenian contemporary dance during the WW2 period, showcasing dancer, choreographer and dance pedagogue Marta Paulin, with her Partisan name Brina, as the leading figure in this phenomenon. Before the war, she was a student of Meta Vidmar, who had founded a branch of Mary Wigman school in Ljubljana in 1927. She actively took part in the national liberation movement, was one of the founders of Partisan theatre operating within the XIVth division, and also organised improvisational dance acts for the fighters on Partisan outposts. In the inter-war period, she formed artistic and personal ties to Karel Destovnik–Kajuh. After the war, she was forced to give up active dance creation due to frostbite on her toes, so she remained active as a pedagogue and publicist. reviews Muanis Sinanović - Duhovi Brine Miklavž Komelj - Iti v plesu do konca Zala Dobovšek - Spodmik tal plesu in svobodi
Metamorphoses 1: The Hunt short I designed the sounds and composed the music that I played live with the Orphans (Mitja Cerkvenik, Miha Cočev, Andrej Stupar) during the performance conceived by choreographer and director Bara Kolenc. It premiered on 19.1.2011 in Kino Šiška. Link to Kino Šiška reviews Delo - 21.1.2011 RTV Kultura (1'25'' - 2'38'') ŠOUVIZIJA RTV SLO long "Metamorphoses 1: The Hunt" focuses on hunting, in the structural as well as the substantive sense, but also captures the relation between human being and nature, culture and nature. The hunt is placed in the context of contemporary civilized society where it exists as a practice regulated by law within legally protected nature. But this does not mean that it is no longer a locus of powerful phantasms and desires. Bara Kolenc is interested in hunting as an empirical and material act that speaks of an uneasy and contradictory transgression and regulation of the borders between nature and culture. Proceeding from a newspaper article on a helicopter accident involving high political and humanitarian dignitaries on an illegal hunt of protected animals and the stories from Metamorphoses (Ages of Man, Actaeon and the story about Erysichthon), the performance wants to examine our regulated, but still phantasmatic relation to animals and nature. At the social level, this is observed through the musealisation of nature, on the one hand, and the barbarism of contemporary public and political passions, on the other. In this performance, the worlds of hunters, politicians and mythological figures - voracious and hungry, wild and unregulated - merge one into the other through numerous visual and auditive metamorphoses.

Brina

“When, as a dancer, I stood alone in the massive crowd of liberation fighters, aware that I shall be able to use my dance gift and weak body to express what had been uniting us, that I shall also be able to master the vast natural space, I felt strength in my feet, tramping the hard soil of the forest ground. In our case, it was not the so-called 'ballet' in the wider sense of the word, but more than that: it was a dance expression rooted in the domestic ground, human beings taking part in the very historic event of their own nation. It meant taking part in the liberation struggle of the people who know no despair, who know their power and their purpose. Dance invokes fighting, is victorious in it, then disbound into joy: due to fighting, due to efforts endured, due to strength, due to the very historic act.”
– Marta Paulin–Brina

https://vimeo.com/367736834

Author: Bara Kolenc

Choreography and performance: Bara Kolenc, Leja Jurišić

Dramaturge: Aldo Milohnić

Music and sound: Mitja Cerkvenik

Scenography: Bara Kolenc

Rotor installation: Peter Kutin in co-operation with: Patrik Lechner, Mathias Lenz

Lighting design: Peter Pivar

Produced by: KUD Samosvoj

Co-produced by: Zavod Moja kreacija Maribor

In cooperation with: City of Women, Kino Šiška, Platform of Contemporary Dance – Platform after Platform; Bunker – Old Power Station

Thanks: National Museum of Contemporary History

Supported by: Ministry of Culture, City of Maribor; City of Ljubljana

The performance tackles the specific emancipatory moment of Slovenian contemporary dance during the WW2 period, showcasing dancer, choreographer and dance pedagogue Marta Paulin, with her Partisan name Brina, as the leading figure in this phenomenon. Before the war, she was a student of Meta Vidmar, who had founded a branch of Mary Wigman school in Ljubljana in 1927. She actively took part in the national liberation movement, was one of the founders of Partisan theatre operating within the XIVth division, and also organised improvisational dance acts for the fighters on Partisan outposts. In the inter-war period, she formed artistic and personal ties to Karel Destovnik–Kajuh. After the war, she was forced to give up active dance creation due to frostbite on her toes, so she remained active as a pedagogue and publicist.

reviews

Muanis Sinanović - Duhovi Brine

Miklavž Komelj - Iti v plesu do konca

Zala Dobovšek - Spodmik tal plesu in svobodi

Brina

reviews

Metamorphoses 1:The Hunt

short

reviews

long

Metamorphoses 1:
The Hunt