residency for Dusan Muric at Riksteatern (SE)

Upon recommendation by the co-organizer Station for Contemporary Dance- Belgrade (RS), Cullberg Ballet invited Dusan Muric (RS), dancer/ choreographer, to a three-week research residency without the pressure of production at Cullberg Ballets location in the production house of Riksteatern (Swedish National Touring Theatre). During the residency Cullberg Ballet offered lodging in a central apartment hotel, individual local travel cards, a large studio, morning classes with the company, fitness facilities, technical support, and artistic advice in a creative environment. Cullberg Ballet also covered the travel costs, per diem and the artist received an individual fee.

Dusan was also offered to work with the dancers from the Cullberg Ballet during his residency and the possibility to invite guests to the studio if he wished. He also had the opportunity to access lectures/workshops organized by the company. Dusan made two showings of his work one at the beginning of the residency as a presentation of what he planned on researching during his three weeks. The presentation was advertised internally to Riksteatern staff, and attended by company dancers, artistic team and administration. The final presentation at the end of the residency was a summary of the material he had collected during the three weeks.  This presentation was advertised as the previous one and was also opened up to guest from the dance community in Stockholm.

Together with Cecilia Elicheche, who also had an artist residency during the same period they created a corridor library. Putting texts together that they thought were important for their work and understanding of the world, in a corridor of Cullberg Ballets building, free for anyone to take, and also to add texts.

Artists: Dusan Muric Dancer/ Choreographer (RS)

Collaborators: Cecilia Lisa Eliceche  Dancer/ Choreographer (AR/BE)

Note from the artist:

During my stay I had the opportunity to present myself at beginning and at the end of the residence. While first was about what I planned to do for three weeks, which sparkled the interest of the dancers, the other was about what happened during those three weeks. Using the strategy of openness, I presented my three weeks of "a profound spiritual experience" (quoting Cecilia). I was hoping for catharsis, but that would be too easy. I still have a long way to go. But it was the reaction of people, full of compassion and understanding that helped me feel better, to believe that I can change my life for real, and not just in words, not just on the stage.

Another important aspect of the residency (and very pleasant) is that I met so many interesting people. Starting with Cecilia, with whom I did what could be counted as the only proper project I did during residency: a corridor library. We put bunch of texts that we think are important for our work and understanding of the world, in a corridor of Cullberg Ballet building, free for anyone to take, and also to add texts. Cecilia was also there to show me what the true meaning of being engaged and critical is; it is to be active every day, in everyday choices, open to people and not just to ideas. She introduced me to Manon Santkin, her friend and colleague, doing her diploma work in DOCH; and their collaborative ‘non massage dance’ was so subtle and humble, it reconnected me with idea what partnering really is about – caring and sharing.

Also I feel privileged that I met Brazilian Swedish artist Leandro Zappala (and his girlfriend/collaborator Anna Mesquita), who persuaded me, through his own recount of personal struggles, that what I experienced is very important and worthy.

I should mention also people from Subtopia, a contemporary circus organization, with whom I spend ‘a day in paradise’, visiting them in their commune-like house by the lake. I met also Dalija Thelander, a colleague from Belgrade, now living in Stockholm, through which I met many local artists and interesting people, for example people from ‘feminist party’ that won the seat in European Parliament. And also I had a piece of nostalgia, meeting Zoe Poluch, my Danceweb 2002 colleague, which I haven’t met since.

What I am regretting most is that I haven't managed to get to know the dancers of Cullberg Ballet. I was simply too busy with myself, and I felt that it would be a disaster to try to work with them on what I proposed in the beginning, and possibly use them as a tool to substitute my lack of (power) drive. I saw, however, that they are very special, subtle and intelligent; therefore I hope that I would have opportunity to meet them again in better fashion.