I love art because it brings me closer to the rediscovery, both of myself and of other people and of so much beauty that there is in the world: Ms. Ivana Balabanova
Ivana Balabanova, teacher, choreographer and professional dancer of contemporary dance, born in North Macedonia, visited the Mexican capital in order to participate in the IX International Dance Festival of Mexico City (FFIDCDMX), a meeting where she presented Code #9, a show that with a minimalist optics, recognizes the transforming power of darkness and light, through a choreography. The staging was performed on Sunday, August 11 inside the Raúl Flores Canelo theater, a space belonging to the National Center of the Arts (CENART), within the framework of the XXX anniversary of the aforementioned venue. Experience that was very splendid for the artist.
Although the period of stay at CENART was brief, it was enough to understand its value, by perceiving it as the cradle of future artists, where they obtain significant knowledge in the development of their careers. The idea of creating a context for education and artistic growth in a wonderfully planned area artistically and architecturally, highlighted Ivana, who in the same vein, emphasized how the Raúl Flores Canelo theater is one of the capabilities of the complex, providing a high-level stage for performances. Truly, I was happy to have performed there.
Being a professional dancer or working in art brings a series of challenges, some derived from the precarious situation of artists, others are related to the creative person and their constant need for growth and transformation. If she could choose what her biggest challenge is, she would say that it is the fight with oneself in the attempt to organise the mind; by always aiming high, she used to despise alternatives. For now it is located in a process of self-discovery, learning from its mistakes and entanglements.
Ivana brought back to memory her beginnings, started at an early age, enrolled in dance classes and attended after her shift in elementary school. She still remembers the deep emotion generated in that girl, for the fact of attending these sessions, although they were painfully canceled after two years. Meanwhile, enrolled in high school she found her love for photography, at the same time, she sang in a choir for almost seven years, however, during the second year of high school she met dance again, became part of a local dance center, where seriously focused on dancing, she got involved in competitions, derived from the above, quickly grew her value in the world of street dance.
His love for movement has always been strong, at the same time he enjoys practicing other artistic disciplines, despite this, she decided to study Economics at the age of 18. She seemed to have chosen a different professional direction, however, with an entrepreneurial spirit, at the same time she started her own dance centre, called Beatrix Cultural Center, which operates to this day. There she has combined her knowledge of dance and entrepreneurship, with the firm objective of establishing educational platforms capable of affirming dancers in the artistic community of North Macedonia.
Her dreams became bigger and the love for dance even more powerful, she has managed to develop many important platforms with Beatrix; at present, she accumulates ten editions of the Beatrix Dance League, a meeting turned into an International Dance Festival, suitable for use as a home by artists from Germany, Italy, France, Spain, Switzerland, Estonia, the United States, the United Kingdom, the Balkan Peninsula, etc. They also exhibit the Beatrix Specials forum to offer free dance and classes aimed at the local dance community.
In recent years they have managed to establish the VADA (Virtual American Dance Community) in collaboration with the United States Embassy; and, the Tanz.Transformator – Reimagining Our dance community with the Swiss Embassy in North Macedonia; the purpose is to provide employment to professional dancers.
She chose to study a higher degree in contemporary dance, so he would take advantage of the flattering present and his growing passion for artistic creation. In adde with the above, the expert highlighted the intention to expand her creativity, a need that emerged from the vast work carried out in the cultural panorama. At present, she says she is excited about continuing her studies and having moved to the Swiss capital, where she finished her Master’s degree in Choreography at the Zurich University of the Arts. There she was part of a block of three scholarship holders distinguished for their academic excellence, who had overcome a fierce competition with thousands of students for that opportunity, the only useful way to fulfil the goals established by Ivana, who did not choose art as a career, on the contrary, she says she was preferred for that expression of human activity, having accompanied her in her environment since childhood. Her grandparents, parents and other relatives supported her to generate links with art and appreciate it. Later she would visualize herself as an artist and did not stop, she loves art because it brings her closer, both to the rediscovery of herself and other people, and to that of so much beauty located in the world, in addition, it allows her to better understand the pain.
Dancers and choreographers work in the same field, curiosity and love for dance are a common point, emphasizes the histrione, pointing out how in most cases, choreographers are hidden in the body of dancers; and, when they have the possibility, they emerge, make use of their extensive knowledge in the subject and become incredible creators. Choreographers may never have practiced professional dance, but in most cases, the best choreographers are former dancers. In addition, it is feasible to find other similarities in the general aspects of this artistic field: devotion, discipline, interest in internal and external exploration, love for movement; and, memory capacities, etc. As a lover of singing and music, she works closely with her collaborator; the teacher and composer Alessandro Olla, and identifies a fairly similar process between being a choreographer and a musician, although the exit could be different, however, the internal imagination is a process of synchronicity and ability translated into notes or movement, the result is heard or seen, as the case may be.
Each part of the creation process is equally significant, from the beginning, an idea takes root inside through planning, management, artistic exploration, collaboration, until reaching its artistic materialization through a staging. The spark of enthusiasm felt within her body when an idea arises and discovers the possibilities on stage, as well as the process of transferring it, about the bodies of other people and the ability to generate exchanges, is the most significant aspect for the teacher, who in relation to the body as an instrument, or sound body, considers it interesting to explore and free the sounds of our bodies from censorship. This is how a kind of escape originates for the voices retained within us. As a woman, and coming from a patriarchal society, she emphasizes the transcendence of speaking with her body sounds and letting them flow.
About how she expresses the concepts in her creations, she was sorry for answering a rather difficult question. Since the piece is the answer, but each one is different. If I knew how, I wouldn’t need to investigate. Every process opens up perspectives, motivates different possibilities and opportunities, also involves challenges. That’s where she finds both joy and obstacle. So, basically, the goal of each next creation is to find exactly how you can express the concept through, allow yourself to be redundant; your creation. A story is always told through the movement with honesty, listening to oneself and others.
At another point, she enhanced the significant accumulation of beautiful memories tresored after having finished her tour of Mexico, Berlin and St. Petersburg during a very long summer. Now she plans to stage the second version of Liminal Body: Extened, for the the Lichthof Theater in Hamburg in November. She also continues to work on a new interdisciplinary piece for the master project of the composer Paul Taro Schmidt in ZHdK. Simultaneously, she is taking part as one of the 23 performers at the re-performances of Marina Abramovic at the Kunsthaus Zurich; and, gradually, she roots her new solo creation. As she has recently delegated responsibilities at the Beatrix Cultural Center to some of his former students and colleagues, she is shaping a program that would prioritise the professional dance community. And gradually, she begins to build h er life in Switzerland.
In relation to her tour of our country, Ivana exhibited deep sincerity when she was distressed by not having met the local dance community. Because the days were numbered and she could only visit some archaeological sites and places of vital relevance to Mexican culture. However, she perceives a scene not very different from that of his country, the panorama of contemporary dance also has difficulties in obtaining the necessary financial and institutional support, in order to implement sustainable and promising work models. It seems clear to her that local and international artists struggle to achieve the goals of their generous efforts, in both countries they need support for financing, headquarters management and aspects of another kind. However, Mexico and North Macedonia bring together a lot of talent to show a great passion and love for dance.
As soon as she manages to settle in Switzerland, Balabanova has the goal of channeling her energy to contribute to the local community, and at the same time continue to nurture her artistic ideas. In the meantime, she will continue to work with dedication to improve professional contemporary dance within North Macedonia, hoping to institutionalise it; and perhaps one day, establish the first government-funded contemporary dance company.
