The Fragments
Choreographers and directors: Olivera Kovačević-Crnjanski and Saša Asentić
Costumes: Marina Sremac
Cast: Andreja Kulešević, Frosina Dimovska, Saša Asentić
Lighting Engineer: Miodrag Mihalek
Sound Engineer: Dušan Jovanović
Sound Assistant: Predrag Petruševski
Video Animation: Vladimir Kojić, Saša Asentić
Stage Managers: Olgica Banovčanin, Tanja Milanov

Inner and Outer Circles
Choreographer and director:
Composer: Greg Smith
Choreography Assistants: Patricija van Dojtkom and Olivera Kovačević-Crnjanski
Costumes: Marina Sremac
Cast: Jelena Marković, Andreja Kulešević, Frosina Dimovska, Saša Krga, Ana Lečić, Danijela Vojnovski, Maja Stanković, Ivana Ivanov, Bojana Matić
Lighting Engineer: Miodrag Mihalek
Sound Engineer: Dušan Jovanović
Sound Assistant: Predrag Petruševski
Stage Managers: Olgica Banovčanin, Tanja Milanov

The Fragments, choreographed and directed by Olivera Kovačević-Crnjanski and Saša Asentić to the music of Dado Dzihad and the Modern Quartet, is staged as if it were a dance study through which one’s own body as well as its relation to the body of the other is being explored in a powerful way. These fragments or positions in movement, delivered by Andreja Kulešević, Frosina Dimovska and Saša Asentić, with the full engagement of their interesting dancing individualities, don’t have any sign of a narrative so their structure allows constant diversity both in the dancing of the individuals and in their group dances. Aggressiveness (one of the significant components of the modern dance) in the Fragments enables the development and constant visual changes of dance images through a certain physical invasion of what the others carry inside, without sparing one’s own body.

Inner and Outer Circles, staged and directed by young Belgian choreographer Jens van Dal (works at the Dance Academy in Arnem, Holland), gathered the SNP Ballet soloists for presenting a not easily acceptable idea that aggressiveness towards others can turn into an embrace and tenderness. The musical foundation by Greg Smith doesn’t give room for any rest or romantic passages, and the artists from Novi Sad present van Dal’s almost unpleasant aggressiveness towards one’s own body and the bodies of others with an outstanding devotion to the choreographer’s demands.

It is sure that all the participants at the Forum for the New Dance premiere have expanded their knowledge of the limits in searching the world of contemporary art dance by Jens van Dal’s visit. We all got acquainted with the experiences of others and this should be fostered in the future as well. However, the burden carried by Olivera Kovačević-Crnjanski and Saša Asentić made more of an impact on our senses and induced feelings and reflections on the essence of the new dance, which isn’t marginal in Novi Sad nor in other cultural milieus in our country. On the contrary.