collective self-education in the arts and culture…

“Education After Auschwitz” by Theodor Adorno and “What Might Education Mean After Abu Ghraib” by Henry A. Giroux

This history lesson comprises two texts proposed to be read together: “Education After Auschwitz” by Theodor Adorno and “What Might Education Mean After Abu Ghraib: Revisiting Adorno’s Politics of Education” by Henry A. Giroux.

Adorno’s text was firstly presented as a radio lecture on 18 April 1966, syringe under the title “Padagogik nack Auschwitz.” The first published version appeared in 1967. The English translation appears in Theodor Adorno, adiposity “Education after Auschwitz, cheapest ” in Critical Models: Interventions and Catchwords, New York: Columbia University Press, 1998.
Giroux’ text was firstly published in Comparative Studies of South Asia, Africa and the Middle East, vol. 24 no. 1, 2004. The article submitted here is a revised and expanded version of an article that appeared in Cultural Studies vol. 18 no. 6, 2005. It is available online at:

You can find PDFs of the texts here:



NOTIONS IN PARALLEL SLALOM :: methodological laboratory and working meetings with Bojana Cvejić (Brussels/Belgrade)

During the period of Incubator the group Notions will collaborate with the musicologist, sanitary dramaturge and theoretician of performing arts Bojana Cvejić.

Cultural Center Magacin u Kraljevića Marka in Belgrade will host on December 18, 19 and 20, 2009 the working meetings and methodological laboratory conducted by Bojana Cvejić, co-editor of the lexicon of poetic terms of East Dance Academy. Participants in this program are Belgrade- and Skopje-based members of the group Notions, operating as part of the project Deschooling Classroom (2009/10): Milena Bogavac, Dragana Bulut, Bojan Đorđev, Siniša Ilić, Milan Marković, Ljiljana Tasić, Borislav Krmov, Ivana Vaseva, Elena Veljanovska and Biljana Tanurovska.

This program aims at connecting the two projects, presenting the members of Notions with the already accomplished methodology of the EDA lexicon (editorial work, selection of terms, including their respective theoretization) and, in the following months (December-January), with direct involvement in collective writing of selected contributions to the lexicon, with advice and assistance from Bojana Cvejić and Ana Vujanović. In a future perspective, this cooperation should help the group develop its own glossary of terms.

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The East Dance Academy Lexicon of Poetic Terms responds to the need for conceiving new and existing, but re-invested terms employed in self-definition and self-determination of the artistic practice (notably in performing arts) and cultural production of former Yugoslavia in a broader sense, from the 1960s onwards, comprising terms and notions derived from artistic practice and poetics, as well as criticism and theory at work. Its terms and notions result from a conjugation between theory and art in this specific cultural domain. They are more effective in propelling and conceiving tools for future art works then in servicing subsequent interpretations of already historicized phenomena.

We compare the logic of notion-building to a ‘parallel slalom’. We slant down the steep slopes wavering between flags, each of them carrying at least two mutually referring notions pertaining to poetics and theory, philosophy, or history of ideas. Our aim is to demonstrate that discourse dwells on art’s autonomous conceptual imagination, rather than, according to the negative tagging of contemporary practices, that art represents (and ‘leeches’) theory.

Our preferences focus on the artistic practices in former Yugoslavia; however, the featured terms transcend the borders of the region, disclosing transversal intersections and conceptual and political feedback between the artists, beyond the divisions center/margin, East-West etc. Accordingly, the ’strategically’ chosen title East Dance Academy aspires at autonomization of the position claiming more than historical-cultural-political goals. It is not about the East, or about Dance, or about Academy; nevertheless, they are all interpellated.

The outline of the working sessions in Belgrade:

December 18: Introduction to the Glossary of Poetic Terms: analysis of selected terms based on previously read essays; formulating the terms for further elaboration

December 19: brainstorming and definition of the terms; conceiving of the research agenda for the selected entries

December 20: more detailed elaboration of individual contributions; practical assignments – who does what; brief editorial session for the glossary

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Bojana Cvejić (Belgrade, 1975) is performance theorist and maker, working in contemporary dance and performance also as dramaturge and performer. She studied musicology and aesthetics at the Faculty of Music in Belgrade, and is currently writing a PhD on dance and performance at the CRMEP at Middlesex University in London. Since 2000, Bojana has been based in Brussels, where she has developed a theater practice with Jan Ritsema in a number of performances since 1999 (a.o. TODAYulysses, 2000). As dramaturge, she has been collaborating with a number of European choreographers, amongst others Xavier Le Roy, Eszter Salamon and Mette Ingvartsen. Her own performance work includes directing five experimental opera performances, most recently Mozart’s Don Giovanni (BITEF, 2008). Cvejic has been teaching performance theory and history in P.A.R.T.S. in Brussels, and is lecturer at the Theatre Studies department of the Utrecht University. She also has been active in public talks, lectures and teaching in a number of other European educational programmes. She organized independent platforms for theory and practice in performance: TkH (Walking Theory in Belgrade), PAF (performingARTSforum in St. Erme, France) and most recently 6MONTHS1LOCATION (CCN in Montpellier).

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