The Foundations for a New Beginning

The international contemporary dance and performance arts festival Spider has returned this year under the title "Ne vemo, česa ne vemo" ("We don't know what we don't know"). The festival will take place from June 24th to 27th in the Plečnik auditorium in Tivoli Park, before concluding with a gathering at Kodeljevo Castle. This marks the 15th edition of the festival, known for its transgenre approach and critical discursive content, often referred to as the "festival of radical bodies." Over these four days, more than 80 artists from 15 countries will present diverse performances, discussions, and musical programs focused on themes such as knowledge in the age of artificial intelligence, the body as a practice beyond algorithmic data, and the formation of community.

The festival's director, Žiga Predan, explains that the theme of this year’s edition has been present since the beginning, though it is revisited anew each time. He describes the festival as an attempt to create a temporary world akin to opening a window to let in fresh air. Unlike other festivals that focus heavily on current trends or high-profile names, Spider emphasizes freshness, diversity, and the creation of community. It seeks to provide space for perspectives that might otherwise go unnoticed, including artists who have deliberately stepped away from commercial mainstreams. This approach makes the festival somewhat unconventional but also intriguing.

Matej Kejžar, artistic director of the festival and a well-established dancer and choreographer, acknowledges that while the festival does not aim to follow traditional hierarchies, it inevitably creates its own through selection processes. However, unlike many festivals, Spider does not center around a single main guest or highlight. Instead, it invites back artists who have previously participated, allowing the festival to track their creative evolution over time. New productions include the performance Xx-63 by the dance collective Trevoga, which addresses issues of excessive consumerism, fatigue, and the effects of constant stimulation. Another notable act is the duo Arno Ferrera and Gilles Polet, whose performance Oklep explores masculinity and attempts to redefine it.

On the first day of the festival, the program begins with Billy Morgan, who works at the intersection of performance, storytelling, and installation. Her piece Metropolitaine offers a surreal story about two pets, exploring the feeling of entrapment as a side effect of capitalism. Following her, Australian contemporary artist Thalia Stone presents her solo performance I Stand For You, which deals with reflections on the evaluation of rationality. The final performance of the day is Meje mojega jezika so meje mojega sveta, choreographed by Gregor Luštak, which examines language boundaries and their impact on perception.

Beyond the initial lineup, the festival promises further performances such as Prepusti se, a music-dance performance by Khadi, among others. These varied acts reflect the festival's commitment to exploring new forms of community and expression, ensuring that each participant contributes uniquely to the overall experience.

In a separate development, Tatjana Sušek, leader of the Plesno-rekreativni klub Harmonija (PRK Harmonija), shared insights into her journey and the growth of her club in Vuzenica. Originally from abroad, she came to Slovenia to study and eventually settled there after meeting her partner. Initially facing challenges due to unfamiliarity with small towns, she started working in two schools—Vuzenica and Radlje ob Dravi—and gradually expanded her reach across Koroška and the Drava Valley.

Sušek emphasized the importance of connecting culture, art, and sport within a cohesive framework. She began with a homogeneous group of children aged between one and five years old, noting that once they became familiar with the activities, enrollment grew significantly each year. Her early experiences were shaped by her training in rhythmic gymnastics and ballet teaching, which she continued even after moving to Vuzenica. Recognizing the difficulty of finding skilled professionals in smaller towns, she welcomed additional mentors, such as her long-time friend and colleague who joined the club after enrolling her daughter and later became actively involved.

Over the years, PRK Harmonija has evolved, offering various dance groups tailored to different age groups and interests. From hip-hop and jazz to therapeutic dance sessions for adults, the club continues to adapt based on demand. Sušek highlights the joy and desire for movement and music among children, emphasizing that while talent can be observed, it is equally important for them to possess a genuine passion for dancing and expressing themselves physically. She believes that every child has potential, which must be nurtured through regular training and exposure to diverse techniques.

Through her efforts, PRK Harmonija has become a significant hub for young dancers in the region, fostering both personal development and communal spirit. By integrating sports and artistic expression, Sušek aims to promote harmony between the body and mind, encouraging participants to explore their creativity and physical abilities in a supportive environment.