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Posts from the ‘Eleştiri / Critique’ Category

Cultures of Complaint: A Report on “Teaching the Teachers” Meeting on Contemporary Dance Education in Turkey

Gurur Ertem

Within its 6th edition, iDANS Festival organized the meeting “Alternative Pedagogies in Contemporary Dance Education”  as part of the series “Teaching the Teachers”. The session was short, yet it was efficient enough to bring into light the major approaches and questions (or the lack thereof) in contemporary dance education in Istanbul. Read more

Hot Pepper, Air Conditioner, and the Farewell Speech

Hande Topaloğlu

6. iDANS Festivali’nin Ekim ayı programının son performansı olan Toshiki Okada’nın yönetmenliğini yaptığı Acı Biber, Klima ve Veda Konuşması gösterimi,  festivalin ilk bölümü için unutulmayacak bir kapanış, Mayıs ayındaki ikinci bölümüne kadarki heyecanlı bekleyiş için ise umutlu bir başlangıç olarak hafızalarda yer etti. Read more

Haiku Yoğunluğunda, Haikudan Epey Uzun

Ceren Can Aydın

Saburo Teshigawara’nın Obsession (Saplantı) isimli koreografisi Luis Buñuel’in senaryosunu Salvador Dalí ile birlikte yazdığı, sanat sinemasının kurucu filmlerinden sayılan, 1929 yapımı meşhur Endülüs Köpeği filmine bir nazire. Read more


Ceren Can Aydın

Or what is an artist, a musician, an audience, a critique, an architect?… Well, what is art? How ‘s a work of art  understood, or is it at all understandable?

Ayşe Orhon directs the questions above to all of the components of what we call ‘art’ in her performance, ‘Many’, she exhibited at garajistanbul in 8/9 November 2011. Orhon has set the subject of her dissertation as ‘Permeable Manifestations’ at the Master of Choreography Program in Amsterdam and, as far as I understand, this piece of dance is the fieldwork of her thesis or possibly just a part of it. The artist questions the circumstances she understands, does not understand and she thinks she is not understood, and the people, both from her own and other disciplines, who have more or less become a part of her own history. She questions her very own self in us. Her answer is evident: I am MANY -as many as the signs infused into my body as a dancer, but, at the same time, as many and multi-layered as the questions, answers, images crossing my mind. Read more

But then again…idealism

Nóra Bükki Gálla

Five dancers, three nations, one artistic principle: diversity. The Spanish-Italian-Hungarian group won a 2 week residency with the 2010 Prix Jardin d’Europe in Istanbul; this January City is part of the DunaPart festival program in Budapest, Hungary.

One has to be bold enough to tackle the issues of social conflicts and interpersonal problems–small and large scale–on a dance stage. It’s a road that may lead nowhere in particular, especially if the artists are hard core romantics; one hardly dares to look for fear of seeing a complete disaster. So we hold our breath and after 50 minutes, relax. Idealism is not dead yet. Read more

Thought Works

Nóra Bükki Gálla

The architect’s eye looks for the mechanism that makes things work, the structure behind the form. In a performance that connects theory and abstraction with the reality of the stage, Filiz Sizanli attempts to show us how the conventional usage of stage space can be challenged, while playing with the interchangeability of dimensions. Drawing a parallel between dynamism and stability, science and art, we find new ways to explore, analyze and describe motion.

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One Too Many

Nóra Bükki Gálla

Being a tourist you are pampered and challenged at the same time: people don’t expect you to keep the rules but on the other hand (since they don’t know your ‘world’, your context) they reflect an image that you might prefer not to see of yourself – and wouldn’t have to anyway, were it not for the simple fact that you are a tourist.

Gabriele Reuter takes that idea: the figure of a foreigner we cannot really identify with, still accept and even grow to love in a way, multiplies it by four and (unfortunately enough for both audience and choreographer) thinks this is enough to make a statement of art. No wonder it isn’t. She tries hard though, dresses her performers in parachutes, jungle costumes and Eskimo wear, adds some truly interesting movement material, and her performers are gregariously confident… Still. Or should we say, all the more…? Read more