RDF is proud to present a workshop with the performance theorist and philosopher Bojana Cvejic for dancers and choreographers 3rd - 7th February. 

The workshop has the title:  DANCING SOLO AND TECHNIQUES OF THE SELF

On the 7th February Bojana will give a lexture about her research on the topic from 16:00 - 18:00 .

For more i nformation and to register, please email asgerdur@reykjavikdancefestival.is 

About the workshop:
A globally widespread genre, solo dance typifies both truth games and body techniques that individuals practice in everyday life, and not only on the theater stage. The most abundant format in contemporary dance performance, a mandatory test of artistry in education as well as a fetish item in a choreographer’s oeuvre, solo dance is also perhaps the most inexpensive commodity traded in the art world nowadays. It is, moreover, the form in which many bodily systems and techniques are instructed and exercised in the everyday ranging from therapy, business management rhetoric to entertainment in reality TV and social media. The principles and techniques of solo dance (such as “being-in-the-present,” the cult of the personal, self-expression, auto-affection, virtuosity and creativity, projective self-ownership and entrepreneurship) are the technologies of the self which individualize the self by performance. 

“Technologies of the self” hark back to Michel Foucault’s archeology of the discourses on sexuality (in particular, the third volume of The History of Sexuality: Care of the Self). In a nutshell, technologies of the self designate a mode of action that an individual exercises upon herself and uses to produce her subjectivity. They encompass a system of techniques, from truth games to corporeal praxes of the care of the self. The aestheticizing attribute which distinguishes the contemporary processes of individuation points to “the idea of the bios as a material for an aesthetic piece of art” (Foucault 1991: 348). An intriguing ambivelence lies between, on the one hand, Foucault’s originary conviction about the aestheticized notion of self-transformation and resistance and, on the other hand, mechanisms of spectacular commodification and New-Age consumerism.

The workshop probes the above mentioned claims in the performative practices of individual dancers and performers. Participants are asked to collect in advance their materials, thoughts and experiences of solo dance/performance (e.g. videos of their previous work in the genre), as well as the training bodily techniques/systems they have encountered which are circulated beyond the art of dance. In the sessions, we will study these, and at the same time, we will work on developing scores of self-performances, rooted in practicing the care of oneself, which will later be transmitted via radio. One of the aims of the workshop is that each participant (or groups) devises a radio score which will be broadcast on a local radio station.

Bojana Cvejić holds PhD in philosophy (Centre for Research in Modern European Philosophy, London) and MA and BA in musicology (University of Arts, Belgrade). She is lecturer at contemporary dance schools (P.A.R.T.S. Brussels etc.) and works as theorist and performance maker in Europe. Author, dramaturg or performer in many works since 2000 with a.o. J. Ritsema, X. Le Roy, E. Salamon, M. Ingvartsen, C. De Smedt. Apart from publishing in performance and philosophy journals, author/editor of several books (recently, A Choreographer’s Score: Fase, Rosas Danst Rosas, Elena’s Aria, Bartók, co-authored with A. T. De Keersmaeker, Mercatorfonds, Brussels, 2012, Public Sphere by Performance, co-authored with A. Vujanović, Bbooks, Berlin 2012, Parallel Slalom: Lexicon of Nonaligned Poetics, co-edited with G. S. Pristaš, TkH/CDU, Belgrade/Zagreb, 2013). Cvejić is member of the editorial collective TkH (Walking Theory) from Belgrade.


When: 3rd Feb  - 6th Feb: 17:00 - 21:00 and 7th Feb: 11:00 - 15:00 
Where: Dansverkstæðið, Skúlagata 28, 101 Reykjavík