Pismo podpore CSPU

 
 
Pismo podpore CSPU /  Podpisniki pisma

8. 3. 2012


Podpora iniciativi Društva za sodobni ples Slovenije (DSPS) proti ukinitvi edinega javnega zavoda Center sodobnih plesnih umetnosti (CSPU) v Sloveniji

Slovensko in mednarodno javnost in strokovno javnost na področju sodobnega plesa pozivamo, da s predlogi in komentarji, ter s podpisom podprete stališče DSPS glede ukinitve CSPU. Predvsem pa vas prosimo za stališča, zakaj je tak center v slovenskem in mednarodnem kulturnem prostoru potreben.
Mreža sodobnega plesa

Support for the initiative of the Association of Contemporary Dance Slovenia (ACDS) against the abolition of the only public institution for contemporary dance in Slovenia, the Center of Contemporary Dance Arts (CCDA).

We would like to invite Slovenian and foreign contemporary dance experts and other interested public to support the Association of Contemporary Dance Slovenias stand with suggestions, comments and by signing the initiative. Above all, we would ask you to share your opinions on why such a center is needed in the Slovenian and international cultural space.
Contemporary Dance Network
 
 
Ime in priimek / Name and Surname:Organizacija / Organization:Naziv / Title: Komentar / Comment:
 
 
Vsebina odprtega pisma

Spoštovani gospod minister prof. dr. Žiga Turk,

iz medijev smo izvedeli o vaši nameri o ukinitvi Centra sodobnih plesnih umetnosti. Verjetno že veste, o čem bo šlo to pismo, in imate prav: vaši odločitvi ustvarjalci sodobnega plesa – plesalci, koreografi, producenti, teoretiki, kritiki in zgodovinarji s področja, poleg umetnikov, ki to prakso soustvarjajo z znanji z drugih umetniških področij – soglasno in z vso odločnostjo nasprotujemo. Poskušali vam bomo razložiti, zakaj bi bila takšna odločitev za nas smešna, če ne bi bila za področje, s katerim se ukvarjamo, tragična in nesrečna.
Prvič. Center za sodobni ples je prva in edina slovenska nacionalna institucija umetniškega področja, ki je po desetletjih boja za afirmacijo te prakse v nacionalnem in kasneje v državnem okviru možnost »legalizacije« dobilo z Nacionalnim programom za kulturo 2008-2011. Po ustanovitvi strokovne komisije in študijah, ki jih je po naročilu Ministrstva za kulturo ta opravila, je bil v sodelovanju in s konsenzom stanovskega Društva za sodobni ples Slovenije in strokovnih služb Ministrstva za kulturo pripravljen ustanovni akt, s katerim je predhodna vlada v zadnji fazi svojih operativnih pristojnosti CSPU tudi ustanovila (13.07.2011), zaradi neizglasovane nezaupnice, po kateri Sveta zavoda ni bilo več mogoče imenovati, pa so bile dejavnosti v zvezi s Centrom zaradi postopkovnih določil v ustanovnem aktu preprosto onemogočene. CSPU ni bil ustanovljen niti kot agencija za distribucijo subvencij niti kot tehnično-administrativni servis za tekoče plesne dejavnosti, ampak kot institucija, ki bi s svojim programom umetnikom zagotovila ustvarjalne pogoje, primerljive z evropskim kulturnim kontekstom, s katerim je bil slovenski sodobni ples od svojih začetkov v 20. letih 20. stoletja povezan na mrežne načine, ki jih danes Evropska unija promovira z imenom umetniške in kulturne mobilnosti. Pozivamo vas, da tej instituciji omogočite konstitutivno priložnost, ki je po ustanovitvi zaradi političnih in z njimi pravno-formalnih okoliščin preprosto ni mogla imeti.
Drugič. O tem, kaj slovenski sodobni ples s svojo zgodovino pomeni za domači in mednarodni prostor ter kako se je umeščal v dotične kontekste, se nam zdi ministra, ki je s svojim ministrskim resorjem med drugimi zadolžen tudi za to umetniško področje, nemprimerno »šolati«, kljub temu pa dovolite, da na kratko povzamemo nekaj dejstev, mimo katerih ne moremo. (1) Zapoznela institucionalizacija sodobnega plesa je povezana z dejstvom, da so to umetniško prakso moderne Evrope pri nas začele emancipirane ženske umetnice, še preden so dobile po letu 1945 splošno volilno pravico, in da so zaradi pomanjkanja politične moči, ki je imelo različne razloge in ki je povezano med drugim tudi s prvim dejstvom, umetnice in umetniki sodobnega plesa desetletja prisiljeni delovati v neprimernih pogojih. (2) Slovenski sodobni ples je od 30. let 20. stoletja dosegal vidne mednarodne uspehe na svetovnih odrih (o nekaterih danes priča mednarodna plesna zgodovina), še posebej pa so se mednarodni uspehi povečali v zadnjih treh desetletjih (v času osamosvajanja Republike Slovenije in po njeni osamosvojitvi), ko so posamezni koreografi s svojimi kolektivi in umetniškimi deli obšli takorekoč vse celine in najvidnejša svetovna plesna središča in festivale, prejemali pomembne mednarodne nagrade za svoja dela in ko je Ljubljana nekaj časa brez vidnejše sistemske državne podpore za delovanje te umetniške prakse veljala poleg Bruslja, Berlina, Lisbone, Pariza in Dunaja za eno od evropskih sodobno-plesno središč; v 90. letih kot edina v Vzhodni Evropi. Zaradi pomankljivega posluha političnih odločevalcev in zaradi izčrpavanja dejavnikov na področju sodobnega plesa so nas na vseh črtah s premišljenimi in reaktivnimi koncepti kulturne politike in sistemskimi rešitvami začele prehitevati nekdanje države vzhodnega bloka. (3) Na temelju mednarodnih uspehov in vključenosti sodobnega plesa v mednarodne mreže je Ministrstvo za kulturo v 90. letih uvedlo kriterija mednarodnega sodelovanja in mednarodnih koprodukcij, s katerima se danes med ostalimi kriteriji ocenjuje celotno področje uprizoritvenih umetnosti in prinaša točke umetniškim projektom. Prve mednarodne koprodukcije so v slovenskem kulturnem prostoru na področju uprizoritvenih umetnosti – in bodimo odkriti: v slovenski umetnosti na sploh – uspeli izposlovati prav koreografi sodobnega plesa. In to z uglednimi belgijskimi, britanskimi, nemškimi, nizozemskimi, baltiškimi, islandskimi, avstrijskimi idr. producenti in plesnimi institucijami. (4) Koreografi in plesalci smo izmed državnih nagrad prejemniki Prešernovih nagrad in nagrad Prešernovega sklada, ob katerih pa se sprašujemo, zakaj so bile sploh podeljene, če nam država hkrati ni sposobna priznavati ustreznih ustvarjalnih in delovnih pogojev. (5) Slovenska plesna teorija in zgodovina s svojo skromno bibliografijo, v kateri pa so evidentirani nekateri resnično vrhunski, pa tudi zgodovinsko prelomni naslovi, si je s posameznimi strokovnjaki in znanstveniki pridobila mednarodni ugled, ki pa danes plementiti študijske programe na univerzah v Združenih državah Amerike in po Evropi, saj domače razmere njihovemu delu niso naklonjene. – Če želite, lahko seznam argumentov in referenc, ki pričajo o zgodovinskem doprinosu slovenskega sodobnega plesa domačemu kulturnemu prostoru, zelo razširimo.
Tretjič. Argument socialne solidarnosti in participacije pri nošnji posledic kriznih razmer je za področje sodobnega plesa neposrečen paradoks, saj smo sodobno-plesni ustvarjalci navzlic neizpodbitnemu prispevku k slovenski umetnosti, kulturi in mednarodnemu ugledu Slovenije s svojo dejavnostjo v zadnjih 80-letih na domačih tleh v srečnih razmerah prejemali mesečni dohodek, ki ustreza temu, čemur finančni sektor s sodobnim jezikom pravi: zajamčena ali, kadar so razmere boljše, minimalna plača. Že dolgo je tega, odkar je naša solidarnost s slovenskim kulturnim prostorom trčila ob meje norosti, zato vas pozivamo, da ste tokrat vi, politični odločevalci, solidarni z nami in nam – tako kot drugim primerljivim družbenim, umetniškim in kulturnim praksam – omogočite primerne pogoje za življenje in delo.
Četrtič. Krčenje sredstev na področju umetnosti, znanosti, šolstva in kulture nas na splošno skrbi in vzbuja nezaupanje, saj verjamemo, da so krizne razmere, iz katerih se niti Slovenija niti mednarodni kontekst ne zna izvleči, v resnici znamenje podhranjenosti dotičnih dejavnosti. Če ne zmoremo proizvesti nikakršnih ekonomskih, političnih in družbenih konceptov, s katerimi bi se krize lotili na učinkovit način, potem je več kot očitno, da gre tu za pomanjkanje tistih karakteristik, ki jih s svojimi dejavnostmi običajno generirata znanost, umetnost in šolstvo, vključno s sodobnim plesom: inventivnosti, domišljije, kolaborativnega ustvarjanja in občutka za drugega ali drugo – za razliko, ki je predpogoj abstraktnega in invetnivnega mišljenja. Zato menimo, da s krčenjem sredstev kulturnim, izobraževalnim in znanstvenim institucijam vlada v izhodišču postopa zelo kratkoročno in ekskluzivno. Predlagamo nasprotno: da aktualni ministrski resor s svojim širokim spektrom dejavnosti poveča sredstva na omenjenih področjih in premisli, kako okrepiti te dejavnosti in kako je mogoče koncepte, metodologije, iznajdbe in postopke, ki jih te dejavnosti generirajo, implementirati v širši spekter družbenih dejavnosti. Neposredno učinkovitih konceptov seveda nikoli ni brez mentalnih in kreativnih temperatur, ambientov in okolij, ki takšne (tudi gospodarske) koncepte in mišljenjska orodja šele omogočijo.

Spoštovani gospod minister prof. dr. Žiga Turk, čeprav smo v strategijah in taktikah upora proti (kulturno-)politični ignoranci ali enostranskim odločitvam oblasti inventivni in dobro izurjeni, bi si našo inventivnost želeli tokrat resnično usmeriti v širok spekter tistega, kar si predstavljamo pod umetniškim ustvarjanjem in produkcijo na področju sodobnega plesa. Ker vemo, da cenite pridobitve slovenske države vključno s civilnim dialogom, vemo, da pred posvetovanjem s stroko in pred sestankom z nami ne boste sprejemali enostranskih odločitev.

V pričakovanju vašega odgovora vas lepo pozdravljamo,

V imenu Društva za sodobni ples Slovenije,
Rok Vevar in Bara Kolenc
 

Open letter to the Minister of Education, Science, Culture and Sport, Dr. Žiga Turk

Dear Minister of Education, Science, Culture and Sport, Dr Žiga Turk

We've learnt from the media about your intention to abolish the Center for Contemporary Dance Arts. You probably already know what this letter is about, and you are right: contemporary dance creators - dancers, choreographers, producers, presenters, writers, critics and historians, as well as the artists who help create this with their knowledge of their respective fields - unanimously and with great determination oppose your decision. It is the only institution in this area in our country, for which the non-governmental sector has been striving for over twenty years, while its successes and needs have long since reached the top-notch professional level.
In September 2011, the Center for Contemporary Dance Arts was finally set up and ready to step on the successful path of institutionalized Slovenian contemporary dance. The art of contemporary dance has been present in Slovenia since the early 20th century – it came here at the time of its explosion in Europe and the U.S. – however, compared to other artistic genres, it is still completely neglected in terms of institutionalization. Compared to Europe, state support for contemporary dance is greatly lacking. While each European country has several contemporary dance academies, a number of state contemporary dance institutes and theaters that have been operating for over fifty years, contemporary dance in Slovenia still largely exists only as a non-institutional art. After all the years of poor working and creative conditions, dancers, choreographers and all those associated with dancing need the space and funds earmarked for the professionalization of contemporary dance in order to enable a long-term stability and development of dance.
The success of Slovenian contemporary dance, which has achieved excellent results and recognition in Europe as well as around the world and can be compared to the results of the European institutions, was achieved at the expense of Slovenian dancers' and choreographers' hard work. Despite major international achievements, the dancers and choreographers are limited to project work within NGOs. Let us emphasize once again that the Center for Contemporary Dance Arts is a strategically important center. Because Slovenian contemporary dance already accomplished great recognition in the world, we believe that the Slovenian state should invest in it.
Contemporary dance is one of the most internationalized and developing branches of art in the world. It is through contemporary dance, that Slovenia could build its international profile. Mr. Turk, even though we are inventive and well-trained in the strategies and tactics of resistance against (cultural) political ignorance and unilateral decisions by the authorities, we would really want to focus our inventiveness on a wide range of what we imagine is artistic creation and production in the field of contemporary dance. We expect that, because our state, known as the Republic, prides itself on being a parliamentary democracy and on the rights that ensue from these regulatory characteristics, you will invite us to a meeting. Because we know that you value the instruments of the Slovenian state, including civil dialogue, we know that you will not make any unilateral decisions prior to consulting with experts and prior to our meeting. In anticipation of hearing from you, with best regards.
Sincerely
Bara Kolenc, the president of Association of Contemporary Dance Slovenia

Appendix 1
Firstly, the Center of Contemporary Dance Arts is the first and only Slovenian national institution in this art field, which, after decades of struggling for the affirmation of this practice nationally and state wise, later received the possibility of "legalizing" the practice with the National Programme for Culture 2008-2011. Ministry of culture has formed a working group in order to conduct studies to prepare a founding act for Centre of Contemporary Dance Arts in collaboration and in agreement with Association of Contemporary Dance Slovenia and responsible services at the Ministry of culture. The Centre of Contemporary Dance Arts was established by the previous government (13th of July 2011) as part of her technical duties. The government did not receive a vote of confidence in the parliament hence its inability to appoint members of the Institute's board. The Centre therefore could not perform any of its activities due to the procedure provisions in the founding act. CSPU was established neither as an agency for the distribution of subsidies, nor as a technical-administrative service for the current dance activities, but as an institution that would provide creative artists with conditions comparable to the European cultural context with its program. This European context was connected to Slovenian contemporary dance field from its beginnings in the 20th century through networking in a way that is now promoted by the European Union as artistic and cultural mobility. We urge you to enable this institution a constitutive opportunity, which was taken away by political circumstances and their legal and formal consequences.
Secondly, we deem it inappropriate to "teach" the Minister, who is also responsible for other ministerial portfolios as well as this one, what Slovenian contemporary dance with its history means for the domestic and international environment and how it is placed in those particular contexts. However, let us briefly summarize some facts, which cannot be overlooked. (1) The late institutionalization of contemporary dance is due to the fact that this field of European modern art was started by emancipated female artists, even before receiving their universal suffrage in 1945. Because of their lack of political power, due to different reasons and mostly associated with the first fact, contemporary dancers were forced to work in substandard conditions for decades. (2) Since the 1930s' Slovenian contemporary dance has achieved visible success on international stages around the world (some of them today are a crucial chapter in the international dance history). The international success visibly increased especially over the past three decades (at the time of Slovenia's independence and after), when individual choreographers with their collectives and artworks visited almost all the continents and the world's most prominent dance centers and festivals, received significant international awards for their work and when Ljubljana was considered, without any great systematic government support, as one of the European contemporary dance centers, next to Brussels, Berlin, Lisbon, Paris and Vienna. Because decision makers had no sympathy for our needs and due to depletion in contemporary dance, we were overtaken by Eastern bloc countries with their reactive concepts of cultural policy and systematic solutions in every possible way. 3) Based on the international success and inclusion of contemporary dance in international networks, the Ministry of Culture introduced the criteria for international cooperation and international co-productions in the 90s. This criterion today, amongst other criteria, assesses the entire area of performing arts and brings points to art projects. First international co-productions in the performing arts field in the Slovenian cultural space - and let's be honest: the Slovenian art in general - were obtained by the efforts of contemporary dance choreographers. These were co-productions with renowned Belgian, British, German, Baltic, Icelandic, Austrian and other producers and dance institutions. (4) Choreographers and dancers are the recipients of state awards, amongst them the Prešeren award and The Prešeren Fund prizes. Naturally, we wonder why they were all granted, if the country is unable to recognize our achievements and provide us with appropriate creative and working conditions at the same time. (5) Slovenian dance theory and history with its modest bibliography, in which some truly superb and also a historical accomplishments are recorded, has gained an international reputation with individual experts and scientists. These individuals today teach and work at universities in the United States of America and Europe, as their domestic circumstances are not favorable. The list of arguments and references that testify to the historical contribution of Slovenian contemporary dance and its importance for our cultural space can be extended furthermore.
Thirdly, the argument for social solidarity and participation in bearing the consequences of crisis conditions is an unfortunate paradox for the field of contemporary dance. Contemporary-dance performers, with their activity in the last eighty years, were receiving a monthly income, despite indisputable contribution to Slovenian art, culture and international reputation. This income corresponds to the term the financial sector uses: guaranteed salary or minimum salary, the latter only when conditions were better. Our solidarity with the Slovenian cultural space reached its limit long since, so we urge you that this time you, the policy makers, show solidarity to us and – like to other comparable social, artistic and cultural practices – enable appropriate conditions to live and work.
Fourthly, cuts in fundings of arts, science, education and culture, are worrying us and raising our suspicions. We believe that the crisis, from which neither Slovenia nor the international context can pull out, is in fact a sign of undernourishment of the respective areas. If we can not produce any economic, political and social concepts in order to tackle the crisis in a more effective manner, then it is more than obvious that this is a lack of characteristics, which are usually generated by science, art and education, including contemporary dance. These characteristics are: inventiveness, imagination, collaborative creativity and a sense for the other – all a prerequisite for abstract and inventive thinking. We therefore believe that, with the cuts in funding for cultural, educational and scientific institutions, the government acts exclusively and in a very short-term manner. We suggest the opposite: that the current ministry department with its wide range of activities increases fundings in the above mentioned fields and considers how to strengthen these activities and how to implement concepts, methodologies, inventions and processes, which are generated by these activities, in a wider range social spectrum. Immediately effective concepts cannot be produced without mental and creative temperatures, ambients and environments, which can enable such (also economic) concepts and thinking tools.

In name of Association of Contemporary Dance Slovenia,
Bara Kolenc and Rok Vevar
 
Povezava na seznam podpisnikov / Link to the list of signatures
Izdelava spletnih strani Normstudio.si