HIHI

The conceptual beginning of this performance lies in the assertion that creeps are ambivalent. By discussing them as both a concept and phenomenon and as a potential thematic anchor, we unraveled their properties. We detected substructures, concluding that their mechanics produce effects that are also characteristic of other, opposite phenomena. These effects can also be linked to other completely contrasting concepts. In other words, we can get shiver from something that is not necessarily threatening or associated with fear. Thus, following the conclusion about the ambivalence of creeps, the question arose of what lies on the other side of that thin, yet existent boundary. The answer to that question primarily depended on what the fundamental effect or mechanism underlying creeps is, as well as its potential opposite.

So, what do we also shiver from, but do not necessarily fear?

Keeping in mind that we are operating within the context of contemporary dance, we sought an answer that would, alongside conceptual coherence and dramaturgical connections, also pave the way for creating choreographic questions and problems. The answer had to suggest an opposition while producing the same effects. In some way, it had to indicate an entry into the dance vocabulary while creating a dual performance device. After discarding several ideas and concepts, and analyzing reference fields, sensuality emerged as another equally important thematic anchor. A sensual phenomenon can make us shiver, but it will not scare us. From sensuality, we can feel a shiver, but not fear.

Through the conceptual juxtaposition of these two thematic axes, the mechanism of simultaneous rejection and attraction surfaced as a common foundational ground. Therefore, it became necessary to define a code that would maintain the desired ambivalence on stage, meaning to define a continuous duality of the performance device.

As previously suggested, sensuality served as an entry into the dance vocabulary.  The dramaturgical question that remains to be resolved is the question of the means by which creeps will be staged. In discussions about it, we concluded, among other things, that they are inseparable from the auditory aspect and that we often shiver much more quickly from sound than from any sight. This is likely because the source of sound is sometimes much harder to detect which is why it always remains partially unknown, almost mystical. Guided by this, we decided to stage creeps through specific sound propositions, as well as orality. Thus, alongside the conceptual juxtaposition of the two thematic axes, two types of materiality are staged: the materiality of the body and the materiality of the voice. 

– Luka Bosanac

IDEA AND CHOREOGRAPHY: Ivana Bojanić
DANCE AND VOCAL PERFORMANCE: Ivana Bojanić i Margareta Firinger
MUSIC PERFORMANCE AND SOUND DESIGN: Tin Dožić i Ivona Eterović
DRAMATURGY: Luka Bosanac
CHOREOGRAPHIC ADVICE: Anna Javoran
COSTUME DESIGN: Bruna Jakupović
INSTALLATION: Ivana Bojanić
LIGHT DESIGN: Saša Fistrić
PROMO DESIGN, PHOTO AND VIDEO: Sindri Uču
PRODUCER: Silvia Marchig
CO-PRODUCTION: Kik Melone and Museum of Contemporary Art Zagreb
SUPPORTED BY: City of Zagreb and Croatian Ministry of Culture and Media

The performance is realised as part of ANTISEZONA 24, the partner project of the Museum of Contemporary Art, Zagreb and artistic organisations Divert, Kik Melone and Object of Dance, with the organisational, infrastructural and production support of Dance Center TALA and support of KNAP – Cultural Center Pešćenica.