Polje

(English below)

—

Jana Jevtović: Polje

29. in 30. junij 2026, Stara mestna elektrarna ‒ Elektro Ljubljana ob 11h
(V ponedeljek 29. junija bo predstavi sledil pogovor z Jano Jevtović in Rokom Vevarjem)

—

Vstopnice: 10€ / 7€ (dijakinje_, upokojenke_, študentke_)

—

Sokolsko gibanje je bilo panslovansko telesnokulturno gibanje, ki je v drugi polovici 19. stoletja vzniknilo na Češkem in je telesno kulturo združevalo s krepitvijo slovanskih nacionalnih zavesti. Sokolski dom na Taboru v Ljubljani je bil zgrajen po načrtih Ivana Vurnika med letoma 1923 in 1926 (dokončan 1927). Na prireditvi ob polaganju njegovega temeljnega kamna leta 1922 sta nastopila plesalca Lidija Wisiak in Vaclav Vlček, na prireditvah Sokolskega društva pa so pogosto nastopale plesalke in plesalci modernega plesa, med drugim Meta Vidmar, ki je svoj prvi zabeleženi plesni nastop opravila prav na novoletni prireditvi leta 1925. Telesna kulturna in moderni plesa sta v tem času delila interese. Leta 1928 v časopisu Slovenski narod anonimni publicist predlaga, da bi se morala takratna doba, zaradi popularnosti telesne kulture, imenovati doba plesa in telesa.

Leta 1922 je je Južni Sokol priredil svoj prvi vsejugoslovanski sokolski zlet (masovno telesno kulturno prireditev članov različnih jugoslovanskih sokolskih društev) in s te prireditve imamo ohranjena plakata prostih vaj za članice in člane sokolskih društev. Plakat deluje kot notacijski zapis, iz katerega so se člani naučili vaj, ki so jih potem skupaj izvajali na prireditvi v Ljubljani. Iz notacij je razvidna razlika med moškimi in ženskimi vajami in očitna plesna estetizacija telesne kulture pri ženskih vajah. Masovne telesnokulturne prireditve tega časa so bile pogoste in so prečile različne ideologije in politične nazore.

Ali je lahko ples oblika poslušanja? Plesalci poslušajo gibanje, ko to nastaja. Občinstvo posluša ples, ko se razpira v prostoru. Morda tudi ples sam posluša lastno kristalizacijo.

Ples nekaj sporoča, hkrati pa je tudi sam po sebi nekaj – podobno kot ne poslušamo le tega, kar nekdo pove, temveč tudi ritme, barvo in dinamiko njegovega glasu. Plesati pomeni učiti se poslušati te kvalitete znotraj plesa.

V svoji novi produkciji plesalke in koreografinja Jana Jevtović raziskujejo tradicijo vseslovanskega sokolskega gibanja ter z njim povezane manifestacije, znane kot zleti – prakse telesnega gibanja, izvajane na množičnih dogodkih – kot estetsko prakso. So bili ti dogodki zgolj sredstvo za utrjevanje ideologije in moči ali pa so jih oblikovali tudi specifični umetniški tokovi? Če je tako, nas lahko te gibalne kompozicije naučijo kaj o tem, kako so skupne skrbi in kolektivna skrbnost nadomestile osebna identiteta in nehotena zaprtost vase?

Sedem žensk se zbere v prostoru, ki odmeva s spomini, življenjskimi potmi, osebnimi in kolektivnimi zgodbami, skrbmi in čutnostmi. Te se prenašajo na občinstvo kot pokrajina, prepredena z linijami, presečišči, brazgotinami in vdolbinami – podobno kot dlan, ki pripoveduje zgodbo posameznega življenja, oblikovanega skozi prisotnost in odnos z drugimi. Plesalke se zbirajo, da bi si med seboj in z občinstvom delile plese, ki nihajo med formalno natančnostjo in skoraj pogovornim načinom skupnega gibanja, v katerem se formalne kvalitete zleta preoblikujejo v semiotiko intimnosti.

Jana Jevtović z: Tina Benko, Jerneja Fekonja, Evin Hadžialjević, Neža Jamnikar, Ema Križič, Bojana Robinson, Kristina Tini Rozman, Mårten Spångberg, Inti Šraj
Podpora za besedilo: Mårten Spångberg
Produkcija: Jana Jevtović in NDA Slovenija
Koprodukcija: Športno društvo Tabor Ljubljana, Bunker
Stiki z javnostjo: Goran Pakozdi
Video dokumentacija: Gaja Madžarevič
Foto dokumentacija: Nina Pernat
Finančna podpora: Mestna občina Ljubljana, Ministrstvo za kulturo Republike Slovenije, DanceMap

—

Jana Jevtović: Field

June 29 and 30, 2026, Stara mestna elektrarna ‒ Elektro Ljubljana at 11am
(On Monday, June 29, the performance will be followed by a conversation with Jana Jevtović and Rok Vevar)
—

Tickets: 10€ / 7€ (reduced price)

The Sokol movement was a Pan-Slavic physical culture movement that emerged in the Czech lands in the second half of the 19th century. It combined physical exercise and bodily culture with the strengthening of Slavic national consciousness. The Sokol Hall (Sokolski dom) in the Tabor district of Ljubljana was built according to the plans of architect Ivan Vurnik between 1923 and 1926 (completed in 1927). At the ceremony marking the laying of its foundation stone in 1922, dancers Lidija Wisiak and Vaclav Vlček performed. Events organized by the Sokol Society frequently featured modern dancers as well, including Meta Vidmar, who gave her first recorded dance performance at a New Year’s celebration in 1925. Physical culture and modern dance shared many interests during this period. In 1928, an anonymous contributor to the newspaper Slovenski narod suggested that, because of the popularity of physical culture, the era should be called the “age of dance and the body.”

In 1922, the Southern Sokol organization held its first all-Yugoslav Sokol rally (a large-scale physical culture event bringing together members of various Yugoslav Sokol associations). Posters for the free exercise routines performed by female and male members have been preserved from this event. These posters functioned as a form of notation through which participants learned the exercises that they later performed collectively at the gathering in Ljubljana.

The notation reveals clear differences between the exercises assigned to men and women, as well as an evident aestheticization of bodily culture through dance in the women’s routines. Mass physical culture events of this period were widespread and crossed a variety of ideological and political boundaries.

Can a dance be a form of listening? The dancers listening to movements as they emerge. The audience listening to the dance as it unfolds in space. Perhaps dancing itself listens to its own crystallization.

A dance tells something but is simultaneously something in itself—similar to how we listen not only to what somebody has to say, but also to the rhythms, timbre, and dynamics of their voice. Dancing implies learning to listen to those qualities within a dance.

In her new production, the dancers and choreographer Jana Jevtović research the tradition of the Pan-Slavic Sokol movement, and its related manifestations known as zlets—physical movement practices performed at mass events—as an aesthetic practice. Was it simply a means to consolidate ideology and power, or were zlets also shaped by particular artistic currents? If so, can these movement compositions teach us something about how shared concerns and communal care have been replaced by personal identity and involuntary insularity?

Seven women come together in a space that resonates with memories, lifelines, personal and collective histories, worries, and sensualities. These are passed on to the audience like a landscape criss-crossed with lines, intersections, scars, and indentations—much like a palm telling the story of an individual life, shaped through presence and interaction with others. The dancers gather to share, with each other and the audience, dances that oscillate between formal precision and an almost conversational mode of moving together, in which the formal qualities of zlet transform into a semiotics of intimacy.

Jana Jevtović with Tina Benko, Jerneja Fekonja, Evin Hadžialjević, Neža Jamnikar, Ema Križič, Bojana Robinson, Kristina Tini Rozman, Mårten Spångberg, Inti Šraj
Text support: Mårten Spångberg
Production: Jana Jevtović and NDA Slovenia
Coproduction: Športno društvo Tabor Ljubljana, Bunker
Public relations: Goran Pakozdi
Video documentation: Gaja Madžarevič
Foto documentation: Nina Pernat
Financial support: Mestna občina Ljubljana, Ministrstvo za kulturo Republike Slovenije, DanceMap